Lighting Journal March 2018

Professional best practice from the Institution of Lighting Professionals

March 2018

WINTER SPECTACLE How light festivals such as Lumiere London and Durham connect industry and public GROWING MARKET Why LED within horticultural lighting is transforming the journey from farm to plate CYCLE PATHS Sensor-enabled bicycle lights are keeping cyclists safer, and helping city planners

The publication for all lighting professionals

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March 2018 Lighting Journal

Contents

06 06 GROWING MARKET

Population growth and climate change are putting huge pressures on global food production, compounded by poor agricultural practices and high levels of wastage. LED lighting could provide an answer, argues Udo Van Slooten

10 PLANTING POWER

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LED is increasingly becoming the lighting solution of choice within horticulture. But it poses very specific environmental challenges, including high temperature, humidity and moisture, as Alexander Wilm explains

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12 SEED INVESTMENT

A UK-Australian team of researchers has developed a technique to ‘speed breed’ key crops, such as wheat and barley, using intensive LED lighting

14 WINTER SPECTACLE

Lumiere London and Durham in January and November attracted nearly two million people between them. As well as simply being spectacular community events, such light festivals are an important opportunity for the industry to engage with the public about light and lighting

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ACTION PLAN

A well-thought-out and constructed design brief allows a lighting designer to be more accurate when selecting products and more responsive to the needs and expectations of their client. So don’t cut corners, advises Mark Gabbitas

18 ASSESSMENT VALUES 34 PROFESSIONAL PROMISE A simpler, more robust approach to measuring, assessing and evaluating the photobiological safety of sources intended for lighting applications could be beneficial for the industry. Leslie Lyons makes the case

24 CROSS-BRIDGE TRAFFIC

It all began with a piece of graffiti commemorating legendary American guitarist Jimi Hendrix. More than a quarter of a century on, the ‘Hendrix Bridge’ in Zagreb, Croatia has now been lit up with a spectacular LED light show triggered by approaching trains

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CYCLE PATHS

Cyclists across Manchester are testing a sensor-enabled, connected bicycle light that flashes faster and more brightly in dangerous situations and captures environmental data that can aid city planners, explain Irene McAleese and Professor John Davies

With the new EU data law the General Data Protection Regulation (GDPR) on the horizon, the ILP will be contacting members over the coming weeks to ensure we can continue to provide you with a great range of support and services. Here is why it is important not to ignore our message

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GAME ON

Lighting is being used as a regeneration tool to help the city of Christchurch in New Zealand on its slow recovery from the devastating earthquake of 2011. Local lighting designer Kevin Cawley outlines how his award-winning project for a casino has helped to sum up this ethos

38 BETTER SAFE

Lighting professionals must have proper risk management processes and procedures in place to manage and effectively respond to accidents, injuries and other health and safety breaches, warn Howard Crossman and Sarah Lidgett

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3 LET IT GLOW

A team of US scientists is creating plants that glow in the dark. Currently you can read a book (just about) for a few hours. But one day they may be able to ‘power’ our homes and offices, and even become an alternative to street lighting

44 CAPITAL CONCERNS

London mayor Sadiq Khan has outlined a new planning vision for London that, unfortunately, all but ignores the impact, and opportunity, of good lighting and lighting design. The industry must make sure its voice is heard loud and clear, says Graham Festenstein

Professional best practice from the Institution of Lighting Professionals

March 2018

‘A USEFUL ADDITION 46 DESIGNING SPACES FOR PEOPLE WITH DEMENTIA’

Graham Festenstein reviews Enlighten – Lighting for Older People and People with Dementia, by David McNair and Richard Pollock with Colm Cunningham

WINTER SPECTACLE How light festivals such as Lumiere London and Durham connect industry and public GROWING MARKET Why LED within horticultural lighting is transforming the journey from farm to plate CYCLE PATHS Sensor-enabled bicycle lights are keeping cyclists safer, and helping city planners

47 CONSULTANTS 48 LIGHTING DIRECTORY 50 DIARY

The publication for all lighting professionals

p COVER PICTURE

‘Harmonic Portal’ by Chris Plant, one of the installations from Lumiere Durham, which took place in November.

Photograph by Matthew Andrews

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March 2018 Lighting Journal

Editor’s letter

Volume 83 No 3 March 2018 President Alan Jaques IEng FILP Acting Chief Executive Richard G Frost BA (Cantab) DPA HonFIAM Editor Nic Paton BA (Hons) MA Email: nic@cormorantmedia.co.uk Editorial Board Tom Baynham MEng MA (Cantab) Emma Cogswell IALD Mark Cooper IEng MILP Kevin Dugdale BA (Hons) IEng MILP Graham Festenstein CEng MILP MSLL IALD Nathan French John Gorse BA (Hons) MSLL Alan Jaques IEng FILP Gill Packham BA (Hons) Nigel Parry IEng FILP Richard Webster Art Director Adriano Cattini BA (Hons) Email: adriano@matrixprint.com Advertising Manager Andy Etherton Email: andy@matrixprint.com Published by Matrix Print Consultants Ltd on behalf of Institution of Lighting Professionals Regent House, Regent Place, Rugby CV21 2PN Telephone: 01788 576492 E-mail: info@theilp.org.uk Website: www.theilp.org.uk Produced by

Matrix Print Consultants Ltd Unit C, Northfield Point, Cunliffe Drive, Kettering, Northants NN16 9QJ Tel: 01536 527297 Email: gary@matrixprint.com Website: www.matrixprint.com © ILP 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.

L

ight School last month at the Surface Design Show was fascinating as ever.

On the day I was there – the Wednesday – the ‘lessons’ ranged from a compelling discussion of the role of lighting within urban regeneration and the architectural sphere (Clementine Fletcher-Smith, of Speirs + Major), through to how lighting can create an emotional response in the home (Rebecca Weir, of Light.iQ, including a look at her own house), and the evolution of airline lighting (Jonathan Howard, of DHA Designs). And that is just a flavour of what was on offer, and on just one day.

With luck and a fair wind, we’ll be picking up on some of the presentations over the three days within Lighting Journal in the coming months. So, watch this space.

But Light School, for me, always marks a bigger moment: the beginning, in effect, of the lighting CPD calendar. Obviously, individual and local CPD goes on all year round, and quite rightly. But what I tend to term the year’s ‘event’ CPD really kicks off at Light School, with much of it either supported or led by the ILP. For example, Light School was closely followed last month by Lux’s Lighting for Transport and Infrastructure Conference, where ILP members were strongly represented. Then, this month we have the launch of this year’s programme of ILP ‘How to be brilliant…’ lectures, starting with Christopher Knowlton from 18 Degrees. Again, Lighting Journal will be bringing you as many of these as we can during the year.

Looking further into the year (and this is by no means comprehensive) we have Light + Building in March, the International Day of Light in May, the 16th International Symposium on the Science and Technology of Lighting in Sheffield in June plus, of course, the ILP’s Professional Lighting Summit in the same month. And that’s before we even get to Lightscene in the autumn or LuxLive and the IALD’s Enlighten Europe in November, to name but a few.

What’s my point in articulating this long list? It’s simply to reiterate the importance for lighting professionals of carving out the time and the space for CPD, whether it’s through Lighting Journal or other resources, such as ILP courses, guidance or tools such as mycareerpath, or through events such as those above. We all know budgets are tight, and time tighter still, but it is very much worth it.

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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March 2018 Lighting Journal

Horticultural lighting

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March 2018 Lighting Journal

Population growth and climate change are putting huge pressures on global systems of food production, compounded by poor agricultural practices and high levels of wastage. High-tech solutions, including LED lighting, could provide one answer

By Udo Van Slooten

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echnology within food production, and specifically agriculture, has come on leaps and bounds over the last 50 years – from the introduction of more sustainable growing processes, to the rotary combine, all the way through to satellite imaging and the use of data to model crop yields, monitor weather and predict future problems. As lighting professionals, we’ve seen innovation never before dreamed of that’s transformed the industry.

Many of these innovations have sprung from the need to solve the serious problems and challenges facing the production and consumption of food to meet rapidly growing demands – on both global and regional levels. These challenges continue to evolve at exponential rates, and so too must the solutions required to meet them.

THE KEY CHALLENGES

What are the major challenges facing global agriculture and food production?

Put simply – the planet is facing a demographic challenge on a global scale, thanks in large part to the increasing urbanization of populations. The cities and towns of the world are a key driver behind the need to innovate the ways in which food is produced and consumed. Why is this? Put simply, because urban populations are growing at a worrying rate.

The world’s urban population has grown rapidly, from 746 million in 1950 to a staggering 3.9 billion in 2014, and is continuing to rise. Asia, despite lower level of urbanization compared to the rest of the world, is home to 53% of the world’s urban population, followed by Europe with 14% and Latin America and the Caribbean with 13%.

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Freshly cut lettuce, as produced at the Philips Lighting GrowWise Research Center

This presents a number of problems, including a lack of suitable agricultural land in and around urban areas, a decreasing rural population to fill the necessary agricultural jobs required to meet the demand of urban areas, and an increase in urban ‘food deserts’ – areas with ‘limited access to supermarkets, supercenters, grocery stores, or other sources of healthy and affordable food,’ according to a report by the US Department of Agriculture [1].

If anything, these issues are likely to get worse as the global population increases.

The UN estimates that, by 2050, we’ll see a population of 10 billion – with roughly 66% of that number living in urban areas [2]. Even with today’s populations, the World Food Programme suggests 815 million people (or one in nine) go to bed on an

empty stomach each night, with one in three suffering from some form of malnutrition [3]. To tackle these problems, and ensure they aren’t exacerbated by this future population increase, the Food and Agriculture Organization (FAO) of the UN calculates that food production will need to increase by 50% to 60% globally to match demand – near impossible given the lack of available space for agriculture [4].

This rapid rise in population, coupled with increasing extremes in weather patterns, causes a real problem. Rising global temperatures and natural disasters will put enormous pressure on water and food supplies.

Existing climate change models indicate that, without alternative methods of food production, temperature increases will pose large risks to food security and result in increased food prices. Meanwhile, increasing regularity of natural disasters such as flooding, hurricanes and earthquakes have the potential to utterly devastate crops – again, resulting in threats to food security and a likely increase in the price of food.

These issues are further exacerbated by what can generally be seen as fairly poor www.theilp.org.uk

March 2018 Lighting Journal

Horticultural lighting

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An example of ‘vertical farming’ at the Philips Lighting GrowWise Research Center

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practices in the harvesting, storage and transportation of food. The effective and careful management of produce must start in the field and continue until it reaches the consumer, with the aim of minimal loss – both in quantity and in quality.

There are a huge number of factors impacting this, ranging from poor irrigation methods – leading to decay or dehydration, to poor fertilization methods, to the packaging of produce in poor quality containers and storing of produce at damaging temperatures (both hot and cold).

For goods and produce that make it through these stages, we encounter further issues through market and consumer wastage. A huge amount of food is wasted each year through poor display conditions and ‘sell by’ dates in shops, while an even larger amount is wasted by consumers who purchase the goods, but never use. The UN’s FAO suggests that roughly one third of the food produced in the world for human consumption every year – approximately 1.3 billion tonnes – gets lost or wasted. In fact, it was estimated that in 2013, between 30% and 50% of all food produced never reached a human mouth [5].

The solutions to the challenges mentioned above hold many parts, from a macro to a micro level. At Philips Lighting, we recognise there is no simple ‘one-size-fitsall’ answer, and also that solutions may be cost-intensive – an option not viable for many small-scale producers. But in today’s digital age, it’s unquestionable that new technologies will play a pivotal role in helping to achieve better efficiency in food production and consumption.

