Lighting Journal May 2019

Professional best practice from the Institution of Lighting Professionals

May 2019

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BEING HUMAN What do we really mean by human-centric lighting, and is it just about selling more lights?

FULL DANISH The Copenhagen Lighting Festival reflected Denmark’s complex relationship with light HISTORY MAKERS Why it is important to celebrate, and communicate, your local lighting heritage

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May 2019 Lighting Journal

Contents

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30 06 BEING HUMAN

Human-centric lighting has become a catch-all buzzword in recent years, especially in relation to workplace lighting. But what does it really mean? Is it about changing colour temperature?

Or is it just about selling more lights, asks Christopher Knowlton

12 CLOUD NINE?

As how, where and why we work changes, workplace lighting is becoming more focused on environment than task, as Benz Roos explained at Light School

THE 14 UNDERSTANDING NIGHT

Lighting professionals need to be providing better leadership to mitigate the impact of light encroachment, trespass, glare and sky glow, passionately argues Dominic Meyrick

18 DO NO HARM

When artificial lighting schemes are planned or delivered carelessly, they can have devastating effects on animal and marine life, writes James Miles

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TEST TRACKING

The UK Roads Liaison Group’s Well-managed Highway Infrastructure Code of Practice is not only transforming how local authorities manage their street lighting, it has changed how structural test houses support the industry, as James Hill explains

30 FULL DANISH

Billed as ‘the ideal festival for visitors who hate noise’, February’s Copenhagen Lighting Festival reflected the Nordic nation’s complex relationship with light and shade

32 HISTORY MAKERS

Delving into your local lighting heritage is not just an enjoyable pasttime, it can help to improve your lighting practice and be a way to celebrate your industry within your local community, argues Steve Fotios

36 NORTHERN EXPOSURE

Next month’s ILP Professional Lighting Summit in Newcastle is a golden opportunity for members to immerse themselves in high-end CPD and engage with peers and colleagues. Here is what members can expect

38 APOLLO LANDED

Durham’s iconic Apollo Pavilion was transformed in March by a light installation marking the start of its 50th anniversary celebrations

40 STARRY NIGHT

The coming of war in 1939 led to a knee-jerk plunging of towns and cities into darkness. But it quickly became clear this response was too draconian, as Simon Cornwell shows

THE 44 BENEATH FAÇADE

The modernist concept of ‘Lichtarchitektur’ or light architecture may have fallen out of favour in recent decades but, as research by YLP member Samer Haddad has illustrated, LED could take façade lighting to a new level

54 DIARY

p COVER PICTURE

Some of Hans Christian Andersen’s 11 glowing ‘Wild Swans’, one of 15 ‘Winter in Tivoli’ installations in Copenhagen’s Tivoli Gardens that were part of February’s Copenhagen Lighting Festival. The festival saw some 40 light installations and 16 events running across the Danish capital

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May 2019 Lighting Journal

Editor’s letter

Volume 84 No 5 May 2019 President Colin Fish IEng MILP Chief Executive Tracey White Editor Nic Paton BA (Hons) MA Email: nic@cormorantmedia.co.uk Editorial Board Tom Baynham MEng MA (Cantab) Emma Cogswell IALD Mark Cooper IEng MILP Kevin Dugdale BA (Hons) IEng MILP Graham Festenstein CEng MILP MSLL IALD Nathan French Jess Gallacher (ILP engagement and communications manager) John Gorse BA (Hons) MSLL Alan Jaques IEng FILP Lora Kaleva MSc Assoc IALD Nigel Parry IEng FILP Georgia Thomas (YLP rep) BA (Hons) Paul Traynor Richard Webster Graphic Designer Sacha Robinson-Forster BA (Hons) Email: sacha@matrixprint.com Advertising Manager Andy Etherton Email: andy@matrixprint.com Published by Matrix Print Consultants Ltd on behalf of Institution of Lighting Professionals Regent House, Regent Place, Rugby CV21 2PN Telephone: 01788 576492 E-mail: info@theilp.org.uk Website: www.theilp.org.uk Produced by

Matrix Print Consultants Ltd Unit C, Northfield Point, Cunliffe Drive, Kettering, Northants NN16 9QJ Tel: 01536 527297 Email: gary@matrixprint.com Website: www.matrixprint.com © ILP 2019 The views or statements expressed in these pages do not necessarily accord with those of The Institution of Lighting Professionals or the Lighting Journal’s editor. Photocopying of Lighting Journal items for private use is permitted, but not for commercial purposes or economic gain. Reprints of material published in these pages is available for a fee, on application to the editor.

