Professional best practice from the Institution of Lighting Professionals
April 2019
COMMUNITY VOICES How October’s LewesLight used light to make sense of war, suffrage and mechanisation SUBURBAN NIGHTS Unpicking how LED street lighting affects suburban environments BOX OF DELIGHTS Celebrating the humble feeder pillar, and why it is more important than ever
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April 2019 Lighting Journal
Contents
06 SUBURBAN NIGHTS
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18
How is LED street lighting affecting residents living in suburban environments? Lucy Record outlines research exploring factors such as nighttime visibility, distribution, preservation of environment and feelings of safety
14 COMMUNITY VOICES
October’s LewesLight light festival highlighted through light the profound social changes wrought on English rural society by the First World War, women’s suffrage and growing mechanisation, writes Graham Festenstein
18 SUSPENDED ANIMATION
Blackpool’s annual Lightpool festival of light art and fire had a new addition last October, Light Odyssey, a stunning fusion of light projection, animation and music, as director Alex Rinsler explains
22 GROWTH CYCLE
With artificial lighting, especially LED, increasingly being used within horticulture, it is vital lighting professionals properly understand the links between plant growth, yields and health through exposure to UV radiation, argue John Stocks and Stuart Mucklejohn
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BOX OF DELIGHTS
Feeder pillars may not be glamorous, but they are a pivotal – if often unsung – element of our street-level electrical infrastructure. Peter Diamond sings their praises
32 STOP AND GO
Belisha beacons have come a long way since first becoming a feature on pedestrian crossings in the 1930s, with LED and solar power now transforming their role and effectiveness, as Phil Mitchell explains
THE 36 EMBRACING DARK
The central Italian town of Frosinone is deeply proud of its dark skies heritage. This means its new LED scheme has therefore had to tread a careful path
AT 40 WORKING HEIGHT
Network Rail has switched out old 1kW metal halide high-bays at London’s Liverpool Street station for new LED units, improving light distribution while also reducing energy and maintenance
42 SMART SPENDING
Upgrading to LED, CMS and, most recently, adaptive street lighting is helping Doncaster Council free muchneeded money to invest elsewhere, as Sarah-Jane Allen explains
ATTENTION, 44 ‘PAY YOU’RE LIVING’
The final ILP ‘How to be brilliant…’ lecture of 2018 saw Magdalena Gomez of Elektra Lighting talk about the influence of her Mexican heritage on her designs
48 LIGHT TALKS
With some 5,200 visitors, this year’s Surface Design Show in February proved a popular draw for architects, designers and specifiers. The ILPsupported Light School was once again at the heart of the action
IN THE 50 DEVIL DETAIL
Drafting a watertight contract requires patience, diligence and an understanding of some basic legal principles. And it is vital to pay close attention to detail, emphasises Howard Crossman
AND INDUSTRY 54 ILP NEWS
Including a first preview of what to expect at this year’s Professional Lighting Summit in Newcastle
58 DIARY
p COVER PICTURE
One of the spectacular sights that greeted visitors to October’s LewesLight light festival. Photograph by James McCauley
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April 2019 Lighting Journal
Editor’s letter
Volume 84 No 4 April 2019 President Colin Fish IEng MILP Chief Executive Tracey White Editor Nic Paton BA (Hons) MA Email: nic@cormorantmedia.co.uk Editorial Board Tom Baynham MEng MA (Cantab) Emma Cogswell IALD Mark Cooper IEng MILP Kevin Dugdale BA (Hons) IEng MILP Graham Festenstein CEng MILP MSLL IALD Nathan French John Gorse BA (Hons) MSLL Alan Jaques IEng FILP Lora Kaleva MSc Assoc IALD Nigel Parry IEng FILP Georgia Thomas (YLP rep) BA (Hons) Paul Traynor Richard Webster Graphic Designer Sacha Robinson-Forster BA (Hons) Email: sacha@matrixprint.com Advertising Manager Andy Etherton Email: andy@matrixprint.com Published by Matrix Print Consultants Ltd on behalf of Institution of Lighting Professionals Regent House, Regent Place, Rugby CV21 2PN Telephone: 01788 576492 E-mail: info@theilp.org.uk Website: www.theilp.org.uk Produced by
Matrix Print Consultants Ltd Unit C, Northfield Point, Cunliffe Drive, Kettering, Northants NN16 9QJ Tel: 01536 527297 Email: gary@matrixprint.com Website: www.matrixprint.com © ILP 2019 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.
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or me, one of the attractions of print over online is the fact it often forces you to take your time. Increasingly, our working days are a constant rush of hurriedly scrolling through online content on your phone or laptop. But a physical magazine in your hand can give you the excuse to shut out the digital world, even if just for a period, and sit down, digest and reflect. That was certainly how I felt when first reading Lucy Record’s article in this edition based on her MSc research into how street lighting technology, primarily LED, is affecting residents living in suburban environments. Lucy’s article, I do appreciate, is longer than what we normally publish. But I do urge you to take the time – and to give yourself the head space – to read and reflect upon its findings. Inevitably it is just a snapshot, both in time and in the fact it was looking at just three streets in London. But for me it raises some thought-provoking questions around safety (and perceived safety) in residential urban environments at night and where this potentially leads us in terms of the ongoing debate over dimming/switchoff and curfews. Her discussion around the role LED upgrades can potentially play in encouraging residents to, in turn, upgrade and add to their own security lighting was, I felt, intriguing even if, as Lucy stresses, to suggest an outright cause and effect might be stretching things. Equally, I was struck by the tensions that can exist even within a small population sample between those who want to prioritise safety and security, and so lean more towards full-power street lighting throughout the night, and those who want to retain areas of darkness within their night-time environment. These are tensions lighting professionals, clearly, must always be cognizant of when planning, specifying and installing lighting schemes. Another compelling discussion point for me was whether there are generational factors at work in all this and, if so, how might they play out over time? Are younger generations becoming gradually conditioned (and therefore oblivious) to rising levels of light pollution within our urban environments? Lucy, certainly, doesn’t pretend for a moment to be providing definitive answers to any of these complex questions and nor, most definitely, am I. But in the headlong roll-out of LED, as it increasingly becomes the ubiquitous, mainstream light source for our streets, highways and urban environments at night, these are valuable and important questions that it is only right lighting professionals should be reflecting upon. I am very glad that Lighting Journal is able to provide that forum.
Nic Paton Editor
q SUBSCRIPTIONS
ILP members receive Lighting Journal every month as part of their membership. You can join the ILP online, through www.theilp.org.uk. Alternatively, to subscribe or order copies please email Diane Sterne at diane@theilp.org.uk. The ILP also provides a Lighting Journal subscription service to many libraries, universities, research establishments, non-governmental organisations, and local and national governments.
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April 2019 Lighting Journal
Street lighting
q A London street at night. Lucy’s research assessed how the transition to LED had affected residents in south west and north London
SUBURBAN NIGHTS
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LED is transforming how we light our urban streets at night. But how is this still relatively new technology affecting residents living in suburban environments? A research project exploring factors such as night-time visibility, distribution, preservation of environment and feelings of safety has attempted to unpick at least some answers By Lucy Record
A
s lighting professionals will be only too well aware, the UK’s street lighting schemes are undergoing a changeover from older sources such as high-pressure sodium (HPS) and high-intensity discharge (HID) to LED technology. This article intends to outline research I carried out as part of my recent MSc to illustrate how this new street lighting technology affects residents living in suburban environments by exploring factors such as night-time visibility, distribution, preservation of environment, and feelings of safety. The objective is to clarify the perceptions, needs and priorities of urban residents in order to find out whether this, coupled with existing measures to reduce light pollution (for example PIR, dimming curfews and so on) can be ultimately www.theilp.org.uk
harmonious. Such information forms a valid contribution in determining more precise ways of saving energy and globally reducing light pollution levels.
LIGHT POLLUTION
Existing research that explores the contribution of LED street lighting technology to light pollution and its effects on skyglow is limited. The New World Atlas of Artificial Sky Brightness recently published an insightful report of the current status of global light pollution, using luminance mapping software [1]. It summarised that more than 80% of the global population are exposed to light polluted skies, and two-thirds cannot see the Milky Way where they live. A by-product of this is that younger generations are becoming conditioned to
higher levels of light at night because of a lack of reference to naturally dark skies, and so do not notice the shift. This explains what Christopher Kyba refers to as a ‘ratchet-like’ increase in levels of illumination at night or could otherwise be described as a shifting baseline syndrome [2, 3]. The debate about whether LED sources are perpetuating the issue of light pollution is in its infancy because the technology has been developed so quickly. Investigations into LEDs and their effects on light pollution have been largely centred around wavelength [4, 5, 6, 7]. However light-spill is thought to have a greater impact on light pollution compared to wavelength [8]. Light directed from 90º-100º angles, travels through a longer route, interacting with larger aerosol particles, and then is refracted back down to
April 2019 Lighting Journal
q Figure 1. A diagram depicting lower light upper zone
of angles 90º-100º (ILP GN01:2011)
p Figure 2. CIE’s simplified impression of how light pollution occurs (CIE 2003)
earth, causing a sky-glow effect [9]. Light scattering in these angles usually occurs inadvertently, (most notably by light sources such as HPS) and is referred to as ‘lower upper light output zone (UL)’ as shown in figure 1, with figure 2 showing the CIE’s simplified impression of how light pollution occurs [10, 11]. Flux travelling directly up towards the zenith has a shorter route because there is less interaction with small air molecules, and is therefore unlikely to contribute towards sky glow. Reflection from roads is also a matter for consideration, however this only accounts for 25% of artificial sky brightness as opposed to 75% from upward light [12]. In the UK, legislation does not mandate a limit to overall luminance per area from outdoor lighting installations. Individual counties autonomously decide on dimming and switch-off policies. A major incentive for this is the reduction of CO2 emissions. For example, Suffolk switches off its streetlights between midnight and 6am. In Coventry’s new LED scheme, the lights dim down to 50% after 9pm in the evenings [13]. Increasing concerns about the environment (since the Kyoto Protocol), have led to measures in reducing light pollution and energy waste [14]. The 2015 International Year of Light recognised that the advent of LED street lighting is a perfect opportunity to address the issue of light pollution in night-time strategies. However, over the course of 50 years since 1950 to 2000, luminous efficiency of lighting has doubled and, despite this, electricity consumption has increased by 400% (for lighting alone). Artificial lighting counts for 19% of all electrical consumption worldwide, 15-20%
of which, accounts for exterior lighting, which has increased steadily at a rate of 3-6% per year [15]. As lighting becomes cheaper, the likelihood of consumers using it in greater quantities increases. It is therefore feasible to assume that reduced lighting cost will increase illumination; or that conversion to energy efficient lighting is unlikely to reduce energy consumption [16]. This point relates back to one of the motives of the survey study, in other words whether new LED streetlight upgrades encourage residents to respond to the change in appearance by adding additional lighting.
BACKGROUND STUDY: LIGHT DISTRIBUTION COMPARISON
My initial study began by observing the optical and spectral characteristics of some typical street lighting sources to form a picture of how the light falls on the surrounding surfaces of a real suburban residential street. In order to demonstrate how LEDs have a sharper optical cut-off compared to older sources (such as HPS
and HID sources), a distribution study was mapped out using a dual-planed illuminance distribution diagram. The first set of charts compared illuminance values on the horizontal plane at 1m stops on each of the x, y axis from the source. The second batch of measurements is on the vertical plane shown in: a) section at 0-2m height stops, on a distance range of 0-6m from source, and b) elevation at 0-2m height stops at a set 6m distance from the source, which is intended to demonstrate the distribution over a nearby house/building façade. The columns of the HPS and HID sources were both at 6m, and the LED was 8m tall. All three were in comparable locations around greater London. Each of the three sources had at least one line of symmetry. Horizontal readings were mirrored to show an overall distribution on either side of the source. The y axis indicates the space behind the source only (in other words the direction of the pavement away from the road) to convey the effect on pedestrians and the ambient light spilling
q Figure 3. HPS horizontal illuminance distribution (lux) – plan view
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April 2019 Lighting Journal
Street lighting
p
Figure 4. HID horizontal illuminance distribution (lux) – plan view
8 p
Figure 5. LED horizontal illuminance distribution (lux) – plan view
distribution on the horizontal. Because of the large gap in values between the LED source and the other two sources, a larger sample grid would be desirable to show the results on a broader scale. The vertical readings show that the HID source had the highest percentage range between the overall minimum and maximum values. It had the most uneven distribution of all three sources. For example, in section, the hotspot over the distance is at 4m from the source (at 49.4 lux), then falls down by 84% (at 7.8 lux) at the 6m distance stop. The LED source however had an overall higher score in percentage range between stops over the horizontal values (elevation and section view). Similar to the HID, the LED in section view had a hotspot at the 4m stop, at 92.7 lux, then falls down by 85% to 13.5 lux at the 6m stop. The range in values over a 2m height at the furthest distance stop is between 11-18.5 lux, with the highest values spread evenly at the bottom, indicating a distinctive ‘cut-off’ effect. The HPS source has a predictable fall in percentage difference between stops, in the distance study. When corroborated with the illuminance readings in elevation view (on the 6m section), it shows a relatively even distribution between 5-5.1 lux, indicating a very broad distribution on the vertical plane.
