Lighting Journal January 2017

LIGHTING

JOURNAL The publication for all lighting professionals

RETAIL JOURNEY How innovative lighting design is transforming Sheffield’s Meadowhall WATER BORN The winner of London’s Illuminated River competition revealed BODY TALK Lighting’s remarkable power to affect our senses

January 2017

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LIGHTING JOURNAL JANUARY 2017

4 BODY TALK

Optician Ian Jordan captivated his audience at the ILP lecture in October, illustrating the remarkable power lighting has to affect our senses, not just sight but perception, gait, balance, taste, smell, movement, and much more. He reflects here on the key messages he wanted to get across to lighting professionals

8 WATER BORN

Current, a collaboration between American light artist Leo Villareal and renowned British architects and urban planners Lifschutz Davidson Sandilands, was announced as the winner of the Illuminated River international design competition in December.

Nic Paton looks at its vision

12 RETAIL JOURNEY

Formerly a visually tired, cluttered and rather incoherent space, Meadowhall shopping centre is being transformed, in large part through innovative lighting design, as Mark Ridler explains

16 LIGHT AT THE MUSEUM

Museums are under increasing pressure to make cost savings and improve the ‘visitor experience’. Lighting and new lighting technologies can give them answers to both, but it can be a tricky balancing act, as delegates to ‘Shine On’, a recent Museums Association conference discovered. Francis Pearce reports

20 BRIDGING SUCCESS

At 45-years-old, the Erskine Bridge across the River Clyde was long overdue for a lighting and electrical refurbishment. Louis Fourie and David Phillips explain how the project team overcame the challenges of a technically demanding contract

28 COMPUTER POWER

Technology has revolutionised how lighting designers work and collaborate. From chunky desktops with green screens to mobile functionality, Guy Harding looks at how his world has changed, and the opportunities this creates

30 IMMACULATE CONCEPTIONS

Contents

An IALD event using an innovative wall projection showcased the creativity, hard work and inspiration that goes into taking a project from concept to the final stage. Emma Cogswell was there

34 WARMING GLOW

The march of technology means it is now possible actively to consider warm white LED sources as a suitable solution in exterior lighting applications, argues YLP member Ryan Carroll

36 BARGAINING HUNT

If you’ve been tasked to provide specialist advice, give careful consideration to potential negotiating points within the contract to be sure you’re fully protecting yourself, advise Howard Crossman and Sarah Lidgett

40 PREMIER LEAGUE

4

The ILP’s Premier corporate membership category is a year old this month. With 21 members signed up, it’s got off to a flying start, says ILP chief executive Richard Frost. So why not make becoming a Premier member one of your New Year’s resolutions?

42 LEARN AT LIGHT SCHOOL The ILP will once again be supporting Light School at the Surface Design Show, which runs this year from 7-9 February

43 ILP MAKES PRESENCE FELT AT LUXLIVE No less than 35 ILP members gave presentations at November’s LuxLive, cementing the Institution’s reputation as the industry’s ‘gatekeeper’ of standards, best practice and expert knowledge and insight

16

44 CONSULTANTS 46 LIGHTING DIRECTORY 47 DIARY

Cover: Meadowhall shopping centre in Sheffield, which now has a lighting-led ‘wow’ factor

Lighting Journal January 2017

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Editorial Volume 82 No 1 January 2017 President Kevin Grigg, Eng Tech, AMILP Chief Executive Richard G Frost BA(Cantab) DPA HonFIAM Editor Nic Paton Email: nic@cormorantmedia.co.uk Editorial Board Tom Baynham MEng MA (Cantab) Emma Cogswell IALD Mark Cooper IEng MILP Graham Festenstein CEng MILP MSLL IALD John Gorse BA (Hons) MSLL Alan Jaques IEng MILP Gill Packham BA(Hons) Nigel Parry IEng FILP Richard Webster Designed by Julie Bland Email: julie@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

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Reprints of material published in these pages is available for a fee, on application to the editor.

I arrived a few minutes early for the announcement of the winner of the Illuminated River competition and, as it was a remarkably mild December evening, I decided simply to park myself on a bench outside Tate Modern and spend a few quiet moments watching the Thames glide by.

I was glad I did, because what quickly struck me was how, while both banks were a bustling sea of Christmas shoppers (the South Bank especially) and the Millennium and Blackfriars bridges a constant, undulating stream of commuters, the river and the bridges themselves were remarkably dark and under-lit. Indeed, even St Paul’s wasn’t lit that night although, of course, it normally is.

And that, at its heart, is what the Illuminated River competition is all about: to use light to unify London’s bridges, to highlight them as landmarks and, as the winning Current submission argued, ‘invite a new experience of cultural engagement’.

The Illuminated River has not been without its teething problems. As IALD UK projects manager Emma Cogswell highlighted in Lighting Journal in the autumn, the competition initially failed to include any lighting designers or lighting associations on its judging panel, although that was quickly rectified.

My take, for what it’s worth, is that this project has real potential; it is a powerful, compelling opportunity for lighting and lighting technology to be showcased to the public in an engaging and positive way. I, for one, wish it well and very much hope we end up with permanent installations that do justice to the heritage and iconography of London’s bridges while bringing forward and illuminating (literally) the Thames and its relationship to the capital.

However, I do retain a niggling worry that we risk losing something. As I sat by the Thames, it’s inky blackness spoke to me of the capital’s evocative history; with traces of Dickensian menace still swirling on the waters. You can look into it – as Londoners and visitors to the capital have done for generations – and reflect, muse and cogitate without sensory distraction or pollution.

London’s bridges – whether in shadow or light – also have very individual, and much loved, identities. If we lose that, and lighting is to blame, it would be a real pity. I’m not saying we will, and the pedigree of the Current team is second to none, but it is nevertheless something to be wary of as this project evolves and moves forward.

Nic Paton Editor

February ISSUE INTELLIGENT MOBILITY

VERTICAL VISION

From autonomous vehicles to managed motorways and even (perhaps) a ‘tube’ for cars, how technology is changing our roads and, potentially with it, road and urban lighting

Why lighting designers should consider vertical illuminance but not semi-cylindrical illuminance

SOCIAL SPOTLIGHT

KEEP THE DATE FREE! Don’t forget this year’s Professional Lighting Summit will be on 14-15 June at the Glasgow Crowne Plaza.

Lighting designers need to work more closely with cities, architects, planners and communities to better understand how lighting affects and can play a part in social inequalities

Lighting Journal January 2017

4 The ILP 2016 Lecture

BODY TALK Optician Ian Jordan captivated his audience at the ILP lecture in October, illustrating the remarkable power lighting has to affect our senses, not just sight but perception, gait, balance, taste, smell, movement, and much more. He reflects here on the key messages he wanted to get across to lighting professionals

Elite sports, including gymnastics, are showing keen interest in how lighting can affect things such as endurance

Lighting Journal January 2017

The ILP 2016 Lecture 5

M

y lecture to the ILP at the Royal Over-Seas League in London in October was a follow-on to my presentation to the 2015 Professional Lighting Summit in Chester. The first presentation, I am pleased to say, proved very popular with ILP members – so much so, in fact, that before my lecture I was honoured to be presented with the award for ‘Best Professional Lighting Summit paper’

by ILP President Kevin Grigg.

More widely, the lecture was an opportunity for me to revisit and reiterate some of the themes I highlighted in Chester, namely that the links between lighting and health – vision, perception, gait, balance, taste, smell and movement – are not well enough understood by lighting professionals.

Moreover, the effect lighting can have on a range of conditions – Parkinson’s, autism, dyspraxia, and dyslexia, to name but a few – can be significant. The effects can be hugely beneficial when lighting is got right but, equally, ‘wrong’ lighting can often have a seriously negative, even debilitating, effect.

I began my presentation by arguing that I wanted to try to make lighting professionals think differently, to change your attitudes; I wanted to try and worry you! For example, is lighting a drug? And, if it is, what do we need to do about it?

To my mind, lighting professionals have a phenomenal opportunity here. How light and lighting is used has the potential to change the world completely for very many people.

To cite just one example, at the moment we’re finishing clinical trials using lighting on tinnitus. Tinnitus is a horrible condition, it affects about a quarter of a million people in Britain. It’s ringing in the ears, and it drives people mad. But, guess what? About 40% of them can be stopped using the right lighting. But we can also provoke it – so we have to know the differences.

POWERFUL RANGE OF EFFECTS Lighting has optometric, medical, cognitive, educational and sporting effects and of course affects things like our circadian rhythms. And quite honestly, the thing everyone is going on about with blue light and the circadian rhythms is actually quite a small area. We now know of about 600 effects of light on the body. Most of them aren’t that important, quite honestly, but there’s at least 40 or 50 that are.

Colour is unbelievably powerful; it needs specialist instrumentation, assessment and management techniques, and a wide range of filters and lenses. Yet, as an optician, if you use tinted lenses, all you are actually doing is changing the lighting.

To illustrate this, I brought along various instruments. For example, I showed how opticians use what is known as the Read Eye instrument to determine the optimum gamut for each individual who has problems because of stimulus.

The Read Eye comprises two computers (one internal) which control around 180 LED lights, which are calibrated to within 2 nm and have individual voltage controls to ensure a high degree of accuracy of output.

The gamut of the Read Eye was determined using a RMS (root mean square) analysis of retinal response to ensure best results. The illuminance allows use of a technique known as ‘univariance’. This, as far as is possible, is where separation of the cone cell responses is controlled and the ratio of each pathway can be determined. Tolerance for prescribing colour is +/-0.001 X/Y CIE 1931 and 1 MacAdams ellipse in assessment.

To enable adequate prescribing, an ‘absolute’ gamut is found in which performance is optimised. This is critical, as colour perception may be affected by constancy and

other variables, which can make assessment difficult. This size of the gamut varies significantly and is unpredictable in most cases. During the presentation, I showed how we use a number of methods to assess the gamut, including separating the hue, saturation and value, using univariance, forced choice within colour space and so on.

Once the optimum target position and gamut is determined it is possible to ascertain whether the lighting is appropriate or whether it needs to be modified by either change of light type or light plus filter combination. Emulation of lighting/ lighting filter combinations is possible and accurate advice/ prescribing can be undertaken.

With this sort of presentation, the best way to illustrate the point, I always find, is to demonstrate rather than just talk. To that end, I used a number of ILP members as ‘lucky’ volunteers to show how illuminance can affect, first, someone’s strength, both positively and negatively.

I showed how someone’s arm muscle strength can be changed at will simply by using his visual input. This was the first of many surprising effects demonstrated.

Understanding how different colours affect our senses, for example our ability to make out words, can help to unlock health conditions such as dyslexia

THE WHISKY TEST The next demonstration was to show how lighting modification affects the sense of smell. Using finely tuned lighting, the perception of the sense of smell of another volunteer was significantly changed. There was some surprise expressed from my ‘guinea pig’ at how precisely tuning visual input could be changed and how the effects could be described. I also showed how taste could be modified, even to the extent that the alcohol of a glass of whisky could appear to change, depending on the lighting (although of course you are in fact imbibing the same amount of alcohol).

How lighting affects pain was another area I demonstrated.

A member of the audience was asked if they would object to demonstrating how pain can be modified by the lighting.

She consented to having her hand hit hard enough to hurt – and the level of pain was changed by changing the lighting.

Sometimes lighting professionals have to suffer for their profession! But, on a serious note, what this shows is pain can change with the light. So, if you ‘do’ hospital lighting, it is important to recognise the potential links between lighting and pain levels.

I demonstrated how light and lighting can affect people’s perceptions, especially how they ‘see’ and perceive someone’s face. Faces can cause tremendous problems for people with conditions such as autism. Around 80-90%

Lighting Journal January 2017

6 The ILP 2016 Lecture detached from their bodies. That’s not that uncommon with autism. Another perceived people as leopards or gazelles or giraffes, or other types of animals. Again, though not well know, this is a common symptom of autism. Another saw faces as melting.

There was a young lad – and I have no idea how he had avoided being run over during his life – who was completely unable to judge space and speed of cars. There was a woman who had not been able to see her own face, and I was able to help her see it for the first time, which was a truly emotional moment for both of us.

So, what do lighting professionals need to take away from all this? Essentially, it is that, every time you put a light on, it affects people. It’s affecting the body, it’s affecting them in all sorts of ways you may never have thought about. So, as lighting professionals, you should be aware there’s a potential both for problems but also for solutions through lighting, whether you’re designing lights for driving, for old people’s homes, for autistic schools or whatever it might be.

And we all need to start working together on this, opticians and lighting professionals, because it is so, so important.

Perception of faces can cause tremendous problems for people with conditions such as autism, as well as for those with visual impairments.

TASTE AND TEXTURES Lighting affects the taste and textures of foods and drinks.

Even swallowing and the smell of things. It changes your way of doing things. You have children who can’t eat food, could it be the lighting? I’m not saying it is, but could it be? It affects the ability to walk, smell and touch; balance. Every bit of your body is being affected by lighting. Isn’t that great! You’ve got the ability to do all sorts of things for people – it’s great; it’s a fantastic opportunity you have!

of autistic children can’t see faces properly. How much of it is due to lighting? And how much of it can you change by changing the lighting? I suggested we can change 90% of it.