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n last month’s Lighting Journal Graham Festenstein wrote about how the LewesLight festival in his East Sussex home-town had told a story of the profound changes wrought on English rural society by the First World War and its aftermath. This included the effects of the war itself, mechanisation and women’s suffrage.

Simon Cornwell returns in this edition with his regular, and always fascinating, ‘Light on the past’ delve into the archives. This month he shows how the coming of the Second World War in 1939 and the knee-jerk plunging of towns and cities into darkness eventually led to a more considered lighting response, or dimmer ‘starlight lighting’. And please do check out his article on page 40.

Sheffield University academic Professor Steve Fotios also writes in this edition (on page 32) about the value for lighting professionals of engaging with their local lighting history; that understanding our heritage as an industry and why we do what we do can help to improve current practice.

Again, please do take the time to read what he has to say.

The obvious link between these three articles is history. I freely confess I am something of a history buff. The MA I did as a mature student a few years ago was in history rather than the much more sensible option of studying something related to my day job. So it is perhaps not surprising that, for me, the idea of lighting professionals embracing and getting to know their local history is attractive.

Yet it is fair to say that lighting as a history is often overlooked by more mainstream academia, often because of its quite technical nature. This is a gap into which passionate and knowledgeable lighting professionals could step. This could be through local talks, as something you wrap into STEM activities in schools (an area where I know many ILP members already do a lot of dedicated and brilliant work), articles within local publications or websites and, of course, professional publications such as this one. Or how about using the example set by Graham in Lewes and using lighting itself to illuminate these messages to a wider public?

I am not for a moment suggesting we all rush off to bury ourselves in our local universities or achives. But, as Steve points out, ‘keeping local lighting stories alive for future generations’ can be a great way to communicate with the public about what the industry does; to showcase how things have changed and the expertise lighting professionals today can bring to the table. And that is a message, and a pedigree, that is always going to be good to get across.

Nic Paton Editor

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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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May 2019 Lighting Journal

Human-centric lighting

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BEING HUMAN

Human-centric lighting has become a bit of a catch-all buzzword in recent years, especially in relation to lighting in the workplace. But what does it really mean? Is it just about changing the colour temperature of luminaires from warm to cool? Or about selling more lights?

By Christopher Knowlton

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uman-centric lighting is a subject that often ignites passionate debate with lighting professionals. For the past couple of years there has been spirited discussion about what the term ‘human-centric lighting ’ even means, how we apply it, and does this match the science?

In this article I want to explore further: what we mean by human-centric lighting, what that looks like in practice and, most important of all, my sense that, as lighting professionals, we sometimes fail to see the bigger picture when it comes to interior workplace environments.

It is important, first, to recognise that all humans with good visual acuity are experts in lighting. We have an intrinsic www.theilp.org.uk

understanding of what light is, how light affects us, and our relationship to it. We know that for most people the sun rises and sets every day. This cycle changes depending where in the world we are and what time of year it is.

We understand that, as the sun rises and sets, there is a change in both colour and intensity to natural light. The climatic conditions change the quality of light.

Grey overcast days are dull and flat, sunny days bring sharp shadows and a clear sense of light direction.

Even after the sun has set, the moon rises and sets, providing different levels of night-time illumination. The atmospheric conditions frame our view to the stars, universe and beyond.

May 2019 Lighting Journal

It is within this framework of natural light that we know electric light has become an ever more crucial part of our existence. It augments our experience of darkness at night and within spaces where natural light is not present.

Some of these experiences are more easily identified with light, such as film, TV and theatre, where there is general understanding that light plays a large part in the experience, whether it be the dimming of the house lights or the amazing lighting at that gig. This creates a general vocabulary for lighting that, when applied to architecture, seems to be more limited.

While this lack of common vocabulary inhibits the way in which light is discussed, the fundamental connection to light is very much present.

