Lighting Journal June 2018 by Matrix Print

Professional best practice from the Institution of Lighting Professionals

SHORT AND SHARP Understanding user visual requirements within short tunnels LIGHTING THE WAY All the winners and up-and-coming talent from this year’s Lighting Design Awards RIVER JOURNEY How London’s ‘Illuminated River’ project is progressing

The publication for all lighting professionals

June 2018

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June 2018 Lighting Journal

Contents

10 06 SHORT AND SHARP

Allan Howard reports on Highways England-commissioned research that has aimed to determine the user visual requirements within short tunnels

LIGHTING THE WAY

Acclaimed designer James Carpenter, lighting design practice Licht Kunst Licht and Ateliers Jean Nouvel were among the big-name winners at this year’s Lighting Design Awards

16 STATION APPROACH

Rail operators are being encouraged to make energy reductions of 2030% across their property portfolios. LED is part of the solution, but smart sensors also have a critical role, explain Avril Chaffey and Andre Dobraszczyk

20 GETTING A SHIFT ON

London’s Liverpool Street station has been given an LED makeover with minimum fuss but maximum impact

22 RIVER JOURNEY

‘Illuminated River’ is the vastly ambitious project to light central London’s 15 bridges with a permanent light installation. And things are progressing

24 FROM THE RUINS

Christchurch in New Zealand was devastated by an earthquake in 2011. Lighting design has been at the heart of its recovery, says local lighting designer Kevin Cawley

34 DISTRIBUTED ECONOMY

They may never look glamorous, but power distribution enclosures are the ‘pulse’ of urban infrastructure, from EV charging and street lighting to DNO metering, writes John Fox

26 ITALIAN FANTASTIC 36 SUMMIT SCALEABILITY A new Italian lighting standard, UNI 11248, is allowing lighting professionals in the country to take a more proactive approach to road illumination, including adaptive lighting and dimming protocols, writes Paolo Di Lecce

FOR 31 READY TRANSMISSION

As adoption of, and interest in, Li Fi accelerates, new Li Fi-enabled products, including LED light bars that can replace conventional fluorescent tubes are coming on to the market, as one US manufacturer is showing, says Jeff Elliott

The countdown is on for this year’s Professional Lighting Summit. With networking and CPD opportunities galore, can you afford not to be there? It could even be your route to getting published in Lighting Journal

38 A NEW-LOOK ILP

This month’s Professional Lighting Summit will see the formal unveiling of the new-look ILP regional structure that is due to be in place by summer 2019. Here is a sneak preview

‘WE NEED MEMBERS 40 TO STAND UP AND TALK ABOUT THEIR INSTITUTION’

Tracey White joined the ILP as its new chief executive in April. Although an outsider to the industry, she has big ambitions for the ILP

Professional best practice from the Institution of Lighting Professionals

June 2018

42 THINKING SIDEWAYS

Creativity is perhaps the most nebulous of all ‘commodities’ in the workplace. Understanding creativity, what makes you ‘creative’, is key to unlocking your effectiveness as a lighting designer, argues Daniel Blaker

47 Directory 50 Diary

The publication for all lighting professionals

p COVER PICTURE

The Piece Hall in Halifax. The new lighting scheme by BuroHappold was named Community and Public Realm Project of the Year at the Lighting Design Awards in May

www.theilp.org.uk

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June 2018 Lighting Journal

Editor’s letter

Volume 83 No 6 June 2018 President Alan Jaques IEng FILP Chief Executive Tracey White Editor Nic Paton BA (Hons) MA Email: nic@cormorantmedia.co.uk Editorial Board Tom Baynham MEng MA (Cantab) Emma Cogswell IALD Mark Cooper IEng MILP Kevin Dugdale BA (Hons) IEng MILP Graham Festenstein CEng MILP MSLL IALD Nathan French John Gorse BA (Hons) MSLL Alan Jaques IEng FILP Lora Kaleva MSc Assoc IALD Gill Packham BA (Hons) Nigel Parry IEng FILP Paul Traynor 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 2018 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.

hort tunnels (as we preview in this edition), light festivals, bats, surge protection, inspiring projects – there is certainly an eclectic mix of fascinating presentations and workshops to look forward to this month at the Professional Lighting Summit. I urge you to check out the agenda at www.theilp.org.uk/summit and, if you haven’t already, get yourself registered and signed up. As we also highlight in this edition, I am going to be making myself available at regular points at the ILP Professional Development Zone, as well as simply roaming round The Oxford Belfry. Why? Because I’ll be on a mission to get more of you – ILP members – and the great work you’re all doing up and down the country and globally, into Lighting Journal. It’s not that we’re short of content. If anything, most months it’s a bun fight deciding what we can squeeze in where. No, it’s simply because I am only too aware that, when you’re busy meeting deadlines, generating income or moving from project to project, recognising that what you’re doing might be worth shouting out about or of interest to your peers or something others could learn from can easily take a back seat. Sometimes there can be nervousness that ‘I’m not a wordsmith’ – and you don’t have to be, I can help you with that. Or ‘I’ll need sign off’ – again, we can work around that. Or, ‘it’s not about me, it was a team effort’ – fine, so why not be the catalyst to celebrating the whole team? From next year CPD will become a mandatory requirement of being Engineering Council-registered. Being a lighting professional therefore is increasingly about proactive engagement with CPD, with the ‘continuing’ bit of ‘continuing professional development’ often the key. CPD, of course, is what the Professional Lighting Summit is all about. It’s also at the heart of the ILP’s regional review (as we also show in this edition) and the ILP’s ever-expanding programme of training and courses. It is what tools such as mycareerpath are about and, indeed, is Lighting Journal’s primary focus. It doesn’t say ‘professional best practice from the ILP’ on the cover for nothing. At a practical level, doing the research and writing articles for Lighting Journal can gain you valuable CPD credits. But writing something down is also simply a great way to self-reflect, to synthesise an idea, thought process or opinion, to understand (because you’re having to explain it to someone else) precisely why, how or what you did in a particular circumstance was important. So don’t be shy. Search me out in Thame or just get in touch – details to your left.

Nic Paton Editor

q SUBSCRIPTIONS

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

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June 2018 Lighting Journal

Visual acuity within short tunnels

A Highways England-commissioned research project, delivered in conjunction with UCL, has aimed to determine the user visual requirements within short tunnels By Allan Howard

T 6

unnels form an important part of the transportation network and enable a smooth flow of motorised, pedestrian and other traffic such as cyclists and equestrians in relative safety. When a section of highway is spanned, be it by another highway, the rail network, a building or other such cover, it effectively forms a tunnel. The process of doing this potentially introduces risks to the highway users, and these risks need to be understood and considered. Appropriate mitigations can then be put into place by those introducing the risk and those responsible for the highway. This article assesses the research and findings of a Highways England-commissioned project delivered in conjunction with UCL to determine the user visual requirements within short tunnels The basis of the research considered concerns that the lighting assessment and requirements for short tunnels is currently unclear and falls between two British Standards. This has led to different ap-

www.theilp.org.uk

proaches to how such structures are defined and assessed to determine any day and night-time lighting provision. Consequently this has also led to a wide range of approaches that include, but are not limited to, tunnels of less than 200m in length having: • A full tunnel lighting installation, an approach that is cost-prohibitive in construction but also energy and maintenance q Figure 1. An example of black frame effect

• A continuation of the road lighting system where it exists either side • Just token luminaires within them • No lighting provision at all The core assessment requirements for the visual acuity of users are threefold: • Motorists: are they able to see other users, gauge their intent and understand their own task to navigate through the tunnel? • Pedestrians and cyclists: are they able to see any trip hazards? • Pedestrians and cyclists: do they feel safe from a perception of crime and disorder when entering and exiting the tunnel? By implementing a new understanding of the user visual needs, Highways England believes that short tunnels could be improved in terms of safety performance for vulnerable road users as well as creating a more acceptable environment for non-motorised users. This is not just limited to the provision of artificial lighting

June 2018 Lighting Journal

but also to how the short tunnels are defined, designed and maintained.

BACKGROUND

It is not intended within this paper to discuss a detailed background into short tunnel lighting but it is worth considering a number of points. The main criterion for the assessment is tunnel length, and generally short tunnels are considered as any section of the highway that has been covered for a length of between 20m to 200m and the exit aperture is always visible. When the motorised observer looks through a short tunnel the black hole effect associated with long tunnels tends not to exist but rather they view a black frame between the entrance and exit of the tunnel, as shown in figure 1. The observer will see objects, people and other users within the tunnel when they stick out from this frame, as they are seen as silhouettes against the exit aperture as the luminance difference between the object and exit aperture is very high. Objects located within the black frame cannot be perceived. Schreuder & Fournier (1985) established the ‘Look-Through Percentage’ (LTP), which is defined as a ratio in solid angle between the visible section of the exit and the entrance respectively. This was revised by the ‘Netherlands Foundation for Illumination’ in 2002, which considered the influence of daylight, concluding that the first 5m at the entrance to the tunnel and the last 10m at the end of the tunnel are disregarded from the through view quotient since daylight penetration

makes the tunnel black frame appear shorter. This is shown in figure 2. Consideration of the black frame as part of the lighting provision assessment can be particularly useful for short tunnels. Daytime lighting should be provided according to the LTP value, as follows: • Where LTP < 20%, artificial daytime lighting should always be provided • Where LTP > 80%, artificial daytime lighting is generally not needed • Where the LTP value is between 20% and 80%, a critical object representing a car (1.6m in width and 1.4m in height) and a pedestrian or cyclist (0.5m in width and 1.8m in height) should be observed against the apparent exit portal of the tunnel For tunnels with a medium depth frame, one approach (termed the Lichtschleuse approach, as highlighted later) is to split

p Figure 2. Revised look-through percentage diagram. The following equation can be used: LTP = Surface EFGH x 100 Surface ABCD

the tunnel into two short tunnels, thus allowing daylight penetration between them. This is illustrated in figure 3 oveleaf. It is considered that this approach could also be achieved through the provision of an artificially-lit area within the tunnel covering the carriageway, footways and the lower parts of the walls in the middle of the tunnel, thus dividing the tunnel into two shorter ones.

RESEARCH

Following good academic research principles, a detailed investigation programme was developed. This included a review of how short tunnel lighting is considered internationally, which gained the benefit of exchanging knowledge with the

www.theilp.org.uk

June 2018 Lighting Journal

Visual acuity within short tunnels

p Figure 3. The Lichtschleuse approach

International Engineering Society (IES) short tunnel taskforce, which is also investigating this subject A desktop review of all short tunnels within the south west was undertaken. This established 40 tunnels that were considered to be representative of tunnel types, lengths and lighting application. Based upon profile, length, traffic mix, usage and lighting provision, a shortlist of 15 tunnels was selected for detailed site investigation. Each tunnel was surveyed early and late afternoon and after dusk to determine user mix and numbers and to establish the parameters such as existing lighting provision, user opinion (through questionnaires) and visual task needs. As traditional onsite photometry measurement techniques were considered a high health and safety risk, luminance mapping imaging (such as that shown in figure 4) was used to determine the lighting performance. To understand the users’ visual requirements a diverse group of users walked and were driven through the tunnels wearing eye-tracking recording equipment. This recorded what each user looked at, what attracted their attention and how other users are observed or missed. All site data underwent detailed desktop analysis which also included a review of local crime and accident data.

factors may well be different when the tunnel is considered and viewed from each end, as demonstrated in the two images of the same tunnel below in figure 6. The differences between one tunnel and another or between both portals of the same tunnel may be so different that each is likely to need their own design assessment. The requirement for artificial lighting can be greatly reduced through careful consideration at the design and construction stages of the structure. A structure with a wide open portal and light coloured internal surfaces maximises natural ambient light within it and improves the task visibility for all users. By making the surfaces surrounding the tunnel portal dark, it aids the adaption of the observer’s eye to the interior lighting levels as they approach and hence their awareness of objects within it. Well-maintained road markings, cat’s eyes and reflective wall surfaces will also aid visual acuity.

