LJ JULY/AUG 2017 by Matrix Print

July/August 2017 Lighting Journal

Professional best practice from the Institution of Lighting Professionals

July/August 2017

SERVICE PLEASE How light can affect and even guide the dining experience SOCIAL CONTRACT Lighting’s role as a force for ‘good’ SIGN LANGUAGE Unpicking the conspicuity of traffic signs

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July/August 2017 Lighting Journal

Contents

06 GREEN FOR GO

The lighting industry can be justifiably proud of its track record when it comes to improving energy efficiency and sustainability, not least through the transition to LED. But it is by no means yet ‘job done’, argues Nigel Harvey

10 EFFICIENCY DRIVERS

Local authorities tend to make the key specification decisions when switching to energy-efficient LEDs, yet are under intense pressure to maximise both energy and cost savings. Given that such decisions can also have significant financial, community and infrastructure consequences, the lighting professional has a pivotal competence role when it comes to providing clear and authoritative facts, as Alistair Scott outlines

THE 16 CONNECTING PLANET

Much of the debate around connected lighting has, naturally, been about the technological advances it brings. But Stephen Rouatt argues it is also important lighting professionals emphasise the role connected lighting can play in reducing energy use and, in turn, mitigating climate change

‘WE NEED TO 40 BECOME BETTER IN OUR EXTERNAL COMMU-

SOCIAL CONTRACT

The ILP’s ‘Lighting for Good’ event in May asked lighting designers to think how they can better work to benefit the public. As speaker Michael Grubb explained, of course you need to win contracts and make enough money to live. But you shouldn’t ignore what your business is ‘for’, how it can shape, serve and interact with your community

SERVICE PLEASE

An effective restaurant, hospitality or food and beverage lighting scheme means much more than just understanding the space, budget and client brief (although that all helps). You need to have a handle on why ambience sometimes ‘works’ and sometimes doesn’t. And that means understanding often quite complex emotional, sensory and psychological triggers, writes John Lau

28 ENERGY DRINKING

Pub chain Fuller’s is going 100% LED following a trial at its new The Sail Loft pub in Greenwich, south London. Lighting Journal checks it out

NICATIONS’

July/August 2017 Lighting Journal

Professional best practice from the Institution of Lighting Professionals

SIGN LANGUAGE

The conspicuity of traffic signs will be different between night and day, that is self-evident enough. But what factors have the most effect and how, as a result, can lighting professionals improve conspicuity? A study by UCL academics Margareth Sunjoto and Jemima Unwin, presented at last month’s Professional Lighting Summit, has looked into this area

Last month’s Professional Lighting Summit in Glasgow saw the ILP presidency pass from Kevin Grigg to Alan Jaques. Here are abridged versions of Alan’s presidential address and Kevin’s farewell comments

BRILLIANT MINDS

Now in their fourth year, the ILP’s ‘How to be brilliant’ lectures have consistently attracted a very high calibre of speakers. Two ILP members, Caroline Webb and Carmela Dagnello, assess what they took away from this year’s opening lecture in April

JUlY/AUGUST 2017

42LETTERS TO THE EDITOR

44 SMART BY DESIGN

Technology has given us the freedom to work wherever and whenever we want. But it is important to set professional and personal boundaries – and to recognise the value of creative reflection, advises Emma Cogswell

47CONSULTANTS 48LIGHTING DIRECTORY 50DIARY

SERVICE PLEASE How light can affect and even guide the dining experience SOCIAL CONTRACT Lighting’s role as a force for ‘good’ SIGN LANGUAGE Unpicking the conspicuity of traffic signs

The publication for all lightingwww.theilp.org.uk professionals

p COVER PICTURE

Hakkasan, Mumbai, with a lighting scheme designed by John Lau’s Firefly Lighting Design

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July/August 2017 Lighting Journal

Editor’s letter

Volume 82 No 7 July/August 2017 President Alan Jaques IEng FILP Chief Executive Richard G Frost BA (Cantab) DPA HonFIAM Editor Nic Paton BA (Hons), MA Email: nic@cormorantmedia.co.uk Editorial Board Tom Baynham MEng MA (Cantab) Emma Cogswell IALD Mark Cooper IEng MILP Graham Festenstein CEng MILP MSLL IALD John Gorse BA (Hons) MSLL Alan Jaques IEng FILP Gill Packham BA (Hons) Nigel Parry IEng FILP Richard Webster Art Director Adriano Cattini BA (Hons) Email: adriano@matrixprint.com Advertising Manager Andy Etherton Email: andy@matrixprint.com Published by Matrix Print Consultants Ltd on behalf of Institution of Lighting Professionals Regent House, Regent Place, Rugby CV21 2PN Telephone: 01788 576492 E-mail: info@theilp.org.uk Website: www.theilp.org.uk Produced by

Matrix Print Consultants Ltd Unit C, Northfield Point, Cunliffe Drive, Kettering, Northants NN16 9QJ Tel: 01536 527297 Email: gary@matrixprint.com Website: www.matrixprint.com © ILP 2017 The views or statements expressed in these pages do not necessarily accord with those of The Institution of Lighting Professionals or the Lighting Journal’s editor. Photocopying of Lighting Journal items for private use is permitted, but not for commercial purposes or economic gain. Reprints of material published in these pages is available for a fee, on application to the editor.

his editorial is being written direct from Glasgow, from the second day of last month’s Professional Lighting Summit. As ever, there were many fascinating presentations over the two days, many of which I hope to bring you within Lighting Journal during the autumn and beyond. One thing that struck me about this year’s Summit was the, admittedly indirect, link to May’s ILP ‘Lighting for Good’ event, which we highlight in this edition through Michael Grubb’s discussion about his ethos as a lighting designer, especially his pioneering Re:LIT project. Lighting for Good was an event held by the ILP to mark the one-year countdown to next year’s UNESCO International Day of Light on 16 May 2018. In particular, it was designed to encourage lighting professionals to think about how they can contribute to a better world, how they can use their skills and expertise to do ‘good’, to benefit their communities and the public. And this was a theme that very much came through in Glasgow in presentations by, among others, Mark Sutton Vane, of Sutton Vane Associates, Steve Anderson, of SGA Lighting, and Michael Mould, of DW Windsor, even though their presentations were very different. Mark, in the Summit’s keynote address, outlined how, for him, lighting has to be about much more than just illumination. It is, yes, about working to the brief and requirements of your client, meeting standards and your technical responsibilities. But it also needs to be about telling the story of a space, however mundane or ‘normal’ it may be. Mark cited the example of how he made an otherwise dull concrete underpass a bit special for the community and residents using it by illuminating the canal running alongside. As he said: ‘We turned a boring, slightly aggressive walkway into a place full of the story of the water.’ We’ll be bringing you his full presentation in September’s edition of Lighting Journal. Steve, in a wide-ranging talk, addressed the impact of LED on the environment but also the important role lighting professionals have as STEM ambassadors to ‘spread the word’ to children and communities about the power and potential of light and lighting, both as a career but also in terms of how it can affect and direct the way we live our lives. Michael, meanwhile, argued that, while LED is of course about saving energy and driving efficiency – again a theme of this edition – lighting schemes also have to be about, and resonate with, the people, the communities, they serve. None of this, of course, is rocket science. But, for me, both Lighting for Good and this year’s Summit served to give a timely reminder that, even in our constantly cost-constrained, budgetary-squeezed, time-poor commercial environment, it is vital not to forget the almost unique societal and communal power that lighting professionals have; the power to effect change, to shape a space and environment. And, of course, the profound responsibility that goes with this.

Nic Paton Editor

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ILP members receive Lighting Journal every month as part of their membership. You can join the ILP instantly online, through www.theilp.org.uk. Alternatively, to subscribe or order copies please email Diane Sterne at diane@theilp.org.uk. The ILP also provides a Lighting Journal subscription service to many libraries, universities, research establishments, non-governmental organisations, and local and national governments.

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July/August 2017 Lighting Journal

Energy efficiency and sustainability

By Nigel Harvey

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he concept of sustainability implies avoiding harm to the environment, preventing the depletion of natural resources, and supporting longterm balance in our environment. Over the last 20 years, changes within the industry have had a material impact on sustainability, a track record of which we can be justifiably proud. That said, there is always more that can be done. This article will look at where we have come from and outline the challenges for the lighting industry to fully embrace a sustainable approach for the future.

July/August 2017 Lighting Journal

ed based only on lamp efficacies. Instead, total system efficacies that take account of lamp, gear/driver and luminaire efficacies are now commonly considered. • Reduction of mercury dosing. The industry has maintained a consistent pressure to reduce the level of mercury dosing of fluorescent lamps. More recently this has also been encouraged by the adoption, in 2013, of the United Nations Minamata Convention on Mercury, which places limits on the mercury content of a range of products, including lamps. This reduction of mercury used has reduced the risks of mercury release into the environment. • Longer lifetimes and efficacy. More recently, LED products have been developed that have much longer lifetimes, have far greater system efficacies, and are more flexible and controllable. The speed of adoption of new LED technologies has been remarkable, with many commentators suggesting that sales of LED products now exceed sales of traditional lighting products. This rapid deployment can be expected, in time, to materially reduce the proportion of energy used for lighting. • The promise of multifunctional lighting. The intriguing development of multifunctional lighting products can make a contribution to sustainability. For example, the implementation of Li Fi may avoid the need for a separate Wi Fi system. Likewise, lamps that incorporate wireless security cameras or speakers can reduce the number of discrete products required to provide a wider range of functions.

Our industry has done a lot to promote sustainability. This has included: • The gradual development, and enhancement of, a range of low-energy lighting solutions. This runs from the development of fluorescent technologies, the move to tri-phosphor solutions, and the albeit temporary success of the compact fluorescent lamp. • A progressive reduction in lamp size. Take, for example, the transition from T12 to T8 to T5 fluorescents, or from mercury

vapour lamps to much smaller ceramic metal halide in public lighting. This has meant that, not only has lamp efficacy improved but lamp and luminaire interaction can be optimised, with wasted light minimised and light being directed much more effectively to where it is really needed. This change has also reduced the amount of materials needed to produce light sources, and the environmental cost of transporting them. • Moving beyond lamp efficacies. No longer is the efficacy of an installation promot-

• The recycling dimension. The European Lamp Companies Federation (the precursor organisation to Lighting Europe) helped to establish a network of industry-owned WEEE schemes, of which Recolight is one, right across the EU. This demonstrated a strong commitment to tackle the WEEE, first adopted in 2003, in the most sustainable manner possible. This approach has meant that lamp recycling rates in the UK have grown faster than any other waste electrical equipment, from 19% in 2008, to 52% in 2016. So, as an industry, we have made remarkable progress. But resting on our laurels is not an option. Yes, as an industry we now produce incredibly efficient, long-lasting light sources. But there is a lot more that we can do. If we are really to embrace a suswww.theilp.org.uk

July/August 2017 Lighting Journal

Energy efficiency and sustainability

tainable approach going forward, we will need to:

• Move beyond product sustainability to production sustainability. For example: - Powering factories from renewables - Setting a zero waste target at factories - Increasing the use of raw materials derived from recycled sources, and reducing dependence on virgin sources. Plastics are, of course, a particular problem. We now have large quantities of plastics being recycled, but insufficient numbers of manufacturers are using recycled sources to make new products. Making this move will, of course, take time, and will require discussion with suppliers regarding the quality of materials. But it can be done. • We need to increase the adoption of ‘circular economy’ principles. As I highlighted in Lighting Journal back in March (Circle of light, vol 82, no 3), the circular economy moves away from products that are made, used, and then disposed of. Instead, resources are kept in use for as long as possible, and then recovered to make new products. In the same way, if products are upgradeable, for example allowing the LED light source to be exchanged within a fitting, that will also reduce waste, and improve sustainability. The answer then is to avoid fully-integrated LED luminaires that must be discarded if a single component fails. In the same way, if products are upgradeable, for example allowing the LED light source to be exchanged within a fitting, that will also reduce waste, and improve sustainability. An answer then may www.theilp.org.uk

be to avoid fully-integrated LED luminaires that must be discarded if a single component fails.