Think about that – 90% of those kids who are having facial recognition problems will be sorted out simply by changing the lighting.

There was a powerful moment when one audience member who has multiple sclerosis came forward to ask to be assessed. Initially I was reluctant, as her condition meant she could experience some quite strong sensations, but she asked for me to assess her anyway. What I found was that her ability to process visual information was desynchronised between her eyes, and also with her balance systems.

By using different filters over each eye I was able to demonstrate how it is possible to stabilise and synchronise visual timing. The lady became less unbalanced and her visual system performed much better as a result. This, to my mind, has significant implications for lighting professionals in that, depending on lighting, reflection and absorption, there is a potential for provoking timing changes in the visual system that could potentially cause adverse effects.

BALANCE AND TREMORS Lighting can have important effects in other areas, too.

Migraines, for example, is one. Generally speaking, people who get migraines don’t like red lighting. People can lose their visual field when the lighting is wrong. More positively, lighting can reduce hand tremors, something that can, of course, be valuable to people with conditions such as Parkinson’s or Dyskinesia.

I showed members a number of short films of clients, many of them children, who have come to my practice.

One girl, for example, perceived people’s heads as being

Lighting Journal January 2017

Children refusing food – could it be down to the lighting?

Within my lecture I explained about what is known as the Pulfrich Effect. The Pulfrich Effect was discovered in 1922, by (as you might have guessed) a guy called Pulfrich who put a neutral density filter (such as a darkened lens) over one eye, swung a pendulum and found as it spun around it appeared to take a much more elliptical orbit.

The ILP 2016 Lecture 7

Two electroencephalograms (or recordings of brain activity) showing arousal levels under different lighting

If the right eye is covered, it appears closer as it swings toward the right and farther away as it swings toward the left, so giving the impression when viewed from above that it is revolving anti-clockwise. Conversely, if the left eye is covered, the pendulum appears to be revolving clockwise from top, appearing closer as it swings toward the left and farther away as it swings toward the right.

This effect can cause massive problems with praxis, spatial awareness, and speed of movement going wrong. But,

again, through the use of filters – essentially by managing and tweaking the light coming into the eye – these problems can often be sorted out. Lighting, intriguingly, can also affect things such as endurance, an area that is gaining intense interest within elite sports.

My message, therefore, to lighting professionals was this.

You’ve got a wonderful future ahead of you because you’re the ones who can do the biggest job of all when it comes to using light in this way. You can do far more than I can; I can only do a little bit.

And the good news is, if you get it right, you’re going to change the world. There’s not many professions that have that said to them. In the future, your skills and knowledge can make such a difference to so many people.

And I hope you’ll do that, because you’ve got no excuse if you don’t; there is so much you can do. And as I concluded: ‘So I am handing it over to you – go on and do it!’

Ian Jordan runs Jordans Opticians in Ayr, an optical practice that specialises in people on the autistic spectrum as well as those suffering from dyslexia, dyspraxia and dyscalculia or who have complex visual problems

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8 The Illuminated River competition

WATER BORN Current, a collaboration between American light artist Leo Villareal and renowned British architects and urban planners Lifschutz Davidson Sandilands, was announced as the winner of the Illuminated River international design competition in December.

Nic Paton looks at its vision for the Thames

T

he Thames is ‘the founding spirit of London’, Hannah Rothschild, chair of the Illuminated River Foundation explained in December. ‘It is the city’s main artery; it links north, south, east and west. It is our liquid history; it is the tissue connecting the great monuments.’

Hannah was speaking at the announcement of the winner of the Illuminated River competition, a competition to commission a unified

Lighting Journal January 2017

scheme to light central London’s 17 bridges along the River Thames in a free, permanent light installation.

The announcement was the culmination of a seven-month competition, which saw submissions from 105 teams in 20 countries, and the six shortlisted concepts being displayed at the Royal Festival Hall in November.

And the winner? The winner, announced by London mayor Sadiq Khan, is a UK-US consortium called Current, led by Leo Villareal, the American light artist behind the Bay Lights in San Francisco (http:// thebaylights.org/), and UK architects Lifschutz Davidson Sandilands, whose work includes London’s Golden Jubilee footbridges.

As Sadiq said: ‘For generations, people have been drawn to the river, just as they have been attracted to the bright lights of our capital. And I have no doubt that the Illuminated River will preserve and embellish the legacy for many years to come.

‘Because, like all truly great art, the light installations will be free and accessible to all, it will also encourage new investment and increased use of our river, enhancing the city’s bridges and businesses, riverbanks and restaurants, and creating a spirit of majestic night-time walks along the Thames,’ he added.

The Illuminated River Foundation has emphasised it intends to raise the money to fund the project from private and philanthropic sources

For generations, people have been drawn to the river, just as they have been attracted to the bright lights of our capital. And I have no doubt that the Illuminated River will preserve and embellish the legacy for many years to come Sadiq Khan Mayor of London rather than the public purse, with £10 million already announced in November.

Currently the timeframe for installation is late 2018, although this will depend on the funding process.

And what, then, do we know of the scheme itself? Current is playing its cards close to its chest – and in fact only released the image above for public consumption. The renderings

The TheIlluminated IlluminatedRiver Rivercompetition competition 9

highlighted on this page and overleaf are the project visualisations that were submitted as part of the judging process, but Current has stressed these may – and probably will – change and evolve.

As Leo Villareal has said: ‘In order to nuance the concept design and create presence and legibility, we intend to take time to study the river in all its manifestations. We want to listen to Londoners in developing the scheme to deliver at all levels of art and light, urban design and architecture, the environment and sustainability.

‘Our aim is for a lighting master plan which reduces pollution and

wasted energy, is sensitive to history and ecology and subtly rebalances the ambient lighting on the river to provide a beautiful night time experience for residents and visitors,’ he added.

Nevertheless, the overall concept – at least at this point – is to create a coherent lighting scheme along the banks of the Thames; ‘an immersive melding of art and infrastructure that will unify the riverscape and invite a new experience of cultural engagement in the heart of London’.

Just three luminaire types are currently proposed across the 17-bridge scheme, a ‘single palette of fittings will mean standard details and

The Current submission outlined proposed schemes for Chelsea, London, Waterloo and Westminster bridges. As highlighted above, these could yet change as the project evolves. But to give at least a flavour of the thinking and vision behind the winning project, these are what the team has said.

fixings as well as make maintenance and replacement simpler,’ the Current submission said.

As Sadiq Khan concluded: ‘Building on the success of the night tube, this project will help grow that fantastic night-time environment.

Knowing we’re bringing new life into the river after dark, lighting up our bridges and bringing visitors to the centre of our city; it will also throw light on the lead London is taking in terms of protecting our environment.’

Whatever the final vision, one way or another, this will certainly be one for lighting professionals to watch with interest over the next 18 months to two years.

Sequences are displayed in random order over random amounts of time, creating variations that will never repeat. The nearby Albert Bridge, also a suspension bridge and brilliantly illuminated along its cable and span, offers the opportunity for a compelling diptych.

CHELSEA BRIDGE Chelsea Bridge is currently lit with small incandescent bulbs reminiscent of marquee lighting, placed along its cables and flanks of the towers, with additional illumination along its pedestrian walkways.

The new design will feature a warm palette of white tones, replacing the incandescent lights with 3,016 LED nodes along the cables and on the suspension bars.

Beneath its deck, LED wash fixtures will be mounted across the length of the bridge, creating cohesion through the similar treatment of all 17 bridges. Digital control will allow abstract sequences to actively define the forms of the bridge creating complex and luminous patterns that evolve and are synchronised to the changing night sky and the passing waters of the Thames.

Lighting Journal January 2017

10 The Illuminated River competition

LONDON BRIDGE The proposal introduces a ‘line of light’ across each side of the bridge in addition to a ‘wash of light’ that illuminates the underside of the structure, so as to fully activate the space and maximise the artwork’s impact. The artwork consists of fullcolour LED fixtures to replace the current red fluorescent lights, installed for Remembrance Day 2004.

The use of LED lights in a warm palette will create a contemporary and dynamic installation. Through custom sequencing the lighting will cast a moving, luminous wash that echoes the Current scheme, but is fluid and constantly changing from both up close and afar.

The optically potent combination of materials, which both reflect and emit light, creates an ephemeral field of light floating overhead. The introduction of a contemporary artwork driven by software and algorithmically-generated patterns on London Bridge will create an exciting dialogue within the heart of London that energises viewers.

WATERLOO BRIDGE The proposal, again, introduces a line of light across each side of the bridge plus a wash of light that illuminates the underside of the structure. The light sculpture will consist of full-colour LED fixtures, complementing the vision for London Bridge.

Currently floodlights are installed under the bridge, shining on the vaults and unadorned soffits. A new LED design, in understated hues of reds and pinks, will also feature on the sides immediately below the deck.

Occasional lighting for events and festivals can be achieved without compromising the integrity of the artwork, as numerous layers may be modified to create new designs. Patterns of radiating light will pulse across the face with subtle rhythm, mirroring the rippling river beneath. Lines fade and colours will marry water, bridge and sky.

WESTMINSTER BRIDGE Painted a verdant green, matching the colour of the seats of the House of Commons, Westminster Bridge features iconic octagonal lanterns, grouped in threes. These will be left untouched but made more efficient and robust with the use of LEDs. A line of light will, again, accentuate the underside of the deck with additional lighting placed behind its ornamental shields, bringing into prominence the London and Westminster coats of arms that decorate the bridge’s spandrels.

The proposal includes the addition of LED fixtures along the length of the bridge. The sequencing is a subtle addition, inspired by the fluctuations of the flowing tides. To honour the bridge’s composed and historically significant design it will be lit primarily underneath in soft violet and blue tones, complementing the bridge’s green hue.

Animation of light and colour activates its forms with shifting cadences illuminating the ribbed vaulting of its wrought iron structure and reflecting the passing waters of the Thames. The elliptical vaults form fleeting and mysterious geometries as they are mirrored in the river below. By activating the negative space light and dark push and pull in an ever-changing orchestration.

The winning team Lighting Journal January 2017

Leo Villareal (lead artist) Lifschutz Davidson Sandilands (lead consultant) Future\Pace (curator) Atelier Ten Beckett Rankine Bradley Hemmings

Core Five Futurecity Greenwich+Docklands International Festival Montagu Evans Pentagram Price & Myers

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12 Architectural lighting: Meadowhall shopping centre

RETAIL JOURNEY Formerly a visually tired, cluttered and rather incoherent space, Meadowhall shopping centre is in the process of being transformed, in large part through innovative lighting design, as Mark Ridler explains

Use of timber on the ‘high street’, random back-lit mesh in the gallery and textured panels in the arcade have transformed the space

Lighting Journal January 2017

M

eadowhall shopping centre in Sheffield is one of only six so-called ‘super-regional’ shopping centres in the UK. It houses 1.4 million sq ft of prime retail and leisure space on the site of a former steelworks, and attracts more than 25 million shoppers a year.

Although undoubtedly still popular, it opened back in 1990 and was desperately in need of refreshing and updating.

Much of what was fashionable when it was first conceived and constructed has now gone out of fashion – indeed, I was still working in theatre lighting design at that point!

It goes without saying lighting and lamp technology has also changed considerably in that time. We’ve gone from the world of fluorescent, cold cathode and metal halide to LED, in turn giving us much more scope to innovate and be creative.

There have been huge advances in controls technologies, maintenance, colour quality and our ability to change colour levels. The potential when it comes to colour change, control and dimming, and small-scale integration into materials is much enhanced.

Another big change in the past quarter of a century has been the speed and collaborative nature of the design process, our ability as lighting designers to iterate and swap in and out ideas and to communicate with our clients. Twenty six years ago we would all have been drawing in ink and spray mounting on to A1 card. There was no CAD, no DIALux and certainly not 3D; no InDesign, no Pinterest, Google or image search facilities.

That has all changed, and for the better.

Moreover, the role of the lighting designer within the wider architectural team has evolved – we are, in my view, an increasingly respected and integral member of the design team.

Our role and input – what we can contribute – is increasingly well recognised and well regarded, and this, to my mind, has been an important factor in the success so far of the Meadowhall project.

The project has been in three parts. Part 1, which was completed in the autumn of 2015, was a relatively limited overhaul and refurbishment of the centre’s Park Lane site. Part 2 has been a more widescale refurbishment, which is due to complete in the first quarter of this year. Part 3 of the project will be a new-build extension, but which only went to planning last autumn and so is still at a relatively early stage.

For Part 1 we worked with the Harris Partnership, which provided the interior design. We were commissioned to redesign the feature and functional lighting elements to create an enhanced retail environment for both customers and the retailers themselves. For Parts 2 and 3 we have been the architect, interior designer and lighting designer.

Architectural lighting: Meadowhall shopping centre 13

The Park Lane mall within Meadowhall shopping centre: the refurbished lighting scheme has made the centre a much more attractive retail destination

Our brief for Part 1 was to: • provide a refurbished lighting scheme for the Park Lane mall which provided both ambient and feature lighting • tackle the fact the mall was perceived as being under-lit and lacking in accent, sparkle and contrast • create a feature to connect the upper and lower shopping areas • add a dramatic lighting sculpture to deliver a ‘wow’ factor CLUTTERED ‘INCOHERENT’ SPACE Among a range of challenges, the visibility of the anchor sites was awful, and the vertical circulation routes were unclear and difficult to access. From the lighting perspective, the existing lighting displayed a lack of hierarchy and contrast; each surface was cluttered and competed for attention, which resulted in a visually incoherent space.