TASK UNDERSTANDING

Users of short tunnels have two key requirements: 1) To feel safe when using the structure; and 2) To be able to navigate safely through the structure 17-06-26 UP13 Hucclcote Road 19:00 E => W

FINDINGS AND RECOMMENDATIONS

Any tunnel that has mixed use of pedestrians, cyclists and motorised traffic should be considered as a short tunnel from a lighting perspective. When provided solely for motorised users then this is where the length is between 20m to 200 metres and the exit aperture is visible. Both of these have their own specific user needs, but it is the full mixed use that presents the greater visual acuity risks and the length is a secondary consideration when defining the tunnel as short. It must also be considered that these www.theilp.org.uk

3.6 cd m-2 90 cd m-2

p Figure 4. An example of luminance mapping imaging

The requirements for item one can be achieved through the application of the lighting requirements of BS5489-1:2013 Section 7.4.7 ‘Lighting of subways’, giving due consideration to the black hole effect and especially the provision at night of good lighting levels on the exterior approaches. For safe navigation, the following considerations shall be made. As advised in BS5489-2:2016 Lighting of tunnels the look-through percentage is the main consideration when assessing the visual task and relates to the depth of the black frame within the tunnel and the ability of the observer to detect objects within it. For a normal tunnel with good daylight penetration, the apparent entrance portal is located 5m inside the tunnel and the apparent exit portal 10m inside. This is considered a good rule of thumb for tunnels with square/rectangular portals and a roof height of up to 5.5m. For an open tunnel portal where the daylight penetration is significant, these distances can be extended to 10m and 20m respectively. This indicates the importance of the portal design and how it can aid the visual acuity of all users. It was clearly demonstrated through the eye tracking assessment that, because of the bright exit aperture forming the centre of the field of vision, the motorist experiences very little eye adaption when entering and within the tunnel. During the assessments, motorists were only aware of pedestrians within the tunnel when they were within 10m of them, and in some instances were not aware at all. As already discussed, a critical factor in assessing the requirements for lighting is whether approaching users can see vehicles, other road users or obstacles when their distance from the entrance portal is less than or equal to the stopping sight distance. When the exit portal is a large part of the scene visible through the entrance, other road users and objects can easily be seen silhouetted against the lighter scene behind the exit portal. But when a tunnel is relatively long in relation to width, or when a tunnel is curved in such a way that only a part of the exit can be seen, other road users and objects are not so obvious and can be hidden. The basic recommendations regarding the provision of lighting based upon LTP and percentage of critical object as previous discussed should be followed. However, the size and location of the critical object representing a pedestrian/cyclist needs revision. For tunnels intended for mixed traffic, a critical object representing a pedestrian or cyclist should be used. This should be a

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June 2018 Lighting Journal

Visual acuity within short tunnels

rectangle 0.5m in width and 1.2m (a reduction of 0.4m) in height representing an older child/wheelchair user. The longitudinal position for the observer should be the same as used for the determination of look-through percentage. The longitudinal position for the object should be at the apparent entrance portal ABCD and halfway along the LTP assessment BF line.

THE TRANSVERSE POSITION OF THE OBJECT

Where there is both pedestrian and cyclist use, then the needs of the approaching observers to identify objects entering, within and exiting the tunnel need to be addressed. The position of the pedestrian object should be located as follows: • On the apparent entrance portal boundary ABCD but located in the middle of the footway; and • At the midpoint along a line BF within the black frame and again located in the middle of the footway

In such tunnels where there may be no pedestrian route on a certain side, then the pedestrian object shall be used to represent cyclists and that the object be positioned on the left-hand side of traffic lane one with an additional position mid-way through the tunnel. Motorist observer positions are the centre line of the traffic lane and cyclist positions are the left-hand side of traffic lane one. The need for daytime lighting should be determined according to the percentage of the critical object that can be seen against the apparent exit portal. Artificial daytime lighting should be provided when either: a) Less than 20% of the critical object representing a car can be seen against the apparent exit portal; or b) Less than 30% of the critical object representing a pedestrian/cyclist can be seen against the apparent exit portal (both these are illustrated in figure 7). The visibility of the object in bi-directional tunnels should be calculated for both directions of travel.

creased. The effect is most evident when the lighting levels at both the tunnel entrance and exit (as well as within the Lichtschleuse) are the same, and this is only really applicable on a straight tunnel. It remains uncertain if based upon construction, energy and operational costs that such an effect can be recreated using artificial lighting.It is important that suitable wall treatments are also used to produce a highly reflective wall within the vicinity of the Lichtschleuse.

ARTIFICIAL LIGHTING

Where a short tunnel has good daylight penetration, aided by light wall surfaces, then artificial lighting does not have to be for the full length of the tunnel. The considered approach based upon IES research is to provide lighting for the length of the apparent black frame within the tunnel.

p Figure 6. Visual acuity risks may be different at each end

of the tunnel

ADDITIONAL CONSIDERATIONS

Finally, in urban areas where there is a high footfall then the use of illuminated features on the tunnel walls greatly improves contrast and visual task information for all users. It is the intention of Highways England that this research will be formatted and presented as a national lighting guide later this year, such that all owners of short tunnels can benefit from the work undertaken and the findings made. ¢

Allan Howard BEng(Hons) CEng FILP FSLL is technical director for lighting at WSP

q Figure 7. Vehicle obstacle perspective and pedestrian obstacle perspective

Visiblity of a car Key: 1 = Vehicle 1.6m x 1.4m

Visiblity of a pedestrian/cyclist Key: 1 = Pedestrian/cyclist 0.5m x 1.8m

LICHTSCHLEUSE

As already touched upon (and shown in figure 3), the Lichtschleuse approach effectively creates two shorter tunnels to ensure obstacles can always be seen against a bright background. This again looks to the obstacle/user being shown in silhouette against an exit portal. During the daytime, the visibility and awareness of obstacles and users was inwww.theilp.org.uk

HEAR MORE AT THE PROFESSIONAL LIGHTING SUMMIT Stuart Beale of Highways England, supported by Allan Howard, will be presenting the research findings, and discussing this topic in more depth at the Professional Lighting Summit on 13-14 June. For full details on how to register and what to expect, turn to page 34 of this edition or go on to the ILP website, at www.theilp.org.uk/summit

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June 2018 Lighting Journal

The 2018 Lighting Design Awards

Clockwise from left: The Piece Hall, Halifax; the Mito from Occhio; Bloomberg’s European Headquarters

LIGHTING THE WAY

Acclaimed designer James Carpenter, lighting design practice Licht Kunst Licht and Ateliers Jean Nouvel were among the big-name winners at this year’s Lighting Design Awards in May. Lighting Journal joined in the celebrations By Nic Paton

he creator of the acclaimed Sky Reflector-Net at the Fulton Center in New York and ‘Folded Light’ in London and a man described as a ‘towering presence’ at the intersection of architecture, fine art and engineering, James Carpenter was the honoured winner of the Publisher’s Lifetime Achievement Award at last month’s Lighting Design Awards. James said the award was ‘deeply appreciated’, not least because the ‘very, very meaningful presence’ of public realm lighting within our built environment had always been so much at the heart of his work. The awards, now in their 42nd year and once again supported by the ILP, were held at a glittering ceremony at London’s Hilwww.theilp.org.uk

ton Park Lane attended by more than 700 designers, architects and suppliers. Other big winners were Licht Kunst Licht, named as Lighting Design Practice of the Year, whom the judging panel described as ‘a world-class lighting design practice at the top of its game’. The night was in fact a triple celebration for the practice, as it also won Retail Project of the Year for its lighting scheme for the Balenciaga flagship store in Paris and Integration Project of the Year for its scheme for the German Ivory Museum in Erbach, Germany. Architectural Practice of the Year was Ateliers Jean Nouvel, in particular for its ‘spectacular’ Louvre Abu Dhabi and for the fact it was ‘a studio which puts lighting

at the heart of everything it does’. Global Project of the Year was Bloomberg’s European headquarters in London, by Tillotson Design Associates and Foster + Partners. The judges described this as a scheme of ‘incredible complexity and sophistication’ that provided ‘a glare-free, warm glow for the public realm’. This project also won Workplace Project of the Year.

PROJECTS FROM AROUND THE WORLD

In all, projects from 18 countries – including Korea, India, Australia, Norway, Sweden, the US, the UK, France, Spain, Germany, the UAE, Switzerland and Greece – were recognised, as were ‘40under40’

June 2018 Lighting Journal

THE FULL LIST OF THIS YEAR’S WINNERS WERE: ¢ Publisher’s Lifetime Achievement Award James Carpenter, James Carpenter Associates ¢ Lighting Design Practice of the Year Licht Kunst Licht ¢ Architectural Practice of the Year Ateliers Jean Nouvel ¢ Global Project of the Year and Workplace Project of the Year Bloomberg European Headquarters, London, UK – Tillotson Design Associates and Foster + Partners ¢ Hotel and Restaurant Project of the Year FIVE Palm Jumeirah Dubai, UAE – Inverse Lighting Design ¢ Leisure Project of the Year Tiffany Gallery, New-York Historical Society – dpa lighting consultants ¢ Retail Project of the Year Balenciaga, Paris – Licht Kunst Licht ¢ Heritage Project of the Year Ulm Minster – Ingenieure Bamberger ¢ Community & Public Realm Project of the Year The Piece Hall, Halifax, UK – BuroHappold ¢ Daylight Project of the Year Musee d’arts de Nantes, France – Light + AIr group, Max Fordham ¢ Integration Project of the Year German Ivory Museum, Erbach, Germany – Licht Kunst Licht

up-and-coming lighting designers to watch out for (see panel overleaf). Highlighting just some of the category awards this year (and see opposite for the full list), The Piece Hall in Halifax by BuroHappold was named as Community and Public Realm Project of the Year. The grade 1 listed site has been transformed to create a shared contemporary public space, with ‘a considered lighting approach that addresses conservation, function and place-making’, the judges concluded. ‘The design addresses the heritage brief by revealing the volume of the space, the building elevations and materials, while on a functional level it improves accessibility and use of this historically important site at night. Piece Hall is a great example

of the type of space that can be created by designing for people and not light levels, at night,’ they added. Daylight Project of the Year was the Musee d’arts de Nantes in France, by Light + AIr group and Max Fordham, a project that ‘presented exceptional challenges in lighting, both in linking the historic and new buildings together and in combining abundant natural light with an exciting and efficient artificial lighting scheme’, the judges said. The Architectural Luminaire Exterior award was won by the EcoSense RISE, by EcoSense Lighting, which was described by the judges as ‘the most complete system of LED accent, landscape and floodlighting fixtures that the market has ever seen’.

¢ Light Art Project of the Year First Sunset in the Pacific, Madrid, Spain – Clavel Architects ¢ Architectural Luminaire Interior Mito – Occhio ¢ Architectural Luminaire Exterior EcoSense RISE – EcoSense Lighting ¢ Product Designer of the Year Michael Anastassiades ¢ Supplier of the Year Architainment Descriptions of all the winners can be found at http://awards.lighting.co.uk/

www.theilp.org.uk

June 2018 Lighting Journal

The 2018 Lighting Design Awards

Clockwise from left: The German Ivory Museum; the Musee d’arts de Nantes; the Louvre Abu Dhabi, by Ateliers Jean Nouvel

THE ‘40UNDER40’ LIST The Lighting Design Awards’ ‘40under40’ list was introduced in 2016 to mark the 40th anniversary of the awards, and celebrates and recognises up-and-coming talent within the industry. The 2018 list comprised 22 men and 18 women (selected from more than 350 applications) from 12 different countries, including the UAE, Turkey, India, China, Brazil, the US, Germany, Italy, Singapore and Sweden. This year’s 40under40 were: 1 Nicola Agresta, Inverse Lighting Design, London 2 Pavlina Akritas, Arup, London 3 Nick Albert, Illuminate Lighting Design, California 4 Brian Belluomini, Shimstone Design Studio, New York 5 Galen Burrell, Arup, San Francisco 6 Iain Carlile, dpa lighting www.theilp.org.uk

consultants, London 7 Mariana de Novaes Reis, Atiaîa Design, Brazil 8 Tejas Doshi, Light & Beyond, Kolkata 9 Erin Dreyfous, Tillotson Design Associates, New York 10 Nicolas Dufils, L’Observatoire International, New York

11 Fanny Englund, ÅF Lighting, Stockholm 12 Federico Favero, KTH Lighting Design department, Stockholm 13 Rachel Fitzgerald, Stantec | Denver 14 Shigeki Fujii, Nipek, Singapore 15 Helena Gentili, Helena Gentili Lighting Design, Milan 16 Meike Goessling, Lichtvision Design, Hong Kong 17 Jeff Hoenig, Cline Bettridge Bernstein Lighting Design, New York 18 Trevor Hollins, HDR, Nebraska 19 Guojian Hu, Shanghai Ruiyi Design, Shanghai 20 John Jacobsen, Schuler Shook, Chicago 21 Shan Jiang, Tillotson Design Associates, New York

22 Reiko Komiyama Kagawa, Sladen Feinstein Integrated Lighting, Boston 23 Kera Lagios, Integral Group, California 24 Melvyn Law, Limelight Atelier, Singapore 25 Michael Lindsey, Horton Lees Brogden Lighting Design, Denver 26 Dan Lister, Arup, Sheffield 27 Stacie M Dinwiddy, KGM Architectural Lighting, New York 28 Amaia Puras-Ustarroz, Horton Lees Brogden Lighting Design, Los Angeles 29 Philip Rafael, The Flaming Beacon, Berlin 30 Linda Salamoun, Steensen Varming, London 31 Louise Santiago, dpa lighting consultants, Dubai