This is because human vision represents a highly significant amount of sensory input to humans and is the dominant way in which we understand the world around us.

As a lighting designer and not a scientist, I know there are people more qualified than me to explain the exact process of vision from receptor cells within the eye to processing within the brain. However, from medical research over the past ten to 15 years the presence of non-visual photoreceptive cells has been shown to be responsible for the regulation of the circadian system, or the means by which we know it’s time to wake and sleep daily. As this research has developed, we know that specific wavelengths of blue light are responsible for stimulating the production or reduction of certain hormones and chemicals that make us sleepy or awake.

In a basic form, we can surmise that, as the sun rises in the morning we experience an increase of light intensity and blue spectra causing us to feel awake. The colour and intensity of the light changes through the day, becoming more blue and brighter, then, as the sun sets, the amount of blue light and its intensity reduces, causing us to feel more sleepy, eventually falling to sleep.

While the science can now explain this, for many people who live in northern or southern latitudes you

will probably know the feeling of being tired earlier in the evening during the short days of winter because it is dark.

Conversely, maybe in the summers you will go to bed later and wake up earlier because of the increased daylight.

This is something we have seen major technology firms jump upon. Apple, for example, has got its ‘night shift function’ that reduces the amount of blue light at night to help reduce sleep disturbance.

Lighting manufacturers, too, particularly in the workplace sector, have been telling us ‘we’ve solved all the problems, we can now make you nice and alert at work by giving you lots of blue light and then make it nice and warm during the evenings so you are ready to go to sleep’.

ELECTRICITY AND THE ELEVATOR

Pre-electric lighting, factories and mills used as much available daylight as possible so the workforce could get their work done. Oil lamps were the only available artificial light source. So there were seasonal shifts; when you had more daylight you could work more, when you had less you could work less.

Then electricity came along. With the introduction of electric lighting and later the invention of the elevator, the design of workplace buildings was to be fundamentally changed.

These inventions, combined with the socioeconomic changes that followed the industrial revolution, meant the focus shifted from manufacturing to officebased tasks. No longer was building design reliant upon how many flights of stairs people could walk up or how much light could be let in. Buildings could be taller, relying less on daylight to extend the working day.

While workplace design theory and practice have evolved since the 1940s you don’t have to look far to see similarities with contemporary offices of today.

Technology, of course, is advancing all the time and coming up with ‘solutions’.

Stretched ceilings have been used as artificial skylights for many years. It might look like a skylight, but if it’s located on level 20 of 30 you know it cannot be because there are many storeys above you. Now there are more advanced versions where the skylight produces a real beam of light into your space even though this has no windows, no real light coming in at all. We’re constantly told ‘we have solved all of the problems’ – but have we?

Increasingly I’m asked by clients and architects about ‘human-centric’, ‘biodynamic’ or ‘Circadian’ lighting, as they’ve

p Christopher Knowlton: ‘To my mind, human-

centric lighting isn’t just about lighting, but all disciplines of design’

7 heard that changing the colour of the light in the workplace ‘can fix all the harm we have been doing with single colour static light sources’.

While there is no doubt there has been phenomenal development in LED and controls technology, which allow us to change the spectral composition of light sources, I feel a sense of unease.

Perhaps I’m too cynical but the conversation seems to be very narrow in scope.

Can changing the lighting in the workplace really contribute to your whole experience of the built environment in a 24-hour period? What happens when you go home from work and the streets are lit in a high blue content colour?

There also appears to be a misconception about the way in which the workplace and its design is developing. We are seeing many more dynamic designs for the workplace. As society accepts that sitting in one place for huge parts of the day at a desk is not ideal for health, new technology and attitudes are getting more people moving, going to meeting spaces and collaboration areas and so on.

URBAN FABRIC

As a lighting designer, I feel workplace lighting is a really good example of where colour tuning technology is pushed hard as a ‘solution’, yet where there also rarely www.theilp.org.uk

May 2019 Lighting Journal

Human-centric lighting

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seems to be rigorous discussion about the science and how effective it is. There is rarely a holistic view articulated around how an individual using the space is just one facet of their daily experience of the built environment.