THE SURVEY STUDY METHODOLOGY
p
Figure 6. HPS vertical illuminance distribution (lux) – section elevation
across house/building. Illuminance values (taken with a Konica Minolta CL-500A Spectrophotometer) were plotted onto a metric grid for each of the three planes, as shown in figures 3 to 8. An indicative colour formatting was then applied to the values to demonstrate the shape of distribution for each of the planes. As the colour formatting is inconsistent across each of the diagrams, www.theilp.org.uk
a separate colour legend has been applied. The results from the horizontal readings show that the HID source has the highest range of values, with a sharp ‘hot spot’ in the centre of its light distribution. When broken down into individual 0.5m stops, the HPS source has consistently the highest percentage ranges. The LED source has a relatively even
To gain a more perception-based understanding on the effects specifically to people of the new technology, a door-to-door survey was carried out. It targeted urban residents living in London between zones 2-3, whose streets were upgraded in 2015/16. Though now slightly dated, this study remains relevant, caveated by the fast pace in the development of LED technology. Thus, the data captured can be seen as something of a snapshot in time. The survey was carried out on three urban streets in opposite stretches of London (zone 2-3 borderline), over three weeks in July 2016. In each case, the upgrade had taken place within the one year of the surveys being carried out. The population sample was 43, split up between: 17 (street one), 13 (street two), 13 (street three). Transport for London (TfL) is systematically upgrading red routes across London and thus was able to indicate some key locations. From the list provided, two locations were selected: Battersea Rise (SW11) and Archway Road (N6). A third location was chosen on a site
April 2019 Lighting Journal
visit to Archway Road, situated off the Archway Road towards the Highgate area. Holmesdale Road (N6) is a quieter street, which is exclusively residential. In this instance the upgrade was undertaken on behalf of Haringey Council, because it is off the TfL red route. Illuminance readings were taken at two spacing points on each of the locations, in other words directly underneath the luminaire and at the mid-point between the luminaires. Both readings were taken at eye-level height, with results in figure 10.
RESULTS AND ANALYSIS
The results showed a relative indifference towards the upgrades across all three locations. With regards to glare/light spill, even with a minority at 33% it could be an invasive aspect of the upgrade, as it is not clear how this compares to the previous light sources. There was an overall positive response in residents’ perception of distribution and colour temperature. LEDs appeared brighter than their predecessors. Interestingly, the majority of residents did not necessitate street lighting to illuminate their front gardens or front façades, as is the case with HPS street-lighting. Most residents already had existing security lighting (at 63%), but 16% had added security lighting since the upgrade and 14% were planning to. The survey also revealed a desire to retain areas of darkness in the suburban night-time environment. Nearly two-thirds (65%) said that it was not necessary to leave the lighting on at full power through the night. Across all streets, the overwhelming majority of participants were aged between 25-44. Battersea Rise had a slightly younger age bracket, with 70% aged between 25-44, while Holmesdale Road had a slightly older age bracket, with 61% aged between 35-54. Although the results showed consistent variations between age ranges, some trends and significant deviations emerged on certain topics. The question of whether residents had noticed any changes to the streetlights demonstrated that the midrange bracket of 45-54 were overall more astute to the changes. The question of whether the residents had noticed any light spill penetrating through their windows had a greater number of older people saying ‘yes’. This trend suggests that older people are more sensitive to glare compared to younger people. The two closely related questions of whether people felt that the streetlights should also be lighting their front gardens
p
Figure 7. HID vertical illuminance distribution (lux) – section elevation
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p
Figure 8. LED vertical illuminance distribution (lux) – section elevation
DISTANCE BETWEEN LAMPPOSTS (ALTERNATE SIDES)
LAMPPOST HEIGHT
UNDERNEATH LUMINAIRE
CENTRE POINT BETWEEN LUMINAIRES
CCT
M
M
E (LX)
E (LX)
ºK
30
12
29.4
3.2
4080
ARCHWAY ROAD
30
12
31.6
3.8
4085
HOLMESDALE ROAD
40
5
58.5
1
4040
LOCATION
BATTERSEA RISE
p
Figure 10. Summary of layout, illuminance readings and CCT across all three London locations
and the front façades of their houses showed that the three age brackets between 25-54 were overall less in favour of the idea. The youngest range (16-24-year-olds) and the oldest (55-65-year-olds) scored higher in these two questions, which may have some relationship to issues of security and safety. Finally, people in the age range of 35-54 felt more strongly about retained areas of
darkness in the night-time environment. Half (50%) of residents aged between 55-64 were planning to add additional lighting to their property in response to the new LEDs. When it came to gender, the overall proportion from male to female was 69.7% to 30.3% respectively. The first observation is that women tended to be overall slightly more perceptive to changes in their urban www.theilp.org.uk
April 2019 Lighting Journal
Street lighting
q London at night looking west towards Battersea, one of
the areas of the capital targeted by the research
10
environment compared to men. The gap then narrowed slightly when the residents were consecutively asked if they had noticed a specific change to the street lighting, with an increase of 23% more men affirming when prompted, and a decrease of 7% women. Compared to men, women scored a slightly higher result referring to the question of whether the streetlights should light up their front garden/front façade of their house. Comparatively, 11% more women said they had added extra lighting within the past year. Nearly a quarter (24%) more men compared to women said there should be areas of darkness within the urban nighttime environment. Similarly, 25% more women compared to men felt that the street lighting should stay on at full power all night. In comparison to males, female residents found the LEDs to be overall brighter compared to HID or HPS sources, scoring a mean value of 5 (1=dark, 5=bright). Finally, when it came to home ownership, of all the comparisons drawn, this was the most evenly split category, with 22 people who either owned or were buying their property and 21 who were renting. Significantly more home owners www.theilp.org.uk
noticed changes to the street lighting (when prompted), were more receptive to glare coming through their windows, felt more strongly about their house fronts being lit by streetlights, were more in favour of the streetlights being on full power all night, and had a greater concern about light pollution in their area. Comparatively, a slightly higher percentage of home owners had added or were planning to add additional lighting since the LED upgrade. While perceptions of brightness were consistent in both home owners and tenants (mean score=4), colour perception differed, with home owners saying the CCT was moderately pleasant (mean score=2), and tenants saying it was average (mean score=3). A possible reason for this is that the tenants being overall less responsive to changes in their local environment were therefore less inclined to form an opinion.
DISCUSSION AND CONCLUSIONS
LED street lighting is undeniably changing the overall night-time vista of the urban residential environment. The results of this research touched on some elements of what these changes were and
how well they were being received. The three streets surveyed had some distinct variations, not only in terms of demographic, but also in their overall characteristics and function. Although these variables allowed a sense of diversity, they also created a possible distortion on the results. Battersea Rise and Archway are quite traffic heavy because they are TfL red routes, which may have a distracting influence on people’s observations about the new lighting. The streetlights on these two roads were characteristically different compared to Holmesdale Road, in other words lamppost height, spacing distribution and so on. Battersea Rise and Archway Road had a higher proportion of male participants, tenants and people aged between 25-44. Unsurprisingly, they shared some similar results. Both streets said the light distribution was uniform, felt the streetlights should not encroach into their front gardens or house façades, and were slightly more in favour of areas of darkness. Holmesdale Road had a different demographic to the other two streets, in other words there was a higher proportion of female participants, were mostly home owners, and were weighted in an older age bracket. People in this road were more perceptive to their surroundings, suggesting there is a clear link between these groups and a higher astuteness to changes. Safety was a persistent theme in the results. The majority of residents in Holmesdale Road (in other words older, female home owners) were in favour of streetlights lighting up to their front door but not spilling on to the house façade. Women were more conscious of safety and security issues than men, perceiving the presence of street lighting as being generally reassuring and as a possible crime deterrent. By comparison men were significantly more in favour of retaining areas of darkness, which bears no reflection on the overall picture, as men are statistically more vulnerable in the night-time environment [17]. The discussion of whether people are adding extra lighting on to the fronts and sides of their houses (for example for security, aesthetics and so on) as a result of the new LED streetlights, is perhaps most relevant to areas of potent home ownership. The street that best fitted this category was Holmesdale Road, which had the least percentage of existing security lights (owing to proximity between door and lamppost) but had more people planning to add security lighting since the upgrade. The suggestion that a trend might ensue as a result of the LED upgrade is a tenuous one, and is possibly too early to be
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April 2019 Lighting Journal
Street lighting
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conclusive. However, to put it in perspective, seven people out of the 43 surveyed had installed extra lights in response to the changed scheme, which is 16%. Put this figure into the larger picture of households in the UK (26.7 million) and the potential is 4.27 million households adding additional lighting. This unavoidably raises further questions into the real cost of LED street lighting, in an era of unprecedented levels of light pollution and CO2 emissions. However further research is needed, capturing other possible factors such as reduced costs of external property and security lighting for consumers. One of the limitations of my study was the relatively small pool of survey participants (a total of 43). While this was not a substantial enough number to draw concrete conclusions, it does however provide a sample of some possible demographic trends. The results in the survey provokes a reopening of the discussion about dimming/switch-off curfews, despite the bad press against it, and could also be used to inform future ‘smart’ street schemes based on CMS technology [18]. An unlikely outcome was that urban residents, being already exposed to high levels of light pollution, were open to the idea of retaining areas of darkness within the night-time environment. Women and home owners tended to be more in favour of full power street lighting throughout the night compared to residents in other categories, but the majority of all residents argued for the opposite. As one resident appropriately commented: ‘Should we cater for a very small number of people walking around at 2am? Probably not. You can’t accommodate such a small percentage of people who might be fearful.’ Clearly, there is a link in perceptions of light pollution in relation to older age, in other words older people are generally more concerned about light pollution and aware of this as a concept. This echoes back to the point that younger people are oblivious to raising levels of light pollution due to a gradual conditioning [19]. Lucy Record BA(Hons) MSc is a lighting designer at Beam Lighting Design and completed her MSc in Light and Lighting at the Bartlett, UCL, in 2016 • Lucy Record will be presenting her findings and discussing her research at June’s ILP Professional Lighting Summit. See page 54 for a preview of what members can expect, or go online at www.theilp.org.uk/events/professionallighting-summit-2019/ www.theilp.org.uk
p A residential London street at night. Lucy Record’s research has posed important questions around the
cost of LED street lighting in an era of unprecedented levels of light pollution and CO2 emissions
REFERENCES [1] Falchi, F, Cinzano, P, Duriscoe, D, Kyba, C, Elvidge, C, Baugh, K, Portnov, B, Rybnikova, N and Furgoni, R (2016). The new world atlas of artificial night sky brightness. Science Advances, 2(6), pp.e1600377-e1600377 [2] Kyba, C, Hänel, A and Hölker, F. (2014). Redefining efficiency for outdoor lighting. Energy & Environmental Science, 7(6), p.1806 [3] Pauly, D. (1995). Anecdotes and the shifting baseline syndrome of fisheries. Trends in Ecology & Evolution, 10(10), p.430 [4] Kyba, C, Ruhtz T, Fischer J. Red is the new black: how the colour of urban skyglow varies with cloud cover. Monthly Notices of the Royal Astronomical Society, 2012, mnras.oxfordjournals.org [5] Kyba, C, Ruhtz, T, Fischer, J and Hölker, F. (2011). Cloud Coverage Acts as an Amplifier for Ecological Light Pollution in Urban Ecosystems. PLoS ONE, 6(3), p.e17307 [6] Luginbuhl, C. (2001). Why Astronomy Needs Low-Pressure Sodium Lighting. Symposium - International Astronomical Union, 196, pp.81-86 [7] Mosher, D. Night Sky to Turn Bluer? Energy-efficient streetlights may change color of light pollution, for National Geographic News (August 2014). Available online at news.nationalgeographic.com/ news/2012/08/120814-lighting-energy-leds-bluer-night-skies-technology/ [8] Rea, M and Bierman, A. (2014). Spectral considerations for outdoor lighting: Consequences for sky glow. Lighting Research and Technology, 47(8), pp.920-930 [9] Interview with Nigel Parry (2016), 07/06/2016 [10] Kyba, C, Hänel, A and Hölker, F. (2014). Redefining efficiency for outdoor lighting. Energy & Environmental Science, 7(6), p.1806
[11] ILP: Guidance Notes for the Reduction of Obtrusive Light GN01:2011. Available at www. theilp.org.uk/resources/free-resources/ [12] Falchi, F, Cinzano, P, Elvidge, C D, Keith, D M and Haim, A, 2011. Limiting the impact of light pollution on human health, environment and stellar visibility. Journal of environmental management, 92(10), pp.2714-2722 [13] Op cit Parry [14] UK Progress Towards GHG emissions reductions target, Department of Energy and Climate Change, (2015). Available online at assets.publishing.service.gov.uk/government/ uploads/system/uploads/attachment_data/ file/414241/20150319_Progress_to_emissions_reductions_targets_final.pdf [15] Hölker, F, Moss, T, Griefahn, B, Kloas, W, Voigt, C C, Henckel, D, Hänel, A, Kappeler, P M, Völker, S, Schwope, A and Franke, S, 2010. The dark side of light: a transdisciplinary research agenda for light pollution policy. Ecology and Society (2010) vol 15, no 4, art 13. Available online at www.ecologyandsociety.org/vol15/iss4/art13/ [16] Kyba, C, Hänel, A and Hölker, F. (2014). Redefining efficiency for outdoor lighting. Energy & Environmental Science, 7(6), p.1806 [17] Sutton, R M and Farrall S. (2005). Gender, Socially Desirable Responding and the Fear of Crime. British Journal of Criminology 45: 212-224 [18] Green, J, Perkins, C, Steinbach, R, and Edwards, P, 2015. Reduced street lighting at night and health: a rapid appraisal of public views in England and Wales. Health & place, 34, pp.171-180 [19] Kyba, C, Hänel, A and Hölker, F. (2014). Redefining efficiency for outdoor lighting. Energy & Environmental Science, 7(6), p.1806
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April 2019 Lighting Journal
Light festivals: LewesLight
COMMUNITY VOICES
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October’s LewesLight light festival in the town of Lewes, East Sussex, highlighted through light the profound changes wrought on English rural society by the First World War, women’s suffrage and growing mechanisation. As well as powerful story-telling and creating a great experience, the event remains committed to training, mentoring and inspiring young people By Graham Festenstein
L
ast year’s LewesLight light festival took place in October for the fourth year running, and the event has continued to grow both in terms of visitors and contributions by lighting designers and artists. The 2018 event saw at least 15,000 people attending over the three days, coming to see 15 installations around the town all connected with a historical narrative surrounding events 100 years ago, most notably the end of the First World War and securing the vote for women. As in previous years, the stories illuminated by the installations were drawn www.theilp.org.uk
April 2019 Lighting Journal
from the more obscure or less well-known histories of the town and its people. For example, at the heart of this narrative was a short story by a local author and diarist Alice Dudeney who, as Mrs Henry Dudeney (taking her husband’s name), wrote Missing, which followed the journey of a shepherd missing in action but finally returning home from Belgium to find his world in flux. The changes at this time encompassed agriculture and food production, mechanisation and a huge cultural shift away from the traditional rural way of life. The 2018 LewesLight expanded on this through the use of music and sound; as the festival has developed over the years we have found that multi-sensory experiences are not only popular but make the event more accessible. This year, for example, the festival investigated folk music and the oral tradition of story-telling in rural England that was once commonplace, but which started its decline as part of the cultural changes we were exploring.