32 Bradley Sisenwain, Horton Lees Brogden Lighting Design, New York 33 Neha Sivaprasad, Illuminate Lighting Design, California 34 Craig Spring, Luminosity, Colorado 35 Chrysanthi Stockwell, HGA Architects and Engineers, Minnesota 36 Brandon Thrasher, Horton Lees Brogden Lighting Design, San Francisco 37 Faruk Uyan, LAB.1 Lighting Design, Istanbul 38 Isabel Villar, White Arkitekter, Stockholm 39 Dan Weissman, Lam Partners, Boston 40 Kevin Womack, Arup, New York

June 2018 Lighting Journal

Railway lighting

s our commercial building stock continues to age, so the opportunities for refurbishment grow. To the enlightened property or facilities manager this can provide an opportunity. It is an opportunity to investigate, invest in and benefit from the latest technology and approaches to deliver a building that meets the health, wellbeing and aesthetic demands of its user whilst also meeting the ever-more stringent commercial requisites of energy saving and efficiency, combined with optimum occupancy levels. One of the biggest differences between a new build and refurbishment project is that the latter will not be subject to local council sign-off in the same way a new build would be. This may, inadvertently, lead to customers not fully realising their duty of compliance when it comes to ‘niche’ areas such as lighting. At first, appointing a specialist consultant might be seen as an unnecessary expense, but this may be a short-sighted saving that could result in far higher penalties further down the track. And this is especially in the case of the rail industry. In the next ten years significant growth is expected in the food, healthcare and education sectors as our population continwww.theilp.org.uk

ues to grow. Expansion of the rail network, with new stations, HS2 and longer platforms to accommodate larger trains and increasing passenger numbers, means this is also a growing area. In turn, increasing energy costs, new tariffs and smart meters mean organisations need to be thinking – right now – about how they use energy and how they can improve their lighting efficiency. This doesn’t just mean replacing fluorescent tubes with LEDs, it is about designing, monitoring and managing the lighting solutions. When it comes to the rail industry, whilst Network Rail has responsibility for the track and signalling, the various rail franchises take on the role of managing the stations along with their rolling stock. One of the keys to the success of these franchises is the ‘customer experience’. This can mean everything from the efficient running of the trains through to the feedback from customers about the platform environs in which they wait for their train. As is ever the case with lighting, passengers tend not to comment on the lighting unless they feel it is insufficient or faulty. Yet, at the same time rail operators are being encouraged to make energy reductions of typically 20-30% across their property

portfolio by the Department of Transport as a key performance indicator (KPI) within their franchise bids. Unlike many organisations, much of the rail operators’ property estate is relatively open space, often with just a simple roof or shelter provided. This means the level of savings that can be made by improvements to, say, heating systems is limited. Consequently, it is the lighting system that will often come into focus as a target delivering the biggest savings. The rail franchises are therefore faced with three dilemmas, namely: • What is determined as acceptable lighting to all stakeholders (customers, staff and train drivers) operating within the

June 2018 Lighting Journal

Rail operators are being encouraged by the government to make energy reductions of typically 20-30% across their property portfolios. Switching to LED can be part of the solution but, increasingly, smart sensor technology also has a critical role to play By Avril Chaffey and Andre Dobraszczyk

17 station? For example, you don’t want the latter blinded by glare yet you also don’t want them to have limited visibility of the platform or track as they enter the platform • How can they improve efficiency whilst also improving light levels? • How can controls help in delivering the required savings? To show how franchises are addressing these difficult questions, let’s look at some of the work we have been doing with London Midland, which operates the West Midlands franchise. London Midland had a requirement to reduce energy consumption across the 185 stations and four depots under its remit.

pRedditch Station showing before its upgrade (far left) and after. The car park, again before (left) and after its lighting overhaul

Quick-wins such as the replacing its old inefficient lighting with high-efficiency LED had delivered some initial savings. In fact, switching to LED in this way had led to a 40% reduction in its lighting operating costs in some cases. But much of the energy consumption at larger stations was attributed to other elements of the infrastructure, such as HVAC, signalling systems, heating, water heaters and often assets consuming energy outside of their control. London Midland therefore needed an alternative means of measurement to understand when the lighting was ‘a success’; the electricity bill wasn’t enough.

EFFICIENCY THROUGH SMART TECHNOLGY

At this stage, it turned to Thorlux Lighting (part of the F W Thorpe group) for guidance and advice on how they could achieve the necessary savings. After a survey of all 32 stations, we made a series of recommendations that would reduce the energy load. The first station to be upgraded was Redditch, coincidentally just down the road from our head office. Whilst London Midland wanted to make savings, it also wanted to improve the light levels in the car park,

platforms and ticket office, as well as maintain a 24-hour security light presence. Previously, the old lighting was being turned off at night (1am-5am) by a time clock while the station was closed. At first, therefore, asking for additional light while making significant savings seemed to be an insurmountable challenge. The solution was to turn to the Thorlux SmartScan system. Using this system, each luminaire is able to measure and report on its own energy usage and can adjust its brightness depending on the natural light levels at any one time. Furthermore, each luminaire was supplied with a dual-function smart sensor with PIR to detect occupancy/movement and light sensor. The duration and level of illumination was therefore greatly improved in comparison to the previous regime, where lighting was simply being switched on/off manually for internal areas and by a timer for the car parks and platform lighting. Even though light levels and average ‘on hours’ per day had been increased, the use of smart controls in this way has actually increased the level of saving on lighting power consumption to 76%, which was a massive saving (and see figures 1 and 2 overleaf for full details). www.theilp.org.uk

June 2018 Lighting Journal

Railway lighting

Figure 1. The total load reduction at Redditch Station pre- and post- upgrade. The total operating load is recorded by each smart sensor contained within each luminaire and then extracted from the SmartScan portal New Lighting Without Control

Load reduction - External (kW) Load reduction - Internal (kW) Total load reduction (kW)

5.364 0.321 5.685

50.32%

35.99%

49.21%

One of the challenges of the rail industry is the lack of consistency for lighting standards across the different franchises. On top of this, the specified standards are confusing and in some circumstances vague. For example, while all platforms must now have a customer emergency help point and staff help phone, there is no requirement for them to be the focus of a dedicated emergency lighting fixture! Equally, emergency escape routes from platforms may not be clearly illuminated in the event of power failure, although current thinking is that emergency lighting should cover the full length of each and every platform.

CHALLENGE TO ACHIEVE SAVINGS

These discrepancies, coupled with restrictions placed on the franchise holders as to how the assets might be altered, make it even harder for today’s rail operators to achieve the desired savings. The key to achieving the desired reductions, therefore, is the installation of more efficient units that require less maintenance and where maintenance that is required can be scheduled in more effectively. Once all the costs are taken into consideration, this sort of maintenance regime can deliver a far greater return on investment. At Redditch Station, for example, it

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New Lighting with Dimming/ Maintained illuminance

8.581 0.576 9.157

Figure 2. Some of the results from the Redditch Station upgrade Energy Usage Per Annum Existing

New

21,215kW

5,061kW

Existing

New

Reduction

16,153kW

Saving

76.1%

Energy Cost Per Annum 80.50%

£2,334 57.63%

£1,777

Saving

76.1%

Maintenance Per Annum Existing

79.27%

£557

Reduction

£5,038

was calculated that the return on investment on just the lighting would take between six to seven years to achieve. But, once the maintenance improvements were taken into consideration, this figure in fact reduced to four years. By, again, using the SmartScan group control option, we were able to work with London Midland accurately to monitor the data coming from the grouped luminaires across the different platform areas. Using the existing wiring, information was fed via the gateway to the web portal. This can record all test procedures automatically and can also indicate whether a fault in a unit is a power failure, the sensor or the light itself. Once a fault is identified the customer is alerted by text and/or email and the appropriate maintenance visit can then be arranged. The engineer can also be equipped with the necessary information and parts in order to rectify the fault on a single visit rather than having to identify the fault at first visit and then return at a later date. An alternative method we have found can work well is to use wireless group control of lighting by means of smart integral sensors with wireless transceivers. Group control is essential for passenger and staff safety and security. It ensures that during low occupancy conditions no one is left in

New

£1,809

Reduction

£3,229

Saving

64.1%

the dark and that the required minimum light levels are always achieved. When this remote monitoring, testing and reporting is applied to emergency lighting, the savings are further increased. The costs associated with the testing and maintenance of a manual test emergency luminaire are typically £50 per annum. This may not sound like much but, when multiplied across all the stations under the jurisdiction of any one franchise holder, its significance in the budget soon becomes clear. With the improvements in battery life combined with the remote capabilities of the monitoring and control systems, it is easy to see how an automatic lighting system can deliver double the savings made. So, while passengers might still hear announcements about leaves on the line or that there is not a driver for their morning train, at least those at Redditch now have platforms that are well and efficiently lit. Similarly, they can feel safe and secure when returning late at night to a well-lit and efficiently-managed station. And the role of lighting professionals within this transformation has been pivotal. ¢

Avril Chaffey is Tridonic’s public relations consultant and Andre Dobraszczyk is business development manager at Thorlux Lighting

June 2018 Lighting Journal

Railway lighting

GETTING A SHIFT ON London’s Liverpool Street station has been given an LED makeover with the minimum of fuss but maximum of impact

ith some 66 million passengers a year passing through it, London’s Liverpool Street is Britain’s third busiest railway station. Self-evidently, any disruption to services at such an important transport hub has the potential to have severe consequences, not just for long-suffering passengers but the wider economy of the capital. To that end, when Network Rail carried out an LED overhaul for the station’s 18 platforms and concourse, it had to be planned and implemented with military precision. More than 3,500 lights were replaced by two teams of two operatives, working from two scissor lifts on a permanent night-shift www.theilp.org.uk

during the five-hour window offered by station closing hours over a six-month period. The lamps used for the project were Goodlight LED as, among other advantages, they could easily be retro-fitted into the existing fittings, so allowing the relamping process to proceed with as little disruption as possible. The result has been a measured increase in lux levels on the platforms and concourse, from approximately 75 lux with the old lighting to 210 lux with the new Goodlight lighting. At the same time there has been a temperature drop of approximately 40deg centigrade at the exterior of the globe fixtures, which should improve reliability as well as efficiency.

HEAT DISCOLOURATION

During the replacement of the concourse lighting in particular, the maintenance teams noticed there was a lot of the discolouration around the lamps and reflectors caused by heat produced by the old fluorescent lamps and control gear. This illustrated both the waste heat generated and the maintenance issues it was causing. The energy saving from the new lights is over 800,000 kWh per year from the platform globe fixtures alone. Adam Thackeray, works delivery manager for Network Rail, has estimated the

new LED lighting will use about half the energy of the old lights, and will pay for itself in just 12-18 months. He said: ‘We decided to move to LED lighting to reduce our carbon output, reduce costs in terms of power consumption and to improve the lighting level and quality in public areas of the station. ‘The opportunity to reduce costs for lamp replacement by moving from a twoyear to a five-year cycle was also a significant consideration. LED lighting will also increase the efficiency of emergency lighting, reducing the load on the battery/generators and reduce the temperature signatures of lighting and heat-related failures,’ he added. ¢

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June 2018 Lighting Journal

The ‘Illuminated River’ project

RIVER JOURNEY

‘Illuminated River’ is the vastly ambitious project to light central London’s 15 bridges along the River Thames with a permanent light installation. And things are gradually progressing By Nic Paton

ack in December 2016, London mayor Sadiq Khan unveiled the winners of the ‘Illuminated River’ project to be Current, a collaboration between the American light artist Leo Villareal and British architects Lifschutz Davidson Sandilands (Lighting Journal, January 2017, vol 82, no 1). www.theilp.org.uk

Illuminated River is an ambitious scheme to light central London’s 15 bridges along the River Thames with a permanent light installation. The scheme has not been without its teething problems. IALD UK projects manager Emma Cogswell criticised it in these pages for failing initially to include a

lighting designer on the judging panel (‘River of Light’, Lighting Journal September 2016, vol 81, no 8) although this was quickly rectified. Then the plan at the launch was for installation to begin in late 2018, a timeframe that has now slipped somewhat. But perhaps that’s not overly surprising given

June 2018 Lighting Journal

What new, then, has been announced? The big announcement for May was that 30 planning applications and 18 applications for listed building consent across seven riverside authorities had now been submitted, a significant bureaucratic box ticked off. More widely, although the aim is to unify through light all the consecutive bridges from Tower Bridge down to Albert Bridge, the scheme will vary greatly from bridge to bridge, it is being emphasised. On some bridges the focus will be on illuminating spaces that are currently under-lit, on others it will be about reducing excess light spill. The project has committed itself to the use of directional lighting to minimise light spill, including no direct lighting of the Thames itself. The Illuminated River Foundation (which holds the purse strings) has also emphasised it is working in close partnership with a range of groups to ensure the environmental objectives of the project are met, including the Zoological Society of London and the London Wildlife Trust.