For example, as I’ve already touched on, what happens when you step outside of this controlled environment into the beautifully blue-rich environment that is our urban night-time environment outside? We haven’t, too, accounted for what comes out of the computer and TV monitors. And when you look at our urban structures, the fabric is completely diverse. A walk through London is rarely possible these days without seeing some light sources at 6000K. Even in rural settings, it is not hard to find a diverse range of colour temperatures at night.

When you look at it this way suddenly the whole idea of ‘I can fix it in the office, but I can’t fix it anywhere else’ becomes a bit of an issue.

Fundamentally I feel we need to start discussing the ethics of what we do: ‘what is ethically acceptable to do with lighting within an office environment?’.

People say, ‘we’re improving people’s health’. But does that mean we were doing damage to people’s health before? And if we can change the way in which the human body is reacting to the environments we are creating, who is to say that is for good in the long term?

I would argue that good lighting designers have been producing human-centric lighting their whole careers; providing light for the users of the space.

While spectral tuning may well be part of the solution, we as a profession need to find better ways of working to engage with other design disciplines and end users, to bring about a more harmonious environment from inside to out.

At 18 Degrees, for example, we have done a study that shows some of the ways we interpret human-centric lighting that have nothing to do with colour temperature.

This office (opposite) with very standard rows of desks with suspended linear fittings probably looks very familiar to most people. Lots of downlights provide function to the desks so that we can see and read. But we can use the same light sources to uplight the ceiling allowing for control of uplight and down-light independently. We also have the ability to light the vertical surfaces, as shown in figure 2.

It is the ability to change the intensity of these elements and the relationships www.theilp.org.uk

p Figure 1. A very standard-looking office space, with rows of desks illuminated by suspended linear fittings

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Figure 2. Lighting the vertical surfaces immediately changes the dynamic

Figure 3. The ability to change the intensity of elements and the relationships between them can make a space more responsive to its users

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Figure 4. Reducing the uplight on the ceiling once the sun has set can provide a visual cue of change

May 2019 Lighting Journal

Human-centric lighting

between the elements that can be responsive to users in a space (figure 3). This also goes some way to addressing the constraints we face with regard to energy performance.

Once example could be to reduce the uplight on the ceiling when the sun has set, as shown in figure 4. This gives the visual cue of change and also matches the reduction of contrast from natural light entering the building. We can still retain the lighting to the vertical plane as this stops the space from feeling ‘dark’ but still gives the user a sense of change in their environment.

COLOUR VERSUS FIELD OF VISION

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Another interesting thing I’ve picked up recently is research from one of the companies working with NASA, which has been saying that the colour of light is less important than where it is in your field of vision.

So, back in our office, if you were at the end of the day to remove the upper hemisphere of light – to take out the ceiling lights – that would have as much of an effect as changing the colour of the light in the workplace. While this research is still being validated, there is a lot of stuff that we try to do instinctively because we know that it feels good, and that, is now being backed by the science.

Don’t get me wrong; there are definitely times when human-centric lighting, or lighting that changes colour and intensity, is important. There are applications like being in hospital or a care home where, if you have no reference to the outside world or you are physically unable to get there, this could be really helpful in keeping you well and healthy.

Equally, if I was living in a care home with limited access to the outside, it would be quite nice to have a warmer corridor at night than it would be during the day. Or if you were on a submarine, for example, colour changing would be a good way of helping you to keep your body clock in tune.

Colour tuning is something we’ve been doing for the longest time. A tungsten lightbulb as you dim it gets warmer. We instinctively know that tungsten sources change as we go from full intensity to lower intensity.

Take the images on this page, for example, which are showing a commercial building in King ’s Cross where the ground floor acts as corporate reception, but also for hospitality. In the daytime (top image) it goes from being a corporate reception with a cinema and restaurant. www.theilp.org.uk

pq A commercial building in King’s Cross. In the daytime (top) the space goes from being a corporate reception with

a cinema and restaurant. But in the evening (bottom) it becomes just a restaurant and cinema, with warmer lighting creating a space that feels richer and more inviting

But in the evening (bottom image) it becomes just a restaurant and cinema.

During that period, the pendants get warmer; we try and make the space feel richer and nicer. This isn’t about resetting peoples’ circadian system, it is about making something feel inviting.