Because Part 1 was relatively limited in terms of what we could do architecturally, the first question to ask was ‘what can we do without really changing the architectural space, just by changing the furniture and the lighting?’.

One of the things that was good about the space was that it was blessed with high quality daylight. But where there were bridges and nodes there were large areas of ceiling that could appear during the daytime to be under-lit. The ceiling luminance was also not good. Surface-mounted semirecessed fixtures had been added over the years, but the overall brightness was still not successful.

The new lighting scheme we introduced for Park Lane therefore creates a more considered hierarchy of light, from low-level pilaster luminaires up through the chandeliers to

the lit roof structure. There is better ceiling luminance to the nodes and better lighting control; we also introduced colour change up-lighting to the barrel vault. For this latter change, I was pleased that we were allowed do something that was integrated and discreet yet still offered a better level of control, as well as a much improved aesthetic impact.

There are much clearer visual sightlines to anchor stores and shop fronts by eliminating elements such as bridges, escalators and lifts. The huge bulkheads have been removed, at a stroke improving daylight, retail visibility, and creating the possibility for double-height shop fronts

Lighting Journal January 2017

14 Architectural lighting: Meadowhall Shopping Centre

Left: the chandelier sculptures from a distance appear as intricately detailed lighting blocks, and from close-up as spiralling, falling leaves. Top right: back-lit white perforation on the Park Lane site – another innovative twist. Bottom right: concept image showing key consideration of the role of daylight

EIGHT CHANDELIER SCULPTURES For the ‘wow’ factor, in conjunction with Harris Partnership we introduced eight signature chandelier sculptures along the mall, with another at the upper level mall entrance.

These are illuminated by precise narrow-beam LED luminaire light projectors, so that each installation ‘rains’ down from the glazed roof.

From a distance, in fact, they appear as intricately detailed lighting blocks and from close-up they look like spiralling, falling leaves. In all, more than 10,000 pieces of polished stainless steel, clear acrylic and frosted acrylic were

Lighting Journal January 2017

suspended on ultra-thin wires, which were further enhanced by 20,000 clear crystals. Each chandelier is lit with cool white light from the LED projector luminaires, which are integrated into the mirrored suspension rafts above.

The roof structure is up-lit via continuous RGBW luminaires, providing a fully programmable and flexible backdrop running along the entire length of the mall and on to the two main domes at each end of the mall.

Part 2 has allowed more scope for a radical vision, for concepts that are intellectually integrated as well as technically integrated.

There are much clearer visual sightlines to anchor stores and shop fronts by eliminating elements such as bridges, escalators and lifts. The huge bulkheads have been removed, at a stroke improving daylight, retail visibility, and creating the possibility for double-height shop fronts.

The overall interior design has been refreshed and made much more contemporary, including making extensive use of local materials and reflecting the city’s proud industrial heritage.

From a lighting perspective, the brief was similar to Part 1, only this time we had a bigger canvas and a wider palette to play with. Integrated lighting elements highlight the architectural and material elements of the building to reveal the character of each area, while at the same time remaining discreet and attractive A key consideration has been the role of daylight – the outside conditions – in terms of providing a desirable destination regardless of the time of the day, month or year.

By working with daylight and having a much more consistent approach to daylight management, the centre’s lighting scheme can now bring the energy of a bright summer’s day into the building or embrace the darkness of an evening or winter months for a more intimate shopping experience.

CELEBRATION OF MATERIALITY Areas of differentiation have been highlighted through the use of different materials. The gallery, for example, has a random back-lit mesh; there is extensive use of timber on the ‘high street’; and there are textured panels in the arcade.

Another innovation in the Park Lane scheme has been the use of a back-lit white perforation.

Throughout the process, it was important to consider how people are going to use, inhabit and encounter the space, not just shoppers, but also tenants and maintenance staff.

It has been about building a concept around their concerns and needs. It has also been about brightness, what are you going to light or not light?

The result, I am pleased to say, has had a material impact on customer flow and retention. It has lengthened the retail day and the leisure offer has massively increased. There is more scope for people to use the centre as a social space, as relief from the shopping, and so to create more of a retail ‘experience’.

It used to be that you would drive to Meadowhall and get in and out as fast as you could. Now the vision is that a visit to Meadowhall will be about much more than just doing some shopping. It will be about stopping for lunch, going back and carrying on, then perhaps eating again in the evening and even going to the cinema.

The fact Parts 2 and 3 have yet to be completed means this overall vision has yet to be fully realised. For example, the cinema is not yet a reality and some of the leisure offers will only be in place when Part 3 is completed.

Nevertheless, Meadowhall is well on its way to becoming a ‘destination’ in its own right, especially for those who are coming from far afield; the geographical reach of the centre has been extended and it can now compete more effectively with its regional retail rivals. And lighting design has been – and will be – at the heart of this transformation.

Mark Ridler is head of lighting at BDP London

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Lighting Journal January 2017

16 Museum lighting

LIGHT AT THE MUSEUM

Lighting Journal January 2017

Museum lighting 17

Museums are under increasing pressure to make cost savings and improve the ‘visitor experience’. Lighting and new lighting technologies can give them answers to both, but it can be a tricky balancing act, as delegates to ‘Shine On’, a recent Museums Association conference discovered. Francis Pearce reports

I

n a Museums Association (MA) survey of 115 museums at the end of 2015, nearly a fifth of respondents said parts of their museum had closed in the past year or were about to, yet more than 60% also reported an increase in visitor numbers.

The financial pressures on museums come from all directions. In November 2016, some 2,000 people marched in London to protest against local government cuts to museums, galleries and libraries.

Earlier in the year, the MA’s policy officer Alistair Brown voiced its concerns over the effects of Brexit on the sector.

‘The loss of European funding and the likely impact on other public and philanthropic sources of funding will undoubtedly be damaging for museums and those who work in them,’ he said.

Some of the sector’s woes, of course, date back to the financial crisis of 2008/9, which saw the beginning of what has becoming a relentless climate of cuts. This was roughly the time when, coincidentally, museums also begun to look in earnest at improving their sustainability, including the role and use of lighting.

INTERACTIVE DISPLAYS In the museum world, ‘sustainability’ means a number of different things. It means directly reducing their carbon footprint and reducing the amount of energy they use, including letting in more daylight and using daylight more effectively.

But it also means working to engage more proactively with the communities they serve by making their public spaces more interactive and adaptable.

As the MA’s then head of policy Maurice Davies put it in 2013: ‘People are getting less comfortable with the model we have of doing permanent galleries every 20 or 30 years and there is an aspiration that displays should be more flexible, even in quite intricate installations with tailored lighting. The main spaces in museums should be used more flexibly for activities, events, and out of hours. That must have implications for the way lighting is plumbed in and how it is used.’

Light and lighting is at the heart of both these pressures. At the same time, LED lighting technology has matured and the opportunities for using lighting control have grown, both of which would be good news for museums – except for the fact that few museum professionals are also lighting experts.

The lighting designer on most museum projects is likely to a member of staff, a conservator, an administrator, a curator or a facilities manager, as the Society of Light and Lighting (SLL) acknowledged when it reissued its Lighting Guide 08: Lighting for

Museums and Art Galleries, in 2015. Roughly two decades after the original LG8 was released, it included a whole new chapter dedicated to ‘considering material degradation’ plus others on ‘lighting controls’ and the ‘use and control of daylight’.

All of which context brings us to the MA’s one-day ‘Shine On Lighting’ conference held last September designed to look precisely at these issues and pressures, how the sector can maximise how it uses lighting and how, in a cost-constrained environment, museums and lighting professionals can work together more effectively.

Paul Ruffles, the principal of Lighting Design & Technology and former chair of the SLL’s committee on LG8, conceded the guide is deliberately couched in language that the non-expert should be able to understand.

The guide was also intended to reflect the realities of a sector in which the technical challenges are more complex than most; end-user knowledge is limited, funds are scarce and lighting technology is on the march, he said.

ADAPTABILITY TO CHANGE Nevertheless, despite the financial pressures, museums are being built or refurbished – and relit. An example where all three issues identified in LG8 were key is the recent £15 million extension to Manchester’s Whitworth Gallery by architects MUMA and integrated engineering consultancy BuroHappold.

The RIBA award-winning project has improved access to its collections of fine art and textiles and reconnected the 120-yearold museum built ‘for the perpetual gratification of the people of Manchester’ with the surrounding park.

It includes a new landscape gallery lit by a light well, exhibition galleries, a passively air-conditioned collections store and a solarshaded café, aiming at a BREEAM excellent rating.

Addressing a Shine On audience mainly comprising museums experts, Jo Beggs, the head of development at Manchester Museums Partnership, said: ‘The redevelopment increased the footprint of the building by a third and public access space by 100% but delivered a 10% carbon reduction saving across the building and lighting played a big part in that.

‘We wanted naturally lit circulation areas, but the majority of our thinking about lighting was how to create a flexible system for the gallery spaces,’ Jo added.

With at least some displays changing every six weeks, it was necessary to install a lighting system that could be adapted rapidly. DALI-controlled LED lights throughout use 10% of the energy of the old tungsten lighting, but such an upgrade naturally required significant investment, which in turn meant the museum had to draw on external funding.

‘It was important to use the lighting to lever some of that money. The carbon saving was the key to convincing the Heritage Lottery Fund to provide £8.5 million of the £15 million. The previous lighting had been replaced gradually over the past 10 years but it was a mishmash; the capital project allowed us to think about the lighting as a whole,’ Jo said.

The project was not without its difficulties, however. ‘The cost consultants were not used to costing gallery lighting systems of the quality that we wanted install,’ Jo explained. ‘That meant that the lighting originally budgeted at £90,000 – which doesn’t include the track just the lighting itself – came in £25,000 over budget, which called for additional funding at a relatively late stage in the project.’ Salix Finance, which lends interest-free capital to the public sector to improve their energy efficiency covered the short fall. ‘It was an absolute godsend,’ she said.

Other additional funding was found for specialist conservation and historic lighting, including restoring the 1908 Arts and Crafts light fittings in the stairwells, paid for by The Pilgrim Trust.

‘It’s important to think about what funders might fund in the

Lighting Journal January 2017

18 Museum lighting broadest sense rather than thinking specifically about the details of lighting,’ Jo advised. ‘That was more about restoration of historic buildings and how those light fittings contribute to the staircase and bring it back to its original grandeur. Although the £5,000 was a small part of the whole funding, visitors notice them.

Tiny things like this also help with planning permission and show sensitivity to the detail of the historic building.’

The Whitworth is home to one of the UK’s finest art and design collections, with more than 50,000 objects, including works on paper, wallpapers and flat textiles. As the preamble to LG8 notes: ‘The presence of materials sensitive to light radiation introduces another range of challenges not normally encountered in general lighting practice.’

This was something very much at the forefront of Jo Beggs’ mind throughout the project. ‘Most of the collection involved lightsensitive materials, so we had to think about how to create a lightfilled space but also protect the collection. Blinds and powerful filters on the refurbished skylights are linked in order to deliver natural light where possible depending on the lux levels of the material on show,’ she explained.

‘Some lenders are unhappy with the idea of works being shown in natural daylight, but our monitoring shows that they are being shown in safe levels and we are also able to show visitors really notice that difference between works shown in the low light spaces that we had previously and the naturally lit galleries.

‘Ironically, lenders often have a painting over their fireplace but when you put them in a light-filled gallery space they are worried about levels, so, if necessary, we will put a lux meter next to picture to reassure them but, in the end, we’re not going to risk any of our collection,’ she added.

PROTECTING EXHIBITS Possibly the biggest change in LG8 related to a new focus on light dosage (as opposed to lux levels) in the ongoing trade-off that museums have to make between displaying items and conserving them.

Institutions and owners need to make informed choices about access to light responsive objects,’ but ‘both excessive illumination and insufficient light for viewing are wasteful’ Stephen Cannon-Brookes

Images from the Whitworth Gallery in Manchester showing, (top), the Landscape Gallery and (middle) details of its window bay. Bottom: another perspective of the Landscape Gallery

Lighting Journal January 2017

Museum lighting 19

The new west elevation of Manchester’s Whitworth Gallery, by architects MUMA and integrated engineering consultancy BuroHappold. All photography: Alan Williams

Museums generally adhere to illumination limits of 50 lux for light-sensitive materials and objects, as laid down in Garry Thomson’s 1978 book The Museum Environment, and 200 lux for less vulnerable items. Materials were originally categorised as having ‘fugitive’, ‘intermediate’ and ‘excellent’ stability. More recently a fourth category was added to include ‘items that cannot be displayed permanently’.

‘There’s a slight snag here, though,’ said David Saunders, vice-president of the International Institute for Conservation and former Keeper of Conservation and Scientific Research at the British Museum. ‘We’re taking categorisations derived from looking at exposure to an amount of light over a particular period of time and relating that to an instantaneous light level derived from our studies of the human visual system, and the link between the two is not exactly clear.