Finally, there are new ways of doing business that will, I would argue, enhance the sustainability of our industry. For example:

• It is important to consider the design of LED lamps. Traditional fluorescent lamps are very homogenous in nature – fluorescent lamps from different producers are similar in basis construction. This homogeneity helps to increase the recovery of different raw materials from the recycling process. The same cannot be said of LED lamps. There has been an explosion in the range of materials used in LED lamps: aluminium, glass, a range of plastics, ceramics, foams, and so on. This increased heterogeneity reduces the ability of recyclers to recover the basic materials with sufficient purity for them to be usable.

• Business models such as ‘Pay per lux’, that allow product to be returned to the producer at the end of a contract can enhance sustainability. This is because the original producer is the organisation most likely to be able to successfully harvest and reuse certain components. Equally, they could also refurbish and sell the equipment for re-use. A new revenue stream, and a more sustainable outcome.

• The recyclability of products is considerably reduced where products combine different materials, bonded together. For example, there has been much criticism in the press recently of the packaging used for Pringles crisps, which combines cardboard, metal, and plastic. Where possible, avoiding combining materials (for example, plastics and metals) in a way that reduces the ability to separate them, and their recyclability, will enhance sustainability. On top of this, when taking back used or faulty products, look for opportunities to re-use components that were not related to the failure. Glass covers, enclosures, and heat sinks may be good candidates.

• Providing customers with a waste collection service when new products are supplied is likely to result in increased recycling rates. In the long term, it may also secure access to raw materials in a world in which security of supply is likely to become a key business risk. For example, at Recolight we provide a waste luminaire, lamp, and battery collection service. This can be seamlessly integrated into major, multi-site LED luminaire roll-out projects. In conclusion, the lighting industry has, to a very large extent, been driven by the need to increase the efficiency of lighting products. That has hugely improved sustainability over the last 20 years. But if we are to have a similar impact in the next 20 years, we need to seek our new ways of making our products in a sustainable fashion. ¢ Nigel Harvey, BA (Hons), is chief executive of Recolight

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July/August 2017 Lighting Journal

Energy efficiency and sustainability

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July/August 2017 Lighting Journal

T tion y specifica e k e h t re e k nd to ma EDs, yet a e L t t s n ie ie it c r fi o f h y-e st Local aut g to energ rgy and co in e h n c e it h w t s o b n ise whe ant decisions e to maxim n also have signific r u s s e r p e ns s ca the under inte h decision equences, c s u n s o t c a e h r t u t iven n it truc savings. G e role whe and infras c y n e it t n e u p m m com al co financial, as a pivot h l a n ative facts it io r s s o h fe t o u r a p d r an lighting iding clea v o r p o t s come Scott ir By Alista

he benefits of using LEDs as part of an energy efficiency strategy are well documented. The energy savings LEDs offer over conventional street lighting can be in excess of 70% and, with reducing luminaire costs, this makes lighting stock upgrades to LED appear more and more attractive. However, the story is not straightforward, as there are some critics of street lighting LED technology who believe we have gone too far in the rush to minimise energy consumption. As with most engineering systems, the truth of the matter, I would argue, is somewhere in-between… LED street lighting technology was only made commercially viable by the work of three Japanese scientists, Isamu Akasaki, Hiroshi Amano and Shuji Nakamura. They – as many lighting professionals I am sure will know – created the blue LED chip that was the missing ingredient for achieving ‘white light’, but which is also now the subject of intense industry discussion. This article intends to give an overview of the many components to consider when specifying LED luminaires. It will reference the recent report from Public Health England on LED lighting [1] and will highlight the increasing importance of competent design and robust specifications in achieving sustainable energy efficiencies.

COMPETENT DESIGN

One of the biggest problems with LED replacement schemes is the assumption that any LED luminaire can be used as a replacement for the old technology without consideration of lighting design or light distribution. In our experience at Designs for Lighting, we have found local authorities often look to a design matrix solution to find one or two luminaires/optics that can replace all their existing stock. We have found that, when assets are designed on a 1-4-1 basis, energy efficiencies can be improved, as designs are tailored to ensure the right amount of light is provided. There are, of course, British and European standards for lighting design that should not be ignored, and their importance should not be under-estimated. So why are the lighting design standards so important? • BS5489-1 in combination with BS EN 13201 define lighting levels appropriate for each environment and require a riskbased approach to be taken for each street www.theilp.org.uk

July/August 2017 Lighting Journal

Energy efficiency and sustainability

TYPICALLY, THE EFFICACY OF A 3,000K LED IS NOW ONLY AROUND 10% LESS THAN A 4,000K LED (AND THE GAP IS NARROWING). HOWEVER, MOST LIGHTING INSTALLATIONS DO NOT TAKE ADVANTAGE OF ALL THE POTENTIAL ENERGY SAVINGS THAT CAN BE GENERATED THROUGH SUITABLE CONTROLS, MANAGEMENT AND ADAPTIVE LIGHTING

• The standards are designed to provide a safe environment for users and provide lighting designers with guidance on design best practice • They require a level of competence from lighting designers, which links in to the requirement to comply with the CDM regulations • By incorporating innovation and clever design, we can often mitigate the cost of the design through the additional energy savings; a detailed design also provides the client with auditable evidence of compliance with CDM and BS5489 on all their lighting points

with LED luminaires because of the large range in quality between an increasing number of manufacturers. Whilst specifications should be detailed in the output required from the solution, it is equally important that innovation is not stifled by specifying attributes that are not essential to the effective operation of the system over its life. A good example of this would be the restriction of drive current to a specific value, such as 350mA, where a higher drive current may allow a more efficient or flexible solution without any drop in lifetime performance or reliability.

SPECIFICATION

ENVIRONMENTAL/HEALTH IMPACTS

The range of options and variations for LED luminaires mean it is imperative a robust specification is created that ensures the client’s aspirations are accurately reflected in the products that are proposed for the project. This has the benefit of allowing a likefor-like comparison between products. It has also become much more important www.theilp.org.uk

LEDs are promoted for their energy efficiency benefits. However, as with any lighting it is important the designer considers the impact (positive or negative) on human health and wellbeing as part of the design solution. These needs to include: • Colour temperature The move to white light in the UK predates

the move to LEDs. However, in the past few years, colour temperature has become a big talking point within the industry. LEDs are, of course, available in many different colour temperatures – typically 5,700K, 4,000K, 3,000K and 2,700K. Our street lighting has traditionally been a warm colour temperature if we consider the prevalence of SON and SOX light sources, and this is something that the public and professionals alike have become used to. LEDs, however, are more efficient at higher colour temperatures. So, early LED luminaires were predominantly produced with a CCT >5,000K to maximise efficiency. This produced a much colder light on the streets, and so there is now a tendency for specifiers to reduce the maximum colour temperature to 4,000K or less to achieve a neutral white appearance whilst still remaining relatively efficient. The point to be made is there is a compromise to be achieved here, a compromise between the desire to maximise energy savings and the desire to provide a pleasant ambience. • Use warm white? We believe it is prudent to consider the proportion of blue light being emitted from the chip. The Public Health England Report states that: ‘Consideration should be given to reducing the CCT of LED lighting to avoid adverse effects on melatonin production in the evening.’ However, the report adds that, ‘the science is not yet mature enough to state a threshold CCT that should not be exceeded.’ As such, we advise clients on the choices they have with colour temperature, guiding them generally towards warmer colour temperature light sources with our starting point at a CCT of 3,000K. So, again, at what cost? Typically, the efficacy of a 3,000K LED is now only around 10% less than a 4,000K LED (and the gap is narrowing). However, most lighting installations do not take advantage of all the potential energy savings that can be generated through suitable controls, management and adaptive lighting. This would ensure lighting is only used when required and at the right level, so as not to over-light areas for the time of night. • Spectral power distribution There are suggestions that too much light emitted at the ‘blue’ end of the spectrum can lead to health issues in humans and wildlife. The amount of blue light emitted is dependent upon the spectral power distribution of the particular LED chip.

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July/August 2017 Lighting Journal

Energy efficiency and sustainability

sive light into bedroom windows. Obtrusive light, particularly light into bedroom windows (regardless of light source) can cause nuisance and should be minimised.

CONCLUSION

THE RANGE OF OPTIONS AND VARIATIONS FOR LED LUMINAIRES MEAN IT IS IMPERATIVE A ROBUST SPECIFICATION IS CREATED THAT ENSURES THE CLIENT’S ASPIRATIONS ARE ACCURATELY REFLECTED IN THE PRODUCTS THAT ARE PROPOSED FOR THE PROJECT

Alistair Scott, BSc (Hons), CEng, FILP, MIMechE is managing director of Designs for Lighting. He is a past ILP President and chair of the BSI panel on Road Lighting

However, the proportion of light emitted in the lower wavelength ‘blue’ end of the spectrum typically increases as the colour temperature increases. To cite the Public Health England report again: ‘In normal use at reasonable distances and through normal behaviour, none of the LEDs measured presented any optical radiation hazards as defined by the International Commission on Non-Ionizing Radiation Protection. ICNIRP.’ • Lighting distribution The key to good lighting design is (as it always has been), wholly dependent upon choosing a suitable lighting distribution. This is another reason that competent design staff should be used to minimise energy consumption, minimise obtrusive light and light-spill and to effectively light the task. One of the issues with an LED light source is that it is a point source, which has the potential impact of being a glare source if not properly controlled. In this regard, there is a large difference between manufacturers, some of which do not provide lighting distributions specifically designed for a street geometry. With an effective lighting distribution and careful positioning of luminaires, it should be possible to minimise the obtruwww.theilp.org.uk

Specifiers of LED equipment are designers under the CDM regulations, and therefore need to take full account of all the relevant issues. To this end, they should use competent lighting professionals to create robust specifications and fully-designed solutions. The specification should be cognisant of the light distribution, the colour temperature and the overall build quality of any LED luminaires to ensure that they are fit for purpose and designed for the specific street layout. However, typically, it is local authorities that are having to make the key specification decisions for LED equipment – and who, at the same time, are under intense pressure to maximise energy savings. It is therefore important that all of us within the lighting industry have a good understanding of the relevant facts when advising or making these decisions. ¢

[1] Price, L L A; Khazova M; O’Hagan, J B (2016) Human Responses to Lighting Based on LED Lighting Solutions, Public Health England, p39-41, http://www.lightmare.org/docs/ PHE-CIBSE-SLL_LED_report_May2016HRLBL-b.pdf

ENERGY EFFICENCY IN PRACTICE

A good example of a successful energy efficiency project has been Kent County Council’s recent LED replacement scheme, during which it moved from HID to LED lanterns. Designs for Lighting has been the design consultant for contractor

Bouygues Energies & Services. The project began in March last year and has been on a three-year rolling timeframe, starting with residential. More than 60,000 assets were designed and installed in

year one, moving to main roads and town centres over the remaining two years. Kent created an exacting specification, requiring manufacturers to work hard to ‘prove’ their luminaires. For example, the project has involved the replacement of some 33,600 luminaires, switching to P852 luminaires manufactured by CU Phosco but modified for the council’s use. Five versions have been used with two optics. We have produced a

lighting design for each lighting point, so ensuring that the light distribution is optimised for the relevant road geometry and task. In terms of energy efficiency, the 4,69KW on the existing HID asset has reduced to 1,17KW for the P852 LED, or around a 70% energy reduction – the savings Kent County Council is now enjoying are, clearly, significant compared to the existing street lighting infrastructure.

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July/August 2017 Lighting Journal

Energy efficiency and sustainability

Much of the debate around connected lighting has, naturally, been about the technological advances it brings. But it is also important lighting professionals emphasise the role connected lighting can play in reducing energy use and, in turn, mitigating climate change By Stephen Rouatt

ome ten billion people will inhabit our planet by 2050, two thirds of them in cities. This, if nothing else, illustrates that the challenge for lighting professionals is not just going to be that we’ll need more light, it’ll be that we will need LED lighting that’s energy-efficient, sustainable and connected. A lot of the debate around ‘smart’ lighting up to now has been about the technological advances it can bring. That’s completely understandable, but the link between connected lighting and sustainability is also a significant one, and one worth emphasising. Lighting currently accounts for 15% of the world’s electricity. But, if the planet were able universally to switch to LEDs, lighting’s share of power consumption would fall to just 8%.