‘LUMINOUS AND GENTLY KINETIC’

the scale, complexity and commitment of the project, as revealed in the latest update published in May.

UNIFYING THROUGH LIGHT

Indeed, Illuminated River is set to be the longest public art commission in the world, at 2.5 miles in length and along 4.5

nautical miles. The work will be installed in phases, with London, Cannon Street, Southwark and Millennium bridges the first four bridges to be illuminated in spring 2019. Completion of the project is due in 2022 and the subsequent illumination phases will be announced later, probably this autumn.

Leo Villareal said: ‘My vision for Illuminated River is luminous and gently kinetic with an emphasis on abstraction, motion, and beauty. The concept engages with the site of each bridge, referencing the history of the structures and drawing on the natural and social activity of the surrounding embankments. ‘The work is rooted in classic artistic practices using colours and light treatments inspired by the palettes of Impressionist masters who painted the Thames. Once complete, I want the artwork to respond to the cultural creativity of the city, each bridge forming a unique layer in the urban landscape, creating a sense of discovery and revealing the river as a continuous living system.’ Alex Lifschutz, director of Lifschutz Davidson Sandilands, added: ‘The scheme addresses fresh challenges never before encountered in addressing the riparian environment and its ecology; respect for the context of the river and the many listed bridges that cross it. ‘It is at the same time a wonderful piece of art by a hugely gifted artist and also a quintessential public space project, one that tilts the balance of the Thames away from the domination of cars and street lighting to allow Londoners to appreciate their city literally in a new light.’ Further announcements and updates on the scheme are expected in the autumn. So, watch this space. ¢ www.theilp.org.uk

June 2018 Lighting Journal

Working internationally – urban regeneration in New Zealand

The city of Christchurch was devastated by an earthquake in 2011. Lighting and lighting design has been at the heart of its recovery and regeneration By Kevin Cawley

orking in New Zealand as a lighting designer is a wonderful experience. We have a small population of 4.5 million, so there is no room for error. As a great singer once said: ‘If you can make it here you can make it anywhere.’ You need to have a wide range of skills. Myself being trained in the theatre, I get involved in all types of projects from designing lighting for bathrooms in department stores, to world famous musicals, to large commercial and domestic buildings and even masterplans for towns. One example of this diversity is that I was engaged to advise on the use of coloured light for a city council for city beautification because of my creative design skills. It became apparent that, up until now, councils had only been putting lights www.theilp.org.uk

on poles to light streets. But when it comes to the use of coloured light, it’s a different game altogether and, to be fair, if you are not skilled in this area, then this should never be considered.

MAKING EDUCATION THE KEY

Some of the things to consider are: why are we thinking of colour? What is the purpose? Because when we put lights on to poles for street illumination, that’s great for only illuminating the street. When it comes to colour for city beautification, all the above needs to be considered, as well as budgeting. In New Zealand we have to educate the users of lighting that it’s not ‘just light’, it’s

a tool to be used with skill and expertise. I just don’t think this is limited to NZ but worldwide. Education is the key. A few years ago, for example, I was invited to speak at the International Light Fair in New York on ‘Lighting a broken city’ after the earthquakes that devastated the city of Christchurch, my home town. My presentation consisted of all the challenges we in lighting design would face in Christchurch. I needed to point out the value of lighting design. Is it a cost, or could it be an investment for the future? Point out what solar plus LED could deliver? It could be energy savings on steroids. I needed to show that budgets should be long term; that ‘value’ is not just about ini-

June 2018 Lighting Journal

why lighting has to be about the environment: warm light, creating shadows, respecting the architecture and its surrounds. We should not allow regulation gate-keepers and ‘status’ to stifle lighting excellence. We must educate and communicate with civic authorities’ owners and developers. We must not create ‘sameness’ but challenge and deliver difference, because value comes from people wanting to work, play and feel special in the spaces we create.

LIGHTING DESIGN RATHER THAN SIMPLY LIGHTING

Recent projects by Kevin Cawley in Christchurch. Clockwise from left: lighting the Returned Services Association, one of the first buildings of the city’s rebuild; lighting the saved existing façade of the Isaac Theatre Royal; lighting the only entertainment space after the quakes, made out of stacked pallets; lighting an exhibit at the international flower show two years after the quakes

tial price, it comes from creating a warm environment that supports mental health and wellbeing and puts the heart and soul into projects. As lighting professionals if we offer Rolls-Royce costing, then that – the costing – became the focus, not the wider benefit. To me, then, it’s always the value not the cost that matters most. As lighting designers, whether we’re in New Zealand or wherever, we have to create better communication. We have to acknowledge investors and get them to understand why and, most importantly, why we don’t need vast quantities of light, just the right amount of light. In that presentation, I also pointed out

Most importantly, it is vital to have excellent relationships with independent lighting designers, who understand the challenges of lighting design rather than simply lighting to illuminate. It is about delivering cost-effective lighting that gives value to the owner who, at the end is the party and the one who funds and lives with the solution. We have a dark sky reserve at our back door, in Tekapo on the South Island. In fact, it is the second most popular place on the planet to see the stars; international tourists flock to see our night sky. It is vitally important therefore, as lighting designers (again both in New Zealand but also generally), that we bring discipline to our lighting. We need to recognise the value and importance of being able to see the stars from our cities. Lighting excellence, I strongly believe as well, has to respect the environment. It is just as important as the project, regardless of the objective of the brief. In other words, street, building, statue, square, monuments, gardens and amenities – all require a collective approach, not just a singular ‘let’s light the tree’ approach. Christchurch is still recovering from the 2011 earthquake. But new buildings are now being erected all over the city, and we do work with architects, designers and other companies to ensure the lighting environment is sustainable and cost effective. Rest assured, it is never all plain-sailing; on occasion budgets, personalities and feedback create a need for change! However, as time evolves, so too will our city. We have had our success and we are still working on the future. It’s all about education, about lighting for people, about humanising pedestrian areas and public lighting. Lighting is both a science and an art, but if we take humanity for granted, we do so at our peril. Pedestrian areas and public lighting is often designed only to meet standards and compliance criteria; this too frequently fails to take into account

the needs and preferences of the user. Good urban lighting design, for me (from the other side of the world) is probably no different to you in the UK: it is about the highlighting of focal points and balancing the rhythm of light; it is how a space feels. I take a lot of inspiration from my theatrical lighting principles; I take people through the meaning and mechanics of ‘humanised’ public lighting, the possibilities attainable and their effects on the moods and feelings of people. I show how to create comfort and ambience through the use of variations in light levels, of warm light, cold light, even no light.

A ‘THINK LIGHTING’ MENTALITY

I speak about tuneable white along with other solutions. I have created over time a ‘think lighting’ mentality among many different parties. I thank those international suppliers who have understood and supplied advice, materials and solutions, and those lighting companies have understood the challenges of lighting design rather than lighting to illuminate; we can work together to provide the best possible outcome for my city. Finally, what can we learn, what can we apply, from the lessons of Christchurch? First (and most obviously) never go light on insurance! Plan for disaster. But, more widely, it is about having a city vision that includes key parties from across all sectors. It is about actively working not to create sameness but to challenge and deliver difference. It is about understanding that ‘difference’ – whatever that means in practical terms of where you are in the world – is what makes your city a must-see on any bucket list of travel, a ‘must work there’ for professional development, a ‘must live there’ just for the experience and for life. So while, obviously, it is important as lighting professionals that we act as gatekeepers of lighting standards, of the professionalism of lighting and lighting design, it is also up to us to allow and celebrate difference and creative thinking. We should never allow lighting and lighting design to stifle the vibrancy of the city. Certainly in Christchurch, where things changed overnight as the walls shook in 2011, we’re now working to deliver precisely that difference, to deliver design, to deliver lighting and living for the whole community as well as the new community to come. ¢

Kevin Cawley ALD (Lond) MIES (Aust.NZ) is a lighting designer based in Christchurch, New Zealand www.theilp.org.uk

June 2018 Lighting Journal

Working internationally â&#x20AC;&#x201C; adaptive lighting in Italy

A new Italian lighting standard, UNI 11248, is allowing lighting professionals in the country to take a more proactive approach to illuminating roads, including adaptive lighting and dimming protocols By Paolo Di Lecce

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June 2018 Lighting Journal

treetlight dimming for energy conservation purposes has always been controversial, especially when applied to large cities. Historically, the technology has been based around dimming systems that work through preset scheduling schemes. But, of course, a city is not as predictable as that – it is like a living entity – and forecasting what the traffic volume will be at any given time or point is not a simple task. For this reason, some cities use dimming profiles that are only activated very late in the night (for example 2am), meaning the energy saving becomes negligible. During the last decade, we’ve seen systems being tried based around occupancy sensors but, while this can work for green areas, indoors and in generally restricted areas, they are not suitable for motorised traffic on roads. The only way to a guarantee a wide, accepted and ‘smart’ approach to streetlight dimming is from a real-time knowledge of what is happening on the ground, how this relates to the parameters as set out within your lighting standards and how, in turn, this influences the selection of your lighting class.

UNDERSTANDING DYNAMIC LIGHTING

In the late 1990s, a study was carried out on motorways in the Netherlands to understand how to correlate traffic and weather conditions to safety and energy conservation. During low traffic hours, it concluded, lamps should be dimmed down to 20% (in other words reduced by 80%), but only when meteorological conditions were fair. In periods of high traffic and bad weather, however, the lighting level should be double. Analysis of the behaviour of the vehicles over a prolonged period did not show any increase in critical situations during this reduced luminance time. At the same time that CIE 115 was starting to consider dimming for energy conservation, in Italy the standard UNI 10439 was introduced. This is the updated version of the old UNI 11248 and is the key Italian standard for illuminating roads. However, for the first time in Europe, this standard has also outlined a very simple criteria for dimming. This is, namely, that you are allowed to downgrade one lighting class if the traffic volume is lower than 50% of the nominal value, and two lighting class whenever the traffic is reduced more than 75%. The idea is to give simple rules to allow for energy conservation when specific conditions are met. This article intends to look at UNI 10439 and the limits of its application in the context of adaptive lighting.

Traffic at night passing the Colosseum in Rome. An adaptive lighting system is being tested in city based on deploying low-cost sensors on to lighting columns

CEN 13201-1:2014 states that dimming should apply for energy conservation if all other project quality criteria (for example uniformity) are not changed, preferably by using and assessing real-time information about traffic volume, weather and real lighting levels. The use of time-based systems should however be limited to areas where this sort of data is easily predictable. This is not the case in a city, of course, where sudden and non-predictable activities can and often do happen (events, sport-related activities, security problems, weather and so on). One main reason why municipalities in Europe have historically been reluctant to embrace dimming is precisely because a pre-determined dimming programme could not fit a whole city’s needs. Another problem generally has been a lack of good statistical data about traffic conditions. In Italy, for example, this data is often simply not available, and therefore the technicians and the municipalities are making decisions about dimming programmes simply through personal evaluation.

THE ITALIAN STANDARD UNI 11248

The Italian standard UNI 11248 was published in November 2016 and developed by a working group called GL5. It gives authorities the ability to: •Allow the development of dynamic lighting in replicable safe conditions •Incentivise the use of dynamic lighting, above all through LED sources, featuring the possibility to be dimmed up down to 30% of the nominal flux •Prevent the abuse of dynamic lighting when conditions are not met The standard was the result of two years of intense discussions and case study evaluation, including the setting of a number of operational parameters. GL5 wanted to prioritise and give advantage to systems based on real-time measurements rather than pre-programmed time-based systems. Therefore, the standard states that dynamic lighting is a type of dimming system where the variations of lighting parameters are performed in a continuous way, in other words based on the real-time measurement of parameters of influence, such as traffic and weather conditions, rather than a preprogrammed metric.