tqu This page and overleaf. A selection of images from October’s LewesLight installations. The stories illuminated by the installations were all drawn from the more obscure or less well-known histories of the town and its people. All photographs by James McCauley
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MILITARY ARCHAEOLOGY
The installations themselves were, as always, diverse in terms of content and delivery. They included an investigation of military archaeology on the South Downs told through watercolour painting and video-mapping. There was an exploration into change and how we perceive space by making Lewes Castle ‘disappear’. There was a memorial to local men lost in the Great War and a tribute to those returning home whose lives were changed forever. Some installations celebrated the lives of local people – drawing on themes of cultural appropriation, fraud and loss, both in terms of humanity and a way of life. Sheep farming – once East Sussex’s economic driver – declined massively after the end of the war, in turn bringing change to the community on an unprecedented scale. As always, we attempted to show prosaic places in a new and curious way or simply blow away the dust from lost spaces, such as the ‘magic circle’ at the heart of a once beautiful Peace Garden – now mostly covered over by a carpark. The feedback was, as always, extremely positive from industry colleagues (not least the ILP) and the public alike, with many saying it was our best year yet. Whilst this is great and makes all the
hard work worthwhile, it is also something of a wolf in sheep’s clothing. The festival is still run on a shoestring, with funding increasingly difficult to attract in these times of austerity; we are as always very much dependant on the loyal support of designers and artists as well as the lighting industry. Support is also forthcoming from our
many local volunteers but, as anyone involved with community projects will know getting only too well, finding volunteers with the right types of skills or experiences when you actually need them is not an easy task – not unlike herding cats! – as people are generally already busy and often already overstretched. Whilst our funding has increased with www.theilp.org.uk
April 2019 Lighting Journal
Light festivals: LewesLight
further support from the town council and a contribution from a local trust fund, the Chalk Cliff Trust – both very welcome – we are still operating on a tiny budget.
EDUCATION AND TRAINING
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Because of our previous successes the number of visitors attending LewesLight continues to grow, as do visitor expectations, and, in addition, with increased visitors comes greater responsibility and risk. As professionals, we have to ensure that the festival continues to provide high-quality installations and delivers them to the highest professional standards. Looking forward to the future, LewesLight is not without its challenges, but the organisers and contributors are resourceful and continue to rise to this challenge. Finally, a hugely important part of LewesLight, and something that, to my mind, takes it beyond being simply a festival of light, is its commitment to education and training. The 2018 event was no exception, with a large number of young people involved with delivery of the festival. For the future, there is a strong desire among the designers who take part that we should shift the emphasis of the educational component more towards the creative process of design. We hope to do this by focusing on a smaller number of young people or students in the future but improving on the depth of mentoring we are able to provide to this smaller pool of volunteers. As a festival rooted in design and predominantly working in the construction industry, we are also investigating the involvement of apprentices for future festivals. Very importantly, and going back to one of our fundamental objectives, we are aiming to raise the profile of lighting and lighting design within the wider community and, given our location in a Dark Skies Reserve, will endeavour to continue and expand upon discussion of the issues surrounding the environment and light. One way or another, LewesLight will return, however. So watch this space!
Graham Festenstein CEng MILP MSLL is owner of Graham Festenstein Lighting Design, the ILP’s VP Architectural and festival director of LewesLight www.theilp.org.uk
SUPPORT FROM THE INDUSTRY LewesLight 2018 was supported by the following designers, artists, lighting companies, associations and sponsors. AC Lighting; AFX; Architainment; Art Lewery; Cheesmur Building Contractors; Claire Hamill; Commercial Lighting; Eleni Shiarlis; Ellie Coombs; Film Spot; GLP; Graham Festenstein Lighting Design; Guyan Porter; Hunter Gatherer; International Association of Lighting Designers; iGuzzini; The Institution of Lighting Professionals; Issac Matovu; James Duffin; Jeanne Bliss-Robertson; Laura MacKay; LED Linear; Light Projects; Maciej Garszynski; Maia Eden; Margareth Sunjoto; Maxime Demarne; Melissa Stears; Meyer; Michelle Martin-Dufaur; Nigel Goss ; Nulty+; Pedro
Pinto; Rebecca Hines; Robert Cunningham; Rosco, Russell Beck; Sandrine Case; The Society of Light and Lighting; Southbank Centre; Studio 29; Sunny Sribanditmongkol; Susan Lake; Sussex Events Ltd; Urbis Schréder; We Glow; White Light; Zero 88 If any lighting designers, artists, lighting manufacturers or suppliers, students of lighting or educators who are interested in taking part next year please do get in touch. You can contact us through our website, www.leweslight.uk/contact
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April 2019 Lighting Journal
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SUSPENDED ANIMATION
Blackpool’s annual Lightpool festival of light art and fire had a new addition last October, Light Odyssey, a stunning fusion of light projection, animation and music By Alex Rinsler www.theilp.org.uk
O
n October 18 something extraordinary happened in Blackpool’s Empress Ballroom. ‘Light Odyssey’, part of last year’s annual Blackpool ‘Lightpool’ festival, brought together the BBC’s Philharmonic Orchestra with seven teams of animators from the around the world, 24 laser projectors and an audience of 1,500 people. The result (delivered by QED Productions) was an evening of stunning 2D and 3D animated content and soaring orchestral classical music, enveloping the audience in music and light. The Empress Ballroom is Blackpool’s other magnificent ballroom and, to my mind, in many ways even more impressive than the Tower Ballroom that everyone knows from Strictly Come Dancing. It was built in 1896 by Manchester-based architects Mangnall and Littlewoods and has a long and illustrious history. For example, in 1918 during the First World War it was requisitioned by the Admiralty to make and assemble the gas envelopes for the R33 airship. In terms of notable cultural moments, the Rolling Stones’ gig in 1964 ended in a riot that left 50 in hospital.
April 2019 Lighting Journal
Light festivals
tu The Light Odyssey Display was ‘an opportunity to push the boundaries of projection mapping’. Photographs by Martin Bostock
The Prodigy previewed its Fat of the Land album there in 1995. The ballroom has hosted conferences for all three political parties. Just last year alone, it has seen darts, ballroom dancing, punks, magicians – and WWE Wrestling is coming in 2019.
LASER LIGHT PROJECTORS
What is Light Odyssey? Light Odyssey began its journey in 2016 when Czech digital art collective The Macula (now Hyperbinary) won an international tender to create a 3D-projection for the Blackpool Tower buildings, ‘Down the Rabbit Hole’. The previous year the collective had created ‘SIM/NEBULA’ with the Czech Philharmonic in the Rudolfinum in Prague, and I was fortunate to be there and knew immediately this – somehow – had to be brought to the UK. Eighteen months and several failed funding bids later, we were able to press ‘go’ with support from Arts Council England. It was the council’s belief in the concept, and the strength of having the BBC Philharmonic on board, that brought this project to life. From a technology perspective, the project required the very latest in media server and high brightness laser projection technology, with projectors positioned even among the audience seating and the orchestra. A total of 16 Panasonic RZ-31K projectors covered the largest areas of ceilings and façades, while 8 RZ-21K laser projectors filled in the smaller areas. The Empress Ballroom holds eight beautifully ornate (if frustratingly located) chandeliers. These, however, precluded any cross-projection on to the end walls. So two pairs of blended RZ21Ks with ultra short throw 0.36:1 mirror lenses were
deployed on the upper balconies in order to gain the required coverage. ‘When QED was first approached with the idea for Light Odyssey, it was clear that the scale of the creative ambition was as great as the technical challenges involved,’ concedes QED Director Paul Wigfield. ‘It was an opportunity to push the boundaries of projection mapping and to produce a unique and very special entertainment experience. ‘The Panasonic 3-chip DLP laser projectors provide the highest light output of any projectors in their class whilst using less power. They also run extremely quietly, which is a very important consideration for a classical concert. Having laser light
source engines meant that it was possible to mount them in any orientation and at the most jaunty of angles,’ Paul explains. The content was pre-visualised and played back on-site using four disguise 4x4pro media servers fitted with quad DVI VFC cards. The 48 individual 1920 x 1200 resolution outputs (main and back-up) were fed into a Lightware FR65x65 DVI matrix switcher and then distributed to each projector using QED Production’s bespoke fibre system, which provided both signal and network control. Harris Predator II 16-Channel DVI multi-viewers then enabled monitoring of all the projector signals from the control
q
The BBC Philharmonic Orchestra is in full flow
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April 2019 Lighting Journal
Light festivals
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position, and the disguise media server line-up was achieved using QED’s KVM Xtreme remote fibre system so the team could digitally warp and stitch together the digital canvas by hand. The animation template was 10,000 x 3,813 pixel resolution, and the spectacle required nearly an hour of full-motion video content – a daunting task. However, the artists rose to the challenge and were not only able to deliver within incredibly tight timescales but impressed with their different styles and interpretations, from stop-motion shadow play through to highly geometric architectural manipulation. Lastly, the show’s lighting design needed to take into account the needs of the orchestra to be able to see the hands of the conductor, while minimising any ambient light. The event had a wonderful feeling of ‘liveness’ – the animations felt like a live performance, despite the months of preparation. And, by concluding with a section created by the final-year students of Video Design for Live Performance at London Guildhall of Music and Drama, the next generation of animators took on the baton.
www.theilp.org.uk
‘LIGHTPOOL’ FESTIVAL
Light Odyssey was just one part of the Lightpool Festival of light, art and fire in Blackpool, which includes the ‘Carnival of the Lights’, which last year took place on October 25-27. This included a parade of Blackpool’s illuminated trams in convoy, a trail of visual arts installations and performances of light and fire, including ‘Rush’, an epic performance by Southpaw Dance, produced by LeftCoast and involving a 140-strong community cast. We are all aware of the challenges urban centres face these days, from declining visitor numbers and the lure of online shopping and entertainment. Light festivals, of course, are not the only answer but, to my mind, are one important way that towns and cities can bring footfall back and generate public excitement about and interest in the urban and built environment. The professionalism and expertise of the lighting industry is key to this and there is huge potential for partnerships with lighting professionals to get involved in such
events, as many of course already do. Festivals by their very nature encourage innovation, create cut-through imagery, and suspend the ‘normal’ rules of working for a limited time. They are platforms for exciting projects beyond the day-to-day project norm, and can bring back that creative spark as a result. They can remind people what it was that attracted them to this industry in the first place and give them scope to try out new techniques, approaches and technologies. Light Odyssey’s journey has, I very much hope, just begun; there have been discussions with an international concert promoter to imagine what it might need to take the event format to the great concert houses of Europe and beyond. At the very least, our event in Blackpool demonstrated how light technologies can transform the experience of classical music, and certainly, October 18 will be remembered by all as the night when the Empress Ballroom came to life in a riot of colour and sound. Alex Rinsler is director of the Lightpool festival of light, art and fire that takes place every October in Blackpool
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April 2019 Lighting Journal
UV light and plants
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GROWTH CYCLE With artificial lighting, especially LED, increasingly being used within horticulture, it is vital that lighting professionals properly understand the links between plant growth, yields and health through exposure to UV radiation By John Stocks and Stuart Mucklejohn
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n often-voiced opinion about vegetables and fruits grown under artificial conditions and sold in supermarkets is that they lack the fulsome taste of those crops grown in their natural environments. However, many people might not be aware of the benefits of crops exposed to the full range of radiation as seen in their natural environments; this should ensure crops fully develop the molecules responsible for taste and nutrition This short article outlines how plants benefit from exposure to UV radiation and provides the reader with references and links where more detailed information is to be found. When growing plants and algae under artificial light it would seem most www.theilp.org.uk
appropriate to reproduce the conditions under which those species flourish in their natural growing environment. We all know that plants need light for photosynthesis and hence to move through their life cycle from germination to maturity and eventually to seeding and reproduction.
DEFINING ‘LIGHT’ AND PLANTS
But in this context what is meant by the term ‘light’? The CIE International Lighting Vocabulary, e-ILV defines light (17-659) in terms of creation of a visual stimulus, specifically human vision [1]. However, this definition does not help us understand what plants need. How about ‘daylight’? Again, the CIE definition (17-278) refers to vision. Solar radiation (17-1200) is the electromagnetic radiation emitted from
the Sun, and direct solar radiation (17-323) is defined by the solar radiation that reaches the Earth’s surface after selective attenuation by the atmosphere. Global solar radiation (17-497) is the combined direct solar radiation and the diffuse sky radiation. Thus, this is the most appropriate definition when we consider the exposure to the electromagnetic radiation that plants need. Similarly, the e-ILV definitions related to UV radiation are centred around human responses. The global UV index (17-498) is defined in terms of the erythema action spectrum between 250 and 400nm, in other words the potential to cause sunburn. The UV region is defined by three ranges in the e-ILV: UV-A 315 to 400nm; UV-B 280 to 315nm; UV-C 100 to 280nm. However, the shortest wavelengths are almost totally absorbed by the Earth’s atmosphere and the UV radiation reaching the surface is largely composed of UV-A with a small UV-B component [2]. As a percentage of the solar radiation that reaches the Earth’s surface, UV radiation accounts for 7-9%. A single photon of UV radiation has more energy than that of longer wavelength visible light and, as such, has a greater potential to cause reactions between molecules exposed to it. As humans we relate to solar radiation primarily for its visual stimulus for sight and its thermal effect for warmth. However, we rely on the UV component for other biological functions such as our
bodies’ synthesis of vitamin D. As excessive UV exposure can damage DNA, the human body also has erythema reactions to UV exposure causing skin reddening or sunburn. In response, the body produces melanin skin pigmentation (tanning) to protect our bodies from these rays. Plants, similarly, respond to light, with photosynthesis being an essential reaction for the growth and development of plants requiring light. Much scientific work has gone into the understanding of photosynthesis and the spectral energy (action spectra) required to promote it. As such the lighting industry has developed highly efficient lightsources to produce the spectral power distributions required to optimise photosynthesis. This radiation (from 400-700nm) is referred to as Photosynthetically Active Radiation (PAR) and is based on the McCree curves developed in the early 1970s [3, 4].