New technologies are changing the game, www.theilp.org.uk

allowing people to grow food in places where it was previously difficult or impossible, in more efficient ways, and in similar amounts to traditional farming methods.

HIGH-TECH HORTICULTURE

One area in which technology has come on leaps and bounds is within horticulture.

This can make a huge impact in tackling the challenges facing food security through tackling three key needs of growers: •Higher predictability – consistency of produce, at predictable times throughout the year, no longer depending on seasonal variation •Higher quality – larger produce, that is better than much of the output of traditional farms (for example longer stems) •Higher yield – more produce per sq m

So how can high-tech horticulture meet these three needs in a consistent and innovative manner? One answer is through lighting. Or more specifically, the right light, with the right growth recipes.

We all know that light is a crucial component in plant growth. But not all light is the same. The right light, ‘Photosynthetic Active Radiation’ (PAR), is the light that powers plant growth. This can be produced artificially by LED lighting in a more efficient manner than natural sunlight.

For example, unlike the PAR light of sunlight, at Philips Lighting we have developed LED lighting that delivers targeted blue and red PAR light for the highest photosynthetic efficiency.

Targeted light is one of the major aspects of a recipe for growth that can help growers achieve better control and higher yields. LEDs can produce light in very pure colors (in other words with a narrow spread of wavelengths) and specifically define light spectrum plants receive, so there are no wasted wavelengths.

LED lighting gives better control over growers’ climates and crops, so they can produce high quality and high yields of the right crops, at the right time. It also provides much more flexibility in growers’ cultivation schedules, allowing them to plant in summer without concerning themselves about heat in the greenhouse, or allowing them to lengthen their lighting season to get a stronger and healthier crop all year round.

Essentially, LED lighting gives growers complete control over their produce, meaning they’re able to achieve higher yields compared to natural daylight. Sim-

March 2018 Lighting Journal

ply applying higher light levels lets them grow more in the same amount of space.

To give growers even more control, the right light and growth recipe from LED lighting can allow them to tailor the size, taste and even nutritional value of products to meet specific customer demands.

Producers are able to grow straighter cucumbers, or tomatoes with greener leaves – crops that are stronger, more consistent and more visually appealing – a big factor for today’s more conscientious consumer.

Last year, for example, our GrowWise Research Center developed a new growth recipe for Arugula (or the Rocket leaf ) that enabled us to achieve seven times the average vitamin C content – all produced via high-tech horticulture and with no daylight required [6].

FARMING ‘VERTICALLY’

The most effective way to implement LED lighting into horticulture, particularly in urban environments, is via the method of ‘vertical farming’. This process involves growing crops in small interior areas, using multiple layers to maximize production. Ground-breaking LEDs make this dream possible by providing the optimal light spectrum for indoor growth.

Advancements in technologies, such as sensors and robotics, have helped farmers in taking their move towards vertical farming – a method that has boomed as urbanisation of the population has seen demand soaring for food production to be brought into towns and cities.

With vertical farming, growers can protect crops from unpredictable weather, and eliminate the use of pesticides, fertilizers, and herbicides. It can mitigate crop losses that occur through shipping and storage, and can cut down on fossil fuel usage through transportation. It also offers more opportunities to more closely monitor the condition of crops through the use of LED networks and data analysis.

The vertical farming market meets the key needs of growers, while addressing many of the challenges facing food security today. It’s a method of producing a better quality of food in a more consistent manner, in urban centres, and with less dependency on water and soil – all while keeping labour costs low.

THE PHILIPS LIGHTING HORTICULTURE PROPOSITION

At Philips Lighting, we pride ourselves on being the world leader in LED systems for horticultural lighting. For example, we’re partnering with companies to deliver for city farm lighting, addressing the growing

demand for healthy, sustainable and affordable food.

We have completed more than 500 projects in the horticultural lighting market since 1995 – examples include providing year-round growing to city farms the US, UK, Japan and the Netherlands [7]. We can boast more than a decade of dedicated experience developing LED-based light ‘recipes’ that maximize light in a greenhouse environment.

Rather than simply producing products that meet growers’ needs, we actively collaborate with leading growers and research institutes in order to gain knowledge that is used to fine-tune our horticulture LED lights. As highlighted earlier, we invest significantly in our GrowWise Research Center in Eindhoven – which acts as a research lab for vertical farming, services the emerging city farm market and works actively with our partners in developing knowledge [8].

We truly believe that urban food growing can act as one of the most effective future solutions in meeting the challenges facing food security in a world that is becoming increasingly urbanised, and increasingly variable in temperatures.

As a practice, it fully applies the principles of the ‘circular economy’ – a model that is restorative and regenerative by design rather than being focused around ‘make, use and dispose’. Relying on system-wide innovation, our model aims to redefine products and services to design waste out, while minimising negative impacts.

Vertical, high-tech, urban agriculture methods enhance the sustainability foot-

print of cities and towns. It reduces the distance from farm to fork, limiting waste, increasing shelf life and creating better nutritional content.

In sum, as urban populations rise and the demand for fresh produce increases, it is vital that politicians, entrepreneurs, city planners and farmers think outside of the box and work together on the challenges of tomorrow. The combination of LED light and latest agricultural techniques has the potential to make a huge difference.

Udo Van Slooten is business leader, horticulture at Philips Lighting

REFERENCES [1] Food Access Research Atlas, USDA, October 2017, https://www.ers. usda.gov/data-products/ food-access-research-atlas/ about-the-atlas.aspx [2] https://www.un.org/ development/desa/en/ news/population/worldpopulation-prospects-2017. html [3] http://www1.wfp. org/zero-hunger [4] http://www.fao.org/ docrep/016/ap106e/ ap106e.pdf

[5] http://www.fao.org/ save-food/resources/ keyfindings/en/ [6] http://www.lighting. philips.com/main/ products/horticulture/ press-releases/philipslighting-develops-a-newgrowth-recipe-to-reachseven-times-the-averagevitamin-c-content-in-arugula [7] http://www.lighting. philips.com/main/ products/horticulture/ city-farming [8] http://www.lighting. philips.com/main/ products/horticulture/ press-releases/growwisecenter

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March 2018 Lighting Journal

Horticultural lighting

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ED has seen an explosive growth within horticultural lighting. According to market analysts, the market for packaged LEDs in horticulture is growing at a compound annual growth rate of 28.2% between 2016 and 2022, and is predicted to be worth more than $357m by 2022.

As more advanced technology becomes available, the end user (the grower) becomes more attentive to data. The use of performance and lifetime data, and proven results, plays a strong role in selling horticultural lighting, as growers need to have the assurance that the product is tried and tested. End users are exposed to much more potential risk than someone who explicitly deals with general lighting, as horticultural growers deal with yield and a measurable, objective quantity.

Horticultural lighting product manufacturers are challenged to create lighting that is able to withstand the elements encountered in growing. High temperatures, humidity, and moisture are all potential experiences that the luminaires will be exposed to.

This is one of the key differences between horticultural lighting and general lighting.

The increase in sales for specific lighting can be put down to the benefits they present over general lighting. The most modern plant lighting – involving the use of LEDs – provides the end user with an improvement in growing performance whilst saving on energy costs in comparison to traditional lighting. People from all different fields of horticulture: the growers, researchers, and greenhouse manufacturers, have begun to identify the perks specific lighting provides.

Traditionally, high-intensity discharge (HID) lighting, specifically high-pressure sodium (HPS) lamps, have been the market leader in horticultural lighting. HPS lamps do produce over 2 µmol/J. However, the light is produced over a wide wavelength range, and is not optimised for specific plant growth. If anything, it is best suited for use in a large greenhouse, because of the fact the heat radiated from such a light requires a certain amount of distance from the plant to protect a plant from dehydration. Standard HPS lamps have a lifespan of 8,000 hours, which pales in comparison to an LED’s 50,000 hours.

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LED is increasingly becoming the lighting solution of choice within horticulture. But lighting professionals still face very specific environmental challenges, including high temperature, humidity and moisture

By Alexander Wilm

www.theilp.org.uk

FROM HPS TO LED

HPS is still available for growers today of course, but more and more end users are turning to a more customisable alternative. LEDs can offer the grower the option to optimise lighting to provide options specific to the user’s needs in colour spec-

March 2018 Lighting Journal

WHAT ARE THE RIGHT LIGHTS TO PURCHASE?

trum, wavelengths and power consumption, all resulting in a longer LED life with decreased costs. Because of its flexibility, LEDs have made a good name for themselves in the horticultural lighting market.

LEDs are now able to reduce the energy costs of an end user switching from HPS lights by 40%.

All horticulture is now supported by LEDs, providing an optimised light spectrum at 450, 660 and even 730 nanometres. These options allow the end user to modify the lights to the exact levels needed for optimal growth of various plants, and of course there are white LEDs to provide a continuous spectrum if necessary.

As technology develops, users find themselves wanting increased abilities to control and customise features, and it is no different for lighting. Having a tighter grip on a technology allows for increased customisation and the reduction of risk. The rise of indoor crop production and creation of huge indoor farming facilities has blossomed due to the increased demand for further control over crops. This trend has occurred for reasons such as pest control, and shielding plants from environmental damage to increase yields.

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LED is transforming horticulture. Shown here is Osram’s Osconiq P 2226, which can be used for a wide range of applications, including vertical horticultural lighting

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Osram’s Oslon Square Hyper Red: the 2 watt LED has a wavelength of 660 nanometers (nm) that can control the growth of blossom, among other benefits

When growers begin their search for the appropriate horticultural lights, they are faced with a number of factors to consider.

Several units of measurement, such as wattage, wavelength, lumens, PAR, micromoles, and photosynthetic photon flux density (PPFD) can often confuse first time growers, and obstruct them from viewing the data that is important to them.

Growers therefore need to be able to read specification sheets and understand performance calculations in order to purchase the most suitable horticultural lighting.

Lighting specification sheets often use lumens as the appropriate unit of measurement. However, lumens are the measure of responsivity by the human eye to various energy wavelengths, therefore are useless in deciding how effective they’ll be for a plant.

Colour is crucial in any horticultural lighting. The entire spectrum can be accessed with LEDs, which will produce different results depending on the crop it is used on. With LEDs, the grower can access the full spectrum, any wavelength combination or just one specific wavelength needed for suitable plant growth.

Sufficiently preparing for each plant, researching the suitable wavelengths that maximise growth, will be the most beneficial option for end users. Another factor end users must look at when looking for the appropriate LEDs is wattage. It shouldn’t be the only deciding factor however, as radiometric lighting efficiency will differ from product to product.

In order to measure performance and efficiency, it is vital that growers understand how LEDs are measured when they project a spectrum of light. Micromoles per second are used to highlight how many photons of light are emitted at any given time. PPFD measures the amount of micromoles per second reaching a certain area. Bearing this in mind, the µmol/s are usually measured in PAR. PAR is the wavelength range of 400700 nm which is considered when counting the emitted photons.

In conclusion, LED will continue to be a major horticultural industry player for years to come. The advantages it has over HPS lighting clearly define it as the essential piece of kit for any horticulturist.

Alexander Wilm is senior key expert for solid state lighting at OSRAM Opto Semiconductors www.theilp.org.uk

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March 2018 Lighting Journal

Horticultural lighting

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SEED INVESTMENT A UK-Australian team of researchers has developed a technique to ‘speed breed’ key crops, such as wheat and barley, using intensive LED lighting

By Nic Paton

www.theilp.org.uk

March 2018 Lighting Journal

HIGHER YIELDS, MORE RESILIENCE

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ED is being used to pioneer ‘speed breeding’ of crops, a development that could potentially transform how key crops, such as wheat and barley, are grown and produced globally.