‘It’s a convenience rather than something that is an exact science. We can change that by looking at the cumulative effect of exposure. This relies on the laws of photochemistry and reciprocity,’ he added.

Multiplying lux and time (in hours) to get an exposure or dosage in lux hours is essential since curators have to judge what dosage is acceptable for each light-sensitive artefact.

‘One of the first tenets of conservation is that we should limit exposure to light,’ David said. ‘The second tenet is to just exclude UV radiation and to accept that the rest of the spectrum is needed for good colour and that we should display things under light and control exposure.

‘While some are more vulnerable than others, there will always be a trade-off between how long an object can be displayed and how soon it will be destroyed and a balance to be struck between the needs of the object and those of the viewer.

We have to ask ourselves how long we want things to last and how long they should remain unchanged. What will happen is different from what whether we can live with it; this drives lighting policy,’ he added.

To complicate matters further, ‘there is a huge difference in the levels of energy experienced by a work of art with different sources. Lux is not always equal to lux,’ said Joseph Padfield, The National Gallery’s senior scientific engineer.

‘Most museums and galleries don’t look at spectral distribution curves or have the equipment to do so. Most have lux meters and lux level is to do with human perception of brightness. Effectively, if you are looking at a work of art, how bright it will be to you will not be affected by a high-end blue or

a high-end red light but it will potentially have an effect on the painting, particularly ultraviolet and high-energy blue light. So, you might say 50 lux is fine but you are exposing that picture to twice the energy,’ he added.

Shine On’s chair, Stephen Cannon-Brookes, of CannonBrookes Lighting & Design and the International Council of Museums, argued it is just as much of a fallacy to assume that objects last forever or light levels below the recommendations quoted in LG8 or other guidance are ‘safe’.

‘Institutions and owners need to make informed choices about access to light responsive objects,’ he contended, but ‘both excessive illumination and insufficient light for viewing are wasteful’.

‘As conservators, we can easily agree that we don’t want fire and we don’t want pests but we can’t remove light from our museums and galleries because as well as being a potential problem it is essential for us to see beautiful objects. If you cannot see them, why bother to display them?’ David Saunders asked.

And, with this in mind, Jo Beggs made the telling point: ‘The first rule of fundraising is that you don’t sell the lighting, you sell the experience: a child seeing a Turner for the first time, or the dramatic way you can light an archaeology exhibition.’

The new opening looking from the Pilkington Gallery to the recovered central Exhibition Gallery at the Whitworth Gallery

Lighting Journal January 2017

20 Lighting projects: Erskine Bridge lighting and electrical refurbishment

BRIDGING SUCCESS

At 45-years-old, the Erskine Bridge across the River Clyde was long overdue for a lighting and electrical refurbishment. Louis Fourie and David Phillips explain how the project team overcame the challenges of a technically demanding contract

The completed Erskine Bridge: the new lighting scheme has extended luminaire and lantern design life, reduced maintenance costs and increased lighting levels

E

rskine Bridge is a major crossing of the River Clyde that connects Renfrewshire and West Dunbartonshire. Opened to traffic by HRH Princess Anne on the 2 July, 1971, it carries in excess of 40,000 vehicles a day. It is one of four major crossings over the Clyde, and serves as an alternative to the Clyde Tunnel and Kingston Bridge crossings.

It is a 15-span steel box girder bridge, with the largest span being between piers five and six over the River Clyde.

This part of the bridge is cable stayed with a central plane of two cable stays. The main span between tower centrelines is 305m and there are two 110m approach spans. The width of the road deck is 31.25m and the pylon height is 38m. The total length of the bridge (including approaches) is 1,321.87m and the navigational clearance is 45m.

With the bridge lighting and electrical infrastructure and systems being some 45-years-old, Scotland Transerv was commissioned to carry out a wholesale refurbishment. Works took place during the summer of 2016 over a 22-week contract period. The work was carried

Lighting Journal January 2017

out by principal contractor Lightways (Contractors) Ltd with its sub-contractor Marmac Services Ltd, with project design by Clayton Fourie Consultancy and contract administration by Scotland Transerv.

The tender cost was £3.2 million, with an overall out-turn cost including additional instructed works of approximately £3.7 million. This article looks at specific elements of the lighting work involved in this project but, as an overview, the project comprised the following: • Removal and replacement of the electrical cabling that supplied the internal lighting, electrical equipment and lighting columns on the bridge deck and bridge approaches • Removal and replacement of the internal lighting units, electrical network and sockets with Zone 2 equipment • Removal and replacement of bridge deck lighting columns and lanterns • Removal of the high mast lighting columns at the south end of the bridge and replacement with standard lighting columns fitted with LED lanterns

• Removal and replacement of aircraft

warning lights at the tops of the towers with LED lanterns and new support fixings • Removal and replacement of 16 high masts and lanterns within the Dalnotter interchange at the northern approach.

• Installation of new cabling and lighting columns on the bridge approaches, including the removal of the lighting columns and high mast lighting in the central reservation south of the bridge with replacement columns installed within the verge.

Figure 1. XLPE/SWA/XPLE power supply cables

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22 Lighting projects: Erskine Bridge lighting and electrical refurbishment

Figure 2. Luminance calculation, using design software Lighting Reality Pro

ADMINISTRATION BUILDING – METERED AND UNMETERED SUPPLY The existing distribution equipment, located in the administration building switch room was disconnected and removed. Two separate 3-phase electrical supplies by ScottishPower existed within the administration building switch room, which supplied the south half of the bridge and all the street lighting south of the bridge. There were also two separate ScottishPower live supply cables at Dalnottor at the north side of the bridge, which supplied the north half of the bridge and all the high masts north of the bridge.

This operation was coordinated with ScottishPower was carried out in conjunction with the installation of new distribution panels GS01 and GS02.

ScottishPower undertook the transfer of metered and unmetered electrical supplies and, in the case of GS02, the installation of a new meter with associated removal of existing meters.

The existing metered supply was replaced with a metered and unmetered supply. The metered supply serves the administration building and all electrical infrastructure inside the bridge. The new unmetered supply serves all the street lighting and communication equipment.

Existing outgoing circuit cables were terminated as a temporary measure, pending completion of the new installation.

The existing distribution boards were reconfigured to provide an unmetered supply to the southwest abutment electrical assets as well as the street lighting pillars.

Lighting Journal January 2017

Figure 3. The southern approach, showing completed lighting columns

A new distribution board adjacent to the existing board was installed by the contractor to provide a metered supply to all non-street lighting apparatus on and inside the bridge. All new high mast feeder pillars and road lighting/electrical supply feeder pillars were provided and installed by the contractor.

POWER CABLING AND WIRING The main power to the network was enabled via 95mm2 and 35mm2 4 core XLPE/SWA/XLPE power supply cables (Figure 1). There are four 95mm2 cables that make up the primary electrical network supply. Two cables from the south of the bridge and two from the north of the bridge each provide metered and unmetered supply.

The unmetered supply powers the street lighting and highway

communications (emergency response telephones, weigh-in-motion, automatic number plate recognition cameras) and the metered supply powers all other power and electrical infrastructure. The cable featured stranded plain annealed copper conductors, XLPE-insulated, low smoke and zero halogen (LSZH) extruded bedding, galvanised steel wire armour, with low smoke and zero halogen (LSZH) outer sheath to BS6724.

All cables on and inside the bridge were required to be labelled. The service cables were labelled with yellow and black labelling in accordance with UL94VO and BS3858. Where multicore or multi-pair cables were terminated into equipment whether lighting or auxiliary, the cable was glanded off to Zone 2 specification with any armouring earthed and the cable sheath carefully stripped

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24 Lighting projects: Erskine Bridge lighting and electrical refurbishment back to manufacturer’s instructions. All cables were individually terminated and secured at switches, cut-outs and other electrical apparatus by means of a brass gland and brass lock nut to BS EN 50262 and thereafter suitably shrouded.

LUMINAIRE SELECTION FOR EXTERNAL ROAD LIGHTING The existing lighting network for the bridge consisted of five high masts with eight lanterns (400w SON-T), 18 twin lantern (250w SON-T) columns south of the bridge, 40 twin lantern columns (150w SON-T) on the bridge structure and 17 high mast with eight lanterns (400w SONT) north of the bridge.

The new lighting network consists of 56 columns (95w LED) south of the bridge, 40 twin lantern columns (66w LED) on the bridge structure and 17 high mast with eight lanterns (128w LED).

Lighting design was carried out to EN13201:2015 using lighting design software Lighting Reality PRO (Figure 2). The road lighting was designed to M3/C3 class (L=1cd/m2; Uo= 0.4).

M3/C3 class was identified as per the CE115 criteria, with less than 15fTI disability glare.

Energy calculations for both power density and annual energy consumption indicator within EN13201:2015 were provided. The energy saving between the existing SON-T lantern and the new LED lantern were calculated to be 372,911KWH per year, which equates to more than 70% savings per year on energy and an associated carbon saving of 171 tonne per year, or a net £3,000 saving in carbon tax and an operational saving of £57,150 per year.

The profile to wind, size and weight of the lantern played a significant role in selecting the lantern. The new high mast lantern had to have an equivalent or enhanced profile to wind and had to weigh less than 16kg.

REPLACEMENT AND UPGRADING OF ROAD LIGHTING NORTH AND SOUTH OF THE BRIDGE The existing road lighting columns within the central reserve along the A898 Erskine Bridge south approach to the south abutment were removed.

The high mast lighting on the south side of the bridge provided light to the now obsolete toll plaza were also removed.

The new columns and cable network in this area were relocated to the verges and new ducting installed within the footpaths. This eliminated the need for in-service double fast lane closures to access and maintain the lighting. It also made the central

Lighting Journal January 2017

Figure 4. The TRT Aspect 3 Lantern

Figure 5. The luminaire is fitted on a planted aluminium column

reserve safer and allowed for a lower strength class vehicle barrier. The new lighting columns are aluminium columns (Figures 3 and 5) and were designed to be passively safe in accordance with BS EN 12767.

The luminaire chosen for the project was the Aspect 3 PowerSet by TRT Lighting. TRT is a high standard British-manufactured luminaire with high performance and very low glare (Figures 4 and 5). Each individual luminaire was fitted with an 868MHz node allowing off-site control and monitoring all being fed back to a central control station.

The existing five high mast light units adjacent to the administration building were removed (Figure 6) and replaced with new aluminium lighting columns fitted with LED luminaires incorporating dimmable DALI drivers and L-CMS control modules.

The high masts had 40 luminaires and were replaced with 26 columns, reducing the luminaire count by 14. New feeder pillars and supply cabling were installed in the footpaths to reduce the need for in-service traffic management, which would disrupt traffic flow and increase the safety risk for maintenance crews.

REPLACEMENT AND UPGRADING OF ROAD LIGHTING COLUMNS ON ERSKINE BRIDGE All the existing 10m-high twin bracket lighting columns and cable network in the central reserve over the length of the Erskine Bridge were also replaced with new aluminium columns with LED luminaires and CMS nodes.

A total of eight fold-down steel columns had lanterns replaced with new LED lanterns fitted with CMS nodes. The newly fitted columns were aluminium, with base plate details designed to suit the existing bridge deck plate fixing details. The columns were fitted with twin lock flush laser profiled doors and were thermoplastic coated over the lower 1m.

All the existing 150w luminaires were replaced with new 65w LED fitted luminaires and incorporating dimmable DALI drivers and fitted with CMS control modules. The feeder cables and luminaires to the two overhead sign gantries were also replaced.

The contract required new steel mounting plates fitted under the new central reserve columns to be welded to the steel orthotropic bridge deck. To save on cost and disruption it was proposed to reuse the existing base plates, with

Figure 6. A 45m crane was needed to remove the existing high masts. Image courtesy Lightways (Contractors) Ltd

Lighting projects: Erskine Bridge lighting and electrical refurbishment 25

Figure 7. New aluminium twin bracket columns on the bridge deck. Image: Lightways (Contractors) Ltd

threaded sockets re-tapped to receive new stainless steel holding bolts, an approach that significantly reduced the number of night lane closures that were needed.

New stainless steel studs were fitted into the existing baseplates and the baseplates tested to a pull off load of 56.2KN in accordance with BS 5080 Part 1-1993 (Figure 7). After the new columns was installed they were sealed with resin to ensure no water would permeate into the bridge structure.

Because the main bridge cable stays were serviced by cable stay man-riders with supply cables, the existing columns located under the main bridge cable stays were fitted with cable deflector assemblies (Figure 8). These were removed from the existing columns and re-fitted on the new aluminium columns.

REPLACEMENT OF POWER AND ELECTRICAL INFRASTRUCTURE INSIDE THE ERSKINE BRIDGE DECK STRUCTURE All new electrical cabling, cabinets, lighting and other apparatus within the bridge deck box girder was assessed to meet Zone 2 requirements under the Dangerous Substances and Explosive Areas Regulations 2002 (DSEAR).

Zone 2 is defined as a place in which an explosive atmosphere consisting of a mixture of air of dangerous substances in the form of gas, vapour or mist is not likely to occur in normal operation but, if it does occur, will persist for a short period only.