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That’s why, at Philips Lighting, we’ve set out a ‘call to action’ for all cities around the world to adopt 100% LED street lighting by 2025. Let’s look at some facts here. Today there are approximately 300 million streetlights across the world yet only about one in ten is using high-efficiency LEDs, and just 2% are connected. Combining high-efficiency lighting with connectivity and smart sensors could deliver energy savings of up to 80%. It stands to reason this would make a significant positive impact on governments and countries working to meet global climate change targets. To cite an example of how this can work in practice, here in the UK we’ve been part of the programme to overhaul and upgrade the street lighting on the Isle of Wight.

REDUCTION IN ELECTRICAL LOAD

The upgrade of lighting and controls is part of a 25-year programme being delivered through the Ringway Island Roads private finance initiative to upgrade, enhance and maintain 804km of the island’s highway network. Existing 50W SON lanterns in residential streets were replaced on a onefor-one basis by 13W and 24W Stela lanterns, providing a reduction in installed electrical load of over 50%. More than 12,000 street lights have been upgraded, with some older lighting columns replaced as well. The project has delivered significant energy savings, improved visibility, reduced light pollution and freed local funds for alternative investment. Moreover, all lanterns were selected for their ability to provide the required

July/August 2017 Lighting Journal

spond to faults without waiting for a manual report.

SOCIAL BENEFITS

Looking further afield, our work in Los Angeles, where all the city’s streetlights have been converted to connected LED, has led to a 63% saving in energy usage in the first year alone. A further benefit has been that acoustic sensors have been installed on lighting columns to enable the detection of gunshots in high crime areas. These can be instantly connected with the 911 alarm service, and a police car can be dispatched more quickly. The social impact of connected lighting can also be seen in a research project we are involved in within the Netherlands called ‘De-escalate’. This is

and space management. The benefits of the Internet of Things (IoT) and connected lighting are only just being realised; there are, I am sure, going to benefits to emerge that have not even yet been thought of. The IoT is already positively affecting how we live at an unprecedented rate. It is actively bettering the economy, lowering crime rates, improving mood and aiding wellbeing; benefits that, of course, go way beyond basic illumination. Within this, however, the role and potential of connected lighting to reduce energy consumption and lower global CO2 emissions needs to be recognised, especially if moving to LED can be achieved on a global scale. IoT and connected lighting by itself is

light distribution with minimal upward light or light spillage. As a result, Island Roads received an award from the Campaign to Protect Rural England for its commitment to ‘Dark Skies’, reflecting the significant reduction in light pollution that has already been achieved. An important ‘smart’ aspect is all the new lighting, including the heritage lighting, is connected wirelessly via a CMS, which allows each luminaire to be controlled individually or in groups. This means, naturally, the lighting can dimmed at quieter times of the night, with different dimming regimes put in place for different roads. Not only does this mean less energy is used, it means individual lanterns can be monitored remotely, so reducing ‘scouting’ and allowing engineers to re-

looking at how interactive light scenarios can be used to help defuse escalation, for example, in a pub or bar or at a service help desk. The project is testing the benefits of light in these situations, including in Eindhoven’s inner-city entertainment area ‘Stratumseind’, with the results showing real promise. Connected lighting can also, of course, bring significant environmental and sustainability benefits to office, retail and home spaces. For example, our lighting system in Deloitte’s EDGE building in Amsterdam (pictured right) allows employees to personalise the lighting and temperature at their workspaces using a smartphone app. It also provides building managers with real-time data for applications like smart workspaces

not, of course, going to save the planet. But the contribution it could make to this global challenge is both exciting and significant. ¢

Stephen Rouatt is head of strategy and market intelligence for Philips Lighting, and is responsible for Philips Lighting’s IoT strategy

www.theilp.org.uk

July/August 2017 Lighting Journal

The ILP’s 'Lighting for Good' event

COMMUNITY SPIRIT 18

The ILP’s ‘Lighting for Good’ event in May asked lighting designers to think how they can better work to benefit the public. As speaker Michael Grubb explained in his presentation, of course you need to win contracts and make enough money to live. But you shouldn’t ignore what your business is ‘for’, how it can shape, serve and interact with your community By Michael Grubb

’ve been a lighting designer now for about 20 years, and in 2013 I started my own lighting studio in Bournemouth. For anyone who has started their own practice, you’ll know what I mean when I say you start from a blank canvas – not least the fact you have no clients! But, actually, it is a cleansing experience because it allows you to ask, ‘who do I want to be, where do I want to go, what’s my ethos going to be?’. One of my decisions for starting in Bournemouth was to create an environment that was not just out of London, but a place where staff/people wanted to live, to be more sociable, to be connected in ways other than the rat race. For example, we have a regular beach party. Very early on, we decided that whole ‘treat people how you expect to be treated’, it is such an easy thing to say, but yet we don’t do it very well. So, we invite everyone www.theilp.org.uk

down – and we pay for it all – to celebrate the relationships we have with everyone in the industry. We are a small team; there’s eight of us. We all get on very well, at least I think we do! We work quite closely and we listen to each other. The whole start-up of Michael Grubb Studio – and I appreciate this may sound strange bearing in mind our name – was making it not about me. It was about ‘who do we want to work with?’, ‘who are the clients we want to work with?’, ‘what are the projects to work on, and how do we get there?’. But, obviously too, it is all very well having an ethos of wanting to work with ethical companies and wanting to work on particular projects but, actually, you have mouths to feed, and how do you deliver that? If I’m perfectly honest, we somewhat ignored our own business plan, as we found a more organic approach which evolved

and gained huge momentum. It’s been a successful approach and like all good stories, it started in a pub. One of the earliest decisions was to have regular creative discussions away from the studio, in an environment that isn’t about production, that isn’t about CAD drawings and all the things we’ve all turned into in terms of a factory-line approach. But to think about things and about how we might put something back.

PUTTING SOMETHING BACK

I was very aware the lighting industry had been very good to me. So, when I started up on my own I really did want to give something back. But what that really meant was hard to put a label on. Then one night Stuart Alexander (our senior designer) and myself developed the idea of the Re:LIT project; it evolved, it wasn’t really this sudden realisation. Stu-

July/August 2017 Lighting Journal

art was working on a small project with a start-up called 90 Main Yard just on the edge of the Olympic Park in Hackney. They were creating a community centre for the arts and they had a big space but no money – the classic start-up story. Stuart used his knowledge and contacts to supply them with ex-demonstration and superseded project ranges at minimal cost – and this got us thinking… We had loads of lighting equipment just sitting on the shelf. A lot of manufacturers come along, show us their new super LED product that will last 20 years. They turn it on for 20 seconds; it’s not suitable for whatever reason, it goes on the shelf. A year later we have a big clear-out, we try to get rid of it all and they say, ‘actually we’ve got a super new version of that, we don’t want it back anymore, you can keep it or skip it’. And if this was our little humble studio collection, then we were sure other www.theilp.org.uk

July/August 2017 Lighting Journal

The ILP’s 'Lighting for Good' event

lighting consultants out there could probably outdo this. The more we started to think about this (and remember this was a conversation in the pub) the more animated we became – we had this Toy Story moment: the toys’ destiny is to be played with and what if they’re not fulfilling that dream? We had the same idea of ‘let light live’, this logic that it wasn’t being used yet there were probably plenty of places out there that would really require lighting. So we created the Re:LIT project. The basic principle is we only work for community projects; we only work for people who do not have enough money to activate these spaces that are otherwise unused. We were only going to use sustainable, energy-efficient products; we wouldn’t use tungsten and so on, and try and save energy, locally sourced, and recyclable comes in; all of the obvious things. We wrote our own ‘manifesto’ for how that would work. We thought the biggest challenge would be convincing manufacturers to take park in the initiative. We assumed that they would be reluctant as even used/superseded products have a value on a financial spreadsheet. But everyone we approached said, ‘yes, count us in; we’ll get involved, we’ve been meaning to do a stock take for the last two years’. We’ve heard that line now so many times. Our first Re:LIT project was down near us, in Boscombe, at the Shelley Theatre. It’s named after Mary Shelley, who wrote Frankenstein. It was her home; she’d had her own private theatre that was bolted on www.theilp.org.uk

to the side of the manor house, but it was falling apart. The owner wanted to use the venue for community events and managed to acquire some seating from one of the old cinemas, but they had no permanent lighting in there; along with lots of other things, too. All of which meant that they were only able to use the venue for one-off moments, but they could not use or activate the space on an ongoing period of time. So, for us it was the perfect venue. As part of the process of understanding waste we visited various manufacturers

WE HAD THIS TOY STORY MOMENT: THE TOYS’ DESTINY IS TO BE PLAYED WITH AND WHAT IF THEY’RE NOT FULFILLING THAT DREAM? WE HAD THE SAME IDEA OF ‘LET LIGHT LIVE’

and it was amazing what they had stored over the years. It was a real eye-opener! Initially we promised to deliver lighting equipment for the main theatre to start with, but we were offered so many luminaires we were able to activate not just the bar, but the social areas and upper floor areas as well. Now it is a fully working theatre; it’s thriving, it’s got a website, it’s got major events being put on. We are really proud of that. The only people that really lost out on this project were us, Michael Grubb Stu-

July/August 2017 Lighting Journal

dio, because we did not charge for any of our time. We co-ordinated it all for free. However, we won a couple of awards for it, notably in the 2014 LUX Awards, and this genuinely at the time made me feel a bit awkward. Because, obviously, it was good for the Re:LIT project that it was getting recognised; it was giving it an extra level of promotion. But then the guilt kicks because you think ‘I did this for this whole “be good” thing and now we’re getting PR and marketing out of it, isn’t that contradicting the whole point of where we are?’. But we then realised we were in fact dictating the way we were working; we were dictating the kind of people we wanted to work with, the type of clients we wanted to represent. The conversations we were having were leading to different conversations with different people. We had stumbled across a truly ethical approach.

mal testing, the list goes on and on. It all started with the way we worked, and then backed up by the lighting design. We’ve been working with them for a year now – we’ve completed over 50 stores. They’ve got 950 in total – and we’re signed up to do all of them. We’re even now working on the Lush spa experiences. All of my team has been on a spa day – we’ve had bubbles blown at us and all those other weird things they do. But it has all spun off us trying to take the ‘right’ approach in terms of lighting design.

Michael Grubb, BA (Hons), is creative director of Michael Grubb Studio With thanks to Anggia Widhi, an MSc student in Light and Lighting at UCL, for taking the photograph of Michael speaking at the event used in this article.

Top and left: The Shelley Theatre in Boscombe. The lighting scheme was installed through the Re:LIT project. So much spare lighting equipment was donated that the bar, social areas and even the roof space could all be activated as well as the theatre itself

TURNER PRIZE

To give another example, the second ReLit Project was for Chicken Town in Tottenham, north London, about fast-food culture and dealing with obesity. The project was being designed and developed by an architectural practice called Assemble. Then, halfway through, Assemble won the Turner Prize – the first architect ever to win it. This inadvertently promoted us, which in turn led to more conversations where clients were saying ‘we understand this is the way you work, will you work with us?’. Our Gardens of Light Festival work emerged this way, too. We were approached by the local authority who said, ‘we want to do a light festival for the community but we don’t have very much money’ – it always starts off with that conversation – ‘apparently you’re the people to speak to’. It won an award, too. So, you’re back to that point of trying to do things for the right reason but then you keep getting all this credit for it! What happens is it gives you a wider exposure, which then allows more and more people to say, ‘we like what you’re doing, we like the approach that you take, and we want to work with you’. We are now at the point where we have large multinational companies and large brands contacting us. For example, Lush is a great client of ours. We are designing all of the lighting for all of their stores. And, again, it all started with a conversation about ‘we like your lighting design, we like your approach, we like your ethics’. They’re one of the biggest ethical companies in the world; they don’t have packaging with their products, they don’t do ani-

We are no longer a blank canvas, we have an identity, a logo but most importantly we have clients who are ones we want to work with, whose ethos we relate to – it’s good being good. ¢