The research at the John Innes Centre in Norwich and the universities of Queensland and Sydney in Australia has used specially tuned LEDs within a green-

house or other artificial environment to create more intense day-long regimes to speed up crop growth.

The LED lights are optimised to aid photosynthesis and used in intensive regimes of up to 22 hours of illumination per day.

A control experiment using high-pressure sodium lights at the University of Queensland was found to be much less effective, generating greater heat and emitting poorer light than the LEDs. The team has used the technique to speed up the growth of a range of important global crops.

They have achieved up to six generations per year for bread wheat, durum wheat, barley, pea, and chickpea; and four generations for canola (a form of rapeseed). All of these are a significant increase on widely-used commercial breeding techniques, with the wheat increase alone being three times what can currently be achieved using more conventional techniques.

The researchers have argued the advance ranks alongside the post-war ‘green revolution’ in intensive agricultural production techniques in terms of its potential to transform crop yields and production.

Dr Brande Wulff of the John Innes Centre, a lead author on the paper, said: ‘Globally, we face a huge challenge in breeding higher yielding and more resilient crops. Being able to cycle through more generations in less time, will allow us to more rapidly create and test genetic combinations and find the best combinations for different environments.

‘People said you may be able to cycle plants fast, but they will look tiny and insignificant, and only set a few seed. In fact, the new technology creates plants that look better and are healthier than those using standard conditions. One colleague could not believe it when he first saw the results.

‘I would like to think that in ten years from now you could walk into a field and point to plants whose attributes and traits were developed using this technology,’ he added.

The technique could also in time be used in areas such as gene editing of crops to, again, improve yields and resistance. Plant pathogen interactions, shape and structure and flowering time can all be studied in detail and repeated using the technology, the researchers have added.

The advance has been welcomed by wheat breeders. Ruth Bryant, wheat pathologist at RAGT Seeds in Essex, said: ‘Breeders are always looking for ways to speed up the process of getting a variety to market so we are really interested in the concept of speed breeding. We are working closely with Dr Wulff’s group at the John Innes Centre to develop this method in a commercial setting.’

The full findings have been published in the journal Nature Plants [1].

REFERENCES

[1] Speed breeding is a powerful tool to accelerate crop research and breeding, Watson A et al. Nature Plants, 4, pages23–29 (2018). https://www.nature.com/articles/s41477-017-0083-8

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March 2018 Lighting Journal

Winter light festivals

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March 2018 Lighting Journal

Lumiere London and Durham in January and November attracted nearly two million people between them. As well as simply being spectacular community events, such light festivals are an important opportunity for the industry to engage with the public about light and lighting

By Nic Paton

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ore than one-and-a-half million visitors, 58 installations, 50 artists, 80 lighting technicians – the numbers for this year’s Lumiere London in January were certainly impressive.

Lumiere London took place over four nights between January 18 and 21, with light installations spread over the capital’s West End, King’s Cross, Mayfair, Fitzrovia, Westminster and Victoria, the South Bank and Waterloo.

Produced by arts charity Artichoke, it followed on from Lumiere Durham in November, which has been a fixture there since 2009, and for the 2017 display boasted 29 artworks and installations which created an illuminated trail across the city.

With winter now receding, it is an opportune moment to look back at how these festivals, like many around the country nowadays, were an opportunity for lighting professionals and artists to showcase to the public what they can

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March 2018 Lighting Journal

Winter light festivals

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achieve through lighting, break through the darkness of the winter months and encourage community engagement with light and lighting.

Highlights of Lumiere London included (in no particular order) ‘Child Hood’ by Collectif Coin, which filled Trafalgar Square with a canopy of 256 l​ uminous spheres, the abstract projection ‘OSC-L’ by ​Ulf Langheinrich at the ​National Theatre, and ‘Nightlife’, an oasis with woodland creatures created by ​The Lantern Company with​​Jo Pocock in Leicester Square. ​‘The Light of the Spirit Chapter 2’ by French artist ​Patrice Warrener​added a digital painting of Westminster Abbey’s intricately carved north and west doors in bright and luminous colour.

Some installations had a topical theme to them, too. Dutch artist ​Daan Roosegaarde​ ‘flooded’ Granary Square with his installation ‘Waterlicht’ to create an underwater world lit with blue LED lights. The intention was to highlight climate change by showing visitors what the area might look like if sea levels continue to rise.

Meanwhile in St James’s Churchyard artist ​Alaa Minawi paid tribute to Syrian refugees with ‘My Light is Your Light’

while ​Tony Heaton​explored questions of disability with his installation ‘​Raspberry Ripple’ on the South Bank.

London mayor Sadiq Khan said of the festival:​‘This was an incredible opportunity to see our city’s iconic architecture and streets in a completely new way – and best of all, it was free for everyone to get involved.’

Helen Marriage, Artichoke chief executive and ​Lumiere London artistic director, added: ‘Delivering an event on this scale in a complex world city is only possible through the combined work of artists, technical crew, volunteers, stewards, partners and sponsors, and all the people involved in the intricate planning process that has taken place in the 18 months leading up to Lumiere London 2018.’

BENEFITS TO LOCAL ECONOMY

And what of Lumiere Durham? The 2017 festival was the fifth Lumiere Durham, and similarly ran over four nights, from 1619 November.

An estimated 240,000 people visited the free event, which illuminated many of the city’s landmarks, including Durham Cathedral, which Spanish artist Pablo Valbuena turned into a vast synchronised art-

work of sound and light, ‘Methods’, in his first commission in the UK. Other highlights included the Miners’ Hall at Redhills, which was brought to life by a 3-D video-mapped installation called ‘Shared Space & Light’ featuring real-life stories from the workers in the police, fire and health services ‘Frequencies’ by Finnish artist Kari Kola stretched along the riverside under the cathedral up to Durham Castle. Another popular installation was ‘For The Birds’ in Durham University’s Botanic Garden, a collection of more than 20 light and sound installations inspired by birdlife.

Councillor Simon Henig, leader of Durham County Council, said: ‘Together the five editions of Lumiere have seen more than 800,000 people counted through the peninsula entry points alone and I anticipate that the £21m in economic benefits delivered by the first four festivals will rise significantly once we evaluate the 2017 edition.

‘Around 1,300 people have also had the chance to be part of the event thanks to the community outreach programme, which can provide life-changing opportunities,’ he added.

p Above, images from Lumiere London. From left: ‘Lampounette’ by TILT, ‘The Light of the Spirit Chapter’ by Patrice Warrener, and ‘Entre Les Rangs’ by Raimi Bebawi and Kanva. Previous page: ‘The Wave’

by Vertigo. All Lumiere London photographs courtesy of Artichoke and the artists. Below, images from Lumiere Durham. From left: ‘Methods’ by Pablo Valbuena, ‘Colour by Light by Floating Pictures’ in collaboration with Digital Art Centre (Stockholm University) and Pew Square, and ‘Drawn in Light’ by Ralf Westerhof. All Lumiere Durham images by Matthew Andrews

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March 2018 Lighting Journal

Photobiological safety

A simpler, more robust approach to measuring, assessing and evaluating the photobiological safety of sources intended for lighting applications could be beneficial for the industry, as one lighting professional makes the case

By Leslie Lyons

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I

n the past ten years since the publication of EN 62471:2008 Photobiological Safety of Lamps and Lamp Systems harmonised to the low voltage directive 2014/35/EU, the discussion of optical radiation safety has moved from being the preserve of laser or UV lamp manufacturers to become a common discussion point in the lighting industry, particularly in the case of retinal blue light hazard.

Driven by the desire to circumvent iswww.theilp.org.uk

sues encountered in applying EN 62471 and to reduce the measurement burden of luminaire manufacturers, a new approach to the evaluation of the photobiological safety of luminaires is now in place.

According to the latest edition of the luminaire standard EN 60598-1: 2015, the photobiological safety assessment of luminaires takes into account two hazards, depending on source type: the actinic UV hazard to the skin and eye and the retinal

blue light hazard. The former has been part of the luminaire standard since 2002, ensuring suitable shielding of discharge sources to prevent UV leakage.

What is new is the consideration of retinal blue light hazard, assessed in application of IEC TR 62778, Application of IEC 62471 for the assessment of blue light hazard to light sources and luminaires.

IEC TR 62778 provides guidance on the evaluation of the retinal blue light hazard of

March 2018 Lighting Journal

AN OVERVIEW OF BLUE LIGHT HAZARD 1/ BACKGROUND Blue light retinal injury is the name given to type II photochemically-induced photoretinopathy, caused by absorption of light by the retinal pigmented epithelium and the choroid.

Retinal injury includes a blind spot and a loss of vision, although recovery is noted in mild cases. Whilst the spectral sensitivity of this hazard ranges from 300nm to 700nm, the peak sensitivity is between 435-440nm, hence the “blue� appellation. Blue light retinal injury is

typically encountered in the accidental viewing of the sun (solar retinitis) or welding arcs. This photochemical injury follows the Bunsen Roscoe law of reciprocity: high level exposure for short duration having the same effect as low level exposure for long duration. Whilst some have suggested that chronic blue light exposure contributes to age-related macular degeneration, this remains an area of research.

2/ IN LIGHTING APPLICATIONS Blue light retinal injury caused by excessive staring at lamps is extremely rare, the natural aversion response limiting exposure. Concerns for long-term low-level exposure exist

however, particularly in this era of SSL for which the blue LED pump, present in virtually all white phosphor conversionLEDs, falls in the blue light hazard danger zone.

19 3/ APHAKIC HAZARD FUNCTION The UV transmittance of the crystalline lens of the eye is much higher in infants than in adults.

Whilst some state that by the age of two years, the retina is afforded full protection, others argue that this can take

up to ten years. Some have proposed the use of violet pumped PC-LEDs to ostensibly render objects as sunlight. For these sources, the aphakic hazard is greater than the blue light hazard.

4/ DESIGNING FOR LOW BLUE LIGHT Decreasing blue light radiance can be achieved by reducing either the blue component of the spectrum or the overall radiance produced by the source. The former can be achieved by

sources of light intended for lighting applications and emitting principally in the visible region, 380-780nm. This assessment is based on determining, through a measurement of spatially averaged spectral radiance, whether or not a source presents a retinal blue light hazard in excess of risk group one (RG1) at a distance of 200mm.

using lower CCT LEDs, whilst reducing the radiance implies avoiding direct viewing of LEDs or operating LEDs at lower current, using more chips to maintain the same luminous output.

A source classified as RG1 is one which does not pose a hazard due to normal behavioural limitations on exposure (including aversion response and not actively staring at the source).

Where a luminaire does exceed the RG1 limit, the distance at which RG1 is expected to be found, dthr, should be determined

and reported on a warning label. This approach, employing the powerful concept of hazard distance, provides a full analysis.

Whilst the probability of ocular exposure at such close quarters as 200mm to a luminaire may be low, it does depend very much on the type and location of luminaire, and the viewer considered, service www.theilp.org.uk

March 2018 Lighting Journal

Photobiological safety

20

engineer, consumer, child and so on.

It is worth noting that RG1 is not the lowest risk group of EN 62471. RG0, often called ‘exempt’ to avoid mention of the word ‘risk’ is currently referred to in EN 62471 as a low risk group, but will be restated as extremely low risk group in a future edition of the standard.

The application of RG0 is unnecessarily restrictive, but since the publication of EN 62471, is one that can often be found in product standards, government regulations and commercial specifications. Unravelling the misinterpretation of the significance of the risk groups will be difficult.