Finally, creating human-centric spaces is about recognising people can, and should, be able to move around. If you want to go and sit somewhere quiet and dimly lit, you can. If you need some

sunshine you can sit by the window or go outside. As an individual we are – or should be – free to move around. To my mind, therefore, human-centric lighting isn’t just about lighting, but all disciplines of design.

Christopher Knowlton MSc, BA(Hons) IALD, MSLL is co-founder of London lighting design studio 18 degrees

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May 2019 Lighting Journal

Light School 2019: workplace lighting

CLOUD NINE?

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As how, where and why we work changes, workplace lighting is becoming more focused on environment than task, as Benz Roos explained at Light School. Lighting Journal listened in

By Nic Paton

B Google Glass. While currently in its infancy, augmented reality could in time significantly change the way we work, and our thinking about how the workplace needs to be illuminated p

www.theilp.org.uk

ack in 2012, the Fraunhofer Institute in Stuttgart, Germany, carried out an intriguing experiment. Its researchers developed an innovative, dynamic luminous ceiling, consisting of 50cm x 50cm tiles, on each of which was embedded an LED board with 288 red, green and white LEDs. A matt white diffuser film was then attached approximately 30cm beneath the LEDs, with the result being the creation of a ‘virtual sky’, complete with scudding clouds, for workers to work under.

And the result? Perhaps unsurprisingly, ten volunteers drafted in to see what it felt like to work ‘outside’ like this over a period of four days reported feeling a sense of pleasant calmness and wellbeing as they went about their working day.

Could such dynamic lighting effects in the workplace ever catch on? Can such light-led innovations make a genuine

difference to wellbeing, happiness, engagement and (most importantly for the employer) productivity at work?

As Christopher Knowlton makes clear on the previous pages, the jury on human-centric workplace lighting is very much still out. Moreover, as Benz Roos, design associate at Speirs + Major, also highlighted at Light School, getting employers in challenging economic times to embrace, let alone invest in, such technological advancements can often be a stretch.

‘It turns out that people [in the Fraunhofer Institute trial] were more happy and therefore more productive and essentially were better workers for it,’ he told the audience in February. ‘We tried to introduce it for our corporate clients – to make every ceiling a depiction of light, recessing a little light module in the standard ceiling down-structure – but unfortunately they did not go for it!’

May 2019 Lighting Journal

RETHINKING WORKPLACE LIGHTING

Nevertheless, how our urban environments – especially the environment we spend the most time in, the workplace – are going to change over the next 40 or so years, and the role lighting may have in this as a result, remains of keen interest to many lighting professionals.

Benz for example highlighted a Speirs + Major project called ‘The City in 2050’ designed to, as its name suggests, carry out blue-skies thinking to try to anticipate where – perhaps – we might end up in years to come.

Task lighting, for example, is increasingly becoming something delivered at least in part by our computers, laptops, tablets and personal devices. This evolution immediately changes the dynamic in terms of where the lighting designer needs to be focusing their thinking, Benz suggested.

‘Today’s worker can work anywhere.

You can work under this nice tree; from your mobile phone. Nowadays, therefore, lighting is all about environment. If we look at, say, the Space X Mission Control Centre, everyone is looking at screens – which is what we do today – and that is actually our light source for the workplace.

So, relatively, it does not matter how much light there is on the desk, because you can see by your screen.

‘For us, today, the environment of your workplace is much more important than your actual task lighting. Equally, with augmented reality and other technologies, you do not need specific task lighting so much. More and more, it is about

environment. It is less about rows and rows of fluorescent striplights and more about mood and atmosphere. We are at a pinch-point where we have come from a task-based lighting environment to a much more environmental/surrounding approach,’ he explained.

‘We talk about wellbeing and, especially workplace lighting, we talk about all very serious subjects. They are all super-important – glare, control and so on – but we shouldn’t forget that this is a moment when we can bring joy and happiness to people. As designers we sometimes forget about this; that we are actually designing for people. We get so distracted by great architecture or great spaces,’ he added.