Plants in the natural environment are also exposed to the UV spectral region and, as they are unable to move out of the sun into shade as humans are, they have adapted powerful and effective mechanisms to protect themselves from this potential damaging radiation. These mechanisms produce organic compounds, phenolics, of which there are several thousands of different variations with many functions beneficial to plants and some with significant benefits to human health.
PLANT RESPONSES TO UV
Plants have evolved to survive in some extreme environmental conditions and varying annual light . It is hardly surprising that different species can accommodate varying levels of light and heat exposure.
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April 2019 Lighting Journal
UV light and plants
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The photoreceptor that activates responses in plants when exposed to UV is the UV Resistance Locus 8 (UVR8) [5, 6]. This sensor triggers the synthesis and accumulation of a range of UV absorbing compounds depending on the level of exposure and the plant type. The compounds have many functions such as photoprotection, defence against disease and toxic metals in the earth, stress relief when exposed to drought, frost, heat and many other aspects of plant survival and development. The accumulation in the plant’s surface layers of these compounds also has an impact on the optical properties of the plant, giving its flowers, fruits and leaves their distinctive colours.
POLLINATION
Many commercially grown crops depend upon bee pollination for survival. The bees’ ability to fulfil this vital role is dependent on their sight [7]. Bees, like humans, are trichromatic but with receptors for green, blue and UV radiation rather than red, green and blue. The brilliant colours in flowers attract pollinators, such as bees, and help direct the pollinator to the nectar. www.theilp.org.uk
Highly coloured flowers help target the areas of nectar, these patterns are invisible to humans but clearly discernible to bees. Studies have shown that, if deprived of UV radiation, bees lose interest in foraging and tend to remain in the hive until they are forced out by starvation and severe food shortages. UV radiation, which penetrates cloud cover, is critical to a bee’s ability to find nectar. Thus, it is not surprising that bees are susceptible to becoming disorientated in growing environments that do not have sufficient UV radiation for them to navigate and to detect the sources of nectar.
TASTE AND NUTRITION
From a human perspective, plants of course are a key source of food and nutrition. Plants take up the essential minerals from the earth and convert them into a form that our bodies can utilise for key life-giving processes. Vegetables, fruits, grains, roots, flowers and leaves provide carbon, minerals, vitamins and anti-oxidants. It is the group of natural substances called flavonoids that plants produce more efficiently through the exposure to UV which triggers the flavonoid generation through the UVR8 photoreceptor. Panche et al state: ‘Flavonoids are now
considered as an indispensable component in a variety of nutraceutical, pharmaceutical, medicinal and cosmetic applications’ [8]. It is their anti-oxidative, anti-inflammatory, anti-mutagenic, anti-carcinogenic properties and their ability to modulate cellular enzyme functions which has been found to be beneficial to human health. There is evidence that flavonoids can have favourable effects on cancers, Alzheimer's and cardiovascular diseases. The work in these areas is expanding and the reviewers consider ‘interaction of flavonoids with receptor molecules during the treatment of acute and chronic diseases are an important area of future research’ [8]. Figure 1 above gives an outline of the importance of flavonoids to some humanand agricultural-related functions. As well as their health benefit, flavonoids provide stimulus to our taste receptors and are therefore an important factor in how our food tastes which is essential to our enjoyment of food. It is therefore important that plants grown under artificial lightsources are provided with a spectral power distribution in the appropriate
April 2019 Lighting Journal
Figure 1. Summary of the roles of flavonoids in various bioactivities, human health and agriculture. Based on figure 3 of reference [8]
Anti-carcinogenic
u
ratios to promote photosynthesis and to stimulate the UVR8 photoreceptor into the production of the essential phenolics that are beneficial to our health. The use of natural light in greenhouses may seem to be an ideal way of providing light while keeping the plants warm. Many glasses and plastics used in protected environment growing systems, however, filter out the UV hence depriving the plants of this essential part of the spectrum.
UV SOURCES
The vast majority of lightsources are primarily designed to maximise output across the visible wavelength range and to minimise energy in the UV range. However, specialist UV sources have been developed for non-visible applications such as curing inks and adhesives, initiating polymerisation, water and air sterilisation, tanning and reptile houses. Widely-used sources are LEDs, fluorescent, high- and medium-pressure mercury and excimer lamps. High-pressure sodium lamps, although efficient for the production of radiation in the 400700nm range, have no output in the UV region. Thus, one approach for greenhouse and grow-room lighting is to supplement the HPS with sources specifically designed to enhance the UV component of the lighting installation. Fluorescent, LED, metal halide and plasma sources have been employed successfully in this role. However, there remains the unsolved question about how much exposure to UV each species requires. Research continues on this aspect, particularly for highvalue crops.
Free radical scavenger
Insulin receptor activator
Anti-inflammatory
Flavonoids
Anti-thrombogenic
Anti-microbial
Anti-mutagenic
Anti-oxidant
UNDERSTANDING THE INTERACTION WITH UV RADIATION
UV4Plants is an international association for plant UV research that arose from former members of COST Action FA0906 UV-B radiation: A Specific Regulator of Plant Growth and Food Quality in a Changing Climate, which ran from April 2010 to April 2014 [9]. Amongst the keys aims of UV4Plants are: • to promote and foster a culture of research excellence and good practice in plant UV research through the organisation of innovative events in research, public engagement and education; • to enhance the usefulness of plant UV research by facilitating the transfer of knowledge from academia to stakeholders and the general public; and • to liaise with scientific funding bodies to influence their research agenda.
These aims are achieved by organising UV-focused plant conferences, training schools, lobbying for funding and informing researchers about funding calls. The UV4Plants website has links to numerous publications including Beyond the visible – A handbook of best practice in plant UV photobiology [10], which discusses methods relevant to research on the responses of plants to UV radiation. All you wanted to know about UV radiation and plants [11] provides an overview of the interaction of UV radiation with plants and highlights some potential problems brought about by increased UV levels as a result of depletion of the ozone layer. The website also has links to the current and past editions of the UV4Plants Bulletin. John Stocks BSc, MBA, C.Phys, MInstP is a consultant with over 25 years experience in the lighting industry. He is also treasurer of the Foundation for the Advancement of the Science and Technology of Light Sources (FAST-LS). Stuart Mucklejohn BSc, PhD, C.Chem, FRSC, FIMMM, FSLL is technical operations leader at Ceravision
REFERENCES [1] CIE, e-ILV, http://eilv.cie.co.at/ [2] Global Solar UV Index – A Practical Guide. Available online at: www.icnirp.org/ cms/upload/publications/ICNIRPWHOSolarUVI.pdf [3] McCree K J. The action spectrum, absorptance and quantum yield of photosynthesis in crop plants, Agric. Meteorol., Vol. 9, p.191-216 (1972) [4] McCree K J. Test of current definitions of photosynthetically active radiation against leaf photosynthesis data, Agric. Meteorol.,
Vol. 10, p.443-453 (1972) [5] Tilbrook K, Arongaus A B, Binkert M, Heijde M, Yin R and Ulm R. The UVR8 UV-B Photoreceptor: Perception, Signaling and Response, The Arabidopsis Book, Vol. 11, e0164 (2013) DOI: 10.1199/tab.0164 [6] Jenkins G I, The UV-B Photoreceptor UVR8: From Structure to Physiology, Plant Cell, Vol. 26(1), p21-37 (2014). DOI: 10.1105/ tpc.113.119446 [7] Riddle S, How Bees See And Why It Matters, Bee Culture, (2016). See www.
beeculture.com/bees-see-matters/ [8] Panche A N, Diwan A D, and Chandra S R, Flavonoids: an overview, J. Nutritional Science, Vol. 5, e47 (2016). DOI: 10.1017/ jns2016.41 [9] www.uv4plants.org [10] www.uv4plants.org/publications/ beyond-the-visible-a-handbook/ [11] Gabersčik A, Jones A, and Jansen M, All you wanted to know about UV radiation and plants www.uv4plants.org/wp-content/ uploads/2014/10/UV-web-opt.pdf www.theilp.org.uk
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April 2019 Lighting Journal
Street furniture
BOX OF
DELIGHTS
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Feeder pillars may not be glamorous, but they are a pivotal – if often unsung – element of our street-level electrical infrastructure. With more and more municipalities embracing complex electrical equipment and CMS componentry, it is vital feeder pillars are properly designed, specified and engineered
By Peter Diamond
www.theilp.org.uk
I
t is often stated a feeder pillar is a just feeder pillar. However, in today’s complex street scene, this often-overlooked housing is critical, not just to an individual component of a scheme but very often to the scheme as a whole. The inclusion of complex electrical equipment and CMS (Central Management System) technical componentry has tended to favour a ‘boxes within boxes’ approach, and not without good reason. This article explores some of the contradictions that are in pillar design and construction and questions whether we have got it right. Though telecoms and traffic signal cabinets are generally made out of aluminium and in some cases GRP (Glass Reinforced Plastic), their siting by definition is in areas of population and or areas that are highly trafficked. Vandalism and deterioration have not been seen as a problem. In the last 40 to 50 years, public lighting feeder pillar standards have migrated from cast iron, brick-constructed and precast concrete to galvanised steel. Galvanised steel is the material that is familiar to
This shows that, unfortunately, whatever IP classification a pillar is given, is in fact irrelevant if the cabinet is not installed correctly. On this one there is free space beneath the cabinet root and, much as the pillar can breathe through the copious airflow beneath it, when the grass grows in summer who knows what creatures may choose to live in the cosy area beneath the cabling? The maintainer will also need to be aware of the risks of Weill’s disease should the animals happen to be furry and have long tails u
the lighting column specifiers. So, by definition, if the material thickness is similar to lighting columns, the feeder pillar body should have the same or better lifespan than lighting columns, particularly as it should not be as stressed since it is not being asked to work as a cantilever. So, why do we see 3mm and 5mm-sheet steel feeder pillars, when lighting column wall thickness is sometimes as little as 2.3mm? The answer is due to the galvanising process. Most people have never visited a galvaniser, let alone witnessed the immersion of a fabricated structure into a bath at circa 450degC.
TEMPERATURE SHOCK
It is a brutal process and, even if the pillar shell is preheated prior to processing to reduce temperature shock, the temperature difference at immersion is still significant. The effect of the immersion can expand the material and consequently some pillars that you see will show evidence of
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TOFCO’s extensive range of pillars are manufactured in 3/5mm steel & GRP. Pillars can be powder coated to a specific RAL colour or supplied with a standard galvanised finish (BS EN 1461). Having a large stock holding allows us to offer a number of next day solutions. Our team of Electrical Engineers can provide fully pre-wired control panels in line with the 18th Edition Wiring Regulations (BS 7671:2018) and to the clients specification for Highways England, Local Authorities, Market Traders, Sports & Event projects.
April 2019 Lighting Journal
Street furniture
t This pillar
was manufactured about 30 years ago and has probably many years of life remaining. It was correctly specified and installed
u Many pillars just
house an electricity board supply and are a common sight on many road junctions
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distortion, particularly in wide flat panels. The Galvanizers Association has an excellent wallchart that gives guidance on methods of manufacture and reinforcement strategies. Sadly, some of the solutions are not be suitable for feeder pillar purposes due to the cosmetic effects of the design changes required. Galvanising is a protective rather than a cosmetic coating and, though the European galvanising standard BS EN ISO 1461 (2009) does control surface finish, undulations will generally show through a painted topcoat. Ingress protection of the entire pillar to IP65 or higher is often cited as a desirable specification to achieve. Delve down into most feeder pillar suppliers’ smallprint and it will have words to the effect of ‘door seal to IP65’. The rest of the cabinet is usually covered by a lower specification, such as IP42, since ventilation panels may be
placed in the doors, the sides or back. And what about the lid, apron and root? I, for one, have yet to see these items fitted with gaskets or seals on any manufacturer’s offerings, except on very rare requests from clients with specific objectives. Count these as ventilation and then the pillar meets the stated IP42 specification. Incidentally, it is not the purpose of this article to further explore the vagaries of ingress protection ratings here, other than to guide readers to BS EN 60529 (1992) and suggest they read it in full.