ONE TECHNICAL REPORT, TWO POINTS OF VIEW

PRIMARY LIGHT SOURCE

LUMINAIRE

Assessment result

Definition

Assessment result

Definition

RG1 unlimited

Does not exceed limit of the blue light hazard RG1 in any case†

RG1

Does not exceed limit of the blue light hazard RG1

Ethr

Illuminance at which upper limit of RG1 found

Dthr

Distance from luminaire at which Ethr found

A significant motivation in the writing of IEC TR 62778 was the reduction of the measurement burden for luminaire manufacturers. This is achieved in two manners. Firstly, by providing conditions under which the risk group classification of a primary light source (lamp, LED chip or module) may be transferred to a luminaire. Secondly, it is achieved by presenting a choice of assessment methodologies, two of which are based on commonly available data.

This technical report should therefore be considered from two distinct points of view: that of the primary light source and that of the luminaire, as illustrated in figure 1.

p Figure 1. Possible IEC TR 62778 assessment results of primary light sources and luminaires

† provided operating current in the luminaire is not higher than that at which assessment performed

ONE TECHNICAL REPORT, THREE ASSESSMENT METHODS

Three techniques are proposed for the assessment of blue light hazard, an overview of which is presented, in order of required inputs, in figure 2 below.

METHOD A

METHOD A

METHOD B

Input(s)

CCT

CCT

Spectral radiance/ irradiance (300- 780 nm)

Result(s)

Ethr

RG1 (unlimited) Ethr

RG1 (unlimited) Ethr

p

Figure 2. Overview of IEC TR 62778 assessment techniques

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Method A. A table is reported of illuminance values, as a function of CCT (≤ 8000K), below which RG1 will result. Consulting the table for a source of known CCT, one can adopt the reported illuminance value as Ethr.

This value may be reported in the data sheet of a primary light source and converted to dthr for a luminaire. Where the latter process yields dthr ≤200mm, below the assessment distance, then RG1 should be reported. This method includes a safety factor of two and cannot produce a transferable risk group classification.

Method B. A table is reported of luminance values, as a function of CCT (≤ 8000K), below which RG1 will result. In addition to knowledge of the CCT of the source, a measurement of luminance (cd.m-2) is required. The field of view (FOV) of measurement employed in determining luminance should not extend beyond the luminous area of the source.

Where the measured luminance of a primary light source is below that reported in the table, ‘RG1 unlimited’ applies whilst for luminaires it is ‘RG1’. This method includes a safety factor of two. Where the measured luminance exceeds the tabulated values, one should consider methods A or C. Method C. The direct spectroradiometric measurement is called for here, yielding the most accurate assessment result. On the level of the primary light source, where the luminous area of the source fully overfills the 2.2mm diameter circle defining the 11mrad FOV at 200mm and the measured radiance is below the limit of RG1, the product can be assessed as RG1 unlimited, otherwise Ethr should be reported.

Where a primary light source under-fills this measurement FOV, a measurement of spectral irradiance is called for to report Ethr. The requirement for the different measurement type to determine Ethr is not necessary and shall be removed in future. In the case of luminaires, an assessment is directly performed in the 11mrad FOV at 200mm. Where the measured radiance is below the limit of RG1, the product can be assessed as RG1, otherwise dthr, should be reported.

March 2018 Lighting Journal

WHAT IS SPATIALLY-AVERAGED RADIANCE? 1/ T AKE THE RADIANCE WE KNOW AND LOVE‌ The radiance of a source is defined as the power emitted per unit area of the luminous surface into unit solid angle. The product of area and solid angle is called the geometric extent, which is at best conserved in any optical

system. Radiance can be decreased by filters or diffusers, but not increased by any optical system.

It is for this reason that radiance is used to account for light perceived by the eye through its photometric equivalent, luminance.

2/ ‌ AND ADD SOME BIOPHYSICAL CONSIDERATIONS In evaluating hazard to the retina, the irradiance of the retinal image should be considered. With increasing exposure time this image is spread across the retina

due to saccades and eye movements. What is of interest is not the radiance of the source, but the irradiance in the area of the retina irradiated.

3/ R ADIANCE MEASUREMENT CONDITIONS In traditional radiometry, the radiance or luminance measurement is made with an optic that permits selecting the measurement field of view, and thereby

the area of the source measured. In all cases, the luminance area should be uniform and must extend beyond the field of view.

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4/ SPATIALLY-AVERAGED RADIANCE MEASUREMENT CONDITIONS On one hand we have a relationship between exposure time and angular subtense of the retinal image, on the other risk groups defined by permissible exposure time. Combining the two, we have measurement conditions defined by risk

group, assessing the exposure of the retina. Where the source is smaller than the field of view, a spatially-averaged radiance will result.

5/ THE BOTTOM LINE For RG1 with time basis of 10,000s, measurements of spatially averaged radiance should be made in an 11mrad field of view (FOV).

Measurement at 200mm will encompass a circular area of 2.2mm diameter, no matter how large the luminaire to be measured.

www.theilp.org.uk

March 2018 Lighting Journal

Photobiological safety

p Figure 3. From a measurement at 200mm, Ethr was determined from the ratio of luminance to blue light radiance and dthr

determined using a luxmeter. Evaluation of the 11mrad FOV at dthr (depicted in yellow) shows that the source extends beyond the FOV. The assessment is overly conservative

Computation of Ethr

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The threshold illuminance, Ethr, at which RG1 is found, may be computed by considering the irradiance-based emission limit for this RG1 measurement in an 11mrad FOV. The product of the blue light hazard RG1 emission limit radiance (10000 W.m2.sr-1) and the solid angle corresponding to an 11mrad FOV (9.50332.10-5 sr) yields the blue light irradiance emission limit of 1 W.m-2.

The ratio of luminance (cd.m-2) to blue light radiance (W.m-2.sr-1) being equal to that of threshold illuminance, Ethr,to blue light irradiance emission limit (1 W.m-2), Ethr (lux) can be easily obtained from the spectral radiance measurement, 300780nm.

Determination of dthr

Given the threshold illuminance, the low measurement burden path recommended

by IEC TR 62778 is to use existing goniophotometric data on the luminaire to determine the peak luminous intensity and use the inverse square law to compute dthr. In the absence of goniophotometric data, an illuminance meter can be used directly to determine the position at which Ethr is found.

This approach whilst simple, does not however take into account the fact that the measurement should be evaluated in an 11mrad FOV. If the luminaire under test subtends >11mrad at dthr it follows that emission from the source outside the 11mrad FOV contributed to the measurement of illuminance used to find the location of Ethr, www.theilp.org.uk

leading to an over-estimate of dthr.

Whilst in certain circumstances this may present no application-related issues, it can have an impact in the marketing of the product since one will naturally tend to those sources having a shorter dthr, perceived as being ‘safer’, as shown in figure 3.

Given that the LED technology of today generates a maximum blue light radiance between four and eight times the RG1 limit, we can estimate how much the area over which the 11mrad FOV must increase to generate a spatially averaged blue light radiance equal to the RG1 limit.

In the case of omni-directional sources, it is estimated that the true dthr will not exceed 600mm, whilst for directional sources dthr may be great – but then the greater dthr, the more likely the source fall fully within the 11mrad FOV. A measurement-based approach is recommended, starting with the computation of dthr according to the technical report, and evaluation of whether or not the source extends beyond 11mrad. If the source extends beyond 11mrad, the measurement should be repeated at greater distances, in steps of 200mm until such point that the measured blue light radiance is below the RG1 limit.

REPORTING ASSESSMENT RESULTS

The assessment result for the primary light source should be reported in the datasheet of the primary light source alongside the current at which the assessment was performed whilst that of the luminaire should be reported in the product literature of the luminaire.

Where dthr results, a label warning not to stare at the source within dthr should be placed on the luminaire and in the installation instructions.

CONCLUSION

p Figure 4. (Upper) source extending beyond 11mrad at initial

estimate of dthr. At dthr of single emitter (lower) only one emitter falls in 11mrad FOV. The latter distance is reported as dthr. To perform this analysis is often not easy, the lower image for example being obtained thanks to Photoshop

Refined determination of dthr

In IEC TR 62778, guidance is provided to address the case where a source subtends >11mrad at the initial estimate of dthr.

This binary approach considers the threshold distance of a single emitter and determines whether or not other emitters fall into the 11mrad FOV at that distance, as illustrated in figure 4.

Practically, this approach requires that all other emitters in the luminaire be extinguished or covered, which in many instances is likely to be neither easily realisable nor practical.

The implementation of IEC TR 62778 and the new approach to the evaluation of the photobiological safety of sources intended for lighting applications will in many instances lead to a simpler assessment. In others, where a refinement of dthr is sought, additional interpretation will be required, and yet interpretation in standardisation can be problematic.

This highlights the need for a sounder metrological approach to the determination of this parameter. Revision of IEC TR 62778 is underway as a new international standard, IEC 63109. In TC 34, we are working hard to ensure that a simple and robust approach to photobiological safety testing is provided to the lighting industry.

Leslie Lyons is the head of marketing of Bentham Instruments, UK, and a member of BSI and IEC committees TC 76, optical radiation safety and laser equipment and the WG6 photobiological safety panel of IEC TC 34/SC 34A - lamps

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March 2018 Lighting Journal

Bridge lighting

CROSS-BRIDGE

TRAFFIC

24

It all began with a piece of graffiti commemorating legendary American guitarist Jimi Hendrix. More than a quarter of a century on, the ‘Hendrix Bridge’ in Zagreb, Croatia has now been lit up with a spectacular LED light show triggered by approaching trains

www.theilp.org.uk

March 2018 Lighting Journal

B

ack in 1995 an unknown resident of the Croatian city of Zagreb crept out one night and sprayed a graffiti logo saying ‘Hendrix’, after the legendary American guitarist and musician Jimi Hendrix, on the city’s railway bridge across the Sava River.

In some cities, it would probably have been quietly removed by the authorities and, indeed, at one point it was. But it reappeared a few days later and, in time, the citizens of Zagreb took to it and began calling the bridge the ‘Hendrix Bridge’.

It has never officially been renamed – and its proper name is the Zeleni Most (or Green Bridge) – but it has become something of a tourist destination and there are even ‘Hendrix Bridge’ apartments that visitors can book into.

The name has stuck to such an extent that, with the 50th anniversary last year of the release of Hendrix’s first album Are You Experienced?, the 300m bridge was last June given a light-led makeover to mark the occasion.

Working with Croatian lighting designer Dean Skira, Philips Lighting installed a ‘Beyond Purple Haze’ LED light show on the bridge, which is triggered by approaching trains.

At night the bridge is bathed in an almost ethereal white light showing off its arch, spans and graceful design.

MOVING ‘RIBBON’ OF LIGHT

As a train approaches, this is detected by a sensor and the white light fades to black causing the bridge to seemingly disappear. Then, as the first coach behind the locomotive crosses the bridge, coloured lights come on in sync with the speed of the train as it crosses. Both the bridge and train are then bathed in a moving ‘ribbon’ of colour. As the train disappears the white light returns.

The project uses 740 Philips Color Kinetics Vaya white linear luminaries, 56 of its Color Kinetics eW Graze MX Powercore white fixtures and 26 of its Color Kinetics Vaya Flood MP G2 RGB fixtures.

The lights are controlled by a Philips

Color Kinetcs iPlayer 3 controller and Dynalite lighting control system. A Geolux sensor, which detects approaching trains, is connected to the control system.

‘The goal was to upgrade the visual identity of the city of Zagreb. It is part of our plan to enhance city life around the Sava river,’ explained Ivan Babić, head of the infrastructural services department for the city at the time of the opening of the project.

‘The innovative LED lighting highlights the grandeur, colour and the beauty of the bridge. It’s become a tourist attraction with people often stopping to take pictures in front of it.’