TWO MEASURES OF ADAPTIVE LIGHTING UNI 11248 introduces two ways of managing adaptive lighting: traffic

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June 2018 Lighting Journal

Working internationally – adaptive lighting in Italy

adaptive installations (TAIs) and full adaptive installations (FAIs). A TAI is a lighting installation with a luminous flux control system where only traffic is being measured in real time. In this case, UNI 11248 works in a similar way to CEN 13201-1:2014. In other words, only when traffic is lower than 50% of the nominal value can lighting be downgraded by one lighting class. Whenever traffic is lower than 75% of the nominal value, light can be dimmed by two lighting classes. This, naturally, allows the possibility to follow, and adjust for, traffic volume variations in real-time. It gives the potential for dimming to occur much earlier than average (if conditions are met) while giving full safety and illuminance when traffic is for some reason ‘out of the statistics’. TAI therefore represents dimming ‘by step’. If, for example, traffic volume corresponds to 48% only, dimming is not allowed, whereas at 50% it is (within the strictly defined parameters). UNI 11248 also states that, for the purposes of TAI, calculation of traffic volume should be measured every ten minutes. Dimming is allowed only when two consecutive samples are below the limit. If only one sample is higher, the proper lighting level should immediately be applied. An FAI, by comparison, requires the real-time measurement of three parameters rather than one: traffic volume, weather conditions and road surface luminance. Since FAI allows higher dimming levels, the GL5 working group decided that, in order to reduce the light to the minimum, all three relevant ‘influence parameters’ had to be measured. The influence of weather conditions on lighting is, of course, well

CASE STUDY – BERGAMO PROVINCE In 2011, thanks to Lombardy regional administration co-funding, an adaptive lighting research was launched, led by us at dimming company Reverberi Enetec, along with the Province of Bergamo and INRiM, the Italian National Institute of Metrology. Bergamo Department of Roads took part in the working group allowing

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known: wet roads increase non-uniformity of the road surface luminance, and therefore dimming should not be allowed; fog reduces contrast and therefore safety; snow causes even glare. What is important, therefore, is to be sure the road surface luminance corresponds to what required by EN 13201-2. For many reasons, of course, luminance may be variable: dirtiness of luminaire, ageing of the lamps, variability of road surface’s reflective properties. Luminance needs to be so closely measured and evaluated in order to run an FAI system allowing for higher dimming levels. Only through measurement of these three parameters (to recap, traffic volume, weather and real luminance at that specific time), municipalities are allowed to dim according to FAI. In practice, this means: •The possibility to dim up to three lighting categories when traffic is lower than 12.5% of nominal value and weather is good •The possibility to dim continuously, for example dimming by 20% when traffic is reduced by 10%, following a straight-line interpolating from the higher to the lower permitted luminous classes (max and min dimming level). The advantage of this compared to the step-based TAI is self-evident Under FAI, traffic volume has to be measured every minute, and the value used should be the average over ten readings. If three consecutives samples show a value greater than 20% of the last calculated value, an immediate variation of the dimming has to be activated. UNI 11248 also takes into account the fact economic reasons may limit the number of sensors installed.

measurements and analysis to be carried out on two roads, one the main highway around Bergamo (using HPS lamps) and the second a minor road (using MH lamps). The sensor used during the one-year test was one of our prototypes, a camera measuring traffic volume, environmental and road surface luminance and evaluating weather conditions. The

sensor was able only to record data but not to dim the lighting installation. The aim was to compare the dimming that would have been achieved under an FAI system and the real

dimming ordered by a pre-programmed time system. This concluded that the average energy saving achieved over long periods through using an FAI system would have been at least 30%.

USING AN LTM SENSOR

One way to help this

analysis process is to use an LTM sensor (luminance, traffic and meteorology). This is a camera that is able to evaluate the three parameters relevant to UNI 11248, and features state-of-the-art computer and image processing techniques. It is able to count the number of vehicles running across a virtual line with an accuracy of about 10%. Vehicles are

June 2018 Lighting Journal q

Galatina authorities have been testing how dimming programmes might work

CASE STUDY â&#x20AC;&#x201C; GALATINA INDUSTRIAL AREA

In 2016, a consortium of local business and municipal leaders decided to renovate street lighting installations in the city of Galatina in southern Italy. We were commissioned to install an LTM sensor to measure the influence parameters and therefore evaluate whether it made sense to put an FAI-based dimming programme to be put in place. This concluded that the influence of closed loop luminance dimming in this installation was relatively negligible. The luminance at full power was 1.05cd/m2 and therefore in one year the saving, considering dirtiness, source decay, corresponded to just 2%. However, by comparison, over a six-month period, the energy saving of FAI adaptive lighting compared to a pre-set dimming schedule was 25%, while the energy saving compared to no dimming at all was 71%. Another critical finding was that, in 92% of lighting hours, the traffic volume was below 12.5% of the road capacity. This helps to explain why the potential of adaptive lighting can be so important.

Paolo Di Lecce is chief executive of Reverberi Enetec, based in Castelnovo neâ&#x20AC;&#x2122; Monti, near Modena, Italy

counted per each lane and per each carriageway, since UNI 11248 specifies that the traffic volume should be measured in the lane where the highest traffic volume is present. Every minute, LTM takes a picture of the road and, using this, calculates the luminance of the area under analysis, which can be configured by the user. The LTM is installed

normally at around 5m high, according to provisions of EN 13201-4:2015. Luminance values, according to INRiM laboratory measurements, have an uncertainty of + _ 5%. Such image analysis is useful to determine if fog is present (and therefore dimming should be disabled), if the road is wet (uniformity analysis) or if there is snow on its surface.

ROME PILOT PROJECT

UNI 11248 gives a lighting designer the capacity to use collected data from roads in neighbouring areas, because it would be too expensive to install an LTM device for every single street. This means there is some scope for statistical evaluation of the real conditions in the neighbouring roads. To overcome this problem, in 2016, under

the European Unionâ&#x20AC;&#x2122;s LIFE programme, we were tasked to install an innovative adaptive lighting system called Diademe. This is deploying low-cost sensors on to each lighting pole. These gather and correlate data, and can give a complete map of all relevant parameters of FAI in each lighting point. This makes dimming both more accurate and safer

as a procedure. The system is being tested in Rome in some 1,000 lighting columns and is set to be installed during this year. We expect to see a 30% energy saving from this switchover to more adaptive lighting, compared to preprogrammed dimming profiles, plus of course greater availability of data coming from the installed sensors.

www.theilp.org.uk

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June 2018 Lighting Journal

Working internationally – Li Fi in the US

READY FOR TRANSMISSION As adoption of, and interest in, Li Fi accelerates, new Li Fi-enabled products, including LED light bars that can replace conventional fluorescent tubes are coming on to the market, as one US manufacturer explains By Jeff Elliott

he promise of Li Fi (light fidelity), which uses LED to transmit secure, high-speed wireless data at rates that can go well beyond those currently possible with Wi Fi, has now advanced to the point where, increasingly, it is being seen as a mainstream lighting solution rather than something solely for ‘early adopters’. More and more Li Fi-enabled products are now coming to market, in the US, Europe and Asia. Linmore LED, based in Fresno, California, is one US company breaking new ground with the introduction of the first LED Li Fi-enabled ‘light bar’ fixtures designed to replace the most ubiquitous form of lighting in commercial and industrial facilities: fluorescent tubes. There are an estimated three to four billion installed fluorescent tubes installed throughout the world. This integration of built-in Li Fi transmission technology into new and retrofit LED light bars is now moving Li Fi beyond the pilot stage to fullscale implementation in offices, schools, warehouses and other facilities. So, what do lighting professionals need to know here?

A BRIEF OUTLINE OF LI FI

Li Fi is a high-speed, secure, fully networked wireless communication technology similar to Wi Fi. However, Li Fi uses the entire light spectrum whereas Wi Fi utilises radio frequencies (RF). To do this, the LED light fixtures used in many energy-conscious homes and offices are outfitted with a module that controls the light for optical data transmission. The high-speed light pulses are invisible to the naked eye, yet can be used to transmit data at extremely high speeds to a receiving device located in a laptop, computer tower, cellphone or other smart device. In the future, Li Fi will be embedded into the mobile devices we use every day, as well as play a key role in machine-to-machine communication and the Internet of Things (IoT). The use of visible light in this way provides a host of intriguing benefits that far outpace what is currently possible with the radio frequency waves used by Wi Fi and cellular networks. When compared to the overloaded full RF spectrum, the light spectrum is 1,000 times larger and is currently unregulated with no licensing fees.

In lab conditions the technology is already capable of 10 Gbps (gigabytes per second) speed. With the available bandwidth potential, data transmission speeds up to 100-times faster will be possible in the near future as the technology advances. Naturally, the implementation of this technology into lighting fixtures has necessitated a close partnership with LED light manufacturers. Until recently, most Li Fi-enabled fixtures were small lamps or recessed can lights. What Linmore LED is doing is introducing Li Fi-enabled LED light bars designed to replace fluorescent tube lighting. The company has as a result seen data speeds that have been clocked at 43 Mbps (Megabits-per-second) up and down. Not only can this technology be incorporated into new light bar fixtures, it can also be retrofitted into linear fluorescent fixtures so as to enable them to have Li Fi functionality. The company has achieved this in part through a partnership with Scottish Li Fi company pureLiFi. The modular nature of its LED light bars allow for the ideal integration of pureLiFi’s Li Fi modules, www.theilp.org.uk

June 2018 Lighting Journal

Working internationally – Li Fi in the US

ROUTER & SWITCH POR OR PLC

ACCESS POINT INTRANET SERVER

DOWNLINK

UPLINK

INTERNET

TRANSMITTER

without affecting critical aspects such as lighting distribution, thermal dissipation or overall performance. The fact that this technology can be retrofitted into existing fixtures (even those that are not Li Fi-enabled) is arguably something of a game-changer when it comes to Li Fi. Many facilities – workplaces and offices – are naturally seeking to drive down energy, waste and maintenance costs by converting to LED technology. To be able to convert to LED and potentially Li Fi is a real step-change. This provides the very real scenario of building owners and facility managers being able to adopt Li Fi technology while dramatically decreasing their lighting-related energy costs at the same time. After all, utilising an existing part of a building’s infrastructure – lighting – in this way opens up endless possibilities for many other technologies to have a deployment backbone. IoT, RFID, product and people movement systems, facility maintenance, and a host of other technologies are taken to the next level when Li Fi is www.theilp.org.uk

RECEIVER

available throughout a facility.

GREATER SECURITY THAN WI FI

What, however, about security, as this can be a key concern and question in this area? If anything, Li Fi is a far more secure form of data transmission than Wi Fi because a receiving device must be directly within the cone of light to receive a broadcasted signal. Visible light, including near-infrared wavelengths, cannot penetrate opaque objects such as walls. This means the wireless signal is constrained to within a strictly defined area of illumination. Wi Fi, on the other hand, uses radio waves that are widely broadcast even outside a building, where they can be easily intercepted for malicious purposes. In a ‘man-in-the-middle’ attack, where eavesdroppers located outside an area are able to intercept communications from radio waves emanating outside building, the attacker must be able to intercept all relevant messages passing between the two victims and inject new ones. This is straightforward in many circum-

stances: for example, an attacker within reception range of an unencrypted wireless access point (Wi Fi) can insert himself as a man-in-the-middle. However, because visible light is easily containable within a space, Li Fi has the potential to eliminate such classic man-inthe-middle attacks. In addition, traditional encryption and authentication protocols used for Wi Fi provide an additional layer of security for the Li Fi network. What this has meant in practice is that many of the expected early adopters of the technology are those seeking greater security of data transmission than is possible with Wi Fi. For this reason, initial markets expected to adopt Li Fi include federal government and defence, banking, financial institutions and hospitals, among others. Drilling down further into security, the ability to direct or shape light into defined areas of illumination allows precise partitioning of any environment. File access is permitted only if a device is connected to the Li Fi network. Therefore, once a user connects to the Li Fi network, they can download and modify certain files. However, it is impossible for a nearby employee to intercept information sent to the server/network by another employee, since the uplink communication is on a different frequency from the downlink. Further increasing security, every device that can connect to the network can be localised and tracked using the technology. The same Li Fi module enables ‘communication on the move; by tracking the transmission source electronically, with no moving parts.

THE FUTURE

Now that one of the final barriers to fullscale implementation has been overcome with the introduction of Li Fi-enabled LED light bars, this the technology is expected to continue to advance, with costs also expected to go down over time and more and more miniaturisation expected to take place. Although current technology requires use of a dongle, much like early Wi Fi, it is expected that the major mobile device manufacturers will be adopting this technology within the next three to five years, meaning that Li Fi-enabled products will, in time, become ever-more mainstream and expected by clients. ¢ Jeff Elliott is a California-based technical writer who specialises in writing about industrial technologies

June 2018 Lighting Journal

Power distribution enclosures

DISTRIBUTED ECONOMY They may never look glamorous, but power distribution enclosures are the ‘pulse’ of urban infrastructure, from EV charging and street lighting to DNO metering By John Fox

roviding local isolation and protection to the vital electrical equipment that powers urban spaces, power distribution enclosures are important assets inhabiting our streets and highways. Feeding energy to lighting columns and other urban assets, power distribution enclosures have a modest yet vital job in assisting the way a city works. Every power distribution requirement is different, which means many times a ‘one-size-fits-all’ solution is not appropriate. One thing that remains constant is the need for safe, sturdy and secure enclosures that are built to the highest standard for optimum longevity and performance. There are a number of solutions available to meet such municipal power requirements, especially those commanded by street lighting networks.