HINGE SYSTEMS
Hinge systems for pillars are normally made from stainless steel of 304 or 316 grade. This should give decades of use without trouble were it not for a peculiar characteristic of stainless steel known as ‘galling’, which is a cold welding of two surfaces of stainless steel within the hinge
t A feeder pillar may
have plenty of space when it leaves the factory. However, by the time it is connected to its network, the space rapidly fills up. This illustration shows plenty of space to allow the connections to be made with ease
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that can render a door movement impossible without destroying it. The lack of frequency that the doors are opened can only exacerbate this, as can the application of grease or lubricating fluids that may attract grit and dust that may be a catalyst for the problem. One manufacturer uses a silicon bronze and stainless steel hinge combination to mitigate this particular problem as it is a recognised non-lubricated bearing method. However, this solution is sometimes rejected as the contrast in colour is not as cosmetically attractive. Pillars are often supplied with proprietary locks that look as though they are stainless steel, but in fact are chromeplated over a sintered zinc die casting. This is a manufacturing system where a zinc powder compound is compacted at high temperature in a very high-pressure mould. In my experience these locks have a limited life, particularly on the coast, but are very inexpensive to purchase and replacements are available worldwide. The proprietary lock suppliers often duplicate their ranges in stainless, however this can be at a price point of ten times or more of the standard item. The integrity of locking systems is often the first failure point of a feeder pillar and it is not unusual to see feeder pillar doors banded. However, feeder pillar suppliers of any credibility should be able to supply both stainless steel locks and replacement locks for their range of pillars as well as any
April 2019 Lighting Journal
Street furniture
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supplied in the last 20 years regardless of warranty conditions, and so it should not be necessary to band doors. Occasionally pillars are requested with ‘Yale’-type key cylinders. These will work very well for doors such as domestic front doors which are opened regularly. However, where the doors are opened rarely, maybe annually or every three to five years, then their use is not to be encouraged. The keys being an alloy, they are limited in their robustness and should there be any unwanted interference with the key cavity, such as the inclusion of a matchstick or superglue or even grit, then there is not a lot of guidance or help that the pillar supplier will be able to give. The construction of feeder pillars with separate roots is a bit of a conundrum, as the theory is that any pillars damaged can be lifted off and replaced without changing the root. However, in my experience of pillar manufacture this is not a sensible option for two reasons. Firstly, the removal of the fastenings at ground level on an internal flange within a root section, working in the immediate vicinity of rigid and possibly live cables is at best difficult and should be deemed a high enough risk not to be undertaken. Secondly, in the case of vehicular impact the horizontal flanges may cut through the supply cables upstream of the control equipment the pillar is housing. This makes the siting of pillars extremely important. Obviously, the cabinet can only be sited in a position where the supply is accessible on retrofit installations but, unfortunately, the likely run-off areas for errant drivers when they decide to drive adjacent to the road is not always considered correctly. Vandalism may be an overstated risk in today’s interconnected society. The current design of feeder pillars is often defined by the ‘hinged door fitted within a frame’ phrase. This dates back about 30 years to the days of Strathclyde Regional Council, which had a particular and specific challenge with unauthorised entry.
SPECIFY SPARE SPACE
This system is better than some overlapping door designs. However, I’d argue any manufacturer’s feeder pillar can be opened with a crowbar within seconds. Fortunately, crowbars are a relatively rare implement today, so this risk may be very small. An undesirable by-product of the framed door design is that every pillar is about six inches wider than it needs to be for the internal equipment to be placed www.theilp.org.uk
within it, as it has to pass through the door opening. On larger pillars this is not significant but when smaller pillars are placed in towns and cities this is a significant increase in width and cost that conflicts with the ideals of minimum footprint and economic purchase. Specifications often require feeder pillars to be supplied with 25% spare space. This can be interpreted in several ways. Some customers are happy that this can be any space on the backboard of the pillar. It is clear for us, as a supplier, that the designer wishes for the pillar to be expandable should extra capacity be required in the future. In order to ensure that the correct product is therefore supplied, the specification should state that the width on the backboard should be with 25% spare space, or alternatively that the distribution board within the pillar should have 25% spare ways. Fortunately, the days of empty feeder pillars turning up on site with the installer
p Feeder pillars come in all shapes and sizes and can be the size of a garden shed. But sealing to IP65 can be very challenging at this size
having to purchase the componentry separately and install the components at the roadside have largely disappeared. Most pillar suppliers have proprietary box systems using branded equipment that are well developed and can offer economic and reliable distribution systems from schematics that are fully tested and certified before they leave the factory. As with many areas of business and life, the reality is that a properly designed and engineered feeder pillar may cost a little more, but quality and longevity is key. The long-term cost as opposed to the price may not always be understood at the time of proposal. Peter Diamond is managing director of Pudsey Diamond
April 2019 Lighting Journal
Street furniture
STOP AND GO
32
Belisha beacons have come a long way since first becoming a feature on pedestrian crossings in the 1930s, with LED and solar power now transforming their role and effectiveness, both for drivers and pedestrians By Phil Mitchell
B
elisha beacons were first introduced on pedestrian crossings in the 1930s. The then minister of transport, Leslie Hore-Belisha, introduced the practice of marking crossing places with unlit orange beacons on top of striped poles. Motorists were expected to stop for people wishing to cross the road when they came across the new signs. These quickly became known as ‘Belisha’ beacons, and the name has stuck. In the early 1950s, the Ministry of Transport received numerous complaints that the crossings weren’t sufficiently visible. This it improved by having thick white stripes painted across the road to leave www.theilp.org.uk
motorists in no doubt. This improved the crossing visibility during daylight, but motorists could not of course see the stripes at night. A committee was therefore set up to come up with a solution to improve the visibility of the crossings at night. It was decided to illuminate the Belisha beacons and, to make them even more visible, make them flash. However, this was a problem, as no cheap flasher device was available on the market at that time. By December 1952, progress was being made, albeit slowly; the various traffic equipment manufacturers of the day (including Revo, Forest City and others) had drawn up designs for the
new beacons incorporating a clockmaker’s flashing mechanism, and they were ready to be commissioned. Mass production started in January 1953, but the cost of converting a single beacon had by that time risen to £80. The beacons had to be flashing 24/7 as there was no cheap timer mechanism or photocells available at that time. Similarly, there was no way of synchronising the beacons other than manually, as a consequence they became unsynchronised after a period of time or power cut. When there were a number of beacons in a small area flashing independently, the effect could also be distracting to motorists.
April 2019 Lighting Journal
INTRODUCTION OF LED
The 100w incandescent bulbs were expensive to run, particularly when they had to be replaced every three to six months. Little changed for Belisha beacons until the early part of this century and the introduction of LED bulbs to replace incandescent bulbs; this reduced power costs and improved life expectancy. A further improvement in the visibility of the beacon (particularly during the day) was the introduction of Belisha beacons with LED halos – however these were still expensive. At Ticknall Solar, we developed the first solar-powered Belisha beacon in 2010 and, following observation of existing mains-powered high-visibility or ‘halo’ Belisha beacons out in the field, we noticed:
ILLUMINANCE (LUX) SURFACES ILLUMINATED BY: -4 LUX
TOTAL STARLIGHT, OVERCAST SKY
0.002 LUX
MOONLESS CLEAR NIGHT SKY WITH AIRGLOW
0.01 LUX
QUARTER MOON
0.27 LUX
FULL MOON ON A CLEAR NIGHT
1 LUX
FULL MOON OVERHEAD AT TROPICAL LATITUDES
3.4 LUX
DARK LIMIT OF CIVIL TWILIGHT UNDER A CLEAR SKY
50 LUX
FAMILY LIVING ROOM LIGHTS (AUSTRALIA, 1998)
80 LUX
OFFICE BUILDING LIGHTS IN HALLWAY/ TOILET
100 LUX
VERY DARK OVERCAST DAY
• The beacons did not have built-in flash auto-synchronisation with the opposite beacon or with other crossings • At night, the LED halos were so bright the glare could distract motorists
320-500 LUX
OFFICE LIGHTING
400 LUX
SUNRISE OR SUNSET ON A CLEAR DAY.
1,000 LUX
OVERCAST DAY; TYPICAL TV STUDIO LIGHTING
It was deemed the combination of these issues could be distracting to motorists particularly at night and in wet weather conditions. The Federal Aviation Administration in America and the Civil Aviation Authority (CAA) in the UK considers that three or more obstruction lights in non-synchronised flash disturbs the view of the pilots. Where flashing lights are used, these must be synchronised to flash simultaneously. Where the flashing Morse W standard is approved by the CAA and utilised, the recommendation is for a fivesecond-long sequence, visually synchronised across aviation and maritime lighting sequences. Therefore, it is reasonable to suppose that three or more Belisha beacon lights can have the same impact on motorist. Unsynchronised flashing generates other frequencies visible to the human eye that are inside the range of epileptic frequencies. With our existing knowledge of Belisha beacon design, we therefore decided to develop a high-visibility Belisha beacon incorporating the following features:
10,000-25,000 LUX
FULL DAYLIGHT (NOT DIRECT SUN)
32,000-130,000 LUX
DIRECT SUNLIGHT
• Auto-flash synchronisation between beacons. • Utilising patented LED control technology, we developed an ambient light sensor (ALS) to separately control 20 different power levels for the globe and the high-visibility LED clusters surrounding the globe both day and night. This
t Figure 1. Example of the 20 separate ambient light conditions. These are then transposed from 5%-100% power levels for the LEDs
33
meant there was not just a simple day/ night power level as adopted in other beacons. Figure 1 above lists an example of the ambient light conditions. • To improve the safety for personnel working on the beacon, we reduced the voltage within the beacon from the standard mains power to operate on a safe extra low voltage (SELV) of less than 50v DC or 120v AC. • To keep power consumption to a minimum, the design was made using stateof-the-art extreme low power (XLP) components. These provide ultra-low power consumption, extreme high performance, longer life and reliability. • Simple to replace/upgrade existing Belisha beacons. • Designed to be ‘smart city’-ready managing managing various IoT sensors. The design of this new beacon – the TS2300 High Visibility Belisha Beacon (HVCB) – commenced in 2015 and a patent was applied for in April 2016, which was duly granted in April last year.
FLASH SYNCHRONISATION
And the result? The new beacon’s visibility was enhanced by www.theilp.org.uk
April 2019 Lighting Journal
Street furniture
34
the addition of seven clusters either side of the globe using narrow-band LEDs; in fact, the visual effect was remarkable. The main body was made of strong polyethylene and the operating voltage within the beacon was reduced to 12 volts. To enable flash synchronisation, a secure wireless communication system was developed which enabled the beacons to transfer data with each other over a distance of up to 2km. This data not only included the status of the beacons but could also transfer data to and from any ‘smart city’ IoT devices. If there is a power outage, all the beacons within a group automatically re-synchronise without the need of an engineer having to visit the site and manually to reset flash synchronisation. Finally, we discovered that during daylight the illumination of the clusters made it hard to distinguish that the globe was also illuminated. To overcome this, we designed an option that enabled the clusters and globe to flash sequentially, the resulting effect is amazing. The use of ALS controlling the power level of the LED clusters was another element of how we avoid glare to motorists from the high-visibility clusters. However, vehicle messaging systems (VMS) are regulated by EN12966, and the orange LEDs used in the TS2300 fulfil all the parameters specified in EN1296. In effect, this is the most visible colour in the human eye light spectrum. Therefore, on a pitch-black night, the ALS will reduce the power to the clusters to only 5% of full power. The Osram LEDs we use are widely used in VMS.
p Figure 2. Carbon consumed by two beacons over 20 years
The TS2300 beacon uses only Osram high lumens – low power LEDs, certified L80B10 – 100,000 hours. As the beacon flash rate 750ms-750ms off the actual operational life is extended to 200,000 hours (22+ years) before the LED’s light output is reduced 80% of original luminosity. It has been allocated an UMSUG charge code: 79 50 015 000 100. the power consumed data assigned to charge code is only 6.5 watts. With a warranty of five years, we would argue the TS2300 provides a cost-effective replacement or upgrade for existing Belisha beacons, and at a fraction of the cost of installing Pelican or Puffin crossings
Phil Mitchell is a director at Ticknall Solar The ILP is currently reviewing its TR12 Lighting of pedestrian crossings, and a new edition is likely to be published next year. For further details contact Nick Smith on TR12@NSAL.eu
COMPARISON SAVINGS OF TWO BELISHA BEACONS OVER A 20-YEAR LIFECYCLE SPECIFICATIONS
UNIT
PEDESTRIAN GLOBE GLS 100 WATT TUNGSTEN
UMSUG RATING FOR BELISHA OPERATION
W
62
37
6.5
HOURS OF OPERATION IN 20 YEARS
HOURS
350,000
350,000
350,000
POWER CONSUMED IN 20 YEARS
KW
21,700
12,950
2,276
COST OF ELECTRICITY*
£
£0.115
£0.015
£0.115
COST OF ELECTRICITY OVER 20 YEARS
£
£2,496
£1,490
£262
MAINTENANCE COSTS BASED ON TUNGSTEN BEACONS REQUIRING TWO VISITS A YEAR TO REPLACE BULBS AT A COST OF £25 PER VISIT. THE TS2300 HAS AN EXPECTED LIFE OF OVER 20 YEARS
£
£2,000
£2,000
£0.00
COST OF WIPE CLEANING A BEACON ON A ONCE-AYEAR ROUTINE AT £15 PER CLEAN
£
£600
£600
£600
TOTAL COST OF OPERATING A PAIR OF BELISHA BEACONS
£
£5,096
£4,090
£862
www.theilp.org.uk
PEDESTRIAN GLOBE GLS 60 WATT TUNGSTEN
TICKNALL SOLAR TS2300 HIGH VISIBILITY LED
t Figure 3. Comparison savings over a 20-year lifecycle
*Electricity costs based on a present cost of 11.5p per Kw, these are currently increasing at least 12.5% pa. Hence difference in the cost savings of the TS2300 will increase.
Leading the Way in the Next Generation of: - High Visibility Belisha Beacons - Solar Belisha Beacons - Solar Refuge Beacons -
Introducing the revolutionary patented TS2300 High Visibility Beacon:
4Ambient light sensor control to reduce glare. 4Auto-synchronisation of flash between beacons. 4Smart City - IoT ready. 4Power consumption of 6.5 watts. 4Competitively priced.
TICKNALL SOLAR Email: info@ticknallsolar.com www.ticknallsolar.com
Call: 01283 200765
April 2019 Lighting Journal
Urban lighting
36
EMBRACING THE DARK The central Italian town of Frosinone is deeply proud of its dark skies heritage, and was one of the first regions in Italy to implement strict light pollution controls in the 1990s. Its new lighting LED urban scheme has therefore had to tread a very careful path By Nic Paton
F
rosinone is a town of around 150,000 people in central Italy, located some 50 miles south east of Rome. The town is also home to the observatory of Campo Catino, and its municipal leaders are proud of their role as dark sky ‘custodians’ within the region. In fact, back in 1996, the municipality was one of the first in Italy to put in place strict controls around light pollution. Since then all public lighting systems in the municipality have been required to have mandatory optical cut-offs, while lighting from below has been prohibited, except in exceptional cases. As a result, the
tp This page and overleaf. Views of the new lighting scheme for Fosinone in action. The scheme has had to take careful account of the town’s dark skies status
www.theilp.org.uk
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April 2019 Lighting Journal
Urban lighting
skies over Frosinone are estimated to have a sky quality meter (SQM) of six to 15 times darker than comparable cities. What this does mean, of course, is that any new lighting scheme very much has to fall into line with these restrictions. This has been the case with the recent lighting overhaul, led by design firm A3S with manufacturer Cree, of the town’s historic piazza, urban park and street lighting with, in total, more than 8,000 light fixtures and 175 electrical panels updated and overhauled.