Dean Skira added: ‘Most bridges are utilitarian in appearance; few of them possess the architectural or structural ingredients required to be able to use light as a medium to enhance the beauty of the engineering. What we created with Philips Lighting was something very special.’

25

www.theilp.org.uk

March 2018 Lighting Journal

Bicycle lights

CYCLE PATHS Cyclists across Manchester are testing a sensor-enabled, connected bicycle light that flashes faster and more brightly in dangerous situations and captures environmental data that can aid city planners in monitoring and improving road, traffic, signage and signalling infrastructure

By Irene McAleese and ProfessorJohn Davies

26

E

veryone knows that bike lights are useful bits of kit for staying safe on the road. But imagine if they could take safety to the next level and tell you about accident-prone areas to avoid, even informing city planning how to create safer roads? Imagine, too, if they could notify your friend if you have an accident? Or deter bike thieves? Or help the city plan to get rid of potholes?

This is no longer in the realms of imagination. Precisely this technology, developed by cycling technology company See. Sense, is available right now. As the winner of the BT SME Award for Connected Cities, See.Sense has been working with BT – a leading participant in the CityVerve Smart City programme (see panel) – to bring this technology to Manchester.

The project involves distribution of the See.Sense ‘ICON’, a sensor-enabled and connected bike light, to 180 cyclists across the city. As well as keeping the cyclist safer on the road, the ICON light gathers a wide range of anonymised sensor data to help inform city planners how to improve cycling infrastructure and policies to promote cycling in the city.

The award-winning light is designed specifically to be daylight-visible, enhancing cyclist safety in all lighting conditions.

Indeed, it was recently voted ‘Best Bike Gadget’ by readers of road.cc, the UK’s biggest online cycling website.

SAEFTY AND ENVIRONMENT

The ICON is unique in that it is more than simply a bike light. It is also capable of gathering a broad range of anonymised sensor data. www.theilp.org.uk

This data collection and sensor communication works in two ways. Firstly, it enables the bike light to flash brighter and faster in riskier situations, such as crossing busy junctions or approaching roundabouts.

Second, it provides valuable environmental data feedback. This could be, for example, data on the quality of the road surface, or highlighting events such as near misses or traffic accidents – flagging up particularly danger-prone sections of city cycling routes.

Crucially for the CityVerve project, the data gathered is aggregated and then made available to the wider CityVerve consortium.

Data analysis of the collected data is used to help the city make more informed decisions about investment in cycling infrastructure, improved road quality and safety and better traffic signage and signalling.

In turn, a better cycling experience will increase cycling uptake and potentially improve congestion and air quality. Thus, the project demonstrates improved understanding of how Manchester’s cyclists are using their city, not only from a travel and transport perspective but how this is affecting aspects of our energy and environment and health and social care themes too.

As Jeremy Green outlined in a report for Machina Research, See.Sense is an illustration of the power of using citizens, and their personally owned connected devices, as sensors [1]. A sensor network made up of citizen-owned consumer devices has several advantages over a managed infrastructure-based network.

It has more end points, so it can provide greater ‘granularity’. The end points move,

so they can take readings from a much wider range of locations. The citizens pay for them and maintain the software upgrade cycle themselves; and as consumer devices they are upgraded more frequently than publicly owned infrastructure.

REAL-TIME, MOBILE DATA

Already the Manchester trial has shown the ease in which the relatively low-cost units can be deployed into large-scale urban infrastructure in a fairly organic and unobtrusive way – without the need for major technological overhauls, which often come to mind when people think of smart cities.

See.Sense data is highly accurate, since it has dedicated sensors that are mounted on the bike, exposed to the environment around it. Readings are taken up to 800

March 2018 Lighting Journal

27

What is Manchester CityVerve?

Manchester CityVerve is a £16m project focused on an area to the south of Manchester city centre for the development of Internet of Things (IoT) technology solutions for public services.

It comprises a consortium of 21 organisations, including Manchester City Council, Manchester Science Partnerships, the University of Manchester, Cisco, BT and other tech players, and is backed by government and Innovate UK. The aim is to be bring

together the latest IoT technologies, deployed at city scale to deliver real, ground-level benefits, with a particular focus around generating jobs and encouraging business innovation; improving healthcare, transport and education; safer streets; and creating more engaged and empowered citizens. It was set up in July 2016 with a two-year remit to demonstrate the capability of IoT applications and address barriers to deploying smart cities.

These include issues such as city governance, network security, user trust and adoption,

interoperability, scalability and justifying investment.

Within the travel and transport arena, other projects being tested include sensing trams, smart traffic monitoring and parking technology, a ‘talkative’ bus system using location-based apps to allow people to ‘check in’ to their bus stop and a ‘city concierge’ wayfinding and mapping system.

Energy and the environment is a further core area of activity, including retrofitting sensors on buildings, smarter facilities and buildings management, and air quality monitoring.

times per second, compared to around every 1-2 times when using a smartphone app. This is significant when you are measuring road surface, for example.

Another key advantage is that the device is maintained by the cyclist, and they are motivated to look after it since it serves a useful purpose. This is important, since many of the static data devices such as e-counters and even streetlights are subject to vandalism.

Other advantages are that the data is real-time, mobile versus static, low cost, easy to scale up and deploy, and very importantly is also good for citizen engagement – cyclists can feel that they are helping their city and becoming city planners themselves.

This project is exciting from a technological perspective; but more than that, it’s www.theilp.org.uk

March 2018 Lighting Journal

Bicycle lights

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a great example of companies of all shapes and sizes collaborating within the CityVerve project to deliver outcomes benefiting the citizens and businesses of Manchester. The city hopes this technology can form a blueprint worldwide.

The Manchester trial started in October last year and will run through to June 2018.

But See.Sense has already begun work on a city-wide trial in Dublin, and is working on a collaboration involving Belfast City Council, where its technology has been installed inside the city bike share scheme.

Then, this summer, See.Sense will launch a new product called ‘ACE’ that will allow any cyclist to opt-in to data collection.

Ultimately, the CityVerve trial in Manchester is demonstrating that there are wide range of exciting use cases potentially possible from the real-time data collectwww.theilp.org.uk

ed from these lights. The hope is this will be used to help develop a safer and better cycling experience for the people of Manchester.

More widely, this trial and the others getting underway elsewhere provide an opportunity to collect data at scale, for that data to help make cycling more visible to policy-makers, and from that to allow cities to take adaptive, data-driven decisions. It also has the potential to encourage improved integration of cycling into a city’s mobility plans.

Irene McAleese is co-founder and chief strategy officer of See.Sense and Professor John Davies is chief researcher, Future Business Technology Research and Innovation, at BT

REFERENCE [1] The Smart City Playbook, Jeremy Green, Machine Research, November 2016, https:// machinaresearch.com/ news/machina-researchssmart-city-playbookexamines-the-strategiesof-22-cities-as-theybecome-smart-safe-andsustainable/

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March 2018 Lighting Journal

Lighting design

30

H

ow do you judge if a lighting installation is successful? Your first answer may be that ‘it depends on how good it looks’.

But aesthetics are subjective, and just because something is deemed to look nice, was it really a success if it was over budget, not fit for purpose or not completed for the intended deadline? To determine if a lighting design has really been successful, more measurable parameters are required.

The same is true of some of life’s most expensive purchases. Take, for example, buying a car. When it’s time to upgrade it’s pretty common you’d want one with four wheels… but is that all you would say if you went to a dealership? I’m guessing not.

Chances are you would already have a make and model in mind, but you’d discuss this with the salesperson to make sure you make the right decision. You would expect them to be experts in their field, and expect that by clearly defining your basic requirements, they would provide you with options that, as a minimum meet your specification, whilst ideally providing a few extras you hadn’t thought of.

So why should the design of a new lighting scheme be treated any different? Prowww.theilp.org.uk

March 2018 Lighting Journal

A well thought-out and documented design brief allows a lighting designer to be more accurate when selecting products and more responsive to the needs and expectations of their client. So, even if you’re under time and workload pressure, don’t cut corners

By Mark Gabbitas

31

viding new lighting to be functional is as fundamental as requiring your car to have four wheels (see, there was point). But is functionality alone enough to deem your project successful, and by failing to have early conversations with the customer, was there a missed opportunity to add further value?

signs the design brief must then be ‘frozen’ to ensure the design teams are working towards an agreed standard.

WHO SHOULD WRITE THE DESIGN BRIEF?

Projects work best when the key duty-holders work as a team, and this is also true for the production of a design brief. Whilst the strategic definition should come from the customer, who best understands their organisation’s policies and needs, they are unlikely to be an expert in every discipline.

Here the designer’s skills, experience and knowledge can be applied to spark creativity and identify added value for the customer.

WHY USE A DESIGN BRIEF?

A design brief captures the customer’s objective and subjective requirements and will act as the designer’s point of reference throughout the project. Projects fail for a variety of reasons, such as lack of: planning, time, budget and communication.

Using a design brief allows key project targets to be identified, documented and communicated Ultimately, remember the maxim that you need to know what project success looks like at the beginning to stand a chance of achieving it at the end.

WORKING WITHOUT A DESIGN BRIEF

WHEN IS THE DESIGN BRIEF WRITTEN?

The design brief should be started as early as possible, and it is likely that during the initial project stages the design brief will evolve along with the design concepts. Prior to commencing with preliminary de-

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Figure 1. The RIBA Plan of Work explains the various project stages and where the design brief is used

Without a documented design brief, how can you be confident that what you produce is what the client wants or really needs? Also, how do you prevent ‘scope creep’ or misinterpretations?

It is inevitable that assumptions will be made during the design process, and will be perfectly reasonable if these are documented and discussed as part of developwww.theilp.org.uk

March 2018 Lighting Journal

Lighting design

ing the design. But starting without having an agreed brief is likely to result in missed expectations, delays and disagreement over who should cover the cost of re-work

WHAT SHOULD A DESIGN BRIEF INCLUDE?

Due to the varying nature of project types you may struggle to standardise a lighting design brief layout within your organisation.

However, ensuring the designer has the following information could be the difference between a design meeting expectations and a design appearing to be B.O.T.C.H.E.D. In other words: Background. It is important that the designer understands the purpose of the space they lighting. When possible, a site visit is always the most informative way of understanding the layout and usage in the most detail.

If this is not feasible because of time, distance or for a new build, the design brief can be used to help the designer visualise how the lighting can be applied to benefit the space.

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Objective. The customer is likely to have both commercial requirements (which justified the business case and funding) and technical requirements (specific to the space been designed). Some goals will be obvious (to save energy for example) but others are not.

In order to judge whether the project has delivered these requirements they must be listed and agreed upon prior to design commencement.

Time. During a construction project there will be a succession of deadlines. A designer should be aware of their deadline, but equally it is a requirement under the Construction Design and Management Regulations for the client to ensure designers are given sufficient time to perform their duties.

Before commencing with design work the ‘construction stage’ should be identified so that the designer understands the level of detail required. As defined in the RIBA Plan of Work 2013 (see figure 1 on previous page) a designer is likely to be required for: • Stage 2 Concept Design • Stage 3 Developed Design • Stage 4 Technical Design Constraints. Not all projects are for newbuilds with blank canvases. In the real world there are likely to be many factors that would limit the designer. www.theilp.org.uk

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Figure 2. The project management ‘tree swing cartoon’ shows the consequences of working without a design brief

For example, the street lighting industry is currently seeing a number of LED ‘lantern conversion’ projects, where existing columns are been re-used. In these instances, the designer should be aware of the weight and windage restrictions which may limit product selection.