MAKING ‘GOOD’ HAPPEN The ILP’s ‘Lighting for Good’ event in May was designed to be a springboard to help lighting professionals, one year off from the 2018’s UNESCO International Day of Light (which will be on 16 May) think about how they can contribute to a better world. How can the lighting community use its skills, expertise, tools, training and technology to do ‘good’, to benefit communities and the public? Alongside Michael Grubb, speakers included Paul Traynor,

principal of Light Bureau, who discussed the importance of creating more ‘democratic’ design. Ellie Coombs and Daniel Gray, from Nulty, discussed the challenges, opportunities, and responsibilities of specifying lighting for an increasingly ageing population. Finally, Elettra Bordonaro and Stephen Thompson, from Light Follows Behaviour, explained how their practice ethos, of designing both with and for people, benefits communities and the public realm more widely.

www.theilp.org.uk

July/August 2017 Lighting Journal

Hospitality lighting

‘T

here’s something not quite right in here with the lighting, I’m not sure what it is but it doesn’t feel right,’ said the architect as he turned to me and sipped his wine. We were having dinner at a high-end restaurant in Dubai with a client to show us the benchmark he was pitching his own restaurant at. The architect was right of course, the impressive space was elegant and intricately designed, moody (as these venues tend to be) with visually interesting elements to draw the eye, but it was lacking… something. It is this ‘something’ that’s often hard to define and even harder to get right. Most clients refer to it as simply ‘atmosphere’ or www.theilp.org.uk

‘ambience’; that magic dust that will bring success to their venture and, they hope, bring hungry hordes to their door following a thumbs-up on TripAdvisor or suchlike. For us on the design team, finding this magic ‘something’ means weeks and months of work – putting together all the elements that will bring about the ambience, the grand vision, that the client is seeking. Then, after the creative work has been done and the design concepts approved, the project generally progresses to the point where the QS issues an Excel spreadsheet and informs the team that the design is ‘over budget’. This usually kicks off the (de-)value engineering process. Depending on how this is

handled, the project stands on a precipice. It also risks ending up much like the restaurant mentioned in the opening paragraph: ‘not feeling quite right’. It’s often difficult for the client and design team to navigate this process without ripping the heart out of the design. Assuming the client has allocated a reasonable budget, what elements do they choose to compromise in order to hit that financial target? In this article, I hope to highlight a few studies and insights that, for me at least, illustrate why lighting designers on a project aren’t just visionaries with their heads in the clouds. In fact, we have a vitally important role that contributes significantly to the bottom line of a restaurant, hospitality or food and beverage project.

ATMOSPHERE

I briefly mentioned atmosphere in the opening paragraph, but how do we actually define this? In an interview with a prospective in-

July/August 2017 Lighting Journal

tern, I once asked how she had heard about Firefly. She replied that she had been sitting in Hakkasan and the lighting felt ‘good’. Her conclusion was that there must have been a lighting designer involved in the project – which led her to us. When discussing atmosphere relating to food, I’ve found an excerpt from Nanette Stroebele and John De Castro in their 2004 paper Effect of Ambience on Food Intake and Food Choice particularly helpful [1]. They argue ambience can be defined as ‘parts of the environment that are hard to localize and that surround the organism integrally like temperature, sound, smell and so on’. Ambience has the ‘potential for impinging upon human functioning at nearly all levels – physiology, motivation, mood, behaviour, cognition and social interaction.’ In addition, ambience, described as the atmosphere of the environment, can serve as an effect creating medium and a surrounding inﬂuence. The main sensory channels affected by the environment are visual, auditory, olfactory, and textual. Colours, sounds, smell, and textures in the environment

may directly arouse visceral reactions that contribute favourably to eating behaviour. Our conceptualization of ambience therefore needs to include not only environmental stimuli, but also food-related sensory stimuli. Both factors are considered as ‘ambient’ factors with a direct effect on food intake. Various components of ambience can trigger sensations in a consumer that might increase or decrease food intake. In other words, these situational and sensory factors might help convert behavioural intentions into actual eating behaviour. It’s probably true to say that, although many clients may not be able to fully articulate why they seek to create the right atmosphere in their establishments, it is in the hope that these factors would convert intentions into behaviour.

VALUE OF DESIGN

As a restaurant user, if you were to rate food, service, amenities and décor in order of importance, what would be your order? A study by Cornell University’s Alex Susskind and the Royalty Hotel’s Edwin Chan in 2000 concluded that food and décor are more related to higher ratings by guests than service; décor contributed www.theilp.org.uk

July/August 2017 Lighting Journal

Hospitality lighting

more to higher bill averages than the service [2]. In fact, Susskind went on to conduct another study which showed that a more pleasant environment was also associated with more favourable evaluations of responsiveness, reliability, assurance and empathy. Not only that, but omissions in service or other complaints were seen as occasional errors as opposed to fundamental flaws. So, as a lighting designer, do our designs help the client to generate more revenue? Let’s look at some of the factors that contribute to a successful food and beverage space.

REPEAT PATRONAGE

One of the fundamental keys to success of a restaurant is generating repeat business. Research suggests that a new customer has a 27% chance of visiting again. In contrast, if that customer comes back a second time, the odds of them making a third visit jump to 45% [3]. A 2012 survey for the US National Restaurant Association noted that repeat customers made up 71% of sales at quick service restaurants, 68% of sales at fast-casual operations, 64% at casual-dining establishments, 63% at family-dining eateries and 51% at fine-dining restaurants [4]. Needless to say, your chances of getting repeat business increases each time a guest returns. However, what factors lessen the chances of this happening? Alex Susskind, this time in a 2011 study with Syracuse University’s Anthony Viccari, found that food or service failures in a guest experience still had a higher chance of repeat patronage (depending on the success of the remedy) than issues with the atmosphere. ‘The lowest level of repeat patronage intentions was reported by guests complaining about the atmosphere or other factors not connected with the food or service. We conclude that if elements of the atmosphere are not pleasing to the guest, they are not likely to return, regardless of the remedy.’ [5] Therefore, and somewhat counter-intuitively, the idea that the ‘envelope’ of a restaurant as a mere vessel containing the key ingredient needs to be reframed. The interior is the catalyst by which the food can be fully enjoyed.

SOCIAL FACILITATION AND ‘EMOTIONAL CONTAGION’

Upselling is a common tactic in food and beverage service. But what if the envelope www.theilp.org.uk

you create was automatically able to encourage your guests to spend more? The décor of a restaurant can influence our perception of what’s the most important in the restaurant, the food. Nanette Stroebele and John De Castro, in their 2004 study, illustrated this changing of the ambience of a restaurant. They created a ‘typical’ Italian atmosphere, with red-and-white checked tablecloths, an Italian flag, menus written in Italian and other Mediterranean symbols [6]. Even though the actual menu was the same in the Italian setting and the usual restaurant setting, all meals were rated as more Italian under the ‘Italian condition’. The customers also consumed more dessert in the Italian ambience; thus the environment actually influenced their behaviour – indeed, could we say that they

acted ‘more Italian’? In essence, more food was consumed in the more ‘Italian’ setting and this was solely because of the influence of the décor on the guests. Another aspect the client should consider in the design of his restaurant is the aspect of ‘social facilitation’. What this means is that people tend to behave differently in a restaurant with others than when on their own. When Alan Yau started Wagamama in 1992, not only did he bring Japanese-inspired food into the mainstream, he also – whether deliberately or inadvertently – tackled the ‘stigma’ of eating alone because customers sat at large communal tables where they ate with strangers. When asked whether this influenced the amount of food people consumed, Alan said that he did notice they definitely ordered more. Research has shown that we tend to eat and drink more and for longer when in a group than individually. The more people present, the greater the quantity of food consumed, with a caloric increase of 76% with seven or more people. Meal portions eaten with others were 44% larger on average and also contained more carbohydrates, fat, protein, and total calories [7]. Whilst social facilitation can influence individual behaviour, there is another related aspect known as ‘emotional contagion’. For those unfamiliar with the term, emotional contagion can be categorised as the following: ‘a process in which a person or group influences the emotions or behavior of another person or group through the conscious or unconscious induction of emotion states and behavioral attitudes’ [8]. The hypothesis is that there is a contagion of mood among group members and unpleasant emotions lead to greater emotional contagion than pleasant emotions [9]. Therefore, positive responses to food, service and décor should result in a good experience and feedback from a group of guests. However, should one of the elements affect just one of the guests in the group negatively, this will rapidly spread a negative emotional response in the group as a whole. As we have seen in a previous section, food and service aside, issues with the atmosphere adversely affect repeat patronage. But issues during the dining experience, even if it only affects one individual, will have an adverse effect on the whole group.

July/August 2017 Lighting Journal

Some of Firefly Lighting Design’s lighting schemes for Hakkasan, showing, left, Mumbai, below, Marrakech, and, overleaf, Mumbai again

THE DESIGN TEAM IS NOT MERELY CREATING AN ENVELOPE FOR FOOD TO BE SHOWCASED; THE CORRECT IMPLEMENTATION AND EXECUTION RESULTS IN A SIGNIFICANT CONTRIBUTION TO THE BOTTOM LINE

INCREASE THE DESIRE TO EAT

When questioned about our selection of lighting and why a higher colour rendering is essential to the design, we always refer the client to the fact that, in most restaurants, the first time the guest is able to see the food is on their journey from the door to their table, or in some restaurants at the ‘pass’ counter (or where completed, plated food is passed to the waiting staff ). This is also when the desire to eat begins to cause physiological responses in the www.theilp.org.uk

July/August 2017 Lighting Journal

Hospitality lighting

body. It has been shown that the smell of appetizing food the sight of food and talking about food for 30 minutes, increases gastric acid secretion and serum gastrin concentrations. This also can be provoked by simply smelling or thinking of food [10]. The benefit of lighting the food on the table well is not just functional, in the sense of the diners being able to see what they are eating, although that really helps. As the guest is passing through the space, you are maximising the expectation and anticipation; they are judging the quality of the food through what they see and what they smell. Over the last 20 years (certainly in the UK), the kitchen has moved from being unseen to being part of the dining experience. Therefore, if there’s an opportunity to light the pass counter we will usually take it. As the food sits there, we try to elevate the lighting levels there in order to draw the eye and make it a focal point.

DURATION AND DISINHIBITED BEHAVIOUR

When embarking on a new project, we create a lighting strategy that reinforces the business model of the establishment. Strobele and De Castro in their 2004 study argued that: ‘Bright light activates most human beings. In contrast, warm light relaxes and slows down a person’s movements. Conversely, as illumination increased, people’s duration of stay in the establishment shortened and with it their alcohol consumption. Also, exposure to dimmer light appeared to promote disinhibited eating in restrained eaters.’ Therefore, if we are lighting a mid-end or fine dining restaurant where the business model is built on extending the duration of the meal in order to increase consumption of food or alcohol, we would

create a scheme where, at certain parts of the day, the lighting levels would be lowered. This is in order to increase melatonin production, which in turn causes you to relax and slow down your movements. A fast/casual dining offer that perhaps relies more on table turnover in order to maximise profits would require a completely different lighting strategy, although the trick would be to design this in a way that still retains some aesthetic qualities. Another benefit of reduced lighting levels with the right atmosphere is to encourage disinhibited behaviour in the guest. The design of the interior, the music and the ambience allows the guest to behave in a way they would not normally be inclined to do so, with the eventual result of consuming more food and more alcohol. Another term for this condition is ‘mindless eating’. To date, academics such as Brian Wansink of the University of Urbana-Champaign in Illinois and colleagues have used the term ‘mindless eating’ to describe the ways in which environmental factors trigger eating without conscious processing [11]. The premise is that you are designing the

REFERENCES [1] Stroeble, N; De Castro, J M. Effect of Ambience on Food Intake and Food Choice. Nutrition, 20 (9): 821-838, 2004. https://www.ncbi.nlm.nih. gov/pubmed/15325695 [2] Susskind, A M; Chan, E K. How restaurant features affect check averages: a study of the Toronto restaurant market, Cornell Hotel and Restaurant Administration Quarterly, 41 (6), 56-83. The Scholarly Commons, Cornell University School of Hotel Administration, http://scholarship. sha.cornell.edu/cgi/viewcontent. cgi?article=1384&context=articles [3] http://blog.sumall.com/journal/ the-importance-of-repeat-customers-2. html; http://blog.bizzy.io/the-repeatcustomer-is-a-treasure-trove/ [4] http://www.restaurant.org/NewsResearch/News/Repeat-customersintegral-to-success,-study-finds [5] Susskind A M; Viccari, A. A Look at the Relationship Between Service Failures, Guest Satisfactions,

space and environment to provide a level of escapism for the guest; an environment where a distance is created between the mental processing of when to stop eating or drinking. Whilst mildly shocking when presented in these terms, in reality we see this strategy at work across all sectors such as retail, hospitality and leisure spaces.