ENVIRONMENTAL IMPACTS

For a casing that is both strong and secure, enclosures themselves are a vital aspect of street lighting schemes. Ensuring electrical components within the pillar are protected from harsh environmental conditions and guarding citizens from potentially dangerous electrical connections within, robust shells offer an ideal solution for both durability and longevity. For this reason, they need to be built and tested to standards relevant to the enviwww.theilp.org.uk

A power distribution enclosure: for a casing that is both strong and secure, enclosures themselves are a vital aspect of street lighting schemes

ronment in which they will be used. From warm temperatures and heavy rain, to vermin and vandalism, as well as hazardous environments and coastal sites, a number of application-specific materials can be used to reinforce enclosures while matching the needs of equipment within. For example, Highways England seeks 5mm thick steel (as opposed to the standard

POWER DISTRIBUTION FOR FLOODPLAINS At Lucy Zodion, we recently developed a bespoke power distribution solution that provides power for carpark lighting in flood-

prone area Kirkstall Road in Leeds, West Yorkshire. This project required an upgraded power distribution system to

replace those water damaged by the floods of 2017. To that end, we supplied the Cardigan Fields retail park with a bespoke 2m-tall pair of pre-wired power distribution enclosures, including with an IP66 rating to ensure

water entry remains to a minimum in the instance of flooding. The 100A threephase DNO power supply also ensures outdoor areas are well lit, providing a secure and accessible car parking zone for all that visit the retail park.

June 2018 Lighting Journal

Every power distribution requirement is different, which means a ‘one-size-fits-all’ solution is most commonly not appropriate

3mm) galvanised pillars. There are a number of materials that can be used to match the function and location of the enclosure, each of these usually conforms to set industry standards. These include Hot Dipped Galvanisation (HDG) to BS EN ISO1461, cast iron to BS1452 Grade 180. There are also a number of standards to consider for stainless steel applications, including Grade 316 (painted or unpainted) for marine applications (304, 3Cr12 shouldn’t be used), Grade 304 for general purpose environments (painted if environmental staining would be a concern) and Grade 3Cr12 for general purpose environments, usually these are painted to meet specific finish requirements. In order to prevent further tampering and damage, additional paint finishes (such as RAL and G2A for highways) and lock variants are available, while flexible design features can aid various installation requirements. Detachable roofs make switching out equipped backboards quick and simple, accommodating lighting upgrades when required. Enclosure ventilation might also be a requirement, with some commanding anti-condensation heaters that are controlled by a thermostat for low energy consumption. The possibilities are endless, meaning most specifications can be met.

by adding a custom ‘cat-flap’ for trailing leads, giving direct access to power while remaining in-ground.

EV CHARGING AND DNO METERING

Public spaces today have an increasingly multi-functional use for events and ‘pop-

up’ markets, yet urban schemes are often designed with minimal street furniture. As a result, there’s a growing requirement for discreet, on-demand power that is instantly accessible. In-ground power distribution offers the ideal solution. It is suitable for urban regeneration schemes, markets, public spaces, stations and stadia. Retractable into the ground when no longer required, in-ground units can be equipped with a range of power outlets to meet various electrical requirements. Furthermore, in-ground pillars are available in a range of standard options, as well as custom designs, making them versatile, robust, easy-to-use and safe. It is becoming more commonplace to use such units

Made from heavy-duty stainless steel, the pillar shells are durable to withstand extreme weather, while protecting the electrical equipment within for prolonged use and public safety. As the site is prone to flooding, we developed taller

minutes). This was made possible by ensuring the unit offered IP66 protection. Further IP68 glands were installed within the pre-wired terminals to ensure external wiring was protected once entering the enclosure.

TEMPORARY IN-GROUND POWER

pillars that elevate components to 1m above ground level. With water ingress a key consideration, it was vital to provide a solution that would protect interior components, even when submerged in water (for up to 30

Other elements of the project included a Lucy Zodion Photocell to control the lighting scheme, with an additional time-clock, should carpark lighting require further programming. A switch fuse was included and distribution section

From EV charging and street lighting through to DNO metering, power distribution is the pulse of urban infrastructure; constantly supplying and protecting power for use throughout modern towns and cities. As technology advances, it is fast becoming a requirement to make enclosures work harder. Their existing or recommended location provides a perfect opportunity for the installation of other related items that enhance the way lighting schemes work. From photocells that help control entire lighting schemes, to remote communications systems that gather vital street lighting information, custom enclosures are becoming increasingly popular – converting simple street furniture into power houses of asset management. Whether it’s a solution that helps monitor and control a street lighting scheme, housing electrical components beyond lighting control, or complete electrical circuit monitoring, there are solutions available that meet more complex specifications; these can be custom built prior to delivery and ready to install once they arrive on-site.

John Fox is managing director of Lucy Zodion

populated with MCBs to power and control supply from the electricity company to the lighting scheme within the retail park. An internal anti-condensation heater within each enclosure keeps the inner components

dry, aiding longevity of both the pillar and the devices within. There is also an LED service light in each pillar, along with a twin service socket, to aid maintenance when routine checks and upgrades take place. www.theilp.org.uk

June 2018 Lighting Journal

The 2018 Professional Lighting Summit

cal workshops and, on the final day of the Summit, the technical committee’s technical update, which is set to be free to attend for the first time this year. Finally, the Summit is also, of course, be a great opportunity simply to meet and network with other ILP members as well introduce yourself to new ILP chief executive Tracey White. So don’t delay, get registered and booked in.

COULD YOU BE PUBLISHED IN LIGHTING JOURNAL?

S IL P P R O F E

SIONAL LIGHTING SUMMIT 2018

SUMMIT SCALEABILITY

The countdown is well and truly on for this year’s Professional Lighting Summit. With networking and CPD opportunities galore, can you afford not to be there?

he speakers have been booked, the exhibitors are in place, the registration process is now open. As the days count down to this year’s Professional Lighting Summit later this month, now is the time to get registered and circle the ILP’s flagship CPD event in your diary. www.theilp.org.uk

To recap, this year’s Professional Lighting Summit is being held between 13-14 June at The Oxford Belfry, near Thame, Oxfordshire. To register, all you need to do is go online to the ILP website, at www.theilp.org.uk/ summit and fill in your details. What can you expect this year? As well as the speakers highlighted in last month’s edition of Lighting Journal, members can look forward to presentations on the ILP’s new guidance on bats and lighting, projects insights into the lighting schemes for the new Design Museum and the north east’s Newport Bridge, and a pilot scheme involving colour temperature changing luminaires in Helsinki, Finland, among many others. In all, in fact, there will be 30 workshops and presentations to attend over the two days. There will also be 23 exhibitors to check out, the annual black tie ILP Celebration Dinner to attend, a huge variety of techni-

As lighting professionals, your ‘bread and butter’ is delivering on projects, proposals or contracts day in and day out. What’s more, you’re probably extremely proud of the quality and excellence of the work you do. So, why not tell people about it? Lighting Journal is your journal as ILP members, and we want to hear from you! Lighting Journal is looking for innovative projects, case studies, research and expert insight to highlight over the coming months. To that end, Lighting Journal editor Nic Paton will be at the Professional Lighting Summit and will be keen to meet members who feel they have an article inside them that wants to get out! Either just catch him in passing, or Nic will be at the ILP’s Professional Development Zone during the morning coffee breaks on each day of the Summit. Alternatively, to arrange a time or place to meet or to discuss a specific topic, drop him a line ahead of the Summit at nic@cormorantmedia.co.uk ¢

WHAT YOU NEED TO KNOW WHAT: The 2018 ILP Professional Lighting Summit WHEN: 13-14 June WHERE: The Oxford Belfry, near Thame, Oxfordshire HOW TO REGISTER: www.theilp.org.uk/summit

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June 2018 Lighting Journal

The ILP regional review

A NEW-LOOK ILP I

This month’s Professional Lighting Summit will see the formal unveiling of the new-look ILP regional structure that is due to be in place by summer 2019. Lighting Journal presents a sneak preview By Nic Paton

t has been two years in the making but, when members gather at the ILP Professional Lighting Summit in Thame, Oxfordshire, later this month, the ILP will be well on the way to transforming its regional and geographical structure. The aim is that the ILP should have a structure in place by the 2019 Summit that is both better able to respond to the challenges and pressures facing the industry and, crucially, can deliver services and support to members – especially CPD – much more effectively. So, what’s changing? Up to now, the ILP’s local infrastructure has been based around a network of regional committees. Each committee is represented by a councillor on the ILP Council, which in turns feeds into the development of policy and strategy. Under the new structure, which was agreed by members in a national ballot in March and will be formally unveiled at this year’s Summit, the regional committees will be replaced by a network of ‘Lighting Delivery Centres’ (LDCs). Please see the map for how these will be located around the country.

NETWORKING EVENTS

Each LDC will be led by a committee of eight people, comprising: a chairman, immediate past chairman, vice chairman, secretary, YLP member and three other committee members. Virtually all – 97% – of ILP members will be within 50 miles of their local LDC. LDCs, much like the old regions, will be able to arrange additional technical meetings along with networking and social events, though these will need new business cases to be produced. But one core difference is that the ILP will concentrate the development and delivery of CPD centrally via the new National Curriculum-setting body on which all LDC’s will be represented. This will ensure lighting professionals, regardless of where www.theilp.org.uk

June 2018 Lighting Journal

they are in the country, will have access to a ‘national curriculum’ of high-quality, consistent CPD activities. A new role of Junior Vice President will be created along with some new Vice President roles to help ensure that we are raising the Institution’s profile in the right areas. A revised Council structure will provide a larger pool of candidates to put themselves forward to be the Junior Vice President and providing a direct route via the LDCs. The timeline post-Summit (and see separate panel) is for an implementation panel to be set up from this month, with intensive work then being carried out on the national curriculum, routes into membership and staffing requirements during the autumn and into next year. The new structure is then set to formally launch at the annual general meeting at the 2019 Professional Lighting Summit, with the first LDC events set to take place from July next year. ILP President Alan Jaques said: ‘Our industry, whether asset owners, designers, installers or manufacturers, is facing major challenges in the coming years and the ILP, as an Institution, needs to ensure we are in the best position both to represent and serve our members. ‘This new structure will better equip the ILP to deliver high-quality, consistent CPD nationally to members while at the same time ensuring members still have access to valuable local networking and social activities,’ he added. ¢

PRIMARY LIGHTING DELIVERY CENTRE LOCATIONS [1] Glasgow [2] Durham [3] Belfast [4] Dublin [5] Manchester [6] Birmingham [7] London [8] Bristol

1 3

6 7

REGIONAL REVIEW Key Dates 6 June 2018 13 June 2018 13 June 2018 17 July 2018 30 Sept 2018 30 Nov 2018 31 Dec 2018 31 Dec 2018 January 2018 June 2019 July 2019

Implementation Panel scope issued AGM First meeting of the Implementation Panel First meeting of the National Curriculum body Confirm and agree local need within LDC framework* Draft programme for nationally organised and business case events* Staffing review Initial National Curriculum development complete Full National Curriculum Setting Body AGM First LDC event *indicates milestone date

www.theilp.org.uk

June 2018 Lighting Journal

The ILP’s new CEO

‘WE NEED MEMBERS TO STAND UP AND TALK ABOUT THEIR INSTITUTION’

Tracey White joined the ILP as its new chief executive in April, replacing Richard Frost. As former director general of the British Healthcare Trades Association, she is an outsider to the industry, but has big hopes and ambitions for the ILP, as Lighting Journal found out By Nic Paton

resh from a whirlwind tour of the regions and with the Lighting Design Awards set to take place on the evening that we meet, Tracey White fully concedes it has been a steep learning curve since taking over as ILP chief executive in April. ‘I don’t have a background in the lighting industry at all, no prior knowledge. My background is as a trade association membership professional. I’ve been doing that for longer than I care to remember across a range of industries,’ she explains. But having this variety of experience under her belt means getting up to speed quickly with the intricacies of a new industry is not something that daunts her. Tracey started her career in the pet sector before moving to the Royal Town Planning Institute and then the British Healthcare Trades Association, where she spent six years, first www.theilp.org.uk

as its commercial director before becoming its director general three years ago. ‘The British Healthcare Trades Association (BHTA) is a trade association, not a professional body. It represents about 500 companies in the UK that are all involved in healthcare – suppliers and manufacturers into the NHS, care homes, local authorities and so on. It is everything from first aid kits through to mobility scooters, wheelchairs and beyond,’ she says. So, why the ILP? ‘I felt I had probably dealt with all of the issues I needed to deal with at the BHTA; the same issues were starting to come back round. I could quite easily have stayed but I am somebody who is quite ambitious and likes a new challenge. So, it was just good timing. Also, it is much less of a commute!’ Tracey says. As someone coming in with a fresh perspective, what does she perceive the ILP needs to be or become? Would does she want the ILP to feel like for members? ‘At a practical level, the big thing at the moment is the implementation of the new structure at a local level. And, actually, already I think we’ve moved that ahead a lot. We’ve got some agreement now as to how that is moving forward. Not everyone agrees yet, but I think we are heading in the right direction,’ Tracey says. ‘More widely, as someone looking in from outside, I can see the ILP is achieving a lot of good stuff. I think we’ve got a very strong board and an extremely strong staff team; the level of knowledge is immense. But it is about always trying to bring that back to the membership. You can have the most committed staff team, but that counts for nothing if the membership aren’t willing to stand up, be proud and get involved.