The Fraunhofer Institute’s ‘virtual sky’ highlighted the attraction of working in more ‘outside’ daylight-centric environments, such as we also see in the image below p

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ROLE OF LIGHT IN THE FUTURE

Benz then explained what the ‘City in 2050’ project was all about. ‘The City in 2050 is a research project that we are working on now to see what kind of technologies will shape the future. In the future we will have lots of augmented reality. We imagine a world where there may even be no “lighting” at all,’ he said.

‘The big question every lighting designer should ask themselves is “will we actually need lighting in the future?”. Maybe everything is going to be augmented anyway, so why would you bother with a luminaire?

Think of the film Minority Report from the early 2000s where you essentially have all these fancy interfaces. Today, it is happening with Google Glass in the workplace, where you essentially see augmented stuff. The environment is important but not the task,’ Benz added.

But Benz also pointed out that there is technology coming through that is the complete opposite, glasses-style screen blockers designed to protect us from a world increasingly awash with emitted digital light, and which is invading our senses from all sides.

‘Ultimately, I think what we should remember is that workplaces and any environment with light is about imagination, about people. We can forget about the task in the future. At the end of the day everyone just wants a calm environment to work in,’ he said. www.theilp.org.uk

May 2019 Lighting Journal

Tackling light pollution

UNDERSTANDING THE NIGHT

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Lighting at night is about creating environments where people feel safe and secure (and can see), and which benefit the night-time economy. But lighting professionals also need to be providing better leadership to mitigate the impact of light encroachment, trespass, glare and skyglow, the three elements that make up light pollution, as one lighting designer passionately argues

By Dominic Meyrick

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believe there are six basic reasons why we have artificial light at night: security; safety; work; movement; leisure; and visual appeal. I must also stress, however, these are my top six, there are of course other reasons. We don’t see so well in low levels of light; while scotopic vision (dark adaptive eye) might be fine for a walk back from the pub in the countryside, it will be inadequate for negotiating a busy town centre. At night we are also unable to see colour and detail easily, and this creates insecurity and a perception of danger to property and person. Light alleviates this. www.theilp.org.uk

Much as I dislike light pollution, which by definition ‘pollutes’ rather than lights, we need light to see and to move around safely. We need light to negotiate the pavement, dodge bins and street furniture and accommodate changes in level. In addition, approximately 25% of the UK’s population works at night, and lighting assists, for example, the emergency services, logistics personnel, motorway maintenance workers and with newspaper delivery (and some people do still have their papers delivered).

Even for those not working, light is of course critical for leisure; and the nighttime leisure economy is important for all cities. There are 8,760 hours in a year and, of those, 4,380 will be light and 4,380 will be dark. In the UK, we have short days in winter and long days in the summer.

Nearer the equator more rapid changes are experienced, for example at 6pm it gets dark and at 6am it becomes light – and this varies very little during the year.

Nevertheless, it is a function of our world that we light, and lighting at night is essential to entice people to spend some of that ‘me time’ outside the home – this is

May 2019 Lighting Journal

vital to a vibrant night-time economy.

People are more likely to go outside if it looks attractive, and so visual appeal is important. We have limited control over the look of our man-made street vistas during the day, as factors such as daylight will dictate how it looks. If it is overcast, it won’t be so appealing as on a blue-sky day.

At night we have more control over the lit impression.

All this is positive, but the lighting still needs to be well-designed and within context. And that brings me to why not light at night?

WHY SHOULD WE NOT LIGHT AT LIGHT?

My interpretation of light pollution, which includes light encroachment, glare and skyglow, may differ from other interpretations, as there is a difference between the textbook definition and public perception.

The light going up in to the sky has the technical term ‘skyglow’; this is one element of light pollution and is ‘seen’ glowing off the cloud cover. This light going upwards, sometimes through old or poorly aimed light fittings or reflected from surfaces, bounces off the clouds, so creating a haze, which shows the effect of light pollution but not light pollution itself. In my opinion, this is what the public usually mean when they talk about light pollution – skyglow.

However, as those of us who deal with the issue on a day-to-day basis know, this is only one aspect of the issue. The other two are light encroachment/trespass and luminaire glare. Light encroachment/ trespass is when light encroaches on our neighbours, whether human or biodiverse, such as a bat or a moth.