The existing electrical network inside the box girder comprised six 150mm steel cable ducts. These ducts contained live mains electrical cables and redundant telecommunication cables. This was replaced with a new network complying with BS7671:2008 Inc Amendment No. 1 2013. (17th edition). The existing steel cable ducts and cabling were replaced with new cabling housed within new trunking, conduit, cable ladder and cable tray. All electrical design, selection of material, installation and testing complied with the regulations and referenced

Figure 8. New twin bracket columns with LED lanterns, CMS nodes and cable stay deflector assemblies

standards given in BS7671 Appendix 2 section 5 and is designed to be used in a DSEAR Zone 2 classified area.

The existing 38W fluorescent strip lights inside the bridge structure were replaced with new 18W Zone 2 hazardous area shock/vibration-resistant LED luminaires with an IP66 rating and fitted with emergency battery backup.

The system comprised two LED luminaires within each box bay within the steel orthotropic bridge deck. The luminaires were supplied on a single phase at 230V AC from 17 distribution boards located inside the bridge deck, which themselves are supplied from main supply cables on a 400V AV threephase system. The internal lighting was designed to CIBSE Guide LG6, which requires 100 lux under service conditions and 10 lux under emergency backup. The chosen luminaire achieves an enhanced 50 lux under emergency backup.

Figure 9. Zone 2 LED fittings with battery back-up, as installed inside the bridge deck

The luminaire was required to be constructed of GRP material with UV stabilised polycarbonate glazing. The SPARTAN Zone 2 linear luminaires, ATEX- and IECEx-approved and rated for T4, T5 and T6 environments/locations were selected (Figure 9). The lumen output and light distribution allowed for a direct, easy replacement to the traditional fluorescent luminaires making regular lamp changes no longer necessary.

A new reduced low voltage power supply (110V AC) incorporating industrial sockets to BS EN 60309-2 was provided to eliminate the need for portable transformers. The transformers used to provide this power supply were located in the same bridge bay as the distribution boards. Cable calculations were based on supplying 16A to any one socket from the transformer.

The supply was protected by residual current devices complying with BS 7671. One 110V industrial socket was provided in each bridge cell throughout the bridge length, plus a further socket at each distribution board to allow easy maintenance of the distribution board.

This removed the need for maintenance crews to carry their own transformers with them when needed to carry out minor maintenance repairs.

The existing distribution boards were removed and replaced with new Zone 2 distribution boards which were designed to be fitted within the internal cells adjacent to man access platforms which were accessed directly from the cycletrack manholes.

The new distribution boards are fed from the new cable network. The metered supply feeding the south abutment of the bridge provides supply onwards up to and including the new distribution board in cell 43B just north of midspan. The pillars located at the A898/ A82 Dalnottar Junction provide both metered and unmetered supplies to the northern section of the bridge, at the north abutment and then onwards up to and including the distribution board located in cell 40B. The existing three-phase unmetered service, via newly installed circuits, supplies the road, street and high mast lighting at the north side of the bridge.

Rubber-based electrical switchboard protection matting (IEC 61111-Class 2 maximum working voltage 17,000V) with a continuous 3mm fine rib pattern was placed in front of each distribution board for isolation and protection of maintenance crews.

The existing cable and ducting within the bridge was replaced with a new cable network and cable ladders (Figure 10).

Lighting Journal January 2017

26 Lighting projects: Erskine Bridge lighting and electrical refurbishment 360 degrees and have a flash rate of 20fpm. The unit was required to be fitted with a CMS node at the junction box to indicate the status of supply.

The new LED has built-in photocell and monitoring and provides a low consumption accurate optical light beam which reduces light pollution. The fitting has a 100,000-hour design life, so reducing the need for double fast lane traffic management closures every six months to replace the lamps and the associated need to send maintenance crews up onto the tower.

The new bracket is designed to hinge and rotate, bringing the lantern into the man access catwalk at the top of the tower, making it safer to maintain. In addition, new permanent power sockets at the base of each bridge tower for the operation of the tower access man rider and wrap-around platforms were fitted.

Figure 10. Cable ladders with LED Zone 2 luminaires, isolator and power socket

The principal benefits of the project are the 70% savings in overall energy consumption, with an associated saving of ÂŁ3,000 per year in carbon tax The six existing 100mm diameter steel cable ducts running end to end inside the bridge were removed without damage to the internal cables, and replaced by new cable ladders. The redundant cables and ducting were removed from the bridge structure and taken to a licensed recycling plant.

Lighting Journal January 2017

The existing service cables were not removed until the new services were installed and commissioned. All the new installations installed inside the bridge were by mechanical fixings only. No invasive drilling or welding was allowed during the installation process. The new open top cable ladder provided a defined corridor with segregated power and communication cables. This served to organise the cables and facilitate future maintenance and provision of new cabling.

The existing luminaires, distribution boards, sockets, cabling and wiring were disposed of in accordance with the WEEE directive. All redundant cables, ducting, lighting columns, pillars and similar were removed from the bridge structure and central reserve and taken to a licensed recycling plant. Because the existing distribution boards contained asbestos a licensed asbestos removal contractor was employed to arrange removal.

REPLACEMENT OF BRIDGE TOWER AIRCRAFT OBSTRUCTION LIGHTING The scope of works required the four existing navigation lights to be replaced with new LED aircraft warning lights, cabling and electrical supply. This included the removal of the existing support bracket and replacement with a new stainless steel retractable bracket.

The new LED aircraft warning light complies with ICAO Annex 143, was designed to be visible horizontally over

INSTALLATION OF INTELLIGENT ROAD LIGHTING MANAGEMENT SYSTEM A new Philips Starsense wireless street lighting central management system (CMS) for monitoring lamp usage and lamp faults was installed.

The system was capable of dimming the luminaires if required. The CMS incorporates wireless communication technology and was required to be scalable within the South West Trunk Road Operating Area.

The CMS allows the operating company to switch or trim light output to appropriate lighting levels depending on the amount of traffic on the A898 and A82 at any time and do remote monitoring from computer or web enabled devices.

It also provides an extremely accurate control, monitoring and reporting system covering fault identification and diagnostics, predictive lamp failure, energy use, billing, lamp status, performance data and predictive maintenance. The system is capable of communicating live inventory and defect information to third party asset management systems.

Ballast nodes were fitted through a hole and mounted through the canopy of the luminaire. The ballast node provides the highest degree of system functionality as it allows dimming to be implemented remotely. The node is a light-weight, highimpact-resistance product, which can operate within a wide temperature range.

REPLACEMENT OF NORTH ABUTMENT UNDERPASS LIGHTING AND ELECTRICAL INSTALLATION The electrical installation within the north abutment underpass was upgraded in accordance with BS7671:2008 inc.

Lighting projects: Erskine Bridge lighting and electrical refurbishment 27

Figure 11. Typical cross section through bridge at web access platform location with (above) luminance modelling

Amendment No. 1 2011 (IEE 17th Edition Wiring Regulations). The existing underpass luminaires and covers were replaced with LED luminaires. The luminaires are configured to be switched on via solar time clock. The luminaires are fitted on to brackets fitted to the bridge structure via mechanical means.

CONCLUSIONS This paper presents some of the technical and logistical aspects of the Erskine Bridge lighting and electrical refurbishment contract.

The principal benefits of the project both to the client and the operating company are the 70% savings in overall energy consumption, with an associated saving of ÂŁ3,000 per year in carbon tax.

Power and electrical infrastructure, luminaire and lantern design life has been extended from three years to 25 years, resulting in reduced maintenance and therefore fewer planned road

closures. All columns, high masts and feeder pillars had an extended 50 year design life. The lighting levels inside the internal structure have increased to 100 lux, with an associated reduction in energy of 50% with the additional benefit of emergency back-up lighting.

The execution and installation of the new bridge external street lighting, high mast lighting, internal deck lighting and associated power and electrical infrastructure presented major challenges. The internal deck works required continuous working within a Zone 2 confined space and both the central reserve above deck bridge lighting and the bridge north and south approach lighting and high mast lighting required working at height and extensive logistical traffic management planning to execute the works.

The successful construction of this technically demanding lighting and electrical refurbishment contract was

the result of high levels of skill, diligence and application in the workplace by the Contractor Lightways (Contractors) Ltd and sub-contractor Marmac Services Ltd, together with good working relations by all project participants.

Louis Fourie is a director at Clayton Fourie Consultancy and David Phillips is resident engineer for Scotland Transerv at Erskine Bridge

ACKNOWLEDGEMENTS Client: Transport Scotland Main contractor: Lightways (Contractors) Ltd Sub-contractor: Marmac Services Ltd Designer: Clayton Fourie Consultancy Engineer: Scotland Transerv

28 Lighting design

COMPUTER POWER Technology has revolutionised how lighting designers work and collaborate. From chunky desktops with green screens to mobile functionality, Guy Harding takes a personal look at how his world has changed, and the opportunities this creates

Portable devices such as tablets and mobile phones will soon make it possible for on-site lighting design changes to be tested ‘on the hoof ’

W

hen I got my first job in lighting back in 1988 I was introduced to lighting calculation software.

I was working with a manufacturer that had developed its own in-house software.

This ran on stand-alone PCs with green screens which stood proudly on separate desks in the office. The software was a basic calculation tool for road lighting and needed the grid, observer position and all of the luminaire positions defining on an x, y, z grid.

Once all the data was entered then you sat back or went for a cup of coffee whilst the calculation was performed. If the result was not quite to the standard then you reset the spacing, grid size and tried again: each iteration of the design taking several minutes to calculate.

Over the years, the software developed, computers became more powerful and more possibilities have opened up. Independent lighting design software has become available and interaction with other software has become possible.

Over the last few years I have become more and more involved with architectural lighting. Generally this has been area lighting, and modern software allows the importing of the clients’ CAD

Lighting Journal January 2017

drawing and the creation of drawing layers specifically for the lighting design.

Luminaires can be positioned, copied and/or drag-and-dropped to set up the scheme. Calculation grids can be set up and masked as required to cover the design area. The software calculates results in real time and allows luminaires to be moved or angles adjusted to achieve the desired result. As the luminaires are moved the results change allowing the user to see the changing effect instantly. This is such an advance on the early purely mathematical tools described earlier.

3D LIGHTING DESIGN In my new role, I am considering architectural lighting of not just areas but structures as well. This is true 3D lighting design. Not only can 2D drawings be imported into the software but old drawings or PDFs can be scanned and imported into the software.

Solid objects such as walls, sign faces, roofs and so on can then be built within software and assigned reflectance values and colours. Solid 3D parts created in other software drawing packages such as SolidWorks can also be imported. Complete building structures can then be created before

the lighting design commences.

Luminaires can be inserted with an option to show a graphical representation of the peak beams.

Calculation grids can be set up to any desired shape and at any position. Once the calculation is initiated the results are given not just as numeric values on a grid but as rendered illuminated surfaces in three dimensions.

This is a really useful tool to show what the finished design will really look like. The only downside is that, if a change is made, then the results have to be recalculated. This harks back a bit to the early days of lighting design mentioned earlier, as the software is not capable of showing real-time results yet.

I am sure this will change in the future.

The finished renders can be shown to clients, designers, planning authorities, consultation groups, ecologists and so on to demonstrate how lighting can be used to show off a structure at night.

Lighting design is not always a case of meeting the numbers required to meet the relevant standard but is the creation of effects. No longer is lighting design merely number-crunching, it is a real-world simulation allowing multiangle viewing and even ‘fly-throughs’.

Potential problems on site such as

Lighting design. 29 disability glare to pedestrians can be picked up long before they become a reality requiring an expensive fix.

PORTABLE DEVICES What does the future hold for lighting design? Photographs are beginning to be incorporated to provide another level of reality. Portable devices such as tablets and mobile phones will soon make it possible for on-site design changes to be tested ‘on the hoof’.

The ever-increasing processing power of computers and improving computer screen technology is moving ever closer to demonstrating even the smallest changes in luminance. But I have to admit that, in this world of relying ever more on computers and their output, I find it oddly reassuring to know that the human visual system is still hugely more sensitive to contrast in the real world than the absolute luminance figures calculated by computers and the capabilities of even the most modern screen.

As an architectural lighting manufacturer, we are regularly asked

Modern software such as CAD has transformed how lighting designers can work with clients

to show what the structure, the bridge, the station and so on will look like under certain lighting conditions.

The lighting design software will provide this and will also predict the numbers. The trick all the time within

this is to provide a visual likeness whilst ensuring the minimum/maximum levels are met and not exceeded.

Guy Harding is technical manager at SILL Lighting UK

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30 Independent lighting design

IMMACULATE CONCEPTIONS

An IALD event using an innovative wall projection showcased the creativity, hard work and inspiration that goes into taking a project from concept to the final stage.

Emma Cogswell was there

A

s part of my job I organise events for the IALD. This means I search the internet, read magazines and generally keep my eyes and ears open to anything lighting related. The idea is to generate conversations around light. Then through these conversations we can meet new people or reaffirm with colleagues the value of light.

We are constantly searching for people to bring into our special world of light and show them how magnificent it is. Having the power to transform is a quality that seems to have intoxicated all the lighting people I know. But that’s

Lighting Journal January 2017

half the problem – what’s the point in talking to other lighting people who know the same stuff as you?