CONCLUSION

From the client’s perspective, it is clear that employing the right designers on a project is essential to the success of their venture in both the short and long term. The design team is not merely creating an envelope for food to be showcased; the correct implementation and execution results in a significant contribution to the bottom line. For the design team, we can come to the table confident that our skills and talent not only creates a destination with inherent value, but a win-win for the client and consultant. ¢

John Lau, BA (Hons), is managing director of Firefly Lighting Design

and Repeat-Patronage Intentions of Casual Dining Guests, Cornell Hospitality Quarterly, 52 (4), 438-444. The Scholarly Commons, Cornell University School of Hotel Administration, http://scholarship. sha.cornell.edu/cgi/viewcontent. cgi?article=1379&context=articles [6] https://mindshapedbox. wordpress.com/2012/04/11/therole-of-restaurant-decor/ [7] Wansink, B. Environmental Factors That Increase the Food Intake and Consumption Volume of the Unknowing Consumer. Annual Review of Nutrition, 2004. 24: 455–79. http://foodpsychology.cornell.edu/ sites/default/files/unmanaged_files/ Consumption-ARN_2004.pdf [8] Schoenewolf, G. Emotional contagion: behavioral induction in individuals and groups. Modern Psychoanalysis, vol 15(1), 1990, 49-61. http://psycnet.apa.org/ psycinfo/1991-19168-001 [9] Barsade, S G. The Ripple Effect: Emotional Contagion and Its Influence

on Group Behavior. Administrative Science Quarterly, Vol. 47, No. 4 (Dec., 2002), pp. 644-675. http://web. media.mit.edu/~tod/media/pdfs/ EmotionalContagion.pdf [10] Feldman M, Richardson CT. Role of thought, sight, smell, and taste of food in the cephalic phase of gastric acid secretion in humans. Gastroenterology, 1986 Feb; 90 (2): 428-33. https://www.ncbi.nlm.nih. gov/pubmed/3940915 [11] Wansink, B, Sobal J. Mindless Eating: the 200 Daily Food Decisions We Overlook. Environment and Behavior, 39:106-123, http:// journals.sagepub.com/doi/ abs/10.1177/0013916506295573. Wansink, B, Just, David R, Payne, Collin R. Mindless Eating and Healthy Heuristics for the Irrational. American Economic Review: Papers & Proceedings 2009, 99:2, 165–169. http://www.indiana.edu/~abcwest/ pmwiki/CAFE/wansink,just,payne. mindless.eating.heuristics.AER2009.pdf

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July/August 2017 Lighting Journal

Hospitality lighting: projects

ENERGY DRINKING Pub chain Fuller’s is going 100% LED following a trial at its new The Sail Loft pub in Greenwich, south London By Nic Paton

he Fuller’s pub chain – technically Fuller, Smith and Turner, but no one calls it that, especially after a few pints – has almost 400 managed and tenanted pubs located across London and the south east of England. Back in 2014 it snapped up two freehold sites on the banks of the River Thames. One later that year became The Tideway pub near Hammersmith, overlooking the course of the Oxford and Cambridge Boat Race. The second, just down from the Cutty Sark in Greenwich, has had a slightly longer gestation, opening in February last year as The Sail Loft, a two-level new-build pub with room for 300 customers. What is interesting about it from a lighting perspective is that the pub was Fuller’s first attempt at going 100% LED, while still trying to maintain a ‘traditional’ atmosphere and ambience (although without sticky, swirly carpets). In fact, the pub is a world away from your traditional (though now fast disappearing) London dockside ‘snug’, in that it boasts floor-to-ceiling glass windows on three sides and a large terrace facing the Thames, with views across to Canary Wharf, the Cutty Sark and the O2 Arena.

BALANCING ACT

Being so dominated by glazing, the lighting scheme, created by The Light Corporation, had to tread a fine balancing act between creating a cosy, comfortable environment www.theilp.org.uk

The Sail Loft in Greenwich, south London. Warm traditional filament LED lamps can be dimmed throughout the day. Owner Fuller’s is now rolling out LED across its managed estate

THE BUILDING IS AT ITS BEST AT DUSK, WITH THE ARRAY OF SPARKLY FILAMENT LAMPS TWINKLING IN THE WINDOWS – A BEACON ON THE RIVERSIDE

in which to have a morning coffee but one also capable of transitioning into an attractive, ambient environment in which to have an evening pint. The focus for the scheme was therefore very much about how to use lighting to generate mood, as Tim Henderson, director of The Light Corporation, explains. ‘Maritime lighting was used throughout, with warm traditional filament LED lamps, controlled to dim throughout the day. Bright sunshine or a grey overcast day will dramatically change the feel of the pub – so the lighting had to help bridge the gap and maintain the warmth. ‘The building is at its best at dusk, with

the array of sparkly filament lamps twinkling in the windows – a beacon on the riverside,’ he says. Bright Goods LED filament lamps from LED Eco Lights were used for the project, located within ‘basket-style’ lampshades to, once again, feed into the nautical theme. The pilot has proved a success, leading to as much as 75% energy savings. So much so, LED lighting is now set to become the standard fitting for front-of-house areas across Fuller’s managed pub estate. Fuller’s also intends to test ‘intelligent’ kitchen extract control and boiler control systems in two of its hotels. This means the LED lamps will be fitted into existing Fuller’s pubs as they are refurbished and then to other new pubs as they are built. Pubs so far completed include The Tea Merchant in Canary Wharf; The Pilot in Chiswick; The Queen’s Head in Hammersmith; The Hydrant in Monument; The Pilgrim Inn in Southampton; The White Hart Hotel in Hampton; and The William Walker in Winchester. As Peter Turner, property director at Fuller’s, says of the new lamps: ‘They provide illumination that is as warm and welcoming as a filament bulb, maintaining the all-important ambience of the pub in the evening. It is also highly controllable, and can be dimmed as required. It allows us to maintain a traditional feel while reducing our carbon footprint.’ ¢

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July/August 2017 Lighting Journal

Traffic signage conspicuity

The conspicuity of traffic signs will be different between night and day, that is selfevident enough. But what factors have the most effect and how, as a result, can lighting professionals improve conspicuity? A study by UCL, presented at last month’s Professional Lighting Summit, has looked into this area By Margareth Sunjoto and Jemima Unwin

www.theilp.org.uk

raffic signs, as we all know, are created so that drivers can navigate on the road. According to the government’s Traffic Signs Manual, drivers rely on traffic control devices, such as signs, for information and guidance (Department of Transport, 2008). Their role, therefore, is to deliver information clearly and precisely on time, so that they are speedily understood. However, the efficiency of traffic signs in the urban environment depends on factors that are difficult to control. Urban areas usually have a greater number of buildings and vehicles, which could create visual distraction and clutter in the background behind the signs. This effect could be either to make sign searching more difficult, or have the opposite effect, as the simply-designed sign could stand out from the background and become more visible. Therefore, conspicuity is a good mea-

sure of how successful a sign can be in ‘guiding’ drivers. Conspicuity is defined as the quality of an object or a light source to appear prominent in its surroundings.It is a measure of how a sign can attract (attention conspicuity) or gain (search conspicuity) the driver's attention (CIE International Lighting Vocabulary).

PREVIOUS RESEARCH

Previous research (summarized in the table opposite), has found that conspicuity is determined by several factors related to: • Size difference, particularly because the human eye tends to see closer objects that provide a large visual angle • Luminance differences between the target object (traffic signs) and its background • Complexity and density of background patterns • Colour differences

July/August 2017 Lighting Journal

YEAR

RESEARCHER

FINDINGS

1978

Cole & Jenkins

Cole & Jenkins Larger target objects were judged to have perceptual better defined edges, and edge definition was an important determinant of conspicuity

1979

Cole & Jenkins

Conspicuity is not simply a matter of the physical characteristics of the object. The object must be considered in relation to its background. Not yet able to specify the background parameter

1980

Hills

An object that is highly conspicuous in one environment can readily be lost in another

1982

Cole & Jenkins

No satisfactory explanation can be given to the effect of background density on target detectability, but a tentative suggestion could be that subjects need to distribute their attention over a wide peripheral area in order to perform well

1986

Jenkins

Effect of contrast with local background – border treatments increased the conspicuity of the sign, but the increase was not statistically significantly greater than the untreated sign having the same overall dimensions

1987

Schwab & Mace

The more complex the background, the shorter the detection distance

2001

Ho et al

The search for a sign is not equally easy during night time and daytime

2001

Paulmier et al

When the visual complexity of the near background of target increases, its visibility level must be increased to achieve higher detection rate

2011

Porathe & Strand

Introducing conspicuity index

2014

Cavalcante et al

In streetscapes, high complexity is associated with the presence of high contrast object

p Figure 1. Findings in conspicuity research

Although the past studies are informative, research in the field would benefit from further studies. For example, investigation of the influence of luminance contrast and colour difference between the sign and the background could be valuable. An investigation that compares daytime and night-time conspicuity could also be useful because, although it seems to be obvious that the conspicuity of signs is different between night and day, the importance of various parameters may change. By exploring this issue in more detail, the effectiveness of signs for both daytime and night-time conditions can be understood. The following experiment was designed in order to do this. A controlled indoor experiment was designed based on the outcome of a field observation which identified sites in London for study, and two pilot studies which re-

fined the experiment method, to ensure clarity in the procedure. The decision to complete an indoor controlled experiment was taken partly because of the feasibility of this approach within the time constraints of an MSc dissertation. Also, a field study in real traffic is considerably more difficult to control because of the varying number and speed of vehicles in the background. An indoor experiment involving a still scene meant participants have the same experience, so patterns in their responses can be identified. A total of 24 subjects from the ages of 20-years-old to 54-years-old participated. All had either normal vision or vision corrected with glasses or contact lens. No participant in the study was reported to be colour blind. The experiment was a visual search task where eight different scenes from London urban areas were presented under daytime and night-time conditions.

DAYTIME VIEW

NIGHT-TIME VIEW

METHODOLOGY

p Figure 2. Examples of the scenes used for the experiment

THE SIZE OF A SIGN HAS A HIGHER INFLUENCE ON CONSPICUITY COMPARED TO OTHER PARAMETERS. DIFFERENT TREATMENT OF SIGNS IN DAYTIME AND NIGHT-TIME CONDITIONS SHOULD BE CONSIDERED TO INCREASE THE CONSPICUITY OF TRAFFIC SIGNS

Every scene appeared for 200 milliseconds, and was repeated twice in random order between night and day to reduce bias from order effects. A blank screen with a ‘+’ symbol in the centre appeared after each scene to help participants fixate before moving to the next scene. Participants were asked to detect any traffic signs they saw in the scene and record the type and occurrence of sign on an answer sheet provided. Four parameters were tested: size/distance of sign to driver; background complexity; relative luminance contrast; and www.theilp.org.uk

July/August 2017 Lighting Journal

Traffic signage conspicuity

colour difference between the sign and its immediate surroundings. Figures 3 and 4 below illustrate this approach.

p Figure 4. The answer sheet. Participants were asked to detect any traffic signs they saw in the scene and record the type and occurrence of sign

p Figure 3. The procedure for the visual search task

FACTORS THAT AFFECT CONSPICUITY 2) Luminance contrast Previous study suggests that providing a high contrast on the edge of the sign could increase its conspicuity and therefore isolate uncertainties from the immediate background (Jenkins, 1986). In this research, the term luminance contrast is defined as the contrast between sign and its immediate background measured ± half of the diameter.