Perhaps the most obvious constraint is budget. Some clients will be reluctant to share their budget, as they feel the designer will take advantage of them. But knowing the budget at the start will allow the designer to identify the most appropriate solution and maximise the lit effect that is possible within budget.

As a designer I’d rather my proposal be on budget and be installed, than produce a stunning render which will never see the light of day.

Hazards. We talk a lot about risk in our industry. But to quantify risk you first need to understand the hazard (something with the potential to cause injury, harm or loss). By making a designer aware of the site-specific hazards, they can take actions during their design to eliminate where possible, minimise where not and always advise the principal designer/contractor of residual risk.

Extents. Clearly defining the scope will avoid misinterpretation. Providing plans of an office block would indicate extensive

design work. But if only the ‘shell and core’ areas are within scope, then the design time will be reduced and the quotation appropriate.

Deliverables. These are the tangible outputs that a designer would produce. This may be in the form of artistic renders, technical calculations or a layout drawing.

Defining what’s required pre-design will speed up the process and ensure expectations are met first time.

SUMMARY

Producing a design brief with as much information as possible allows the designer to be very accurate when selecting products and their placement and shaping the lit effect.

A design brief identifies the customer’s key needs, helps to ensure the design team don’t lose focus of these and should prevent the need to go back to the customer unnecessarily for additional information.

Ultimately, without a documented design brief, the whole project team could be working towards separate goals and expectations, as highlighted in figure 2.

Mark Gabbitas is lighting application specialist (LiAS) lead and manager of the lighting design team at Philips Lighting UKI

March 2018 Lighting Journal

Apprentice advice from the ILP

SO YOU WANT TO EMPLOY A LIGHTING APPRENTICE? FOLLOW THE ILP SIX STEPS TO SUCCESS

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[1]

Find a local college and ask them to identify any suitable students they have. These will generally be 16-18 year olds without a sponsor who are on a Foundation Diploma course in an appropriate subject for your company, e.g. electrical engineering.

[2]

Carry out interviews – many colleges will help you with the arrangements and process. You may also want to arrange a week’s internship where the student will gain work experience and you will see how they could fit into your workplace.

[3]

Make a job offer. Typically you will employ the student full time and they will attend college one day a week.

upon successful completion of their studies and a certain length of satisfactory employment with you.

[4]

[6]

When they turn 18, register the apprentice for ILP apprentice membership and book them on to attend the ILP Exterior Lighting Diploma.

[5]

About funding: you can expect the college to apply for the necessary grants. Funding is currently available in England for 600 hours of guided learning per year. Some apprentices take out a student loan for the balance. You could add an incentive by agreeing to pay their loan

Make sure they complete their studies! The college will suggest further training opportunities and don’t forget the ILP Exterior Lighting Diploma Completion Project can be submitted as one module for an HNC project.

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March 2018 Lighting Journal

Preparing for GDPR

With the new EU data law the General Data Protection Regulation (GDPR) on the horizon, the ILP will be contacting members over the coming weeks to ensure we can continue to provide you with a great range of support and services. Here is why it is important not to ignore our message 34

By Jess Gallacher

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n just two months’ time – on May 25 to be precise – the European Union’s new General Data Protection Regulation (GDPR) will become law in the UK. As Howard Crossman and Leah Aschettino highlighted in the January edition of Lighting Journal (Big Data, vol 83, no 1), GDPR will bring with it many changes that lighting professionals will need to prepare for and respond to.

But what will it mean in terms of your ILP membership? Well, in simple terms, it’ll mean giving the ILP permission to allow us to stay in touch with you, to keep on helping you to be and become the best, the most professional, lighting professional you can be.

At the ILP we’re viewing GDPR as an opportunity, an opportunity to remind lighting professionals why the ILP matters and the wide range of benefits that come with membership.

We also hope this process will encourage members to reflect on how they can get www.theilp.org.uk

even more out of their membership and, indeed, to speak to colleagues and peers about why ILP membership will be a good decision for them.

So, why does it matter that we keep in touch with you? Here are 11 reasons.

You can be part of something important To belong to the ILP, we obviously need to know who you are and how to contact you.

Be reassured, we keep this information in our secure membership system, which you can log into via your MyILP portal to view and update at any time.

You can help lighting change the world Providing continuous professional development (CPD), education and training means you can take responsibility for lighting which improves our world. Better-lit spaces, darker skies, and reduced energy use are results all citizens deserve.

Last year, for example, we created the ‘Lighting for Good’ initiative and we hope

to keep in touch with you about this and other world-changing opportunities.

You can influence government We use your information when we invite you to comment on issues facing the profession. For example, we recently coordinated an ILP members’ response to the draft London Plan from the London Assembly and Mayor’s Office, to help prevent a long-term negative impact on urban realm lighting policy. You can find out more about this on page 44 of this edition.

You can help young and newly-qualified lighting professionals The ILP’s Young Lighting Professionals group is dedicated to those under-35 and/ or in the first years of their lighting career.

If you have told us this applies to you, we will send you information about YLP help and activities. By the way, all members are welcome at YLP events – you don’t have to be in the YLP to come along.

March 2018 Lighting Journal

provide a registration service for EngTech, IEng and CEng from the Engineering Council. Anyone involved in the upgrade process has their information treated with the utmost discretion: privacy is designed into our procedures (and that of the Engineering Council) by default.

You can network with your peers No one likes the idea of registering for a networking event only to be sent heaps of unwanted emails. At ILP networking events, our delegates can choose what information is shared and what is kept private. We explain to any commercial companies involved that we are a professional network, not a trade body. The lighting community includes a very understanding industry which eschews the hard sell – leaving you free to choose which new connections to make and enjoy a useful event.

You can save a lot of money ILP members receive a 40% discount on most chargeable ILP activities. The financial benefit of belonging to the ILP is undeniable and we take care to make sure you are charged the correct rate for training and publications. We only process as much information as we need to, to ensure your purchase or payment is dealt with.

SO, WHAT HAPPENS NEXT?

You can continue to receive lighting’s best magazine The fact you’re reading this means you already know just how great Lighting Journal is! Where we use third parties (such as Lighting Journal’s mailing house) to fulfil parts of your membership contract, rest assured they are subject to the same care and scrutiny as if it were posted directly from ILP head office.

You can learn and develop at relevant events and training If you are part-way through the ILP exterior lighting diploma, we will make sure you know how to complete it. If you are a designer from an arts background, we hope you’ll like to know about our ‘Electric Know-How for Architectural Lighting Designers’ course. Whether you are a brandnew member or a loyal supporter of many years, we are sure you will benefit from attending the Professional Lighting Summit in June.

You can demonstrate your competence It is important lighting professionals keep their CPD and competence up to date. We recommend that you record your CPD on ‘MyCareerPath’, our online system available through the ILP’s website, www.theilp.org.uk. It is a great member benefit that we are happy to provide further advice on.

You can rely on the Institution for professional advice Our professional services managers will continue to provide you with advice and signposting on technical and education queries. This is, and will continue to be, confidential. You can get in touch to find answers on whatever you need help with and we do of course delete your enquiry after it has been completed.

You can gain professional credibility Only the ILP can grant permission for the post-nominal letters AMILP, MILP and FILP to appear after your name. We also

Maybe you have already had a succession of complicated and panicky sounding GDPR emails from other organisations. ‘Urgent – we need your consent to ask for your permission to remind you when your MOT is due’ is my personal favourite so far.

Well, don’t expect the same approach from the ILP. We will keep it simple and straightforward. In the coming weeks, we will send each member our ‘Data Protection Policy and Privacy Notice’. We will seek consent for specific reasons when necessary.

So keep an eye out for it and, most of all, don’t ignore it. The bottom line is that the ILP team has always taken pride in treating your personal information in the way we’d like someone else to treat ours. That means the GDPR is a welcome step for all of us and, ultimately, will help us to help you as a member to stay professional.

Jess Gallacher is the ILP’s operations manager www.theilp.org.uk

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March 2018 Lighting Journal

Lighting design

Lighting is being used as a regeneration tool to help the city of Christchurch in New Zealand on its slow recovery from the devastating earthquake of 2011. And one local lighting designer’s award-winning project for a casino has helped to sum up this ethos

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By Kevin Cawley

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feel very lucky. ‘Sophisticated’, ‘exciting’ and ‘elegantly stunning’ are just some of the comments I receive for my work on a regular basis.

I’m based in New Zealand and when I was approached by the Christchurch Casino to relight the outside top part of its building, I was both excited and immediately knew it was going to be a challenge.

Christchurch is still slowly recovering from the devastating earthquake of 2011.

The brief to light the Christchurch Casino was therefore in part about attracting people back to the central city, enhancing and www.theilp.org.uk

giving a vibrancy back to Victoria and Peterborough Streets.

It could also be seen in the context of the wider ‘Enlightening Christchurch’ campaign, which is working to bring the city back to life with light, promoting lighting as an essential regeneration tool and, very simply, putting Christchurch back on the world stage where it belongs.

I am also a member of the International Dark-Sky Association and so it was also important for me to come up with a scheme that was sympathetic in terms of light pollution and exterior illumination.

THEATRE AND MUSICALS

Yet, as someone who has a strong background in lighting theatre and musicals, I also saw this project as an opportunity to bring some of the magic of the theatre back to my home town.

The result is, I’d argue, a wonderful example of how you can integrate lighting while keeping the architectural integrity of a building intact; you cannot see any of the light fittings, yet the scheme delivers a sophisticated ‘symphony’ of colour and movement.

The use of the correct colours in theatre

March 2018 Lighting Journal

is essential in conveying the message and the emotion to the audience. So, I was able to mix specific colours to excite and attract people, while at the same time having respect for the architecture.

One my passions when it comes to lighting and architecture is seeing the effect, not the fittings. To that end, I was able to construct a false pelmet all around the building. The building had four black lines of granite negative detail accentuating the building’s elegance.

The top line was a perfect place to hide the fittings concealed by day and by night.

This false pelmet was specifically designed not only to hide the fittings, but also act as a light reflector.

The design of the pelmet needed to appear as the original granite line. There were several factors that also needed to be taken into account when designing it: wind, rain, snow, heat expansion, weight and secured fixings.

UPWARDS ILLUMINATION WITH LIMITED LIGHT SPILL

I also wanted to achieve three key lighting effects: • The creation of a perfect line of light without interruption that appears as a stand-alone fitting • A silhouette effect on the individual embossed playing card concrete characters • Achieving an uninterrupted line of light at the pelmet.

I achieved these effects by using 10deg fittings that projected light 1.8m away, and then bouncing light off the bullnose capping.

The ‘magic’ was then achieved by the individual detailed focusing of 185 fittings.

The accuracy of this allowed us to create a sophisticated elegant appearance, illuminating the building upwards with limited light spill.

The system is DMX-programmed with a two-minute light moving colour ‘feast’ of lighting.

The fact it can be changed for an event or function was also a real bonus for the client. The colour pallet was incredibly challenging to achieve but extremely exciting to create, given the different composition of the grey concrete panels.

The colours created were unique and specific to the casino. I happily spent hours plotting to create these colours! For me, it’s not just about putting colour on buildings, it’s how you use the colour, as we do in the theatre. The time taken to understand what the project requires and how colour can affect the outcome is all in the time taken in creating and plotting the scenes.

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I have been immensely pleased and proud that the design has since won several awards, including being recognised by, and winning, an award from the Royal Astronomical Society of New Zealand for a lighting scheme that was both efficient and effective while being sustainable and protecting of the night environment.

The scheme has also been recognised by the Illumination Engineering Society of Australia and New Zealand and won the Lighting Council New Zealand Lighting Award at the prestigious biennial Master Electricians Excellence Awards.