For me, the Holy Grail of lighting events is always to incorporate the thoughts and ideas of others in the construction industry, to create a wider dialogue, to listen to them and their views and hopefully, in turn, show them the value of our skill set.

It would appear to me there is a kind of lighting ‘Venn Diagram’ where in the middle bit where the two overlapping circles meet these special people sit.

Keep this in mind when I explain what happened next.

PROJECTING WALL Earlier last year I bumped into my IALD colleague Colin Ball at a lighting event and asked him what was new in his world. With a huge smile and a lot of pride Colin described to me his latest in-house project, which he had just completed at BDP London.

In essence, it’s a 15m by 3m brushed aluminium screen with the depth of 30cm. On wheels.

To the front face – looking out of the building – are mounted three projectors which are seamlessly matched to create one continuous image or video that can be projected on to a wall, even if,

Alex Trylski Photography

Independent lighting design 31

Colin Ball explaining the concept behind his wall projector

because of the size, the images can often appear abstracted.

Nevertheless, Colin then went on to explain that, because BDP is such a multi-disciplinary practice, there was plenty of work to show on his giant screen. Our conversation developed in the following week, after I paid a visit to BDP to see the screen in action. It was, indeed, impressive.

Colin describes his thinking behind the wall in the following words: ‘How much of your daily life is now communicated into a screen, a lit image? How much of the remainder is then witnessing a moving image on

Within any company a great many projects and disciplines are all being conducted simultaneously. As these are all mostly being communicated within the virtually-lit Ethernet interior, much of the knowledge of these projects is hidden until the end result becomes revealed to the public. There’s little witness to the craftsmanship, the creativity and endeavour that gets a project to the final stage Lighting Journal January 2017

Alex Trylski Photography

32 Independent lighting design

Guests enjoyed the images but still stood back from them, remaining as ‘the viewer’ rather than allowing themselves to be enveloped

a screen? Is it still enough of a recent phenomena for us that we can still notice it, that people may communicate with each other in a dual phased environment: one naturally or artificially lit in a space of three dimensions, the other a digitised strobing image in the palm of our hand? The next time you sit in a cafe, count how many are communicating in each of these worlds.

‘It’s not only communication which exists in this dual form; our thought processes, our creativity is also being realised in greater extent within the digitised, virtual form rather than shared and objectified within three dimensions.

The processes that each of us employs every day, which results in a building being built, is an activity much of us are communicating into the digitised realm – on to the server, into the BIM model, across the Ethernet.

‘A “building” is a verb identified by its three last letters – its action is that which brought it into being. What happens when the digitised image is brought out of the screen, out from the secured black box in which we’re supposed to witness it? When we can witness what the thought process of a team of professionals is, and bring this into the space in which they conduct themselves away from the screen, we create an opportunity to inspire in a different way,’ Colin explains.

‘The virtual image, when brought into the everyday space in an integrated seamless manner, transforms the space in which it sits. When that image is the actual work being conducted within the environment, it engenders an increased level of communication and inspiration.

‘Within any company a great many projects and disciplines are all being conducted simultaneously. As these are all mostly being communicated within the virtually-lit Ethernet interior, much of the knowledge of these projects is hidden until the end result becomes revealed to the public. There’s little witness to the craftsmanship, the creativity and endeavour that gets a project to the final stage.

‘Projecting precisely this process into the entrance area of the building looks to address this. Making apparent the activity of the designers within the building as the first impression of any visitor defines the place as one of creativity. Every visitor becomes very aware of what’s happening within the building when they get an actual glimpse of it.

‘Lighting, as the method of communicating space to the occupant, is now entering into the digital revolution.

Our actual space, the 3D analogue environment around us, is about to change, to merge even further into the digitally imaged world that we have occupied now for more than a decade,’ Colin adds.

CROSS-POLLINATION Armed with Colin’s passion and intent for his project, I suggested we reach out to other creatives to see what content they could share with us.

We conceived the idea to invite ten participants from a range of disciplines and see what conceptual work they had on the go in their studios. Ideally, we wanted to see what made them tick and, more widely, gauge the often brilliant

work that’s done between concept and completion – scene-setting them each the same parameters of a three-minute video.

For those who didn’t have video content to share we were able to merge still images together and make a presentation that way. We were very fortunate to have acceptance from ARUP, BDP, Gensler, Haberdashery, Jason Bruges, Loop Ph, Liz West, Make, Piero Castiglioni, Speirs + Major, Wolfgang Buttress and Zaha Hadid Architects.

On the night itself, which was held at BDP’s offices in Clerkenwell in October, we had more than 130 attendees and for the first time it truly felt as if we had begun to achieve that cross-pollination, that collaborative Venn Diagram, I alluded to earlier. Each of our contributors spoke over their images to explain them, and then their images ran continuously for the rest of the evening in a giant 36-minute loop.

We were also very lucky to be treated to a special speech by Piero Castiglioni, with signed copied of his sketches on offer and fabulous goodie bags from OSRAM. Both Colin and I remarked that, while the guests were all clearly enjoying the images, they still stood back from them – when we thought they would walk through the projections to become part of the space. It seems our relationship is still most readily that of ‘the viewer’, and we perhaps need a bit more ‘evolution’ before we allow ourselves to become totally enveloped!

Emma Cogswell is IALD UK projects manager

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STREET CHARGE

EV CHARGING STREET LIGHTS

EV Street Charge There are hundreds of thousands of street lights throughout the UK, many of which have sufficient electricity available to be upgraded to provide electric vehicle charging.

EV Street Charge has developed a revolutionary new public facing EV charge point management system called ‘EV Charge Online’. This enables every EV driver to simply pull up to a charge point and, using their mobile phone, tablet or in-car connectivity, login to the charge point and pay on the spot for its use.

34 Inside the ILP: YLP

WARMING GLOW The march of technology means it is now possible actively to consider warm white LED sources as a suitable solution in exterior lighting applications, argues YLP member Ryan Carroll

L

ocal Authorities have been under increasing pressure to cut their budgets and expenditure since 2008. High costs associated with energy and maintenance of lighting assets needed to be dramatically reduced in order for public lighting to remain affordable. The implementation of LED luminaires provided a solution for local authorities.

As most lighting professionals will well be aware, LED sources are typically available in a range of CCTs (correlated colour temperature) between 2,700K (warm white) and 5,700K (cool white). Early implementation was focused on the higher CCT values as they provide better lamp efficacy.

However, there are other issues related to the visual performance and comfort which need to be taken into account. Competent lighting professionals have been guiding clients to reduce the CCT in recent years, such that 4,000K (neutral white) is now the most widely used option.

There are calls from some activists and clients to further reduce the CCT to a maximum of 3,000K (warm white), however, the implications for energy consumption as a result of using warm white has been a stumbling block for designers, because of the efficacy difference between 3,000K (warm white) and 4,000K (neutral white) sources. Warm white sources do not at first glance deliver the most favourable business case.

Primarily, this is down to the physics behind the warm white LED chip, which requires more electrical power to provide the same level of light output (luminous flux) as the neutral white LED chip.

Following developments in warm white LED technology relating to improved efficacy, it was interesting to compare the energy consumption per kilometre of road between 3,000K and 4,000K to see if there was a business case for moving towards the warmer 3,000K LEDs. It can be seen in typical example scenarios that the difference in energy consumption between warm white and neutral white LED chips has reduced to approximately 10%15%, dependent upon the fluctuation of variables such as roadway geometry, luminaire installation geometry, lighting class and optical distribution of the luminaire and so on.

For subsidiary roads, the difference in energy consumption tends to increase (as opposed to traffic routes) as the S/P (scotopic/photopic) ratio is a consideration from BS5489-1.

As the S/P ratio of warm white luminaires is lower than that of neutral white luminaires, a subsidiary road that is illuminated with a warm white source will require lighting to a slightly higher average and minimum illuminance, thus requiring more energy, and light! In some cases this could lead to a minor

Lighting Journal January 2017

increase in the potential for obtrusive light in the form of light intrusion where lighting columns are sited in close proximity to bedroom windows.

Of course, there are options available to reduce the potential for light intrusion, such as the use of shields and specifying luminaries with integrated shielding within the LED module itself. An equally important issue is the aesthetics of lighting and how sensitive some people are to changes, especially when increasing the colour temperature of a source from that of low or high pressure sodium to neutral white at 4,000K. Because of the increase in light levels and energy consumption, the business case for using warm white LED sources for lighting subsidiary roads is therefore marginally reduced compared to neutral white (if based purely on energy consumption). Although, it is important also to consider the visual appearance of the lighting within a task area to ensure an even balance is struck between energy and visual performance of the light source.

In essence, there needs to be a consideration for the visual appearance of lighting as well as the business case for energy reduction. In a world where budgets are becoming tighter, and energy efficiency targets are also of paramount importance, it can be tough to achieve a suitable balance.

CONCLUSION There have been questions raised surrounding potential health implications for the use of cooler colour temperatures within exterior lighting applications; this is something that requires a great deal of further research by suitably qualified and able bodies moving forward.

The aim of this mini-paper has therefore been to focus on the developments in warm white LED technology. The conclusion is that technological developments now enable warm white LED sources to be actively considered as a suitable solution in exterior lighting applications.

CALLING ALL YLP MEMBERS! Would you like to have your voice heard by the lighting community? The YLP column is dedicated to articles, information and news about YLP members, therefore if you’ve attended an event, or would like to write an article, or share your experiences from within the lighting industry, please contact Tom Baynham: ylp@indolighting.com Ryan Carrol is a lighting designer with Designs for Lighting and the YLP’s Technical Representative

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36 Legal issues

BARGAINING HUNT

If you’ve been tasked to provide specialist advice, it is important to give careful consideration to potential negotiating points within the contract to be sure you’re fully protecting yourself, as Howard Crossman and Sarah Lidgett outline

T

he role of a lighting consultant is to provide ‘professional’ specialist advice. The appointment can take a variety of different forms. Even if it’s not in writing, a consultant may have a duty of care for the services performed.

Consultants in lighting, whether designing sports lighting, car park lighting or general commercial lighting, by way of example, will be familiar with the key clauses that arise in the professional appointments. However, careful consideration of the negotiating points in these clauses will be essential in order to protect the lighting consultants’ position and with regards to Xxxxxx their insurers.

Lighting Journal January 2017

STANDARD OF CARE In law, the implied standard for a lighting consultant is reasonable skill and care.

However, it is usually best to agree an express standard to be set out in the professional appointment, as this will set the benchmark for the quality of services and the level of risk. One of the benefits of including this expressly, rather than relying on an implied term, is so there can be no doubt as to the standard expected.

Clearly, the client will want to impose the highest standard of care that it can, and so may try to include a ‘fitness for purpose’ clause. This is a very high standard, as the lighting consultant will effectively be guaranteeing that the end product will be suitable for its intended use. Many professional indemnity insurance policies will also not provide cover for a fitness for purpose obligation.

A lighting consultant should therefore resist this and insist upon a ‘reasonable care and skill’ clause.

There is no ‘standard’ wording for this clause as such, and so a requirement to use the same level of skill and care as would be expected of a competent professional in that area would usually be acceptable. Lighting consultants should also then be aware of which duties are subject to this standard, and which are absolute obligations (for example to comply with specified statute, such as the CDM Regulations).

The clause, which seeks to ensure that the lighting consultant is still liable, notwithstanding any approvals or inspections by the client, is also often a point of negotiation, as the lighting consultant will often try to qualify this liability. Sometimes lighting consultants are concerned that this clause will prohibit them from seeking any contributory negligence; however this is not the case. These clauses can therefore often be agreed following discussion between the parties.

COPYRIGHT The lighting consultant will want to exclude liability for services provided, which have been used for any purpose other than that for which they were prepared and/or provided. You can try and make this stronger and change this so that it is the purpose for which the lighting consultant considered it had provided the documents. Equally, you can try and argue you cannot indemnify the client for claims of infringement of copyright where this has been vested in a sub-lighting consultant rather than the lighting consultant themselves.

If Building Information Modelling (BIM) is being used on the project, this will change these clauses as each party contributing to BIM will want to retain control of its design. The extent to which further consideration of intellectual property rights and liability is necessary

Legal issues 37 will depend on what level of BIM is being used and the ability of each party to amend another party’s document.

This may also raise concerns for the lighting consultant’s professional indemnity insurers. The lighting consultant’s main concern will be to reduce its liability as much as possible in these situations, and certainly for any amendments that are made without its express consent.

ASSIGNMENT Clients and consultants will have competing interests when it comes to negotiating the assignment clauses.

The client will want as much freedom as possible to assign your liabilities (for example to a tenant or future purchaser); whereas you will want certainty and to limit the possibility of assignment of your liability to others.

There is therefore nearly always negotiation on this clause. As a compromise, the parties will agree to limit the number of times or circumstances in which the appointment can be assigned (both with and without consent of the designer). There are various ways in which this clause can be agreed, with the standard market position being two assignments to

The client will want to impose the highest standard of care that it can, and so may try to include a ‘fitness for purpose’ clause. This is a very high standard, as the lighting consultant will effectively be guaranteeing that the end product will be suitable for its intended use

anyone with an interest in the project, but then no limit on the number of assignments to a funder or group company of the client. In return, the lighting consultant will often require the client to notify it when an assignment has taken place.