Day Night 25 R² = 0.6576 (Day) 20

Day Night

R² = 0.4377 (Night)

25 15

0.0

0.1

0.3

0.4

0.5

Angular size (degrees)

p Figure 5. Daytime and night-time detection and distance

and size, shown through a scatter plot

R2 = 0.2816 (Night) R2 = 0.0987 (Day)

0.2

0.4

0.6

0.8

1.2

1.4

1.6

1.8

Relative Local Luminance Contrast (low-high)

This finding agrees with previous research (Jenkins and Cole, 1978). It also can be suggested that these variables might be CONTRAST (Lt-Lb/Lb) easier to control and adjust underDaydifferDAY & N 23 0.268099258122282 ent conditions than other parameters. The 0.40790939472707 21 0.294631928658856 18 majority of the inconspicuous signs are 0.0535220994475138 5 0.458826429980276 signs located quite far back in the scene20in 0.358250497017893 0 the image presented.0.438117833135627 22 1.22600915965492 0.142175572519084 0.0741906474820143 0.351106464540861 0.423216748150934

No. participants detect the sign

1) Size and the distance from the sign to subject’s eye Size and distance are strongly related because the diameter of the sign is bigger if it is closer to observer’s eye. The scatter plot below (Figure 5) shows a consistent pattern where the conspicuity of the sign increase as it is closer and therefore appear bigger to subject’s eye. It declines as the sign appears smaller.

24 0 0 20 19

p Figure 6. Daytime and night-time detection and luminance

contrast, shown through a scatter plot

Local luminance contrast seems to have an influence in determining conspicuity in the night-time condition. As Figure 6 shows, participants tend to detect more Night signs as local luminance contrast increases, particularly above 1 cd/m2. Slightly fewer participants detected signs with high luminance contrast in the daytime scenes.

www.theilp.org.uk 42

To investigate further, a series of relative luminance contrasts between the sign and its immediate background were plotted in surface plots. This was used to compare signs and to illustrate the contrast distribution between the sign and its local surrounding. The surface plot of each sign was analysed by a visual appraisal. Examples are shown opposite in Figure 7.

BACKGROUND COLOUR PATTERNS CAN INFLUENCE THE EFFECT OF COLOUR DIFFERENCE (AS CAN BE SEEN IN CAMOUFLAGE CLOTHING). FOR EXAMPLE, THE CONSPICUITY OF THE SAME SIGN WITHOUT CHANGING ITS SIZE AND LOCATION MIGHT BE DIFFERENT IF AN URBAN SCENE IS CHANGED TO A RURAL SETTING AREA

July/August 2017 Lighting Journal

spicuous signs. Less strong correlation between the conspicuity and colour difference is also stated in past research, where one sign could be conspicuous under one environment, but it can be inconspicuous in others (Hills, 1980). Findings from this study tend to agree with previous studies. Background colour DAY & N Day patterns can inďŹ&#x201A;uence the effect of colour 0.0510471204188481 1.6700288184438 difference (as can be seen in camouďŹ&#x201A;age 0.0294351630867143 0.00203193033381713 clothing). For example, the conspicuity of 1.36345415065976 0.125700560448359 the same sign without changing its size 0.529667721518987 and location might be different if the scene is changed into a rural setting area. Day Night

p Figure 7. The relative luminance of signs under daytime and night-time scene, shown through a surface plot

3) Colour difference Because of less influence of luminance contrast in daytime scenes, perhaps in these cases colour difference contributes to sign detection? However, this supposition is only supported by the surface plots for local colour difference (in lab colour space).

Average Background Complexity Rank (least - most complex)

p Figure 9. Percentage of daytime and night-time detection

and mean background complexity score, shown as a scatter plot

p Figure 8. The colour difference of signs under daytime and night-time scene, shown through a surface plot

ILP

No. participants detect the sign

The relative luminance contrast map illustrates that several signs with high contrast on the edge have better conspicuity. However, some of the signs are conspicuous, despite less immediate background luminance contrast in daytime. The results tend to agree with statistical analysis showing that local luminance contrast at night matters more than in daytime. This make sense because in daytime the overall scene still clearly visible.

According to the visual appraisal of the surface plots, colour difference may have minor effects on conspicuity of signs for both day and night. Although the form of the sign can be identified for most of the signs, this does not indicate that the sign was conspicuous, particularly if the sign is far away. For instance, signs with a higher percentage of detection have a similar pattern of colour difference compared to less con-

4) Background complexity Background complexity was the most difficult to characterise of all parameters. Because of the time constraints within this study, a ranking method was chosen in which participants ranked each scene in order of complexity. As the scenes39 were typical environments found in central London, they were not too different from each other, which meant the ranking method created a simplistic difference between scenes which did not necessarily exist in reality. Therefore, it is not surprising that correlation test results for this parameter were weak. It is interesting to note that the trendlines point downwards, which although non-significant, reveals a possible trend for a lower proportion of people detecting the signs if the scene is more complex (with rank one as least complex and eight most complex). Jenkins and Cole also argued that is difficult to characterise types of background complexity (Jenkins and Cole, 1979). Their other research also mentions that there is no satisfactory explanation for the effect of the background density on sign detectability (Jenkins and Cole, 1982). Distributing driver attention over a wide peripheral area might be an alternative solution, as it could increase their perwww.theilp.org.uk

July/August 2017 Lighting Journal

Traffic signage conspicuity

formance (Jenkins and Cole, 1982). Paulmier et al also argue that, when visual complexity of the local background increases, the target visibility must be increased to achieve better detection rate (Paulmier et al, 2001). It can be argued that the most important factor affecting conspicuity in relation to the background could be the occurrence of objects of similar size, shape or colour in the visual scene. This would mean the sign is competing with similar objects for attention which could detract from their conspicuity. Further research should explore this further and also be more specific in the definition of complexity.

CONCLUSION AND RECOMMENDATIONS

In summary, the size of the sign has a higher influence on conspicuity compared to other parameters within the constraints of this study. Different treatment of signs under daytime and night-time scenes should be considered to increase the conspicuity of traffic signs. This research shows that each parameter might have a different impact on conspicuity during the day and at night – and it would be beneficial to investigate the effect of this in more detail. The difference in difficulty in searching for and identifying signs between daytime and night-time scenes was evident as participants’ performance slightly decreased during night-time. To illustrate, the same sign was detected 100% during daytime, but the percentage of people who detected the sign decreased to 96% at night, although it was the most conspicuous sign both during day and night. From our experiment, it is suggested that each parameter has a different effect towards conspicuity. Notably: • The size of the sign might strongly affect the percentage of sign conspicuity for both day and night. • Luminance contrast seems to have more inﬂuence in the night condition and colour difference seems to have less of an effect for both conditions. However, the influence of background complexity was not proved in this study.

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ment. This could be achieved, for example, by providing an interactive simulated scene where the participant could click, using a computer mouse, on every sign that they detected. ¢

The conspicuity of trafﬁc signs might be identified as a complicated area of research, yet it is considerably useful to road users. This study does need to be caveated, notably in the fact it was, as already highlighted, conducted in an indoor environment. A further limitation was that participants for the experiment are mostly UCL students, not all of whom could drive. Therefore, it would be advantageous to test the conspicuity of signs under real traffic situations, with active drivers as participants for further examination. This is particularly the case now that new cars have tighter headlight beam distribution, which could result in less spill light to light up reflective sign surfaces, possible reducing sign conspicuity. In the case of our indoor experiment, a more advanced methodology is suggested to improve participants’ experience, so to simulate driving in a real traffic environ-

REFERENCES Cavalcante A, Mansouri A, Kacha L, Barros A K, Takeuchi Y, Matsumoto N, et al. 2014. Measuring Streetscape Complexity Based on the Statistics of Local Contrast and Spatial Frequency. PLoS ONE 9(2): e87097. Department for Transport, 2008. Traffic Signs Manual – Regulatory Signs, Chapter 3.

J K, and Graw, T, 2001. Visual Search for Traffic Signs: the effects of clutter, luminance, and aging. Human factors, 43(2), pp.194-207. Cole, B. L., and Jenkins, S. E. (1978). Conspicuity of traffic control devices. (Report No. AIR 218-1). Melbourne: Australian Road Research Board.

Hills, B L, 1980. Vision, Visibility, and Perception in Driving. Perception, 9, pp.183–216.

Jenkins, S E and Cole, B L, 1979. The Effect of Size and Luminance on Visual Conspicuity in the Road Traffic Environment. Statewide Agricultural Land Use Baseline 2015, 1.

Ho, G, Scialfa, C T, Caird,

Jenkins, S. E., and Cole,

Margareth Sunjoto, lighting designer, MSc, completed her Masters in Light and Lighting at UCL. Dr Jemima Unwin, PhD, MSc, is deputy course director in Light and Lighting at the UCL Institute for Environmental Design and Engineering

IT WOULD BE ADVANTAGEOUS TO TEST THE CONSPICUITY OF SIGNS UNDER REAL TRAFFIC SITUATIONS, WITH ACTIVE DRIVERS AS PARTICIPANTS FOR FURTHER EXAMINATION

B. L. (1982). The effect of the density of background elements on the conspicuity of objects. Vision Research, 22, 1241–1252. http:// www.sciencedirect. com/science/article/ pii/0042698982901365 Jenkins, S E, 1986. Effect of Local Background on Traffic Sign Conspicuity Acknowledgement: this paper is presented with the permission of the executive director of the Australian Road Research Board , Dr M G Lay 13, pp.252–267. Mace, D J, 1984. Sign Luminance Requirements for Various Background Complexities. Proceedings

of the Human Factors Society – 28th Annual Meeting, 1984. pp.113–117. Porathe, T and Strand, L, 2011. Which Sign is More Visible? Measuring the Visibility of Traffic Signs Through the Conspicuity Index Method. European Transport Research Review, 3(1), pp.35-45. Paulmier G, Brusque C, Carta Vand Nguyen N, 2001. The Influence of Visual Complexity on the Detection of Targets Investigated by ComputerGenerated Images. Lighting Research and Technology, 33.3, pp. 197-207.

July/August 2017 Lighting Journal

The ILP’s ‘How to be brilliant’ lectures

Now in their fourth year, the ILP’s ‘How to be brilliant’ lectures have consistently attracted a very high calibre of speakers. Here, and overleaf, two ILP members assess what they took away from this year’s opening lecture in April By Caroline Webb

he ILP’s ‘How to be brilliant’ series of talks is now in its fourth year and, as a young lighting professional, I always look forward to these events. They’re a great chance to meet a group of like-minded, interesting people and learn about another branch of the ever-evolving and multi-faceted lighting industry. The first talk of 2017 was entitled ‘How to Be Brilliant at Lighting for Sculpture’ and was presented by Peter Pritchard of Pritchard Themis. After a brief introduction, Peter explained that his presentation would deviate slightly from the titled focus. Rather than ‘Lighting for Sculpture’ he was going to speak about ‘Lighting as Sculpture’. I’ll confess to some trepidation at the shift in emphasis, but I needn’t have worried. After the first five minutes of Peter’s talk, I was immersed in the subject. Peter spoke about a few of his most memorable past projects, including Waltham Forest College and the Royal Geographical Society, both in London, and the Royal Bank of Scotland headquarters in Dublin. The approach he described highlights the importance of context when designing for sculptural lighting; thinking about the relationship that the artwork has with its www.theilp.org.uk

surroundings, before and after the artificial lighting has been installed. Peter noted that the balance of the scene as a whole is crucial, and is central to developing a concept upon which to base the design. The starting point is to think about where the emphasis needs to be on the sculpture. Once that has been determined, one must consider the most important elements of the surroundings that require highlighting. He explained that the environment around the work can also be used to create a lighting effect – the sculpture doesn’t always have to be directly lit.

LIGHT AND SPACE MOVEMENT

After talking about the background to his career and route he took to his present position, Peter moved on to the primary influences that attracted him to the architectural lighting industry. He cited some of the artists involved in the Light and Space art movement which began in California in the 1960s. The work produced by the likes of James Turrell and Robert Irwin uses light (both daylight and artificial lighting) as a medium to play with perspective and challenge human perception. The artists explore, through their varying techniques, using light as sculpture to

create an immersive experience for their audience. They researched and experimented by challenging human perception to add a new dimension to their work, using interactions with phenomena such as Ganzfeld Spaces (enclosures which cause perceptual deprivation) and anechoic chambers (rooms that don’t reflect electromagnetic sound or light waves). These were contemplative pieces giving the observer, on first arrival, one context and understanding of the space they have entered. Then, as more information is gathered by the rods and cones in the human eye and processed, causing the retinal ganglion cells to be depolarised/stimulated, it forces a re-interpretation of the surroundings and the bounds of the scene. This experimentation about how humans interact with the visual environment is something that really interests me as a lighting designer. It emphasises the fact that producing a one-dimensional scheme which only achieves a required illuminance level is not enough. High quality architectural lighting design, like architecture itself, is as much an art as it is a science. Peter’s interpretation of the work by the Light and Space artists has clearly influenced the way he approaches his work. It has helped him to realise that lighting is subjective, and a different experience for each viewer. It can be a piece of art, and at the same time fulfil all of the relevant technical criteria for the project. This makes for a much more creative approach, ensuring a unique design for each and every commission. It is something I believe all lighting designers should aim for.