Inevitably, of course, the last word needs to go to the client. For me, this from Christchurch Casino chief executive Brett Anderson pretty much sums why this scheme has been so important and has had such an impact.

‘I was blown away,’ he said. ‘If I stand on the street corner now, the lighting has changed the building at night. It has revitalized a 23-year-old building that had got a bit lost in the dark space left after the earthquakes.’

Kevin Cawley is a lighting designer based in Christchurch, New Zealand www.theilp.org.uk

March 2018 Lighting Journal

Legal issues

You always hope it’ll never happen to you. Yet lighting professionals, as much as anyone else in the construction sector, need to ensure they have proper risk management processes and procedures in place to manage and effectively respond to accidents, injuries and other health and safety breaches.

By Howard Crossman and Sarah Lidgett

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H

ealth and safety issues crop up in every business sector, not least in the lighting industry. As the costs of contravention continue to escalate, and the risk of prosecution for companies and senior managers more real than ever, it is critical that all lighting professionals continue to make health and safety their utmost priority.

Health and safety issues are often thought of as dealing only with the physical safety of the workplace, work equipment and safe working methods. However, other risk management concerns such as equipment design and waste disposal can overlap with these. Health and safety policies therefore have an impact on many business areas; as can the unwanted cost to the business in getting it wrong.

SENTENCING GUIDELINES

As many in the lighting industry will know, the Sentencing Council has produced the definitive guideline for sentencing corporate defendants and individual offenders over the age of 18 for health and safety offences. These took effect from 01 February, 2016 and apply to those that are sentenced for health and safety offences on or after that date, regardless of when the offence was committed.

These are probably well-embedded in the minds of most by now, but by way of brief reminder, the corporate guidelines relate to the following offences:

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•Breach of duty of employer towards employees and non-employees.

•Breach of duty of self-employed to others (section 33(1)(a) of the Health and Safety at Work etc Act 1974 (HSWA 1974) for breaches of sections 2 and 3 of HSWA 1974).

•Breach of Health and Safety regulations (section 33(1)(c), HSWA 1974).

In the guidelines themselves, there are sentence ranges for each type of offence, and then categories within each range reflecting different degrees of seriousness.

The appropriate range and level of seriousness is determined by culpability and harm, with a starting point from which the court should start calculating the provisional sentence.

The court should also then consider any additional features that require adjustment of the sentence, including aggravating and mitigating factors. The range for corporate culpability is between very high (for a deliberate breach of or flagrant disregard for the law) to low (for minor failings which occurred as an isolated incident).

The maximum penalty is an unlimited fine, which must reflect the seriousness of the offence and the financial circumstances of the offending organisation (in other words the higher the turnover, the higher the penalty). The offence

range is from a £50 through to a £10m fine, although where a defendant organisation’s turnover greatly exceeds the threshold for large organisations the court may need to move outside the usual range in order to achieve a proportionate sentence.

Of course, a corporate prosecution does not prevent individuals at that company subsequently facing prosecution for offences arising out of the same wrongdoing, with a maximum penalty of two years’ imprisonment, an unlimited fine, or both. It is therefore for all those in the lighting industry to ensure that there are effective policies and procedures in place to try and minimise the risk of any incidents.

CASE LAW EXAMPLES

In a recent lighting case reported by the Health and Safety Executive (HSE) in December last year, a contractor was recovering electrical cables f o r

March 2018 Lighting Journal

BBC Studioworks Ltd during a de-rigging operation when he fell more than 10m through a lighting grid hatch, sustaining multiple serious injuries. The HSE’s investigation found that the hatches of the lighting grids and the edges of one of the hatches did not have any edge protection.

BBC Studioworks Ltd pleaded guilty to breaching Sections 2 and 3 of the Health and Safety at Work etc Act 1974, and was fined £200,000 and ordered to pay costs of more than £6,000 to the HSE. Elstree Film Studios Ltd was also found guilty of breaching Regulations 3 and 11 of the Work at Height Regulations 2005 and was fined £16,000 and ordered to pay costs of more than £39,000 to the HSE. Meanwhile, Elstree Light and Power Ltd was found guilty of breaching Sections 2 and 3 of the Health and Safety at Work etc Act 1974 and was fined £30,000 and ordered to pay costs of more than £39,000 to the HSE. In another case reported earlier this year, an employee of an engineering contractor (Puma Engineering and Construction Ltd) suffered life-changing injuries while he was involved a lifting operation, transporting and loading pipe spools onto a flatbed truck. The employee was directing the operations of a transporting forklift truck when it

drove into him, catching his left foot and causing his left leg to be amputated.

The HSE identified that the company had failed to properly plan, organise and carry out the lifting operation in a safe manner. A safer and reasonably practicable option would have been to use tag lines or push sticks to control the load, as opposed to controlling the load by hand.

Puma Engineering and Construction Ltd pleaded guilty to breaching Section 2(1) of the Health and Safety at Work etc Act 1974 and was fined £8,000 and ordered to pay costs in full of £3,781.04 to the HSE. These cases show that these issues are relevant to those in the lighting industry and do not just affect large building contractors operating on complex construction sites.

tunate incidents do arise, detailed consideration must be given to both practical needs and legal requirements in the health and safety crisis plan. Indeed, an immediate response to a crisis is essential and the first 24 hours are usually critical.

Generally, the steps will be as follows: •Establish the nature of the incident and bring it under control with the help of emergency services

RESPONDING TO A CRISIS In situations where unfor-

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March 2018 Lighting Journal

Legal issues

•Report the incident to the appropriate authorities, as this will create a good working relationship with the regulator which is likely to benefit the company in the long run •Inform employees of the situation, remind them not to make any statements to the media, and update trade unions, as they may be approached by their members for information •Deal with media, ensuring incriminating statements are avoided, individuals are not identified and any resulting reports are monitored for any inaccuracies •Inform insurers, as failure to do so may invalidate the company’s cover

GETTING A POLICY IN PLACE

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It is in the interest of all contractors and sub-contractors to ensure that they have an effective health and safety policy in place, supported by good risk assessments to not only minimise the risk of such accidents taking place, but also to assist in mitigation should a non-avoidable accident occur.

Indeed, as the above cases indicate, the legal risks associated with such accidents can include the cost of dealing with regulatory investigations and sanctions, claims for damages and an increase in insurance premiums. Even a minor accident can involve significant management time being incurred in interviewing the injured person, preparing an investigation report and reviewing safety procedures, to name but a few.

There are many elements to an effective health and safety policy, for example:

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•Documented procedures, which cover all aspects of the working environment, for example technology, working conditions, social relationships and so on •Risk assessments, which decide on suitable protective measures to deal with an identified health and safety risk and then enable employees to be properly trained and informed of those measures •Employee training on the risks, necessary preventative measures and emergency procedures Although businesses will not necessarily need legal input when creating these policies, it will still be necessary to ensure that all domestic laws are considered, for example the statutory requirements for reporting accidents or near misses will need to be incorporated.

HOW CAN LEGAL ADVISERS HELP?

Whilst many businesses may be able to put most of the above into practice without needing to involve legal advisers, here’s a few things that we could do to help should you need us: •Identify the relevant health and safety legislation that applies to your company, to ensure you are up-to-date with latest developments in the lighting industry •Carry out a review of policies and procedures to analyse the robustness of your current arrangements (and whether they’re likely to stand up to challenge by regulatory agencies or the court) and assess your current state of compliance •Advise on any proposed contractual

arrangements to ensure that health and safety issues are covered, for example if any particular qualifications are required from relevant regulatory agencies for the lighting work, or to check for any obligations that may have unwittingly been assumed under the Construction (Design and Management) Regulations 2015 •Assist your company with any investigations carried out by the regulatory authorities following a health and safety incident, to ensure that the company is protected as much as possible and to try and prevent any ensuing prosecution

SUMMARY

As the Sentencing Guidelines have now been in place for almost two years, we can see how they are being enforced by the courts and how this is affecting the regulators in investigating relevant health and safety incidents.

It is therefore more important than ever for those in the lighting industry to ensure that they give due consideration to the above points to deal with the risk of accidents and to enable them to handle any incidents should they arise.

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

March 2018 Lighting Journal

Lighting Summit

THANK YOU TO ALL OUR EXHIBITORS SUPPORTING THE PROFESSIONAL LIGHTING SUMMIT

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Book your delegate place today at www.theilp.org.uk/summit

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March 2018 Lighting Journal

Future concept

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March 2018 Lighting Journal

A team of US scientists is creating plants that glow in the dark. Currently you can read a book (just about) for a few hours.

But their hope is they may one day be able to ‘power’ our homes and offices, and even become an alternative to street lighting

By Nic Paton

Y

our desk or bedside lamp ‘powered’ by glowing plants? Your office or home? Even the lighting columns down your street? The idea sounds fanciful, but scientists in the US have been working to develop ‘nanobionic’ plants that, currently, can give off a dim light for a number of hours but in the future may be able to do much, much more.

A team of engineers at the Massachusetts Institute of Technology (MIT), funded by the US Department of Energy, has successfully injected a chemical called luciferase, an enzyme that gives fireflies their glow, into the leaves of various

plants, with the result that they are able to emit light. A molecule called ‘co-enzyme A’ is also used to help the process along by removing a reaction by-product that can inhibit luciferase activity.

So, how viable is it? Used on watercress, the leaves can currently gave off a light strong enough to read a book by and stayed illuminated for nearly four hours, the team has argued. They have also predicted that, with further enhancement and optimisation, such plants could one day be made bright enough to illuminate a workspace or home, or even (by illuminating trees) become an alternative to conventional street lighting.

‘The vision is to make a plant that will function as a desk lamp – a lamp that you don’t have to plug in. The light is ultimately powered by the energy metabolism of the plant itself,’ said Professor Michael Strano, Carbon P Dubbs professor of chemical engineering at MIT, and senior author of the study.

‘Plants can self-repair, they have their own energy, and they are already adapted to the outdoor environment.

We think this is an idea whose time has come. It’s a perfect problem for plant nanobionics,’ he added.

For those interested, here is the science bit. Luciferase acts on a molecule called luciferin, causing it to emit light.

The team packaged luciferase, luciferin, and co-enzyme A into a nanoparticle carrier, which was designed to prevent the three components from becoming too concentrated and therefore toxic to the plant.

The researchers used silica nanoparticles of about 10 nanometres in diameter to carry luciferase, and slightly larger particles of the polymers ‘PLGA’ and ‘chitosan’ to carry the luciferin and coenzyme A. To get the particles into the plant leaves, the researchers first suspended the particles in a solution. Plants were then immersed in the solution and exposed to high pressure, which forced the particles to enter the leaves through tiny pores called stomata.

The particles releasing the luciferin and coenzyme A accumulated in an inner layer of the leaf, while the smaller particles carrying luciferase entered a different set of cells. The PLGA particles gradually released the luciferin,

again, into the plant cells, where the luciferase then performed the chemical reaction that made the luciferin glow.

LIGHT THAT LASTS A TREE’S LIFETIME?

The researchers’ early efforts at the start of the project yielded plants that could glow for about 45 minutes, but since then they have improved to around three-and-a-half hours.

The light generated by one 10cm watercress seedling is currently about 1,000th of the amount needed to read by, but the team has argued they believe they will be able to boost the light emitted, as well as the duration of light, by further optimising the concentration and release rates of the components.

So far, the team’s work has been demonstrated on arugula, kale, and spinach, in addition to watercress.

Previous attempts to create light-emitting plants have relied on genetically engineering plants to express the gene for luciferase, but this is a laborious process and yields extremely dim light.