You are only as strong as your membership. So, it is about getting that unified voice. ‘I think there is a need to figure out how to give us that bigger voice in the wider arena. There hasn’t been a lot of engagement at that national/government/local authority-type level. But it is also being clear about what is the ILP is really wanting to say, what it really stands for and represents,’ she adds. So is the ILP lighting’s best kept secret? ‘Yes, to an extent I think it is,’ Tracey agrees. ‘The question is how do we change that? We need to have the membership standing up and talking about their Institution. But we also need to have those key messages, we need to be clear what we are about. ‘Is the ILP, for example, about increasing professionalisation, bringing new people into the industry and developing career pathways? I do think that is definitely a key part of it. Or is it more about making sure that, when local authorities are looking at spending cuts, actually they do not consider lighting to be an easy option?’.

INDUSTRY COLLABORATION

One part of this could well be more collaborative working with other industry bodies and organisations, Tracey suggests. ‘One of the things we did successfully in my old association was to work in partnerships with associations that, historically, we might not have looked at. We did a lot of work with, for example, disabled children’s charities so that we could pool resources on research and then we had a bigger voice. So, it is how do you harness that and bring it all together?’. With the Professional Lighting Summit coming up this month, as highlighted earlier in this edition, Tracey emphasises she is keen to carry on getting to know, meet and engage with members. Her door as chief executive will always be open. ‘My key message as chief executive is that, really, this is your Institution. There is a lot going on and there is a lot of strength in the industry. But we need members to step up and get involved. I want members to get in contact with me, to engage with me and communicate with me. I want members to put themselves forward for roles, to promote the Institution and to make that difference,’ she says. ¢

June 2018 Lighting Journal

Lighting design

Creativity is perhaps the most nebulous and abstract of all ‘commodities’ in the workplace. Understanding creativity, what it is that makes you ‘creative’, but also how creativity can be sparked, nurtured or (sometimes) diluted by the project ‘process’ is a key part of unlocking your effectiveness as a lighting designer. By Daniel Blaker

he expression ‘Thinking Sideways’ was coined by a group of leading strategists and logistical thinkers during the Second World War. Their aim was to create a series of elaborate counter intelligence ‘plans-withinplans’ as part of ‘Operation Bodyguard’, or the intricate deception plan implemented in the run-up to the Normandy D-Day landings of 06 June 1944 to confuse and mislead their German opponents. Through the use of double agents, misleading radio traffic and visual deception, this team’s approach was not simply to think laterally but in truly unorthodox and creative ways; they wanted to create a ‘weave’ of deception so ornate and complex that even those implementing the decoys and deceptions would only be able to see some of the threads, never the complete tapestry. This led to the use of startlingly unorthodox, and yet effective, deceptions, including the use of giant inflatable tanks and planes, so that to German air reconnaissance it appeared allied re-

www.theilp.org.uk

June 2018 Lighting Journal

sources where being concentrated elsewhere. What, I hear you ask, has this to do with light and lighting? In this article I am going to argue that left-field creativity such as that seen in Operation Bodyguard is a key defining human characteristic, one that frames our capacity for adaptation and expression. Therefore understanding creativity – after all, perhaps the most nebulous and abstract of all ‘commodities’ in the workplace – can make us all better and more effective as lighting designers. Creativity gives us the capacity to re-interpret everything from a wholly unique perspective; it allows us to challenge convention, to set new precedents, to define new beginnings. So, the question is, how do we coax it out? The expression ‘writer’s block’ is probably familiar to all of us. Unfortunately, it is not just writers who can be afflicted by it; it can lend itself to any part of the creative arena. We’ve all been there: the brief is clearly defined yet a sophisticated, creative response evades our grasp. More often than not, this is because there is our desire not to do something just ‘standard’ but instead use the opportunity of this new project or client to bring about something innovative, something that warms our creative core. Sometimes creative salvation can be found in the obvious, something that jumps right out at you. But sometimes exploration of the obscure can be the remedy. There is no single ‘correct’ way to define creative dexterity but, I would argue, dexterity is perhaps the key. I argue the key factors that influence the form of creative success can be broken down into three facets: inspiration, innovation, and execution. They all overlap like on a Venn diagram but, like all good Venn diagrams, it is about using and layering these influences, as

www.theilp.org.uk

June 2018 Lighting Journal

Lighting design

relying on any one avenue in isolation can lead to a rather literal response.

UNDERSTANDING INSPIRATION

Inspiration can, of course, be drawn from anywhere, from any corner. For instance, the late great Buckminster Fuller (18951983), father of the geodesic dome, had a background in mathematics and philosophy. This alternative foundation liberated him to bring a completely unique interpretation to architectural form and structural processes. This distinct perspective led Buckminster to state: ‘You never change things by fighting the existing reality. Instead, to change something, build a new model that makes the existing model obsolete.’ This is a very important freedom; it reinforces that nothing is irrelevant, even the most abstract of stances may lend a unique perspective on to the creative solution. Lighting, in particular, is a peculiar medium, and one with many guises. On a fundamental physical level, the ‘intrigue’ of lighting is boundless. Our understanding of light is, of course, a story spanning across centuries. It was distilled by pioneers such as Augustin-Jean Fresnel who in 1815 proclaimed that light travelled as a wave, demonstrating clear interference patterns between its wavelike ‘peaks and troughs’. Our knowledge was further expanded by James Clerk Maxwell in 1864, who stated that, in fact, this wave-like manner actually formed part of a wider composite electro magnetic spectrum, spanning from the very short wavelength (gamma rays ≈ 10-5nm) to the very long (radio waves ≈ 1m). Our beloved visible spectrum was only a very small constituent part of this (circa 290nm to 800nm). Albert Einstein then dropped the prowww.theilp.org.uk

verbial physics microphone by settling this century-long debate when in 1924 he concluded that light travelled as both a particle and a wave simultaneously, or the Wave-Particle Duality. If all this wasn’t mind-blowing enough, mavericks such as Niels Bohr went on to show that a single photon of light, when passed through the classic wave and peak ‘double slit experiment’ yielded the same result: bands of both intensity and neutrality, dark and light. This meant that a single photon or particle was interfering with its physical self, and Bohr concluded that it must therefore exist in two states simultaneously, until observed! Or, as Bohr summed it up: ‘Everything we call real is made of things that cannot be regarded as real.’ Every lighting designer is required to have a certain scientific appreciation of light. After all, this knowledge forms our toolkit; it is our chisel and rasp as we sculpt away the darkness. Yet, as lighting designers we’re not only concerned with the manner in which light behaves, but also how it connects with us on an emotional level; the experience it generates and which we share. No one dances more delicately or dextrously with our emotional relationship with light than James Turrell. His background in psychology and mathematics combines a less than direct route to an artistic interpretation of light, but one which many would call profound. His subtle blend and transition between how we perceive saturated colours – the ‘Ganzfeld Effect – plays not only with our eyes, but also with our minds, rendering us

almost boundless in space when experiencing one of his works. Turrell’s take on this sensory bathing within light led him to proclaim: ‘We eat light, drink it through our skin.’ The Turrells amongst us relish in the nature of light as a medium travelling through space, how it rolls into our eyes and minds. Other liberal and liberated thinkers, such as Dan Flavin, are interested in how light is attained, the physical source of the light itself. Whether it’s a simple exposed bare fluorescent lamp (Dan Flavin) or the classic ‘Artichoke Pendant’ (Poul Henningsen), when the illuminated environment can be directly attributed to the source it should be celebrated as a moment, an artistic endeavour in itself, creating magnificence through honesty.

INNOVATING WHEREVER POSSIBLE

As lighting designers and ‘creatives’, we therefore need to become comfortable with being uncomfortable, with thinking around the problem, causing some waves. This will inevitably lead us on a less direct or ‘standard’ path, one where we have to challenge conventions or ‘guidelines’, educating both the market and client to be bolder and braver. It is about encouraging a healthy unrest with standard practice and innovating wherever possible. The German philosopher Friedrich Nietzsche perhaps summed up free-thinking in this way very succinctly with this statement. ‘You have your way. I have my way. As for the right way, the correct way, and the only way, it does not exist.’ In other words, never just design through specification alone.

June 2018 Lighting Journal

ILP competition

YLP MINI PAPER COMPETITION • Are you under 35 years old? • Do you have an interest in any aspect of lighting? • Do you want to share your passion, your ideas, and your work with other professionals of the lighting industry? The YLP invites you to enter the YLP Mini Paper Competition!!! All you need to do is submit a 500-word abstract of your work as a Young Lighting Professional to ylp@ theilp.org.uk. Your work will be assessed by a panel of competent lighting professionals and four finalists will be invited to present their work in front of the assessment panel and other lighting professionals at the YLP AGM in November.

The winner will be announced at the end of the YLP technical event and he/she will have the opportunity to publish their work in the Lighting Journal. Prizes for the winner to be announced shortly.

Dates: • 01 July 2018 – Submit your 500-word abstract to ylp@theilp.org.uk • 01 September 2018 – four finalists announced • November 2018 (exact day TBC) – final 15-min presentation at the YLP AGM in London • November 2018 (exact day TBC) – Winner announced

www.theilp.org.uk

June 2018 Lighting Journal

Lighting design

UNDERSTANDING INNOVATION

The second part of our creative Venn diagram is that of ‘innovation’, in particular innovation of a product or process. Innovation enables us, gives us a fresh freedom of application previously not available. This could be anything from ‘Egyptian Blue’, the first recorded synthetic pigment created by its namesake, the Egyptians, circa 2,500BC, or the more recent transition from the humble candle, through to incandescent and fluorescent lamps, leading up to today’s carefully-engineered LEDs. All innovations open up a new arena of possibility, challenging the user to soar high into the creative rafters. However, whilst initially this box of ‘new tricks’ can be administered liberally, it may not necessarily stand the test of time. For instance, a 4,500-year-old painting using Egyptian Blue would certainly have been captivating, based on its uniqueness alone, when it was first produced. Yet, after a while all things become passé and it’s then demanded that the creative process returns to its foundations. This is where innovation of thought becomes just as important, if not more than, the innovation of product itself. Like it or not, as lighting designers we all sell something, even if it’s just an idea; it’s not just our passion that is important but also our bread and butter. It’s very easy within this commercial marketplace to become trapped – selling ‘design’ simply

through specification of the latest trend. This is not to say this cannot be effective. It could be a lovely dynamic white light solution, lighting that helps to regulate our bodies’ melatonin levels, or making direct comparisons of similar light sources in order to assess their quality based on latest colour rendering metrics, such as TM-30. This product awareness aspect of the design process is, yes, an essential part of our due diligence. But it has to be harmonised with creativity to support the aspirations of the design, not simply inform them.