July/August 2017 Lighting Journal

James Turrell, Ganzfeld. AKHOB (2013)

As an aside, I’ve recently been learning how high exposure to fully-saturated, coloured lighting affects the human body. This topic is still being explored and is not yet fully understood within the industry. I think as the research develops it could add a new dimension to the work of the contemporary Light and Space artists, and lighting designers too. The work of the Light and Space artists creates a challenging, disconcerting, sometimes discombobulating environment for the visitor. It is not to everyone’s taste, but then art is always about stimulating thoughts and emotions, challenging or otherwise. Peter’s talk was thoughtprovoking and inspirational. The notion of challenging human perception and intuition is interesting but, as Peter noted, needs to be exercised with caution and care in practice. The idea of incorporating the concept that a space changes over time as the human eye adjusts, is fascinating to me. I’ve added a visit to James Turrell’s Roden Crater in Arizona to my list (once it has opened to the public). I would highly recommend you do likewise. ¢

Caroline Webb, MEng, is a lighting designer, partner and engineer at Max Fordham

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July/August 2017 Lighting Journal

The ILP’s ‘How to be brilliant’ lectures

HOW TO BE BRILLIANT… The aim of the ILP’s ‘How to be brilliant…’ series is very simple: to allow lighting professionals to meet an inspiring expert in an informal, convivial setting, who will talk and inspire about lighting in a way formal education doesn’t always cover. The lectures, which all take place at Marshalls Design Space in Clerkenwell in London, for the rest of the year are:

LIGHTING DESIGNERS ARE ‘FORM GIVERS’

20 JULY – How to be brilliant at lighting with colour, with Rob Honeywill of Maurice Brill Lighting Design

By Carmela Dagnello

warm welcome from the ILP staff, a relaxed atmosphere, light chitchat and people holding glasses of wine. This is the picture the Marshalls Design Space offers to the professional or curious when they come to attend one of the 'How to be brilliant' presentations. One this occasion, Peter Pritchard of Pritchard Themis was the presenter and, for his topic ‘Lighting for Sculpture’, two dozen people were craving a masterclass. And, from the first sentence, it was clear he was going to explain more than just a technique. Peter comes from a drama lighting background and has always been fascinated and inspired by the Light and Space movement, in particular how this movement explores light as a medium, how light affects the environment and changes the perception of the viewer. Our eyes are constantly scanning the environment to catch new, significant and mind-blowing stimuli. For Peter, lighting designers are ‘form givers’ who should use light as a scalpel to model and make eye-catching the world around us. However, just as much as in architecture, we should always consider the environment or, as Peter explained: ‘The piece to light up is nothing without context.’ This was very well-displayed in one of Peter’s projects, lighting the square for www.theilp.org.uk

Leicester Cathedral. Just as in a painting, the uplights aimed at the sculpture were designed to complete and enhance the view of the existing architecture.

James Turrell, Ganzfeld. AMRTA (2011)

19 OCTOBER – How to be brilliant, on ‘Lighting Design: a reflection’, with Simon Thorp of LAPD

CHANGING PERCEPTIONS

According to Peter, again just as in architecture, in lighting schemes ‘we need to choose what has to be active in comparison to the surrounding environment and most of all what we want people to see’. As he also argued, it is about what we want people to see, not just what people do see. If the lighting designer’s job is to encompass and crystalize knowledge in several scientific fields, then the truth, as Peter reminded us, is that we are also artists who are able to change people’s perception of the material world. Contemporary ‘smart’ lighting may seem to be the certain future of lighting, but what about revealing ‘unnoticeable’ things, modifying the perception of reality, creating new ideas? What about making people wonder about the environment in which they live? This probably sounds romantic or even old-fashioned to some. But Peter reminded us that human beings need to keep seeing the world in different lights. ¢

Carmela Dagnello, MA, is a lighting designer with Aurora Lighting

28 SEPTEMBER – How to be brilliant, on ‘lighting Bowie’, with Jonathan Howard of DHA Venue: Marshalls Design Space, Clerkenwell, London

30 NOVEMBER – How to be brilliant with smoke and mirrors, with Graham Rollins and Ingo Kalecinski of GNI Projects q

Carmela and Caroline at 'How to be brilliant'

For more details go to www.theilp.org.uk// careers/how-to-bebrilliant/

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July/August 2017 Lighting Journal

ILP 2017 Professional Lighting Summit

‘WE NEED TO BECOME BETTER IN OUR EXTERNAL COMMUNICATIONS’ Last month’s Professional Lighting Summit in Glasgow saw the ILP presidency pass from Kevin Grigg to Alan Jaques. Here are abridged versions of Alan’s presidential address and Kevin’s farewell comments By Alan Jaques, IEng, FILP

t is an honour and a privilege to accept the role of President. I will represent the institutions members, from all sectors of our industry, to the best of my abilities throughout my year in office. I came into the lighting industry in 1983 as a trainee lighting technician with South Yorkshire County Council and everyone told me I’d got a job for life. A short while later the government pledged to close down a number of large councils; South Yorkshire County Council www.theilp.org.uk

was one of them and it was abolished on 31 March 1986! One of my early influences was Bob Stevenson who became our President in 2001, Bob gave me a lift to work on my first day and I learnt much from working with him at South Yorkshire County Council. Coincidentally, it was during Bob’s term in office that I attained the grade of Member, so he also signed my MILE certificate. I then progressed my career through roles at Barnsley Metropolitan Borough Council, Sheffield City Council and Nottingham City Council before I stepped outside of the local authority world and moved to the private sector. Having never thought of myself as a salesman, I somehow ended up at Philips and then Thorn, and thoroughly enjoyed myself. I then went back into local authority as the street lighting manager at Derby City Council, before being lured back into the private sector, this time into consultancy, with Jacobs. I Joined Atkins in 2010 and I’m currently the practice manager for Lighting Systems, with responsibility for the day-today management and the business development for the UK team and to sup-

port our international colleagues. Although I’ve been a member of the Institution since 1983, it was 2001 before I first took an interest in being active when I became a member of the Midland Region committee. I served for 11 years and when I left to take up a Vice President position I was presented with the region’s Distinguished Member award.

SUPPORT NETWORK

I’ve heard it said many times during these speeches that the new President cannot believe that they have attained the office of President of this great Institution, and I am no different. The first annual conference I attended was York in 1984, as a day delegate. I recall feeling very young and to some extent out of my depth, being surrounded by much more knowledgeable and experienced lighting engineers. However, then as now, the membership is a support network for each other, the sharing of knowledge and experiences is one of the highlights that marks out this Institution. We are all aware the ILP promotes excellence in lighting, but what does membership do for the individual? Personally, I

July/August 2017 Lighting Journal

‘COMMUNICATION IS KEY TO A SUCCESSFUL INSTITUTION’ By Kevin Grigg, Eng Tech, AMILP

y time as President has been slightly longer than planned. I must admit that the 18 months have been very challenging. On that note, I would like to extend a warm welcome to Elizabeth Thomas, who has managed to attend the Summit this year – it is great to see you. I have always heard previous presidents say that time flies by when you’re doing this role, and I can assure you, Alan, it does – it will be over quickly. The past 18 months would not have been achievable if it wasn’t for the chief executive, fellow board members and staff at Rugby. Without their help, guidance and know-how, it would not have been so successful. So, thank you very much. There are lots of things that you, as members, do not see in the running of the Institution. For example, over the past year there has been a lot of focus on the Regional Review – this started with a member survey being sent out to every member in January.

Alan Jaques making his inaugural speech as President. He vowed to increase external communication and engagement, and visit each region in turn

Kevin Grigg. He expressed his thanks to head office and members for their support during his extended 18-month term of office

know it helped me get at least two of my jobs and if my career path had been different, I probably wouldn’t be speaking to you now. Having the appropriate grade of membership for your level of responsibility is extremely important, and becoming ever more so. Employers need to be able to demonstrate that the appropriate resources are being engaged on projects and one aspect of demonstrating competencies is by professional qualifications. I would urge you all to reflect on whether you are at the correct grade of membership and if not make a commitment to do something about it. In an effort to raise the standing of engineers and standards generally, the Engineering Council is making CPD mandatory from 2019. To assist the membership to keep their CPD record up to date the ILP offers the mycareerpath service, which is accessed from the ‘My ILP’ page of the website.

EMPOWER OUR MEMBERSHIP

Our Institution is very good at communicating internally, but less good at communicating externally. In order to grow our Institution, influence policy and empower our membership we need to become better and more active in our external communications. During my term as your President, I will ensure we increase our engagement with external stakeholders, including government bodies and other institutions to better place all our membership to deal with these challenges. We will also continue to engage with the Premier members through specialist forum events. These will build upon our existing relationships and foster mutually beneficial outcomes. During the coming months, I look forward to visiting each of the regions, whether that be at a technical meeting or one of your committee meetings to meet as many of you as possible. ¢

INVESTMENT IN PEOPLE

Every member was invited to have their say, and the response was higher than expected. The review has been evaluated, and revisions put forward and approved by the Board. I am sure you will see some of the benefits that are not offered at present. During my speech last year, I challenged all CEOs and directors of local authorities to invest in their staff and allow time for their employees to attend ILP technical days. This is continuing, and forms part of the Regional Review. I also identified last year that communication is key to a successful Institution. From the Regional Review, we have feedback to show that communication is good and continuing to improve. The Board of Directors’ ears are open, and they are listening to what you say. I would like to close with a massive thank-you to the Institution for allowing me the privilege to serve you, the members. ¢ www.theilp.org.uk

July/August 2017 Lighting Journal

Letters to the editor

‘EVIDENCE FOR THE ADVERSE EFFECTS OF BLUERICH LIGHT ON WILDLIFE IS BUILDING STEADILY’ 42

Sir I agree with Simon Bushell (Letters to the editor, March 2017, vol 82, no 3) that the debate around blue-rich LED lighting should be ‘led’ by the facts. The difficulty is the lack of evidence supporting the view that the new lighting causes no additional harm to humans, wildlife and plants. Reducing CO2 emissions is clearly an important goal but must be seen in the context of the concerns raised by the American Medical Association, and other medical and environmental groups and researchers*. In particular, the evidence for the adverse effects of blue-rich light on wildlife is building steadily. Has blue-rich LED lighting yet been accepted as harmless? If there are repeated and carefully controlled experiments that prove this to be the case, then well and good. Is anyone conducting those experiments today? The United Nations ‘Earth Charter’ is a global consensus statement of values and principles for a sustainable future, and has been adopted by many international organisations. Section II.6 states: ‘Preventing harm is the best method of environmental protection and, when knowledge is limited, apply a precautionary approach.’ In other words, if you cannot prove it is harmless then don’t do it! This must be applied to the blue-rich LED lighting issue and, as prowww.theilp.org.uk

fessional engineers, we cannot ignore the precautionary principle. We know now that HSDI diesel engine exhaust emissions, while reducing CO2 compared with spark ignition engines, are actually causing thousands of premature deaths a year through poorly controlled NOX and particulates emissions. This is an instance where concern to achieve CO2 targets took precedence over the probable harm such targets could cause. What does the diesel engine lobby think of this now? Speaking as a former diesel engine designer, I can tell you it feels pretty bad. Fixing the diesel emissions problem will be costly; what would be the cost of replacing all the recently installed blue-rich LED lighting and who would be liable to pay? Satisfying client requirements is one necessity. But will these same clients thank the lighting professionals should it turn out to be that blue-rich LED lighting really is harmful? Regards Howard Lawrence, CEng PS – although I am a committee member of the BAA Commission for Dark Skies (CfDS), the views expressed here are mine alone, and do not necessarily represent the views of the BAA or CfDS. ¢