BETTER MAINTENANCE AND LIGHTING CONTROL
38
Warm 3000K lighting has been selected for town centre areas, rising to more neutral 4000K for the main road and outskirts. The new LED system has resulted in energy savings of 66%, while the implementation of a CMS has led to simpler, faster and more efficient maintenance and control. In terms of technical specification, the Cree RKT series has been utilised. This has delivered up to 140 lm/W and comes with a patented LED engine and 4 MacAdam step chromatic constancy index and colour temperatures of 3000K, 4000K and 5700K, with 70 or 80 CRI as a minimum. In terms of optics, Cree’s NanoOpticR Precision Delivery Grid has been used. The result has been both much improved urban lighting for the citizens of Frosinone, but not at the expense of its proud dark skies tradition. In fact, the latest SQM survey, carried out on in September from the terrace of the town’s Turriziani High School (one of the highest points in Frosinone) confirmed that, if anything, its score had improved by more than half a magnitude, now measuring a value of 19.57. What’s more, citizens now report that they are now able to observe the Milky Way, something that those within the urban centre have not been for more than 20 years.
www.theilp.org.uk
April 2019 Lighting Journal
Railway lighting
q Before
q After
40
WORKING AT HEIGHT Network Rail has switched out old 1kW metal halide high-bays at London’s Liverpool Street station for new LED units from Holophane, improving light distribution while also reducing energy and maintenance costs By Nic Paton
L
ondon’s Liverpool Street station is estimated to be the third busiest in the UK, with some 67 million passengers passing through it every year. The original Victorian station was built in 1874 and now boasts 18 platforms, an Underground rail network interchange and more than 50 retail units. The station operates almost 24 hours a day throughout the year. www.theilp.org.uk
This, naturally, means that any infrastructure improvements, whether lighting, electrical switchgear and cabling is immediately challenging and has to be very carefully planned so as to result in the minimum of disruption. This short case study article intends to outline work recently carried out at the station to replace complex and elderly (25-year-old) electrical switchgear and
cabling and, from there, switch out some of the old 1kW metal halide high-bays for LED replacements.
ACCESS CHALLENGES
The contract to replace electrical switchgear and cabling was won by SSE Enterprise Rail. While replacing the lighting was not part of the existing brief, when it came to investigating the job it became apparent
April 2019 Lighting Journal
that this was an opportunity for the client Network Rail to make further savings by extending the work to making a switch to LED. For starters, halving the wattage could save on the size of the cable and switchgear required while, by switching to LED highbays, there would be further savings in lamp maintenance. Lighting manufacturer Holophane worked on the solution with SSE, with the project presenting two major challenges. The first was ensuring safe and easy access to the luminaires, as these were mounted high up under the glass roof and in fixed positions. The second challenge was to make sure the new LED luminaires could be used in the same locations and yet provide better and more energy saving lighting. The solution arrived at was to use the 426W (55,000 lumens) Holophane’s Haloprism high-bay, which alone would deliver a 57% saving in energy consumption on the old metal halide high-bays. The fact the 4000K LEDs had a colour rendering index (CRI) of >80 also made them attractive in term of light quality to the station concourse and platforms.
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LIGHT DISTRIBUTION
The Haloprism brand offers five different optical distributions: narrow, focused, intensive, broad and extensive. On this occasion, this worked to the benefit of the project as the luminaires needed to be replaced on a one-to-one basis and three beam types were chosen for the project. The torus-shaped refractor with PrismaLED technology creates improved volumetric illumination, so ensuring the illuminated space feels more light and airy. The rated life of the LED module is 100,000 hours (L70B50@30C), meaning it lasts six times longer than a typical 1kW metal halide lamp, so leading to obvious savings in lamp replacement costs. This longer life, coupled with the glass refractors (which have high resistance to the dirt found above railway trains) has also meant the frequency of cleaning has been reduced, fewer maintenance visits, and the concourse lighting stays brighter for longer. But maintenance was required, Network Rail needed a solution to make it easier for maintenance staff to handle the fitting. Above each fitting on the glass roof is a hatch and Holophane therefore designed a mounting bracket with a special handle that ensures a person can easily grasp the fitting and pull it through the hatch.
pu Images of Liverpool Street Station, showing before and after comparisons of the new lighting scheme. These illustrate how the switch to LED has improved the illumination of the main concourse and retail areas (main image opposite, with LED on the right). Above and below, the change on the platforms, with the new LED scheme the top image in each instance
ENERGY SAVING
Finally, as ever with LED, one of the biggest savings is set to come from energy saving, with the high-bay now being 426W rather than 1kW under the old metal halide. Holophane has also argued there Network Rail will be making further savings by using its HOLOS Wired control system, which has the potential to reduce energy consumption by up to 70%. The system is set up for daylight harvesting and to control the illumination levels in the station. On bright days, the light output from the high-bays is therefore reduced, thus saving even more energy. www.theilp.org.uk
April 2019 Lighting Journal
Smart cities
SMART
SPENDING 42
Upgrading to LED, CMS and, most recently, traffic adaptive street lighting is helping Doncaster Council free much-needed money to reinvest and ‘future proof’ the town as smart, connected technology becomes evermore prevalent By Sarah-Jane Allen p The LED upgrade team in front of Doncaster Council
D
oncaster in Yorkshire is the largest metropolitan borough in the UK, spanning 16 miles from boundary to boundary and housing 45,000 ‘smart’ streetlights. Doncaster Council, along with most English councils, has faced reductions in core funding creating a difficult balancing act of yearly budgets. The council needed to reduce street lighting energy usage to mitigate the inevitable energy price increases, meet tough carbon emissions targets and better allocate spend in the borough. Its decision to explore a smart LED upgrade was further catalysed by the announcement from its existing street lighting manufacturer that it would be www.theilp.org.uk
phasing out their support for legacy luminaires. This case study article looks at how this upgrade was put into effect.
THE BUSINESS CASE
As with all investment in new technology, Doncaster Council, needed to create a business case for their smart streetlight project. This was used to obtain funding as finding the resources from public spending was going to make the process much slower. The business case clearly showed the short-term return on investment (ROI) of a smart street lighting solution extended over the product’s 20-year lifespan, and this exercise secured £14.4m budget of internal and government-backed Salix
funding. It is well recognised that smart LED upgrades can achieve a short-term ROI, as the immediate energy savings and maintenance cost-savings are significant. Adding wireless controls to streetlights can allow local authorities to dim streetlights remotely, precisely trim the time lights are on and off, adjust constant light output and provide detailed intelligence for a more efficient maintenance operation. Looking at each of these in turn, the compelling business case was: • Dimming. Streetlight controls increase the flexibility to dim light levels at precise times, or in response to traffic volume, providing up to 30% extra energy savings. • Trimming. Streetlight controls enable lights to be precisely turned on and off at dusk and dawn, lowering burn hours and inefficiency. This is especially
April 2019 Lighting Journal
important in winter months when streetlights need to be turned on during the peak energy tariff. • Constant light output. Streetlight controls provide the ability to control the lifetime lumen output, so it can be adjusted for LED lumen depreciation and dirt build-up between cleaning intervals. Energy saved can be up to 10%. • Maintenance savings. Maintenance costs can be significantly reduced, in some cases by as much as 80% as the central management system (CMS) delivers instant alerts of light failure, provides diagnostic data to ensure faults are fixed first time, and allows maintenance providers to more effectively plan their resources.
KNOWLEDGE SHARING
Doncaster Council consulted other authorities at various stages of its project to understand the process and to see what best practice looked like. This was complemented by running a suppliers’ event for those supplying luminaires and CMS to meet and discuss the project so they could be confident they were taking the best step forward. As Craig Morris, street lighting engineer at the council, makes clear, this collaborative approach was important. ‘Suffolk County Council really helped, its knowledge was invaluable for producing a project specification,’ he says.
NETWORK PLANNING AND INSTALLATION
When it came to network planning and installation, the council lighting team worked with Telensa to assess the existing lighting installations to determine current lighting levels. These were then recreated at varying levels using the chosen new LED provider, and the results recorded. The purpose of creating these additional designs was to support the correct selection of luminaires to produce the most efficient streetlight fleet and to achieve the best possible lighting classifications. This, in effect, ‘future proofed’ the system, presented the potential to achieve further energy savings and enabled the council to proactively respond to residents’ requests to change individual light levels. Having plotted and recorded 45,000 streetlights consisting of eight variant luminaires and 17 base stations, the council now had increased visibility of its assets, as its original inventory accounted for only 80% of total assets identified. Once all asset records were accurate, the
council team could set about installing the LED replacement luminaires and wireless nodes, scanning each wireless node at the point of installation to get the asset data plotted in the central management system. Phase one was completed in February 2017, consisting of 33,000 residential luminaire replacements with control nodes. Phase two saw further installation of 12,000 main road luminaire replacements with control nodes, and this was completed in January 2018.
OUTCOME
The investment into the new lighting infrastructure saw Doncaster Council achieve overall energy savings of approximately £1.3m annually. These savings offset the increase in energy prices, created a seedbed for further smart city applications and have allowed the council to reinvest the savings into the borough. In conclusion, the council has benefited from accurate streetlight control, better management of lumen depreciation and maintenance cost-savings. The maintenance cost-savings were achieved as a result of the new ability to control the streetlights, with the CMS delivering 24/7 fault-reporting, so giving the council better visibility to dynamically schedule resources and removing the need for night patrols. As Craig Morris puts it: ‘Using Telensa’s wireless solution to connect our streetlights has achieved smarter, more efficient and more reliable lighting for our residents – it’s the backbone of our connected town.’
LOWERING ENVIRONMENTAL IMPACT
An additional – and innovative – element of the project has been the fact Doncaster Council spearheaded a partnership with the National Offender Management Service and local prison HMP Lindholme, employing inmates to break down old luminaires into their component parts. This project saw 97% of the luminaire materials being recycled. This delivered a surplus of approximately £1.98 per fitting, totalling approximately £90,000, which Doncaster will be reinvesting into its street lighting. But this project produced more than just financial benefits; environmental impacts were minimised as the luminaires were recycled by a local recycling company. Furthermore, inmates benefited from earning, were encouraged to seek further education and the prison service managed to recoup some of the costs to
p Doncaster Council’s Craig Morris. A collaborative approach was important
house inmates. As a result of these efforts, Doncaster Council received a number of recycling award nominations, including winning the APSE 2017 Technology Innovation Award and being highly commended for GO Sustainability/CSR Initiative of the Year Award and Excellence in Public Procurement Awards 2016/17.
WHAT’S NEXT?
The next stage on Doncaster Council’s ‘smart’ journey is the testing of Telensa traffic adaptive lighting controls. This is where the output of a group of lights is dynamically adjusted by the CMS based on real-time traffic data from a radar-based sensor. This trial controlled 178 lights from junction three of the M18 into Doncaster. The data showed peak volumes of 29,000 movements per day and highlighted a ‘black period’ after 8pm equivalent to only 7,000 vehicle movements per day. This analysis justified the move from Class M4 lighting to Class M5 between 8pm and 10pm. The energy savings of doing this were substantial, down from 67,087KWh to 51,474KWh. This translates to a 23% saving in KWh and a 19% saving on energy spend, with the potential for these savings to be increased and ROI to be quicker as the number of lights controlled is expanded. The council is building on the success of this trial, by placing further sensors in strategic locations, such as on side roads that are just off main roads, so as to create a ‘breathable’ system Sarah-Jane Allen is product marketing manager for Telensa www.theilp.org.uk
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April 2019 Lighting Journal
The ILP’s ‘How to be brilliant…’ lectures
44
ONCE YOU HAVE LIGHTING, IT IS LIKE ‘PAY ATTENTION, YOU’RE LIVING’ The final ILP ‘How to be brilliant…’ lecture of 2018 saw Magdalena Gomez of Elektra Lighting talk about ‘light, colour and space’, and especially the influence of her Mexican heritage on her outlook and approach to lighting design. Lighting Journal listened in By Nic Paton
www.theilp.org.uk
p The Beau Rivage Palace in Lausanne, including its stunning onyx bar
M
agdalena Gomez, associate lighting designer at Elektra Lighting, opened her ‘How to be brilliant…’ lecture with a quotation from Goethe: ‘Licht… ist ein schoenes Symbol der Seele, welches mit der Materie den Köper bildend belebt.’ For those (like me) whose German is a bit ropey, this translates as: ‘Light… is a beautiful symbol of soul, which animates the matter of the body.’ And light, especially the influence of the light, shade and colours of her native Mexico, was very much at the heart of Magdalena’s lecture in November, the final one of the ILP’s programme for 2018. As Magdalena put it: ‘I want to share with you my journey into lighting – as I kind of stumbled into it when I was studying architecture in Mexico. And since then it has become one of my passions.’