There is sometimes also negotiation on the ability to assign ‘at any time’, and the lighting consultant may try and restrict this to being for a specific purpose, such as completing the development. A client is likely to resist this, on the basis that their ability to assign must be unfettered and the interest being assigned is bound to the property and is not personal.

In lighting, you may also be concerned to stipulate that all appointments are assigned at the same time, in order to preserve the right of contribution against another consultant following assignment. In practice, it is likely all assignments will take place at the same time, but a client will probably try and resist being pinned down on this and so might try and agree that they will take place at ‘around the same time’ so they don’t breach this obligation if an assignment doesn’t happen at exactly the same time.

INSURANCE There will sometimes be an argument concerning the level of professional indemnity insurance, and whether this should be ‘in the aggregate’ or for each and every claim. Usually you will try and insist that insurance is in the aggregate, at which point the client would probably ask for automatic reinstatement after each claim.

Some clients may want an ability to insure themselves and deduct sums from the lighting consultant, should the lighting consultant be in breach of their obligation to insure. Whilst there can be negotiation on this, lighting consultants do usually agree to this and we have seen this occur on a number of occasions in the market.

The lighting consultant will try and limit its obligation to maintain insurance on the proviso that insurance is available at commercially reasonable rates and terms, which the client will usually accept.

A lighting consultant who does not have design responsibility may try and argue he or she should not be required to maintain professional indemnity insurance, but a client is likely to insist on this as it can apply to professional negligence and other breaches of contract in relation to non-design services too, so the lighting consultant may not be able to escape that easily.

WARRANTIES A client is likely to want collateral warranties which may be required by any third parties. The client will generally try and argue for as many warranties as they consider to be required, and are unlikely to concede on this issue.

The client can sometimes try and include a power of attorney clause in the appointment, such that the client will then be able to procure warranties on behalf of the lighting consultant. You will obviously try and resist this clause.

The warranty will often contain many of the clauses within the underlying appointment.

LIMITATION OF LIABILITY You will argue for a limitation of liability cap, which will often be linked to the amount of professional indemnity insurance. Limitation of liability clauses are becoming more widespread in the marketplace. Be warned, clients will try and resist these, particularly with new lighting consultants that the client has not worked with before.

Ultimately, the parties have conflicting motives when they are negotiating these clauses, as the lighting consultant will want to limit as much liability as possible, whereas the client will want the opportunity to recover damages from the lighting consultant wherever possible.

Commercial compromises can clearly be reached, as usually the parties will meet somewhere in the middle. Once this cap has been agreed, this must be set out clearly in the appointment, as case law has indicated that any ambiguity will be construed against the lighting consultant.

A lighting consultant may also propose a net contribution clause, which would effectively reverse the standard position of joint and several liability and try to limit liability in situations where more than one person is responsible for causing the loss. This is one of the most negotiated clauses in the appointment.

The clause would seek to limit the damages that a party would have to pay to the other to a ‘just and equitable’ proportion of the loss, depending on how much blame for the total amount of the loss falls at their door. This clause will normally be resisted by the client, on the basis that the principle of joint and several liability will only impose liability where it is justified, and a lighting consultant that is at fault may be able to escape some of the consequences of its default if a net contribution clause is in place.

The position in the marketplace in

Lighting Journal January 2017

38 Legal issues respect of these clauses is therefore mixed. They are indeed accepted by some clients and likewise resisted by others. The extent to which they are accepted is sometimes affected by how buoyant the market is at the time the appointment is being negotiated, as well as other drivers concerning the relationship between the client and the lighting consultant, for example whether alternative lighting consultants are available and the urgency of getting the appointments completed.

DELETERIOUS/PROHIBITED MATERIALS A client is likely to want to include a clause in the professional appointment which prohibits the use of ‘deleterious’ or ‘prohibited’ materials, in other words materials that can be considered to be dangerous, or even just environmentally unfriendly. There can sometimes be protracted negotiations on this clause.

Lighting consultants sometimes argue that, if they are not a specifier of materials, they should not be subject

to this obligation and/or they should not be subject to an obligation which prevents them from authorising another consultant to specify deleterious materials. Indeed, a lighting consultant is perhaps unlikely to be involved in the selection of materials, and therefore may wish to delete this clause on the basis that it has no practical impact.

Equally, lighting consultants may require that these obligations are limited to the time that the specification is prepared rather than be incorporated throughout the project.

Nevertheless, the client may want to include these clauses so every person involved in the project is subject to the same requirements. They may also want to protect themselves in the event the consultant’s role changes to include design or specification services, in which case these clauses do become relevant.

Generally these clauses can be tweaked to suit specific situations; however consultants should be prepared to face resistance to this from the client. Ultimately, lighting professionals are coming under more pressure nowadays to reduce energy consumption and CO2 emissions, therefore provided the clause does not conflict or cause any problems with these aims, the consultant may be prepared to agree to the inclusion of this clause to give the client comfort, which in turn may allow the consultant to fight its battles elsewhere.

CONCLUSION Many issues that arise will also vary greatly depending on the commercial bargaining position. There is not a ‘one-size-fits-all’ approach. Specialist advice should therefore always be sought where possible to obtain the best possible outcome of these negotiations to try and minimise the risk of things going wrong later down the line.

Sarah Lidgett is a solicitor and Howard Crossman (hcrossman@greenwoods. co.uk) is head of construction at Greenwoods solicitors LLP. With offices in London, Cambridge and Peterborough, Greenwoods is a UK commercial law firm providing legal advice and pragmatic solutions to local, national and international clients.

Lighting Journal January 2017

As the nights draw in...

Take control, making the streets safer and more responsive By combining energy efficient LED street lighting with cellular communications and cloud based lighting management, we can create connected networks that transform the way street lights are monitored, managed, and maintained.

Philips connected lighting systems: making street lighting more responsive and efficient at the same time.

That’s how Philips Lighting is taking Light Beyond Illumination www.philips.co.uk/publicspaces

40 Inside the ILP: Premier membership

PREMIER LEAGUE The ILP’s Premier corporate membership category is a year old this month. With 21 members signed up, it’s got off to a flying start, says ILP chief executive Richard Frost . So why not make becoming a Premier member one of your organisation’s New Year’s resolutions?

B

ack in late 2015, when the ILP launched Premier membership, I described it in Lighting Journal as ‘a new departure for us, but an exciting one’. It was, I predicted, going to interesting to see how this new category of corporate membership was received within the profession and ‘I, of course, hope we become victims of our own success and that it really takes off.’

So, one year on from its launch in January 2016, how is Premier membership looking?

Well, with no less than 21 Premier members signed up in just the first 12 months (so nearly two a month) it would be safe to argue Premier membership as an idea, as a brand, and as an opportunity has indeed taken off.

Lighting Journal January 2017

The reaction and feedback from members, the profession and industry has been unanimously positive. We’ve been delighted with the growing number of companies who have committed to becoming Premier members. Moreover, judging from the positive feedback we had in October at the annual Premier membership forum, Premier membership is something organisations find to be valuable and well worth the investment.

CLOSER ILP LINKS What, then, is Premier membership?

Premier membership is essentially a way for organisations to forge closer links with ILP members, with the wider industry and profession.

Premier members gain valuable networking and marketing opportunities.

Premier membership is also a way to showcase your organisation’s expertise and thought leadership by hosting CPD presentations and contributing to technical and education forums, hosted by the ILP Vice Presidents.

The full list of Premier member benefits is listed above and, as I also explained back in 2015, Premier membership is designed to be ‘a living scheme to develop and grow as members’ needs change.’

But don’t just take my word for it. Alistair Scott, managing director of Designs for Lighting, sums up his reasons for joining. ‘Designs for Lighting’s success is built on the quality and competency of our lighting designers, against which clients expect to see professional institution membership. The ILP is the professional institution whose aims, activities and aspirations, most closely align to those of our design practice.

‘Our participation in the Premier

WHAT PREMIER MEMBERSHIP OFFERS • Four staff as ILP members • 5% off regular membership for unlimited additional staff • An opportunity to host a CPD presentation at an ILP or YLP event (minimum of one 20-minute session per year) • An invitation to contribute to ILP national agendas, to be discussed at national forums • Promotion of your CPD activities in the ILP newsletter • Half-page advertorial presence in Lighting Journal (300 words and illustration) each year • Use of the special ‘Premier’ logo in your marketing material • A feature on the ILP ‘Premier Membership’ profile news and innovations web page.

• £500 voucher redeemable on services and events.

• Free use of the ILP’s Rugby training and meeting room facilities throughout the year, with complimentary tea and coffee.

membership scheme gives confidence to our clients and a platform which facilitates our investment in training, CPD and marketing, providing effective financial payback.’

However, while the first 12 months have been a very positive start, the ILP is looking during 2017 to sustain and build upon this success – we want Premier membership to continue to grow and be a success. So please do check out how Premier membership could work for you and benefit your organisation.

Premier membership costs just £1,900 a year and anyone interested in finding out more should go to www.theilp.org.uk click on ‘membership’ and then go through to the ‘Premier Corporate Members’ tab.

Thank you to our Corporate Members

42 Inside the ILP – ILP news

LOOK OUT FOR LIGHT SCHOOL

Another notable addition for this year will be ‘#TheVan’, a purpose-built mobile workspace from Factorylux, where it will be hosting a series of lighting workshops at which attendees can make, test and certify a complete luminaire to BS EN 60598.

The ILP will once again be supporting Light School at the Surface Design Show next month (February).

The show is being held at the Business Design Centre in Islington, north London, from 7-9 February.

The Surface Design Show is a well-recognised part of the industry calendar, focusing on displaying interior and exterior surfaces and connecting specifiers, architects and designers to innovative and exciting materials.

Light School, now in its fourth year, is an integral part of the show and concentrates on bringing the world of lighting and lighting design to a non-lighting audience, highlighting cutting-edge thinking and practice and illustrating the increasingly important relationships between surface and light.

The school, presented by The Light Collective, comprises three parts: Light Talks, Product School and the School Newspaper.

LIGHT TALKS Light Talks, sponsored by Luctra, will take place in ‘The School Room’ and is two-and-a-half days of talks, presentations and hands-on demonstrations by top lighting designers.

This year’s speakers will include David Atkinson, of David Atkinson Lighting Design, Sanjit Bahra, of DesignPlusLight, Ellie Coombs of Nulty, Rebecca Weir of Light IQ and Sally Storey of Lighting Design International.

The auditorium will feature the Flex by Luctra, a cordless and portable lamp designed to enhance wellbeing and productivity by harnessing the biological effect of light.

PRODUCT SCHOOL As its name suggests, Product School is where visitors to the show will be able to touch, compare and learn about innovative lighting products from exhibitors, as well as meet and network with key manufacturers.

Exhibitors this year will include Spectral, Applelec, Optelma, Baro, Wila, Evans Turner, Visive, Selux and Lumiscopic.

One product to look out for will be a range of illuminated surfaces from Lumiscopic featuring ‘dichoric’ materials, which appear to change colour depending on the viewing angle.

Lighting Journal January 2017

SCHOOL NEWSPAPER As in previous years, the Light School Newspaper, sponsored

by Xicato, will be a free newspaper sent out to 70,000 architects, designers and specifiers. Every attendee will also get a free copy to take away at the end of the ‘school day’.

You can find out more about Light School at www.surfacedesignshow.com/light-school

Lumiscopic will be featuring its ‘dichoric’ materials, which appear to change colour depending on the viewing angle

Product school – learning about innovative lighting products

Inside the ILP – ILP news 43

ILP MAKES PRESENCE FELT AT LUXLIVE No fewer than 35 ILP members gave presentations at November’s LuxLive, cementing the Institution’s reputation as the industry’s ‘gatekeeper’ of standards, best practice and expert knowledge and insight.

The CPD speakers at the two-day event on 23 and 24 November ranged from Past Presidents David McNair, Allan Howard and Mark Cooper through to brand new members, and many experts in between.

A large number of ILP Premier corporate members were also featured in the programme, include Kingfisher Lighting, Stainton Lighting Design Services, CU Phosco, Urbis Schréder, Designs for Lighting and WSP Parsons Brinckerhoff.

ILP chief executive Richard Frost said: ‘It was brilliant to see the Institution making such a significant contribution to last year’s LuxLive programme. The range and diversity of the CPD subjects covered by our members goes to show that, whatever corner of the lighting world you are from, the ILP is your natural home.’ This was on top of the ILP’s stand at the event, which proved to be a popular destination over the two days.

The ILP was particularly strongly represented at a keynote debate on the topic of ‘managed’ or smart motorways, which featured Mark Cooper, who now runs consultancy Smart City Advice, Nick Smith of Nick Smith Associates, ILP technical services manager Peter Harrison and Simon Bushell of SSE. Look out for a write-up of this discussion in the February edition of Lighting Journal to coincide with a special focus on ‘intelligent mobility’.

SUMMIT DIARY DATE

Brand new 2017 diary looking a bit empty in June? Well, now’s your chance to begin filling it up – by blocking out 14-15 June, which have been confirmed as the dates for this year’s ILP Professional Lighting Summit.

The Summit will be held at the Glasgow Crowne Plaza, and follows on from the success of last year’s Summit in Brighton, which was for the first time moved from the autumn to the summer.