For the future, MIT has said it hopes to develop a way to paint or spray the nanoparticles on to plant leaves, and it is this that could one day make it possible to transform trees and other large plants into light sources, they argue.

‘Our target is to perform one treatment when the plant is a seedling or a mature plant, and have it last for the lifetime of the plant,’ said Professor Strano. ‘Our work very seriously opens up the doorway to streetlamps that are nothing but treated trees, and to indirect lighting around homes.’

The research has been published in the journal Nano Letters [1].

REFERENCE

[1] A Nanobionic Light-Emitting Plant, Seon-Yeong Kwak et al.

Nano Lett., 2017, 17 (12), pp 7951–7961, available online at http://pubs.acs.org/ doi/abs/10.1021/acs. nanolett.7b04369

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March 2018 Lighting Journal

London’s lighting infrastructure

CAPITAL CONCERNS

London mayor Sadiq Khan has outlined a new planning vision for London. Yet his draft ‘London Plan’ all but ignores the impact, and opportunity, of good lighting and lighting design, as well fast-changing lighting technologies. The industry must make sure its voice is heard loud and clear

By Graham Festenstein

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n December the mayor of London, Sadiq Khan, and the London Assembly issued a consultation on their vision for how London’s built infrastructure and environment should evolve and develop over the next 20-25 years.

The ‘London Plan’, as it is known, is an extremely important document for London, given that, as the mayor states: ‘All planning decisions should follow London Plan policies, and it sets a policy framework for local plans across London.’

But it will also, no doubt, be used as an exemplar for many local authorities when developing and updating their own local plans across the country.

A consultation was launched (see panel), which was due to close on Friday 02 March, and so will already have concluded by the time most ILP members will be reading this.

However, at the time of writing (in February), the ILP was coordinating a response to the consultation by means of a letter from the President and an appendix of specific concerns and comments fed in by members, colleagues and partners, including the LSE Configuring Light Programme. This formal response will be available to see on the ILP website, www.theilp.org.uk The importance of a strong and coordinated response from the lighting profes-

As Graham Festenstein has highlighted, lighting is discussed in the draft London Plan but only in a relatively broad-brush way.

For example, in discussing crime prevention, the document states that: ‘Measures to design out crime should be integral to development proposals and be considered early in the design process.

‘Development should reduce opportunities for anti-social behaviour, criminal activities, and terrorism, and contribute to a sense of safety without being overbearing or intimidating.

‘Developments should ensure good natural surveillance, clear sight lines, appropriate lighting, logical and well-used

routes and a lack of potential hiding places,’ it adds.

When it comes to public realm lighting, the document does concede that: ‘The lighting of the public realm needs careful consideration to ensure it is appropriate to address safety and security issues, and make night-time activity areas and access routes welcoming and safe, while also minimising light pollution.’

It adds that: ‘Any external lighting for tall buildings should be energy efficient, and designed to minimise glare, light trespass, and sky glow, and ensure it does not negatively impact on the amenity of nearby residents.’

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WHAT THE LONDON PLAN SAYS ABOUT LIGHTING www.theilp.org.uk

March 2018 Lighting Journal

sion will be very clear to anyone who has read the draft document. Why? Because there are just six mentions of lighting within what is a 526-page document – and these only address relatively broad issues, such as security, sports lighting and light pollution (and see below for more on this).

In the nearly 25 years I have been working in the architectural lighting field, I have seen the tremendous gains we as a profession have made in terms of getting lighting recognised as an important and integral element of urban design.

It is therefore distressing to see that those leading and shaping our capital city do not appear to understand the contribution lighting makes to our quality of life, health and wellbeing, to our community and social cohesion, to our perception of safety and comfort, to the wider London economy, to legibility, civic pride and tourism.

Of course, it should be noted that the draft is just that, a draft that allows us the opportunity to comment and offer our professional opinion and therefore could,

as a result, change. However, it is still disappointing that the plan has reached this point without the input of a lighting professional, consultant or professional body – and there is no shortage of these that could have been consulted!

As well as the points raised above, there are other important questions that should be considered by the London Plan. We have issues such as smart cities, the integration of vehicle charging points with lighting columns, the use of lighting equipment to house Wi Fi and data harvesting equipment, and the arguments surrounding privacy and civil liberties over the ownership of the data collected.

We should also be considering partnight lighting, dimming and lighting control, as well as the control of carbon emissions and the use of renewable energy.

If the plan is truly going to prepare London, and us, for 25 years hence, surely it should also address in some form the potential impact of climate change on public infrastructure, including public lighting?

With the ‘privatisation’ of many public spaces moving from public ownership and operation into the hands of private companies, there are also pressing planning issues surrounding the operation and maintenance of these installations to ensure a coordinated and cohesive approach across the capital.

As I have demonstrated, and no doubt will be reflected in the comments of my colleagues within our submission to the London Assembly, lighting warrants a much greater significance in the London Plan than the current draft document recognises.

The ILP very much hopes that the mayor and the London Assembly takes up our offer to help and advise on how best practice in lighting design can be successfully and sensibly incorporated into the final version of this important document.

Graham Festenstein CEng MILP is the ILP’s VP Architectural, and runs Graham Festenstein Lighting Design

45

There is a section within the document on basement excavations, with the draft arguing that the mayor ‘supports boroughs in restricting large-scale basement excavations under existing properties where this type of development is likely to cause unacceptable harm.’

It adds: ‘Local authorities are advised to consider the following issues alongside other relevant local circumstances when developing their own policies for basement developments: local ground conditions; flood risk and drainage impacts; land and structural stability; protection of trees, landscape, and biodiversity; archaeology and heritage assets; neigh-

bour amenity; air and light pollution; and the impacts of noise, vibration, dust and site waste.

‘Where there is a known risk of flooding, boroughs may consider restricting the use of basements for non-habitable uses. The Agent of Change Principle (Policy D12 Agent of Change) should be applied to basement development to limit the impact of ground-borne noise and vibration from existing uses and infrastructure.’

Finally, the document discusses the provision of sports lighting, arguing that there is broad support for ‘the provision of sports lighting within reasonable hours where there is an identified need for

sports facilities and lighting is required to increase their potential usage, unless the lighting gives rise to demonstrable harm to the local community or biodiversity.’

It adds: ‘Lighting can be important for the accessibility of outdoor sports facilities and can help to improve their use. The form of lighting required will depend on the facility and its use, but efforts should be made to minimise the impact on the surrounding areas, and to not cause a demonstrable harm to the local community or biodiversity. The hours of use of lighting should be agreed early in the process.’

Read the plan at www.london. gov.uk under ‘New London Plan’. www.theilp.org.uk

March 2018 Lighting Journal

Book review

‘A USEFUL ADDITION FOR THOSE DESIGNING SPACES FOR PEOPLE WITH DEMENTIA’

By Graham Festenstein

T 46

his is an excellent little book. Aimed predominantly at non-lighting professionals and carers, it will also be a useful addition to the library of any lighting designer or lighting consultancy involved with the design of spaces for those with dementia or older people in general, whether these be in an institutional setting, domestic residential or sheltered housing.

In fact, I would suggest its contents are relevant to any space or building used by the public. For those with previous knowledge it will serve as a refresher and a means of updating oneself with current thinking.

For young designers starting out in this field of work it is a perfect introduction to the issues surrounding this important topic. As well as providing a helpful reference source it gives a little insight into the needs of others involved with the design of spaces for, and the people that work with, the elderly and those with dementia.

This is not a heavy read, as the topic may suggest, and whilst it does cover academic content it does so in a concise easy-to-read and accessible way that will be useful for both specialist professionals readers and those with minimal technical or scientific knowledge.

It covers a wide range of content, starting with a simple introduction to vision and how this is affected as we age, moving on to health issues ranging from the risk of falls through to the complexity of circadian rhythms, the importance of vitamin D, sleep and darkness. There are an interesting few paragraphs on the ‘therapeutic views’ and access to windows and a brief description of other health related issues such as cardiovascular health and nitric oxide.

The next part of the book discusses the need and an approach to making spaces more enabling and inclusive for occupants. Introduced by the importance of www.theilp.org.uk

Much of this is proper consideration of the principles of good lighting design – appropriate levels, uniformity, contrast, glare, vertical illuminance and light on ceilings, adapted slightly but also interesting points such as using familiar ‘domestic style’ fittings to promote a recognition of place.

DAYLIGHT DESIGN

Title: Enlighten – Lighting for Older People and People with Dementia Author: David McNair and Richard Pollock with Colm Cunningham Price: £25

access to daylight both indoor and out, a section on basic lighting terminology for the non-lighting professionals, the book then goes on to get to grips with the actual approach lighting should take to address the specific needs of dementia sufferers.

Bringing daylight into inner spaces is also discussed and daylight design is given its own short chapter. Much practical advice is given, predominantly by means of roomby-room examples of things that can be done to create an improved environment, with a brief description of why this is important, for example the choice of colours for the covers of soft furnishings.

This is great advice for the non-technical but also puts things in perspective for those of us with our noses buried in a design calculation package.

With an ageing population and ever-increasing life expectancy rates, this is a subject of great importance. It is also one rife with misconceptions, ambiguities and incomplete guidance for lighting designers, other design professionals, health professionals and the public in general.

Whilst this is certainly not a detailed academic or deeply technical reference book and covers its topics fairly briefly, I found it interesting and thought-provoking and, as a light read, I have no reservations recommending this book.

Enlighten is published by Hammond Care Media and the Dementia Centre and has been endorsed by the ILP’s acting chief executive Richard Frost.

Graham Festenstein CEng MILP is the ILP’s VP Architectural, and runs Graham Festenstein Lighting Design

Lighting

March 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

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

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

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

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

Lighting

Directory CPD Accredited Training • AutoCAD (basic or advanced) • Lighting Reality 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

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.

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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

48

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 01536 527297 f: 01246 588604 or email e : mail@nicksmithassociates.com 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

March 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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In addition, we have completed endurance vibration testing to ANSI C136.31:2010 involving a sweep to find the resonant frequencies in each of the X, Y and Z-axes followed by sustained vibration at the worst resonant frequency for each axis for 100,000 cycles.

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49

March 2018 Lighting Journal

Diary

THE DIARY 27 March

03 May

16 April

09 May

17 April

22 May

25 April

23 May

TR22 Asset Management training course Venue: ILP, Regent House, Rugby LSE regional technical seminar Venue: London Canal Museum

p

50

03 May - The Lighting Design Awards at the London Hilton. For 2018, Mark Major of Speirs + Major has been named ‘judge emeritus’

14 March

‘How to be brilliant’, with Christopher Knowlton, of 18 Degrees Venue: Body & Soul, Rosebery Avenue, London

15 March

North East Region technical meeting Venue: Durham County Hall

Midland AGM and technical meeting Venue: Trent Bridge Cricket Ground, Nottingham ‘How to be brilliant’, with Sally Storey from Lighting Design International Venue: Body & Soul, Rosebery Ave, London

Lighting Design Awards Venue: London Hilton, Park Lane Fundamental Lighting Course Venue: ILP, Regent House, Rugby Emergency Lighting Conference Venue: Cavendish Conference Centre, London ‘How to be brilliant’, Lisa Hammond from Gravity Design Associates Venue: Body & Soul, Rosebery Ave, London

26 April

North East Region AGM Venue: Inn on the Lake, Glenridding, Cumbria

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

WHAT’S IN A NAME?

FULL BEAM AHEAD

18-23 March

Light + Building 2018 Venue: Messe Frankfurt

IN THE APRIL ISSUE WORKING SMARTER

Turning the opportunity of connected lighting into reality

www.theilp.org.uk

The power of your brand, and how to exploit it better

LED car headlights are transforming the driving experience

www.indolighting.com/products