INFLUENCE OF BARRAGÁN
The first section of Magdalena’s lecture was devoted to a discussion of the influence on her work and approach to lighting design of both the light and colours of Mexico and the
April 2019 Lighting Journal
p Ella Canta. Objects have been accented to bring out the warmness into the space and to create drama with the scheme, again making reference to Barragán
Mexican architect Luis Barragán. ‘I come from Mexico; it is where my experience is coming from,’ explained Magdalena. She ranged far and wide across what, it is often forgotten, is a vast and diverse country (eight times the size of the UK), in the process covering culture, religion, structures, different peoples and cultures (including the Purepechas, Tarahumaras, Otomoies, Lacandones, Mayas and Totonacas) and even the influence of the weather. As Magdalena said: ‘We are blessed with a country of high contrasts. And that changes how we see the lighting, from the high forests to the dense jungles. ‘One of the most important things we have in our background in terms of architecture is that religious architecture mingles with everyday architecture; and in the way we treat light and the way we treat nature. It is a culture of contrasts, we are not afraid of that; we love the dark, we love the light and everything in between; bright colours, too, we’re not afraid of them.’ This included influences as varied as the ‘Day of the Dead’ festival, the artists Frida Kahlo, Diego Rivera and Chucho Reyes (or Jesús Reyes Ferreira) through to Le Corbusier, Gropius, and Rietveld. But it was Barragán who, clearly, had the greatest influence, and Magdalena spent some time explaining how his background and approach was very distinctly Mexican – even though he was also influenced by Moorish and Islamic architecture – and can be seen clearly in use of light, shade
45
and colour in his house and studio (Casa Luis Barragán) in Mexico City. ‘How he intuitively used colours and the consciousness of colours and light in his work; how he used only complementary colours to create an impact on the architecture through the senses,’ she pointed out. ‘This is going to sound strange, but how he used bold colours to create neutrality. But how on earth can, say, his use of bright yellow create neutrality? When you look at it you realise that, actually, you feel peaceful in the space; he understood how people react. ‘He also understood the use of colour and reflectance, the reflectance of light. He used simultaneous contrast to create depth; he had an understanding of how we work through the eye and our sense. You’re coming from Mexico City, a monster of a city with 30 million people; like London in rush-hour, only worse. ‘You go into this place and you are made
a wait a few moments – you always have to wait – and you have the panels and the white walls and the very dark floor. And this is the space that will calm you. The yellow light comes from the back; there is a little window and he painted the window in yellow. He was playing with contrasts and daylight and skylight; how he brings the light into spaces and use of shade and colour,’ she added.
MEXICAN HERITAGE
The second half of Magdalena’s lecture then looked at how these influences, and how her Mexican heritage – and the influence of the country’s light and colour – had bled into and influenced her own work as a designer. As Magdalena pointed out: ‘How do we put all this, these influences, into work, into the everyday? For me I am very passionate about lighting spaces. For me, I have to influence people and the space.’ www.theilp.org.uk
April 2019 Lighting Journal
The ILP’s ‘How to be brilliant…’ lectures
q Casa Luis Barragán. The Mexican architect’s work, particularly his use of colour and reflectance, was a major influence, Magdalena Gomez highlighted in her lecture
p The Park Hyatt hotel in St Kitts. One challenge of this scheme was the fact there was a turtle nesting ground within the site
46
p The W Hotel in London
www.theilp.org.uk
Magdalena highlighted highlighted projects such as for Mexican chef Martha Ortiz’s restaurant Ella Canta in London. ‘We used a very warm colour temperature because most of the wooden or terrazzo surfaces had a red, pinkish tint. The walls, they were another story; they had this horrible muted colours! So, we decided to accent various objects to bring out the warmness into the space and to create some drama. The contrast was then in all the central greenery, which is all lit much more brightly. ‘We met Martha towards the end of the project, she was amazing. When we talked to her, she was completely in tune, she said she loved the ideas; she understood where we were coming from, especially when we referenced our thinking around Barragán, she was like “I’m in, let’s do it”.’ By comparison, the lighting scheme for the refurbished bar at the Beau Rivage Palace in Lausanne was a challenge simply because of the location of the bar in a corridor. ‘An interesting concept! But why not? So we had to change the light here. OK it was like “what about if we remove all the downlights; no downlights?” and it was everyone had a sharp intake of breath,’ explained Magdalena. ‘And then all the shades, all the light fittings, are shaded in black. And everyone was like “what?”. But, again, it was about creating drama. All the lighting is concealed and you just have pools of light, so you have lighting where it is needed. The bar was lovely onyx and they wanted to just leave it, but we were “no, let’s light it”. ‘We did that and immediately it felt like a completely different space. It now has a story behind it; it is not just somewhere that feels like you are meant to walk through it. So you are more likely to go there and relax and have a drink,’ she added.
COLOUR ‘IS IN OUR NATURE’
Magdalena’s lecture also ranged over other projects, including for Marriott’s W Hotel brand, the Wired Business Centre in London (working with MBLD) and the Park Hyatt hotel in St Kitts. For this latter project, the lighting scheme was complicated by the fact there was a turtle nesting ground located within the site, which required the lighting to be carefully controlled and only specific colours to be used so as to avoid disturbing these amazing creatures. The session concluded with a question and answer session in which, again, Magdalena was able to enthuse about her love for Mexico and the importance it has within her work, especially the fact that, for her (like for many Mexicans), ‘colour is part of our nature’. As she highlighted: ‘Sunset and sunrise are two events that, if you have the chance if you’re in Mexico, you should not miss. In the morning it goes from an electric blue to a bright red. And in the afternoon as the sun sets, instead of having “the blue hour”, it is more like “the pink hour”. ‘Everything turns a magenta colour… everything. There are places where people go to just watch the sunset. You have people just looking as the sun sets, like a prayer. We have this very close relationship with nature within pre-Hispanic culture. ‘We’re just transforming the space; we’re kind of re-sculpting them. Because otherwise it is just, you know, blank space. We’re just telling a different story. We want this drama; this spectacle. These days we are all just running, everywhere all of the time, and nowadays it is even worse. We’re just walking, heads down, attached to our phones wherever we go. Once you have lighting, it is like “pay attention, you’re living ”. Experience something; feel. We want people to feel things, to be engaged,’ Magdalena concluded.
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April 2019 Lighting Journal
Light School at the Surface Design Show
LIGHT TALKS With some 5,200 visitors, this year’s Surface Design Show in February proved a popular draw for architects, designers and specifiers. The ILP-supported Light School was once again at its heart, showcasing and celebrating just what the industry has to offer By Nic Paton
48 tqu From left: Juan Ferrari, Christopher Knowlton and Paul Kerrigan delivering their presentations at Light School
www.theilp.org.uk
April 2019 Lighting Journal
I
n numbers alone, this year’s Surface Design Show in February at Islington’s Business Design Centre was certainly impressive. More than 150 exhibitors from across Europe displayed their wares, with an array of surface, material and lighting products on display. An estimated 5,200 architects, designers and specifiers from 47 countries visited the show over its three days, with 80% coming from the architecture and design sector, and 20 of the top 30 AJ100 architectural firms represented. When asked, almost a third of those visiting said they were attending with a live project in mind, while more than three-quarters (77%) said they had purchasing or specifying authority and nearly two-third (66%) were on the hunt for new trends. For lighting professionals or just those with an interest in lighting, however, the key attraction, as ever, was the ILP-supported Light School. Light School, once again, was a mix of CPD ‘Light Talks’ and an opportunity for exhibitors to show a predominantly non-lighting audience just what the industry can do. As well as the ILP, exhibitors this year included Applelec, Artistic Licence, Optelma Architectural Lighting, ADL Plastock, Illuminated Surfaces, Lightly Technologies, Pixalux, Robert Spurway, and Stretch Ceilings.
DIVERSE RANGE OF SPEAKERS
When it came to the Light Talks sessions, the ‘school’ brought together some of the UK’s top lighting designers. Presentations over the three days included Stuart Alexander, senior designer at Michael Grubb Studio, on public realm lighting, and Mark Ridler, head of lighting at BDP, on ‘lighting an idea’, or the need for lighting design to be rooted in a desire to reveal and support architectural form. Magdalena Gomez, associate lighting designer at Elektra Lighting, revisited the theme of her November ILP ‘How to brilliant…’ lecture (as highlighted in the previous article starting from page 44) by talking about how ‘light, colour and space’ have been key influencers on her work. Juan Ferrari, senior associate at Hoare Lea, talked ‘students’ through the complex and at times nail-biting behind-the-scenes challenges to illuminate designer Steuart Padwick’s ‘Head Above Water’ sculpture for September’s London Design Festival, as showcased in the January edition of Lighting Journal (Head Space, vol 84, no 1). Christopher Knowlton, principal director of 18 degrees, and then Benz Roos,
design associate at Speirs + Major, both focused on the evolution and future of workplace lighting, in particular the role, potential but also some of the limitations of ‘human-centric’ lighting. How retailers can fuse LED lighting with social media to make a more interactive and immersive shopping experience – and in the process perhaps buck the longterm decline of the high street – was the focus of an engaging presentation by Brad Koerner, of Koerner Design. Finally on the middle Wednesday, Paul Kerrigan, MEP engineer, lead electrical, for Crossrail took visitors on a fascinating walk-through of some of the challenges that have been posed by lighting what is Europe’s largest sub-surface project.
ENGAGEMENT AND INTEREST
The ILP’s VP Architectural Graham Festenstein led a panel discussion on the Thursday with landscape architect Karl Jones and lighting design engineer Colin Campbell on how landscape architects and lighting engineers/designers can and should work closer together, in the process picking up on Karl’s Assessing Nightscapes article in the February edition of Lighting Journal (vol 84, no 2). This was followed by Paul Traynor, principal director of Light Bureau, on the important role that light can play in terms of creating, and linking, brand and identity. Martina Alagna and Phil Copland, lighting designer and senior lighting designer at Nulty+ respectively, then took
p Light School at the Surface Design Show acts as a ‘perfect platform’ to showcase and celebrate the expertise of the industry to a non-lighting audience
their audience on a ‘moonlit walk in the workplace’, picking up on some of the themes discussed by Christopher Knowlton and Benz Roos the day before around the value of rethinking how we light working environments. The Light Talks programme then concluded with Jonathan Gittens, associate director of Atelier Ten, who discussed some of the design processes and technical challenges that have had to be overcome in bringing the vastly ambitious ‘Illuminated River’ public art commission to life. Jess Gallacher, operations manager at the ILP, said of this year’s Light School: ‘It was an amazing three days, both in terms of the numbers of visitors who came to talk to exhibitors and in terms of the engagement and interest seen in the Light Talks programme. ‘Light School is a perfect platform for lighting designers, engineers and manufacturers to showcase and celebrate the expertise of our industry to a wider, often non-lighting, audience. And that can only be good in terms of spreading the profile and influence of light and lighting. The ILP was very pleased, once again, to support Light School as it goes from strength to strength.’ www.theilp.org.uk
49
April 2019 Lighting Journal
Legal issues
DEVIL IN THE DETAIL
50
Drafting a watertight contract requires patience, diligence and an understanding of some basic legal principles. Even if you’re under time pressure to agree the provisions of the deal, it is vital to pay close attention to the detail and language of what is being agreed, and to be aware of the danger of ambiguity or conflicting provisions By Howard Crossman
F
or anyone working within lighting who is involved in reviewing and drafting contracts, it is crucial to pay attention to general legal principles. It is easy to get lost in the detail and the urgency of getting a project underway. However, if you ignore the basics, things can go badly wrong. The fundamental rule of thumb is to think about what you agree to in writing and what that could convey to a ‘reasonable person’.
GUIDANCE ON MAIN ISSUES
An objective test is used for ascertaining the intention of the parties to a contract. Actual or subjective views are irrelevant. www.theilp.org.uk
What has been written is what is scrutinised. It is no good trying to go back and argue about what you thought you were agreeing to in any negotiations, if the actual clauses seem to say something entirely different. Here are some pointers as guidance for those negotiating and drafting contracts anywhere within the matrix of organisations that make up the lighting industry: • Consider any amendments carefully and give any words added appropriate weight • Think about what you are adding in the context of the remainder of the contract • Remember that the factual, legal and
regulatory background is also important • Be aware that there will always be emphasis given in any interpretation to business ‘common sense’ • Make your amendments and additions reasonable in meaning and effect. Avoid trying to insert wording that may look unreasonable The words in the document are both the starting point and, invariably, the end point for questions of interpretation. Indeed, the courts have directed not to disregard or override the literal wording of the contract in pursuit of commercial common sense.
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April 2019 Lighting Journal
Legal issues
The contract will be construed as a whole, and all terms must be considered. Therefore, if there is disagreement on what is meant, there should not be undue focus on one word, phrase, sentence, or clause in any analysis but rather the entire document. Background information, facts or negotiations mentioned in the contract will be relevant. However, there is a limit to the extent this will be taken into account when interpreting what is meant in a contract. For example, a lighting contract will often be applicable beyond the people who have negotiated it. Therefore, particular discussions and negotiations may be disregarded when asked to consider background facts and issues not embedded within the contract itself. Under English law, a contract has a meaning which is to be ascertained at the time it is concluded, having regard to its background and the surrounding circumstances within the parties’ knowledge at that time [1].
52
REASONABLENESS AND BUSINESS COMMON SENSE
In anything you draft, you should use common sense and plain language. Where there are two or more possible meanings, the interpretation most consistent with business common sense will be preferred. But the literal meaning will be looked at even if it seems wrong or unfair. Also, the commercial purpose will be looked at carefully. If it is a simple case of something being worded badly, the likelihood is that the end result will be interpreting the point as it was intended. If you want something to be an obligation use the word
‘shall’ as opposed to ‘may’, which will be construed as a discretionary provision. Be careful about being consistent. For example, if you set out two different relevant performance standards in one document, it may be necessary to comply with the higher as well as the lower one. If appropriate, you should make it clear which part of a contract should prevail over another part. This is often achieved by ranking of documents and appendices in order of priority. Anything specific and added to a standard form contract is likely to be given added attention when trying to establish what prevails. A meaning that ensures the validity or lawful effect of a transaction will be preferred to one that renders it invalid or too uncertain or ambiguous to enforce. Clauses limiting liability are likely to be strictly interpreted and must be very clear. The legal rule contra proferentem provides that, if there is any ambiguity, a clause will be interpreted against the party responsible for drafting or incorporating the provision for its own benefit. Of course, if the whole contract was drafted jointly by consensus, there is little or no room for the operation of the contra proferentem rule. Also, do remember that putting in headings may influence how the following text is interpreted. Section 61 of the Law of Property Act 1925 generally sets out certain meanings, for example: • Persons to include legal persons. Person includes a corporation (section 61(b)) • Singular and plural. The singular includes the plural, and vice versa (section 61(c)) • Masculine and feminine. The masculine embraces the feminine, and vice versa (section 61(d)) • Month means a calendar month. The word ‘month’ in any deed, contract or other instrument means a calendar month, not a lunar month. (section 61(a)). Section 10(3) of the Sale of Goods Act 1979 makes the same provision for contracts for the sale of goods. Depending on context, a calendar month need not begin on the first day of the month Lighting is a specialised marketplace, and there may well be argument that ‘everyone knows’ what is meant by a certain phrase or sentence, even if it appears confusing. This may be a valid point if it can be supported by evidence of use in the lighting
www.theilp.org.uk
sector. But if that is difficult to prove then the argument may be dismissed. Negotiations before the contract may be relevant, but are often dismissed in favour of what is written. It is best to put anything relevant that took place previously into the contract recitals. Post-contract facts and issues are usually not relevant to interpreting the contract.