It has already been confirmed that the keynote address will be given by architectural lighting designer Mark Sutton Vane.

Mark is the founder of independent lighting consultancy Sutton Vane Associates.

Having studied architecture at Westminster University, he has lit everything from the Titanic in Belfast to the Crown Jewels.

While details of other presentations and speakers have still to be confirmed, members can keep abreast of what to look forward to by going to www.theilp.org.uk/summit, where regular updates will be posted.

SIMPSON IS NEW MASTER Congratulations to past ILP President Michael Simpson, who in November was appointed as Master of The Worshipful Company of Lightmongers for 2017.

As Master, Mike will chair meetings of the Lightmongers’ Court and work with the company to shape and deliver its plans for the next 12 months.

As well as being ILP President from 1994-95, Mike has in his time also been president of the Society of Light and Lighting and the Chartered Institution of Building Service

Engineers. He is currently global application lead for Philips Lighting.

He said: ‘The Lightmongers play a crucial role in raising the profile of our industry, in helping us attract new talent and supporting those that are currently in the early part of their careers.

I hope to use my time as Master to begin the process of developing an apprenticeship in lighting for school leavers and to continue supporting younger members of the company – one of whom may well be a future Master.’

Lighting Journal January 2017

Lighting Consultants

This directory gives details of suitably qualified, individual members of the Institution of Lighting Professionals (ILP) who offer consultancy services.

Steven Biggs

Colin Fish

Alistair Scott

Skanska Infrastructure Services

WSP | Parsons Brinckerhoff

Designs for Lighting Ltd

IEng MILP

Peterborough PE1 5XG

IEng MILP

Hertford SG13 7NN

BSc (Hons) CEng FILP MIMechE Winchester SO23 7TA

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

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

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

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

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

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

Stephen Halliday

Anthony Smith

WSP | Parsons Brinckerhoff

Stainton Lighting Design Services Ltd

www.skanska.co.uk

Simon Bushell MBA DMS IEng MILP

SSE Enterprise Lighting

Portsmouth PO6 1UJ T: +44 (0)2392276403 M: 07584 313990 E: simon.bushell@ssecontracting.com

www.sseenterprise.co.uk Professional consultancy from the largest external lighting contractor maintaining 1.5m lights in the UK and Ireland. Exterior lighting/electrical design for Motorways, Highways, Architectural, Car Parks, Public Spaces and Sports lighting. From advice on carbon reduction strategies to delivering the whole installation package.

Lorraine Calcott IEng MILP IALD MSLL

it does lighting ltd

Milton Keynes, MK14 6GD

T: 01908 698869 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

www.wspgroup.com

EngTech AMILP

Manchester M50 3SP

www.designsforlighting.co.uk

Eng FILP

Stockton on Tees TS23 1PX

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

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

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 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.

Philip Hawtrey

Nick Smith

Mouchel

Nick Smith Associates Limited

www.wspgroup.com

BTech IEng MILP MIET

Sutton Coldfield B72 1PH

www.staintonlds.co.uk

IEng MILP

Chesterfield, S40 3JR

www.mouchel.com

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

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

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

T: 07789 501091 E: philip.hawtrey@mouchel.com

www.nicksmithassociates.com

Euan Clayton

Allan Howard

Alan Tulla

Clayton Fourie Consultancy Ltd

WSP | Parsons Brinckerhoff

Alan Tulla Lighting

IEng MILP

Edinburgh, EH15 3RT

BEng(Hons) CEng FILP FSLL London WC2A 1AF

T: 07722 111424 E: claytonfourie@aol.com

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

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

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.

www.clayton-fourie-consultancy.com

www.wspgroup.com

IEng FILP FSLL

Winchester, SO22 4DS

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

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

Mark Chandler

Alan Jaques

Michael Walker

MMA Lighting Consultancy Ltd

Atkins

WSP | Parsons Brinckerhoff

EngTech AMILP

Reading RG10 9QN

IEng MILP

Nottingham, NG9 2HF

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

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

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 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.

John Conquest

Tony Price

4way Consulting Ltd

Vanguardia Consulting

www.mma-consultancy.co.uk

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

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

www.4wayconsulting.com

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

www.atkinsglobal.com

BSc (Hons) CEng MILP MSLL Oxted RH8 9EE

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

www.vanguardiaconsulting.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.

CMS IEng MILP

Ferrybridge, WF11 8NA, UK

T: 0197 7632 502 E: Michael.Walker@pbworld.com

www.pbworld.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.

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.

Non Destructive Structural Testing Of Lighting Columns The Solution for ASSESSMENT OF CORROSION AT KEYPOINTS Kiwa CMT Testing’s unique Relative Loss of Section (RLS) and Swage Joint Analyser (SJA) techniques were designed to assess the extent of corrosion in the four danger zones including the column root below ground without the need for excavation.

Supported by Geographical Information Systems to capture, store, analyse and manage data.

We test at the four positions identified

by ILP Technical Report N°22. where undetected corrosion can result in sudden catastrophic failure.

• • • •

Internal Corrosion at the Hot Swaged Joint Internal Corrosion at base of the door opening Internal or External Corrosion from the base of the door to ground level Corrosion of the root below ground

Testing is carried out by our own fully trained and qualified team of technicians. Our experience and capability is second to none and our accreditans speak for themselves.

0529

Direct Cost Effective Testing:

WHERE IT REALLY COUNTS

Kiwa CMT Testing is UKAS* accredited for the use of the RLS™ system and is also a Highway Electrical Registration Scheme (HERS) registered organisation.Registration number SSR482. *For details of tests included on our current UKAS Schedule please visit www.ukas.org

Kiwa CMT Testing Tel 01332 383333 Fax 01332 602607 cmtenquiries@kiwa.co.uk www.kiwa.co.uk

RECRUITMENT

Senior Engineer Street Lighting Design Mouchel are seeking to recruit a Senior Street Lighting Engineer, delivering projects for our Shropshire client.

Working in a team environment you will assist in the design and delivery of street lighting projects through the appropriate technical standards.

Responsibilities will include: • Managing both street lighting projects from inception through to Client acceptance together with the reactive and routine maintenance of existing street lighting equipment • Raising task orders to the Term Service Contractor and agreeing payment for works completed in accordance with the Term Service Contract; • Managing and maintaining the Quality Management System for street lighting design operations;

• Provision of technical advice to line managers on design standards, development control and Section 278 Agreement issues; • Liaising with highway network managers, contractors, designers and other service providers on planned road works; • Production of reports to managers on the performance of the Street Lighting Term Service Contractor; The successful candidate will have the following skills & experience: • HNC in a relevant subject (or working towards) • Incorporated Engineer in an appropriate discipline (or working towards) • Operation of street lighting design software and national design standards; • Ability to plan programmes of works of a complex nature and to coordinate the activities of contractors and service providers; • Technical knowledge of civil engineering with at least 2 years’ experience of street lighting design, including experience of local government IT Systems; • Knowledge of development control procedures and Section 278 Agreements; • Extensive knowledge in a range of street lighting equipment, systems and specialist software.

please send applications to: andy.page@mouchel.com

LIGHTING- DIRECTORY Induction

Lighting

CPD Accredited Training • AutoCAD (basic or advanced)

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

by Design arrangement AutoCAD (basicTechniques or advanced) Light Pollution • •Light Pollution • Light Pollution • Light Pollution Lighting Reality • AutoCAD (basic or advanced) Tailored Courses please ring Contact Nick Smith • Tailored Courses please ring please ring • Tailored CoursesStandards please ring • Tailored Courses • Lighting Reality •AutoluxLighting AutoCAD (basic or advanced) Nick Smith Associates Ltd Venues by arrangement • Lighting Design Techniques 36 Foxbrook Drive, Venues by arrangement •Reality AutoluxLighting Standards Venues by arrangement Venues by arrangement Lighting ••Light Pollution Contact NickChesterfield, Smith • Lighting Design Techniques • Tailored Courses please ring Contact Nick Smith S40 3JRNick Smith Contact Nick Smith Contact

CPD Accredited Training • AutoluxLightingNick Standards Smith Associates Ltd

Nick Smith Associates Ltd t: 01246 229 444 Nick Smith Associates Ltd • Light Pollution Nick Smith Associates Ltd 36 Foxbrook Drive, • AutoCAD (basic or advanced) Venues by arrangement • Foxbrook Lighting Design Techniques 36Chesterfield, Foxbrook Drive, f: 01246 270 Drive, 465 36 Drive, 36 Foxbrook - Induction Lighting • Tailored Courses please ring - Direct LED retrofit lamps Chesterfield, e : mail@nicksmithassociates.com Chesterfield, Chesterfield, S40 3JR Contact NickPollution Smith • Light • Lighting Reality S40 3JR 229S40 w: www.nicksmithassociates.com S40 3JR 3JR t: 01246 444 Nick Smith Associates Ltd - LED gear tray retrofits t:by 01246 229 444 t:•01246 229 444Venues t: 01246 229 444 arrangement Tailored Courses please ring f: 01246 270 465 36 Foxbrook Drive, f: e01246 270 465 f: 01246 270 465 f: 01246 270 465 • AutoluxLighting Standards : mail@nicksmithassociates.com Chesterfield, HAGNER PHOTOMETRIC - Induction Lightinglamps : mail@nicksmithassociates.com e : mail@nicksmithassociates.com - Direct LED retrofit www.nicksmithassociates.com Contacte w: Nick Smithe : mail@nicksmithassociates.com S40 3JR w: www.nicksmithassociates.com Venues by arrangement w: www.nicksmithassociates.com w: www.nicksmithassociates.com t: 01246 229 444 • Lighting Design Techniques INSTRUMENTS LTD Nick Smith Associates Ltd f: 01246 270 465 - LED gear tray retrofits 36 Foxbrook Drive, eContact : mail@nicksmithassociates.com Nick Smith • Light Pollution Suppliers of a wide range of quality Chesterfield, w: www.nicksmithassociates.com 0203 051 1687 - Induction Lighting Nick measuring Smith Associates Ltd light S40 3JRand photometric Courses please ring www.indolighting.com • Tailored equipment.

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HAGNER PHOTOMETRIC INSTRUMENTS LTD e : mail@nicksmithassociates.com S40 PO Box3JR 210, Havant, PO9 9BT w: www.nicksmithassociates.com Tel: 07900 571022 t: 01246 229 444

0203 051 1687

Venues by arrangement

E-mail: enquiries@hagnerlightmeters.com

f: 01246 270 465

0203 051 1687 www.indolighting.com

Contact Nick Smith e : mail@nicksmithassociates.com

w: www.nicksmithassociates.com Nick Smith Associates Ltd www.hagnerlightmeters.com

www.indolighting.com 36 Foxbrook Drive, Chesterfield, S40 3JR MACLEAN ELECTRICAL LIGHTING DIVISION t: 01246 229 444 Business info: Specialist Stockist and Distributors of Road Lighting, Hazardous Area, Industrial/ Commercial/ Decorative f: 01246 270 465 custom-built distribution panels, lighting. We also provide interior and exterior lighting design using CAD. e : mail@nicksmithassociates.com 7 Drum Mains Park, Orchardton, Cumbernauld, G68 9LD w: www.nicksmithassociates.com Tel: 01236 458000 Fax: 01236 860555

email: steve.odonnell@maclean.co.uk

www.maclean.co.uk

From one of our three regional offices offices in the Scotland, Manchester and Sussex Power 1 can provide a full turnkey service for: Large scale LED retrofit schemes Maintenance DNO/ICP connections Design verification surveys Asset record construction Fault finding Testing and inspection Smart City integration

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Lighting Journal January 2017

This space available please call Andy on 01536 527297 or email

andy@matrixprint.com

for more details

European distributors of StormSpill®, only system specified by:

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

• London 2012 Olympic Games • Glasgow 2014 Commonwealths

Manufacturers and Suppliers of Street lighting and Traffic Equipment • Fuse Units • Switch Fuse Units • Feeder Pillars and Distribution Panels • The Load Conditioner Unit (Patent Pending) • Accessories

Patented Raised Lamppost Banner System that significantly reduces loading on columns and prevents banners twisting and tearing.

Column testing and guarantee service available.

Contact: Kevin Doherty Commercial Director kevindoherty@tofco.co.uk

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23 March

Irish Regional Technical Spring Seminar Venue: Howth Yacht Club, Dubli www.theilp.org.uk/events

27 March 26 January

Joint Midlands and Northern Region Technical Meeting Venue: Walsall Football Club, The Banks Stadium www.theilp.org.uk/events

Exterior Lighting Diploma – Module Two (Spring 2017) Venue: The Draycote Hotel, Thurlaston, Warwickshire www.theilp.org.uk/events

27 March

How to be brilliant Venue: Marshalls Design Space, Clerkenwell, Londo www.theilp.org.uk/events

07-08 February

Light School Venue: Islington Design Centre, London www.theilp.org.uk/events

09 February

North East Region Technical Meeting Venue: Thorn, Spennymoor www.theilp.org.uk/events

16 March

North East Region Technical Meeting Venue: Thorn, Spennymoor www.theilp.org.uk/events

For full listings of all regional and national ILP events go to: www.theilp.org.uk/events

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