UNDERSTANDING EXECUTION

The third and final part of our Venn diagram of design is ‘execution’. Everyone essentially has the same equipment at their disposal, whether it be AutoCAD, 3D Studio Max, SketchUp, the internet, to name but a few. However, it’s only how these composite parts are assembled together that forms the framework for a lasting creative response. There are only so many notes. It’s how they’re arranged that forms a great symphony. So, to this end ‘execution’ is the final part of a captivating creative response. An example of precision execution in action is the artist Jackson Pollock (19121956). At first glance, his work in abstract expressionism can appear to be ad-hoc and uncontrolled. However, this is far from the case because each ‘splatter’ and ‘strike’ of paint had a very definite destina-

tion, bringing a contrived balance to each piece that’s unassuming but apparent. Another great artist who made very evident use of lighting was Caravaggio (15711610). He within his style of Renaissance art had a very considered theatrical approach to the use of lighting. He paid close attention to the directionality of light, expressing only key forms within each scene, revealing only what was required. The execution in portrayal of lighting within art however is not solely about the more rigid properties of the Renaissance-like realism. As highlighted before, our emotional response can also be exploited to communicate or make a statement. Such an artist who celebrated this ‘looseness’ of expression in its more emotive form was William Turner (1775-1851). With an exquisite luminosity to his use of lighting, Turner’s ability to capture emotion within the air of his paintings is like no other, leading him to be given the very appropriate title of ‘The painter of light’. Stepping through time and form into the third dimension we can also look at the sculptural forms produced by Antony Gormley (1950-date). He has a characteristic style where the relationship between the human form (living and abstract) sits within time and space, where natural tones provide context for his ‘body’ of work. All these great artists have one thing in common, and that’s consideration for the statement being made, or at least explored. In order to extract an emotional response from the observer with almost surgical precision requires a great deal of consideration. As lighting designers, we’re blessed with the opportunity to craft something unique each time we work on a new scheme. Yes, we have deal with and juggle the demands of the client and the wider design team and, yes, this can sometimes help set and define the brief. But it can also throw up new challenges and restrictions that need to be adhered to. So, how do we define creativity is and the best process for generating, controlling and directing it? Sadly, there is of course no definitive answer. But that is also the wonderful thing about creativity: its abstract nature is also its beauty. While you can learn from legends, peers, text-books, product catalogues, mistakes and so on, you’re also relying on that moment of serendipity for inspiration, safe in the knowledge this will probably not come from the obvious place. At least, for me, that holds true of the best ideas. ¢

Daniel Blaker is creative director at Nulty www.theilp.org.uk

Lighting

June 2018 Lighting Journal

Consultants

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

Steven Biggs

Allan Howard

Alan Tulla

Skanska Infrastructure Services

WSP

Alan Tulla Lighting

IEng MILP

Peterborough PE1 5XG

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

www.skanska.co.uk

BEng(Hons) CEng FILP FSLL London WC2A 1AF

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

www.wspgroup.com

IEng FILP FSLL

Winchester, SO22 4DS

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

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

Professional artificial and daylight lighting services covering design, technical support, contract and policy development including expert advice and analysis to develop and implement energy and carbon reduction strategies. Expert witness regarding obtrusive lighting, light nuisance and environmental impact investigations.

Simon Bushell

Alan Jaques

Michael Walker

SSE Enterprise Lighting

Atkins

McCann Ltd

MBA DMS IEng MILP

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

www.sseenterprise.co.uk Professional consultancy from the UK’s and Irelands largest external lighting contractor. From highways and tunnels, to architectural and public spaces our electrical and lighting designers also provide impact assessments, lighting and carbon reduction strategies along with whole installation packages.

IEng 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.

Lorraine Calcott

Tony Price

it does Lighting Ltd

Vanguardia Consulting

IEng MILP IALD MSLL ILA BSS Milton Keynes, MK19 6DS

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

www.itdoes.co.uk

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

BSc (Hons) CEng MILP MSLL Oxted RH8 9EE

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

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

Mark Chandler

Alistair Scott

MMA Lighting Consultancy Ltd

Designs for Lighting Ltd

EngTech AMILP

Reading RG10 9QN

BSc (Hons) CEng FILP MIMechE Winchester SO23 7TA

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

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

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

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

John Conquest

Anthony Smith

4way Consulting Ltd

Stainton Lighting Design Services 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

www.designsforlighting.co.uk

IEng FILP

Stockton on Tees TS23 1PX

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

www.staintonlds.co.uk

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

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

Stephen Halliday

Nick Smith

WSP

Nick Smith Associates Limited

EngTech AMILP

Manchester M50 3SP

IEng MILP

Chesterfield, S40 3JR

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

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

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

Specialist exterior lighting consultant. Private and adopted lighting and electrical design for highways, car parks, area and sports lighting. Lighting Impact assessments, expert witness and CPD accredited Lighting design AutoCAD and Lighting Reality training courses

www.wspgroup.com

www.nicksmithassociates.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.

MILP IEng CMS.

Nottingham NG9 6DQ M: 07939 896887 E: m.walker@jmccann.co.uk

www.mccann-ltd.co.uk Design for all types of exterior lighting including street lighting, car parks, floodlighting, decorative lighting, and private lighting. Independent advice regarding light trespass, carbon reduction and invest to save strategies. Asset management, data capture, inspection and testing services available.

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)

With 25+ years of experience

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

CPD Accredited Training Nick Ltd Smith • AutoluxLightingNick Standards Smith Contact Associates

Triple Award Winning Structural Testing Business

Nick Smith Associates Ltd Nick Smith Associates Ltd t: 01246 229 444 • 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 588604 36 Drive, 36 Foxbrook Drive, • Tailored Courses please ring Chesterfield, e : mail@nicksmithassociates.com Chesterfield, Chesterfield, S40 3JR • Light Contact NickPollution SmithReality • Lighting S40 3JR 229S40 w: www.nicksmithassociates.co.uk S40 3JR 3JR t: 01246 444 Nick Smith Associates Ltd t:by 229 444 t:•01246 229 444Venues Tailored Courses please ring 229 444 t: 01246 arrangement f:01246 01246 588604 36 Foxbrook Drive, f: e01246 588604 f: 01246 588604 • AutoluxLighting Standards f: 01246 588604 : mail@nicksmithassociates.com Chesterfield, HAGNER PHOTOMETRIC e w: : mail@nicksmithassociates.com e : mail@nicksmithassociates.com www.nicksmithassociates.co.uk Contact Nick Smithe : mail@nicksmithassociates.com S40 3JR w: www.nicksmithassociates.co.uk w: www.nicksmithassociates.co.uk w: www.nicksmithassociates.co.uk arrangement • Lighting Design Techniques t:Venues 01246 229by 444Nick INSTRUMENTS LTD Smith Associates Ltd f: 01246 588604 36 Foxbrook Drive, eContact : mail@nicksmithassociates.com Nick Smith • Light Pollution Suppliers of a wide range of quality Chesterfield, w: www.nicksmithassociates.co.uk Nick measuring Smith Associates Ltd light and photometric S40 3JR • Tailored Courses please ring equipment. 36 Foxbrook Drive,229 444 t: 01246

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

Venues by arrangement t: 01246 229 444

E-mail: enquiries@hagnerlightmeters.com

BSI Cert No. FS607666 | BSI Cert No. OHS 660317 | HERS Reg No. SSR539

Delivering Decorative Lighting Festoons for over 25 years We create bespoke low energy, durable festoon lighting for architects, designers, retail chains, sign makers, ship builders and more. Contact us to discuss your lighting project. www.lumisphere.co.uk saleslj@lumisphere.co.uk 01245 329 999

f: 01246 588604 e : mail@nicksmithassociates.com Contact Nick Smith w: www.nicksmithassociates.co.uk

Nick Smith Associates Ltd www.hagnerlightmeters.com 36 Foxbrook Drive, Chesterfield, Are you interested in advertising S40 3JR in the229 Journal? t: 01246 444 Please call Andy on f: 01246 588604 01536 527297 e : mail@nicksmithassociates.com or email w: www.nicksmithassociates.co.uk andy@matrixprint.com

for more details

The new 2018 ILP Lighting Journal Media Pack is now available. Please call Andy on 01536 527297 or email andy@matrixprint.com for more details

June 2018 Lighting Journal

Kiwa CMT Testing Meter Administrator Inspection and Non-destructive Testing of Lighting Columns on vulnerable areas including the root, base and swaged joint connection. Techniques used include the Relative Loss of Section Meter and Swaged Joint Analyser supported by Ultrasonics where appropriate. Other services include full visual inspection of concrete columns, data capture of highway assets with GPS capability and structural calculations for the installation of column attachments. All test data is recorded and reported electronically with recommendations on each column tested in accordance with guidance given by TR22. Kiwa CMT Testing are UKAS accredited (ISO 17025) for the Structural Testing of Lighting Columns

Kiwa CMT Testing Unit 5 Prime Park Way Prime Enterprise Park Derby

T: E: W:

01332 383333 cmtenquiries@kiwa.co.uk www.kiwa.co.uk/cmt

Meadowfield, Ponteland, Northumberland, NE20 9SD, England Tel: +44 (0)1661 860001 Fax: +44 (0)1661 860002 Email: info@tofco.co.uk www.tofco.co.uk Manufacturers and Suppliers of Street lighting and Traffic Equipment • Fuse Units • Switch Fuse Units • Feeder Pillars and Distribution Panels • The Load Conditioner Unit (Patent Pending) • Accessories

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Premier Member Advertorial

Case study - The Flare New Burlington Flare / Three Prisms re-lighting project Background Atkins appointed Designs for Lighting Ltd to redesign the lighting of a prominent light art structure. Michael Bleyenberg, (www.bleyenberg-light-art.com/about.html) hologram light artist, designed the New Burlington Flare to highlight the entrance to the new headquarters of the Crown Estate in 2006. His sculpture is a landmark between Regent Street and Savile Row in London and HRH The Prince of Wales unveiled the work on June 9th 2006. The original lighting was decommissioned due to technical failings. The halogen source lighting gave off high levels of heat. This could only be dissipated through the titanium outer frame which caused the surface temperature to reach hazardous levels to the touch. For this reason, the structure was switched off whilst DfL found a solution. How is the visual effect created? It's produced by the refraction of natural and artificial light through holographic optical elements (HOE’s) www.energy.soton.ac.uk/holographical-optical-elements-hoe/ within the sculpture’s glazing. The angle of the light falling onto the prism is critical to the visual effect produced by each of the HOE’s. Clusters of HOE’s all with slightly different configurations are used to create a non-uniform effect, which changes depending on the viewing angle. DfL’s Technical Challenge Several challenges were faced, including the thermal management of the proposed light source. We also had to make sure we could replicate the original Spectral Power Distribution (SPD) and photometric distribution to achieve a faithful reproduction of the original lit effect. We looked at many options and decided that an LED solution would achieve the thermal management target with cooler running temperatures. To achieve the original effect, we needed a high Colour Rendering Index (CRI) source. Without this, parts of the SPD would be missing which would show in the light refracted by the HOE’s. In turn the artwork would have differed to the artist's original design vision. Choosing the correct beam angle and photometric distribution was also critical to achieving the desired effect. It had to be neither too narrow or wide to make sure the HOE’s refracted the light correctly. DfL also advised on the electrical design solution. The existing lighting system required 12-volt safety extra low voltage with transformers housed in the structure’s base. We supplied a bespoke design for the contractor, allowing the LED drivers to be located 20 metres away in the basement of an adjacent building. This helped with ease of maintenance and improved reliability. DfL demonstrated a broad array of technical skills and knowledge in the design of the Flare, from electrical design to complex lighting design skills, ultimately delivering the right solution for the client.

Can we help you with your light art project? Please contact Richard Jackson: richard@designsforlighting.co.uk or Ryan Carroll: ryan@designsforlighting.co.uk

June 2018 Lighting Journal

Diary

THE DIARY 20-21 June

Lighting Fixture Design Conference 2018 Venue: Cavendish Conference Centre, London

12 July

Fundamental LED course Venue: ILP, Regent House, Rugby

13 September

17-22 June – the Sixteenth International Symposium on the Science and Technology of Light, which will be held The Diamond, University of Sheffield

LSE regional afternoon technical seminar Venue: Garry Weston Library, Southwark Cathedral, London

17-21 September

Exterior Lighting Diploma module A Venue: Draycote Hotel, London Road, Rugby

13-14 June

18 September

17-22 June

19 September

Professional Lighting Summit Venue: The Oxford Belfry, near Thame Sixteenth International Symposium on the Science and Technology of Light Venue: The Diamond, University of Sheffield

26 September

Lighting for Health and Wellbeing Conference Venue: Cavendish Conference Centre, London

08 October

Exterior Lighting Diploma module B Venue: Draycote Hotel, London Road, Rugby

25-27 October

Professional Lighting Design Convention (PLDC) Venue: Marina Bay Sands, Singapore For full details of all events, go to: www.theilp.org.uk/events

Landscape industry trade show Venue: Battersea Park, London ‘How to be brilliant’, with Rebecca Hutchison, of John Cullen Lighting Venue: Body & Soul, Rosebery Avenue, London

IN THE JULY/AUGUST ISSUE EU TURN OFF?

The EU could ban tungsten halogen and compact fluorescents by 2020. What will this mean for lighting?

www.theilp.org.uk

LET THERE BE INSIGHT

Lighting professionals must be clear what they’re talking about if they’re to grasp the opportunity of smart lighting

IDENTITY POLITICS

Embracing diversity and inclusion (or not) within the lighting industry

AIR2 Engineered for Reliability Equal or improved: Lightweight (8.9kg) Low windage (0.065m2) 670mm long Up to 24klm output Up to 190 lm/W LED efficacy

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