CONCLUSION
It seems so obvious to state that what is written, especially if that is plain, reasonable common-sense language is what will be enforced. But, please don’t forget this. Also, don’t try and be too clever in looking to add in further provisions unless absolutely necessary. Be careful to avoid ambiguity, conflicting provisions or clauses that on their face appear unfair. Finally, it is important that you draft clearly and effectively as, once you’re signed up, it is too late to try and argue what you thought had been said or agreed in negotiations or post contract discussions. Hopefully, this snapshot into the world of contract drafting has proved illuminating. But if in doubt do seek professional legal assistance.
Howard Crossman ( hcrossman@ greenwoods.co.uk) is head of construction at Greenwoods GRM. With offices in London, Cambridge and Peterborough, Greenwoods GRM is a UK commercial law firm providing legal advice and pragmatic solutions to local, national and international clients
REFERENCES [1] Lexington Insurance Co v AGF Insurance Ltd [2009] UKHL 40 at paragraph 45, available online at https://uk.practicallaw. thomsonreuters. com/D-013-8821?transitionType=Default&contextData=(sc.Default)
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April 2019 Lighting Journal
ILP and industry news
T
he countdown has started to this year’s ILP Professional Lighting Summit. The Summit, the highlight of the ILP CPD calendar, will this year take place from 12-13 June and will be held at the Life Science Centre in Newcastle upon Tyne (pictured). The full speaker and exhibitor line-up will be published shortly, and look out for a preview in next month’s Lighting Journal. But speakers have already been confirmed from the Association for Public Service Excellence, the Highway Electrical Association, the Institution of Engineering and Technology, the Institute of Highway Engineers, and the International Commission on Illumination.
THEMED DAYS
This year each day will have a theme. On the Wednesday (12 June) the focus will be issues and challenges facing the exterior lighting community, including funding, the changing regulatory landscape, and technological demands. The following day, Thursday 13 June, the emphasis will be more on ‘how and why we design the lighting we do’, including
GOALS TO NEWCASTLE: GET READY FOR 2019 SUMMIT looking at, among other topics, public perceptions of LED, dealing effectively with glare and flicker, and lighting impact assessments, as well as best practice case studies around underwater lighting, smart city roll outs and environmental schemes. ILP operations manager Jess Gallacher said: ‘We invite the lighting community to come along to one or both days and learn from each other, giving you knowledge and inspiration to make your role easier and
help you have more impact.’ There will be extensive opportunities for networking, including the usual Black Tie Annual Dinner, and for meeting and doing business with exhibitors. This year’s Summit is being sponsored by Designs for Lighting and the day delegate rate has been subsidised to just £90. To book your place or just find out more, go to www.theilp.org.uk/events/ professional-lighting-summit-2019/
CASH PRIZE
where the winner will be announced. The winner will receive a cash prize of £1,000 along with the title SLL Young Lighter 2019, in front of an audience of more than 800 industry professionals. Entrants will need to be aged under 30 on 10 May, which is also the deadline for entries. For an entry form or to find out more, visit www.sll.org.uk or email sll@cibse.org
54
COULD YOU BE THIS YEAR’S SLL ‘YOUNG LIGHTER’? E
ntries have opened for the Society of Light and Lighting’s ‘Young Lighter’ competition, which this year is celebrating its 25th anniversary. The competition is designed to showcase and celebrate the work of up-and-coming lighting professionals aged under 30, and past winners include YLP chair Sofia Tolia. Last year’s winner was Emma Beadle (pictured), an assistant lighting engineer at WSP, for her paper Children’s Utopian Vision of the City: co-designing lighting masterplans through play and exploration. To mark the 25th anniversary, the society has reviewed the entry criteria to emphasise that the competition is open to anyone with an interest in light and lighting. Entries can be based on any lightrelated topic. www.theilp.org.uk
At the initial entry stage, competitors will be asked to submit six introductory slides. From here, entrants will be shortlisted and asked to elaborate on their entry in whichever way they feel fits best – this could be a prototype, a video, a written paper, a presentation, and so on. Shortlisted entrants will also be asked to submit a short piece to camera, demonstrating their presentation skills. From here, finalists will be selected and asked to develop their ideas into a presentation that will be delivered at LuxLive in November. The finalists will also be invited to join the society at the Lux Awards,
Lighting
April 2019 Lighting Journal
Consultants
This directory gives details of suitably qualified, individual members of the Institution of Lighting Professionals (ILP) who offer consultancy services.
Steven Biggs
Allan Howard
Alan Tulla
Skanska Infrastructure Services
WSP
Alan Tulla Lighting
IEng MILP
Peterborough PE1 5XG
T: +44 (0) 1733 453432 E: steven.biggs@skanska.co.uk
www.skanska.co.uk
BEng(Hons) CEng FILP FSLL London WC2A 1AF
T: 07827 306483 E: allan.howard@wspgroup.com
www.wspgroup.com
IEng FILP FSLL
Winchester, SO22 4DS
T: 01962 855720 M:0771 364 8786 E: alan@alantullalighting.com
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.
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.
Simon Bushell
Alan Jaques
Michael Walker
SSE Enterprise Lighting
Atkins
McCann Ltd
MBA DMS IEng MILP
Portsmouth PO6 1UJ T: +44 (0)2392276403 M: 07584 313990 E: simon.bushell@ssecontracting.com
www.sseenterprise.co.uk Professional consultancy from the UK’s and Irelands largest external lighting contractor. From highways and tunnels, to architectural and public spaces our electrical and lighting designers also provide impact assessments, lighting and carbon reduction strategies along with whole installation packages.
IEng FILP
Nottingham, NG9 2HF
T: +44 (0)115 9574900 M: 07834 507070 E: alan.jaques@atkinsglobal.com
www.atkinsglobal.com
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.
www.alantullalighting.com Site surveys of sports pitches, road lighting and offices. Architectural lighting for both interior and exterior. Visual Impact Assessments for planning applications. Specialises in problem solving and out-of-the-ordinary projects.
IEng MILP CMS.
Nottingham NG9 6DQ M: 07939 896887 E: m.walker@jmccann.co.uk
www.mccann-ltd.co.uk Design for all types of exterior lighting including street lighting, car parks, floodlighting, decorative lighting, and private lighting. Independent advice regarding light trespass, carbon reduction and invest to save strategies. Asset management, data capture, inspection and testing services available.
Lorraine Calcott
Tony Price
Peter Williams
it does Lighting Ltd
Vanguardia Consulting
Williams Lighting Consultants Ltd.
IEng MILP IALD MSLL ILA BSS Milton Keynes, MK19 6DS
T: 01908 560110 E: Information@itdoes.co.uk
www.itdoes.co.uk
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
BSc (Hons) CEng MILP MSLL Oxted RH8 9EE
T: +44(0) 1883 718690 E:tony.price@vanguardia.co.uk
Bedford, MK41 6AG T: 01234 630039 E: peter.williams@wlclighting.co.uk
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.
Specialists in the preparation of quality and effective street lighting design solutions for Section 38, Section 278 and other highway projects. We also prepare lighting designs for other exterior applications. Our focus is on delivering solutions that provide best value.
www.vanguardia.co.uk
Mark Chandler
Alistair Scott
MMA Lighting Consultancy Ltd
Designs for Lighting Ltd
EngTech AMILP
Reading RG10 9QN
BSc (Hons) CEng FILP MHEA Winchester SO23 7TA
T: 0118 3215636 E: mark@mma-consultancy.co.uk
T: 01962 855080 M: 07790 022414 E: alistair@designsforlighting.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
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.mma-consultancy.co.uk
John Conquest
MA BEng(Hons) CEng MIET MILP
4way Consulting Ltd Stockport, SK4 1AS
T: 0161 480 9847 E: Jason.mcnulty@4wayconsulting.com
www.4wayconsulting.com
www.designsforlighting.co.uk
Anthony Smith IEng FILP
Stainton Lighting Design Services Ltd Stockton on Tees TS23 1PX
T: 01642 565533 E: enquiries@staintonlds.co.uk
www.staintonlds.co.uk
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
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.
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
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
www.wspgroup.com
EngTech AMILP
www.nicksmithassociates.co.uk
www.wlclighting.co.uk
This space available Please call Andy on 01536 527297 or email andy@matrixprint.com for more details
This space available Please call Andy on 01536 527297 or email andy@matrixprint.com for more details
Go to: www.theilp.org.uk for more information and individual expertise
Neither Lighting Journal nor the ILP is responsible for any services supplied or agreements entered into as a result of this listing.
Lighting
Directory
CPD Accredited Training • AutoCAD (basic or advanced) • Lighting Reality • Lighting Standards
• Lighting Design Techniques • Light Pollution • Tailored Courses please contact
Venues by arrangement Contact Nick Smith
Nick Smith Associates Ltd
t: 01246 229 444 f: 01246 588 604 e: mail@nicksmithassociates.com w: www.nicksmithassociates.co.uk
36 Foxbrook Drive, Chesterfield, S40 3JR
www.intratest.co.uk M 07795 903858 T 01202 530166 E sales@intratest.co.uk
We offer straightforward, no-nonsense, professional advice and solutions to all those involved in street lighting and the highway assets maintenance: to implement integrated asset management programmes in a cost effective, sustainable manner.
Your contact is Martin Wyeth
NON-DESTRUCTIVE TESTING • ULTRASONICS • ULTRASONIC THICKNESS • VISUAL INSPECTION • ELECTRICAL TESTING & GENERAL MAINTENANCE • MAGNETIC PARTICLE INSPECTION • DYE PENETRANT • FLOODED MEMBER
Multi-Award Winning Structural Testing Business
BSI Cert No. FS607666 I BSI Cert No. OHS 660317 I HERS Reg No. SSR539
56
Delivering Decorative Lighting Festoons for over 25 years
ILLUMINATING THE WAY Survey, design, energy management & distribution of road, commercial, industrial & architectural lighting solutions.
To illuminate your next project, contact our lighting team on 01236 458000 or 0191 217 0119. www.lightandenergy.co.uk
European distributors of StormSpill®, only system specified by: • London 2012 Olympic Games • Glasgow 2014 Commonwealths
We create bespoke low energy, durable festoon lighting for architects, designers, retail chains, sign makers, ship builders, and more. Contact us to discuss your lighting project. www.lumisphere.co.uk saleslj@lumisphere.co.uk 01245 329 999
Patented Raised Lamppost Banner System that significantly reduces loading on columns and prevents banners twisting and tearing. Column testing and guarantee service available. The most approved system by Highways Engineers
Cumbernauld Newcastle Aberdeen Dingwall Great Yarmouth Light & Energy Distribution, formerly known as MacLean Electrical Lighting Division. Part of the MacLean Electrical Group.
0208 343 2525 baymedia.co.uk
April 2019 Lighting Journal
Meter Administrator 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
Power Data Associates Ltd are Power Associates the leadingData meter administrator in Great Britain. We Ltd are the achieve leading accurate energy calculations meter assuring youadministrator of a cost effective quality in service. Great Offering Britain. We independent consultancy advice achieve to ensure correct accurate inventory coding, unmetered energy forecasting and energy calculations impact of market developments.
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11/03/2019 17:24
are you reading this?
so are your potential customers!
claim your spot for the year in the lighting directory Contact Andy on 01536 527297 or email andy@matrixprint.com for more details
April 2019 Lighting Journal
Diary
THE DIARY 21 May
Bats and Artificial Lighting Symposium, organised by the Bat Conservation Trust Venue: Arup London Enquiries: jferguson@bats.org.uk
22 May
How to be brilliant (London)… with John Bullock of Light Review Venue: Body & Soul, Rosebery Avenue, London EC1R p
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Auckland Art Gallery, by Linda Salamoun of Steensen Varming. Linda will be talking about ‘the story of light’ at this month’s ‘How to be brilliant…’ lecture on 24 April
24 April
How to be brilliant (London)… with Linda Salamoun of Steensen Varming Venue: Body & Soul, Rosebery Avenue, London EC1R
25 April
LSE Technical CPD seminar Venue: The IET, Savoy Place, London
08 May
12-13 June
The ILP 2019 Professional Lighting Summit Venue: Newcastle upon Tyne
19 September
How to be brilliant with daylight, experience and wellbeing (London) with Arfon Davies and Nicola Rigoni of Arup Venue: Darc Room, London Design Week
Fundamental Lighting Course Venue: ILP, Regent House, Rugby
15 May
For full details of all ILP events, go to: www.theilp.org.uk/events
UNDERSTAND THE NIGHT Why lighting needs to be providing better leadership around glare, skyglow and light pollution
BENEATH THE FAÇADE How revisiting ‘Lichtarchitektur’ or light architecture could take façade lighting to a new level
Electric know-how for architectural lighting designers Venue: Conway Hall, 25 Red Lion Square, London
IN THE MAY ISSUE BEING HUMAN Are lighting designers missing the bigger picture when it comes to ‘human-centric’ lighting schemes?
www.theilp.org.uk
- 30% Energy saving - Smart city ready with DALI driver and 7 pin NEMA - Less than 12kg with choice of CCT available. - Lumen range 2700-8750 (dimming to 1000 lumen), with fully customisable output to suit your needs and dimming regime
Grand Surrey Canal The Parks department co-operated with the Lighting Team to fund the replacement of the lighting along this very popular path. It was agreed that keeping the period theme was essential, but to use modern efficient lighting to provide energy and maintenance savings were key requirements. Find out more at:
www.orangetek.co.uk/lighting-journal
Surrey Canal Path, Southwark