* References: https://www.ama-assn.org/ama-adopts-guidance-reduceharm-high-intensity-street-lights http://www.exeter.ac.uk/news/featurednews/ title_568286_en.html http://www.health.harvard.edu/staying-healthy/bluelight-has-a-dark-side http://www.iac.es/adjuntos/otpc/International_ Declaration_on_Blue-Rich_Light.pdf

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Are you interested in advertising in the Journal? Please call Andy on 01536 527297 or email andy@matrixprint.com for more details

July/August 2017 Lighting Journal

Independent lighting design

Smartphones, tablets, Cloud technology and more have given us the freedom to work wherever and whenever we want. But the danger is this ends up meaning ‘all the time’ and ‘everywhere’. As a lighting designer, it is important not just to set professional and personal boundaries but to recognise the value of considered, creative reflection By Emma Cogswell

www.theilp.org.uk

ay is the month when The Times newspaper prints its ‘Rich list’. We all pretend we don’t care, but, for me certainly, my curiosity always gets the better of me and I have to sneak a peek. What makes those people so successful? If only I could have a bit of that knowledge, that bit of ‘something’ that gives them the edge? Apparently, it’s all down to how many emails you read. James Dyson says he only reads six a day – but I bet his PA reads many more! This got me thinking, though. All these lovely ‘smart’ gadgets we have nowadays, technology that is designed to allow us to work and interact faster and more efficiently, anywhere, anytime – but are we actually getting to do things faster? Are we

getting better? More importantly, are buildings becoming more efficient and then being built quicker? And how, too, is this reflected in our fees? Naturally, to try to find out, I thought I would ask the internet what working ‘smart’ is, what it means, and these are some of the answers I got back. ‘Prioritise and assess everything that needs to be done.’ ‘Before you plunge into something headfirst, remember that enthusiasm needs to be tempered with wisdom.’ ‘Look over every aspect of the job, and allow yourself ample “pondering time” so that you can be sure that every detail is accomplished on time and accurately.’ These are all useful – and there is loads of advice available online. But here are my top ten ‘smart’ working tips. You may, of

July/August 2017 Lighting Journal

course, have others that work for you but, as a starting point, these are what I’ve found to be valuable and effective. Have a list. Making a list may feel like you’re adding to your ‘to do’ pile. But, unless it’s simply displacement activity to avoid getting on with something (and that is something to be aware of ), making a list can be a great way of focusing and planning out your day ahead. Learn to say ‘no’. This can be hard to do, especially if it’s a client on the other end. But do try to avoid over-scheduling yourself. Be realistic about what you can accomplish in a single day. Recognise there is almost always something more than can or could be done, but it does not necessarily need to be done right now. Again, a list can be helpful here.

Be cautious about multi-tasking. We often think of multi-tasking as being something to boast about and, to an extent, we all need to juggle priorities. But often multi-tasking can mean getting less done because your brain is constantly switching back and forth between tasks. Pick one thing to work on, get it done and tick it off (and there’s that list again). But do also set a time limit for when you need to stop working on the task at hand, take a break or pick up something else. Control clients by communicating properly. Make sure your clients understand what the normal turnaround time will be for a project. A client will always

want to believe they’re your most important business, and their job requires prioritising and (often) a big rush. But at the same time, they will – or should – also understand and respect that most businesses have more than one client. After all, that’s why they hired you – because other people also think you’re good. Give one to three choices, never more. Too many choices can cause horrible delays as the customer evaluates all possibilities and then tries to second-guess every decision or, even worse, suddenly reverts to one of the possibilities they previously discounted. Remember, your job is the manage the process, and them, so as to get www.theilp.org.uk

July/August 2017 Lighting Journal

Independent lighting design

the result they want. Go with your gut instinct. This can be difficult, especially if you’re just starting out, but most of us will have been in that position when you just instinctively know a job is not going to be great but you’re already being sucked in, becoming committed. If a client or boss pressurises you into demands or expectations that you are not comfortable with, perhaps because it’s outside your scope of expertise, you need to be clear with them where the line is.

'THERE IS REAL VALUE IN TAKING YOUR TIME’ By Kevin Theobald

www.theilp.org.uk

Re-bid/re-price if necessary. Don’t accept so many changes that you end up doing a much more complicated or expensive job than you’ve bid for. This will undoubtedly need careful explaining but don’t be afraid to pause, explain why the job has now moved into new territory, and submit and agree a reasonable re-bid or re-pricing. It is important to have a comparison of what was originally agreed and where and how things have expanded. Let the client know precisely how much

hen I started as a lighting designer, we had no mobile devices, plans were hand-drawn and the only form of digital communication was the fax machine. Were designs then any less suitable for the project? When a change required the reissue of a trace drawing from the architect and days of drafting time, the change had to be really thought through and be relevant. Now changes to CAD layouts can occur several times a day with the lighting designer having to respond. Much of this work is

more it will cost to proceed (with the caveat that this could change again if the job continues to expand). Delegate. This should be a no-brainer but surprisingly often doesn’t happen. If one person is faster, more skilled or more accurate, put him or her on the part of the task that is most critical. Not only will that be more efficient but, because you’re playing to people’s strengths, your team will probably enjoy more what they’re doing. But do make sure you don’t inadvertently compartmentalise someone who may have skills in other areas that are not being fully used. Avoid procrastination. Remember, every time you surf the net or needlessly check emails, your day becomes longer! Learn to switch off. Especially when you’re staring out in your own venture or even just taking on a new role or position, this can be a challenge. We all recognise there will be times when you need to burn the candle at both ends; the point is it shouldn’t become the norm. If it does become normal it may be a sign that the office isn’t being run particularly efficiently or effectively. Learn to prioritise switching off and carving out proper down-time, and that means no ‘quick’ checking your emails on your phone. After all, if you allow ‘smart’ technology to work you into the ground, then it’s no longer being smart. ¢

Emma Cogswell, associate IALD, is projects managers at the IALD

abortive and the changes never go forward in the final design. Maybe we need to work smarter rather than being massively responsive? The other thing about mobile devices is that contact is expected 24-hoursa-day, with instant responses. I’m sure that our fees do not reflect this and how often are things that time-critical on a project? Moreover, in an environment like ours there are occasions where considered judgement is needed. That can mean needing to answer something quickly, for example if you

need to stop an urgent ‘situation’ developing. But it can also mean there is real value in taking your time, in evaluating and using your expertise to see how things develop before rushing in. You won’t always get it right but if you do it will retain some of your sanity.

Kevin Theobald is head of architectural lighting at WSP and a past president of the IALD

Lighting

July/August 2017 Lighting Journal

Consultants

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

Steven Biggs

Stephen Halliday

Anthony Smith

Skanska Infrastructure Services

WSP

Stainton Lighting Design Services Ltd

IEng MILP

Peterborough PE1 5XG

EngTech AMILP

Manchester M50 3SP

Eng FILP

Stockton on Tees TS23 1PX

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

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

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

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

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.

Simon Bushell

Philip Hawtrey

Nick Smith

SSE Enterprise Lighting

WSP

Nick Smith Associates Limited

www.skanska.co.uk

MBA DMS IEng MILP

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

www.sseenterprise.co.uk Professional consultancy from the 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.

www.wspgroup.com

BTech IEng MILP MIET MHEA

Chesterfield, S40 3JR

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

www.wspgroup.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

Allan Howard

it does Lighting Ltd

WSP

Milton Keynes, MK19 6DS

T: 01908 560110 E: Information@itdoes.co.uk

www.itdoes.co.uk

Alan Tulla

London WC2A 1AF

Alan Tulla Lighting

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

www.wspgroup.com

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.

Euan Clayton

Alan Jaques

Clayton Fourie Consultancy Ltd

Atkins

Edinburgh, EH15 3RT

T: 07722 111424 E: claytonfourie@aol.com

www.clayton-fourie-consultancy.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

IEng MILP

Nottingham, NG9 2HF

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

www.atkinsglobal.com

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

Mark Chandler

Tony Price

MMA Lighting Consultancy Ltd

Vanguardia Consulting

EngTech AMILP

Reading RG10 9QN

BSc (Hons) CEng MILP MSLL Oxted RH8 9EE

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

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

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

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

John Conquest

Alistair Scott

4way Consulting Ltd

Designs for Lighting Ltd

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.nicksmithassociates.com

BEng(Hons) CEng FILP FSLL

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

IEng MILP

Sutton Coldfield B72 1PH

Lorraine Calcott IEng MILP IALD MSLL

www.staintonlds.co.uk

www.vanguardiaconsulting.co.uk

BSc (Hons) CEng FILP MIMechE Winchester SO23 7TA

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

www.designsforlighting.co.uk 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.

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.

This space available Please call Andy on 01536 527297 or email andy@matrixprint.com for more details

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

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

Lighting

Directory CPD Accredited Training • AutoCAD (basic or advanced) • Lighting Reality 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 • Tailored Courses please ring 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 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 : mail@nicksmithassociates.com e : mail@nicksmithassociates.com 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 36 Foxbrook Drive, eContact : mail@nicksmithassociates.com Nick Smith • Light Pollution Suppliers of a wide range of quality Chesterfield, w: www.nicksmithassociates.com Nick measuring Smith Associates Ltd light S40 3JRand photometric • Tailored Courses please ring equipment. 36 Foxbrook Drive,229 444 t: 01246

Chesterfield, f: 01246 270 465

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

Venues by arrangement

E-mail: enquiries@hagnerlightmeters.com

f: 01246 270 465

Contact Nick Smith e : mail@nicksmithassociates.com w: www.nicksmithassociates.com Nick Smith Associates Ltd www.hagnerlightmeters.com

36 Foxbrook Drive, Chesterfield, S40 3JR t: 01246 229 444 UK Lighting Division f: 01246 270 465 e : mail@nicksmithassociates.com w: www.nicksmithassociates.com Road Lighting

Feeder Pillars

Hazardous Area Lighting

Distribution Panels

Industrial & Commercial

Cable & Cable Joints

Lighting

Lighting & Electrical

Decorative Lighting

Design Services

Barry Morrison UK Lighting Manager

Tel Email

01236 458000 barry.morrison@dnow.com

www.maclean.co.uk

Are you interested in advertising in the Journal? Please call Andy on 01536 527297 or email andy@matrixprint.com for more details

This space is available. Please call Andy on 01536 527297 or email andy@matrixprint.com for more details

July/August 2017 Lighting Journal

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

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July/August 2017 Lighting Journal

Diary

THE DIARY 20 July

How to be brilliant at lighting with colour, with Rob Honeywill of Maurice Brill Lighting Design Venue: Marshalls Design Space, Clerkenwell, London

11-15 September

Exterior lighting diploma, module one Venue: The Draycote Hotel, Thurlaston, near Rugby, Warwickshire p

28 September – How to be brilliant, on ‘lighting Bowie’, with Jonathan Howard of DHA, who illuminated the 2013 ‘David Bowie Is…’ retrospective at the V&A. The presentation will be at Marshalls Design Space in Clerkenwell, London

26 September

TR22 – Managing a Vital Asset Venue: The ILP, Regent House, Rugby

27 September

Western Region technical meeting Venue: Cullompton Rugby Club

28 September

How to be brilliant, on ‘lighting Bowie’, with Jonathan Howard of DHA Venue: Marshalls Design Space, Clerkenwell, London

28 September

YLP technical session Venue: NAL Ltd, Weir Lane, Worcester

05 October

Lightscene – exhibition and CPD seminars Venue: Franklin Gardens, Northampton Saints Rugby Team

09-13 October

Exterior lighting diploma, module two Venue: The Draycote Hotel, Thurlaston, near Rugby, Warwickshire

19 October

How to be brilliant, on ‘Lighting Design: a reflection’, with Simon Thorp of LAPD Venue: Marshalls Design Space, Clerkenwell, London

For full details of all events, go to: www.theilp.org.uk/events

IN THE SEPTEMBER ISSUE SUSSEX SIGNATURE

How October’s LewesLight festival will be celebrating the culture and architecture of Lewes in East Sussex

www.theilp.org.uk

LIGHTING FOR PEOPLE

Mark Sutton Vane on how to use lighting to create an atmosphere and reinforce a story

SAFETY IN NUMBERS

Understanding the latest updates to the BS 5266 Part 1 2016 Emergency Lighting Code of Practice

Good lighting increases security!

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