Glare, or luminaire intensity, is also an issue. An eyeful of a light fitting can be very bright and uncomfortable, and also causes the ‘join-the-dots’ scenario, often seen at a distance from our cities. Though this can be created by many modern LED luminaires, it is especially true of older light sources, such as SON, as with these it is more difficult to control where light falls.

Skyglow is defined as ‘the brightening of the night sky’ [1]. When a light fitting is parallel to the ground, the ground will absorb 70-85% of the light generated. The remaining 30-15% isn’t skyglow – this interreflection is just part and parcel of lighting at night, and we have to accept there will be interreflection from the road, grass, or buildings.

However, this is excluded from any sky glow calculation. If a fitting is tilted so that it is not parallel with the ground, and some of its light is directed towards the sky, then

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p Birmingham at night. The night-time leisure economy is important for all our cities, as is safety, security and simply being able to see at night. But if anything, this makes it even more important that lighting is well-designed and within context

that element is calculated as part of a skyglow. The classic 1970s fitting – the glowing white blob on a pole – is a skyglow-generating fitting, where 50% of light goes down and 50% goes into the sky.

However, we must also remember that guidance over the past 20 years has led to a dramatic reduction of lighting levels in Europe and North America. This is because when you have good-quality light you need less. Improvements, for example, in colour rendering fittings – with flatbed optics and the replacement of SON and HID with LED lamps – have also helped to reduce the need for higher lighting levels which, in turn, saves energy. It’s still not great, but if progress continues it will get better.

Two groups influence our attitude towards lighting at night: people and biodiversity. For people, legislation and policy governs much of our activity. The Clean Neighbourhoods and Environmental Act 2005, for example, makes light nuisance

subject to the same criminal law as noise and smell. For those of us busy in this field a range of codes and standards guide the numbers, trying to ensure we light at night while keeping our light to ourselves as best we can.

Publications include: • CIE 150 2017 – Guide on the Limitation of the Effects of Obtrusive Light from Outdoor Lighting Installations, 2nd Edition.

• Guidance Notes for the Reduction of Obtrusive Light GN01 • Guide on the Limitation of the Effects of Obtrusive Light from Outdoor Lighting Installations • Guidelines for Minimising Sky Glow • Technical Report Document 129 – Guide for Lighting Exterior Work Areas • Guide to Limiting Obtrusive Light • Night Blight • Guidance Note 08/18 – Bats and Artificial Lighting in the UK • Artificial Lighting and Wildlife www.theilp.org.uk

May 2019 Lighting Journal

Tackling light pollution

16

p Light pollution (skyglow) from a sports field in

All this legislation and policy has helped rein in the excesses of poor-quality fittings, lamps and installations, which cause the orange glow which ‘floats’ above many of our towns and cities. However, advances in lighting technology and a revisiting of lighting level standards which recognise that more light is not always better, mean we are going in the right direction.

When it comes to biodiversity, alongside the rise of the ecological consultant (now a vital member of any team going for planning), guidance has encouraged designers to pay more attention to ecology. The latest National Planning Policy Framework links lighting and biodiversity impact, saying: ‘By encouraging good design, planning policies and decisions should limit the effects of light pollution from artificial light on local amenity, intrinsically dark landscapes and nature conservation’ [2].

People can tolerate more light than biodiversity, and studies such as Buglife’s A Review of the Impact of Artificial Light on Invertebrates and Bats and Artificial Lighting produced by the ILP and the Bat Conservation Trust, show the problems encountered. [3] www.theilp.org.uk

The rarest bats are slow-moving. These are the Myotis species, and include Brandts, whiskered Daubentons, Natterers, Bechsteins, Barbastelle, and the Greater and Lesser Horseshoe. The common belief is that bats are blind. But this is incorrect – bats can see, but their tolerance to high levels of light varies. As the Bat Conservation Trust states: ‘light-avoiding species include all of the UK’s rarest bat species.’ [4] Rivers and hedgerows are often bat corridors and studies show that light falling onto a river could have a huge effect on bats and their prey [5]. To protect bats, we need very low lighting levels of <0.5lux. We therefore have to make drastic reductions in light at night to safeguard wildlife.

The same applies to invertebrates. In A Review of the Impact of Artificial Light on Invertebrates, Charlotte Bruce-White and Matt Shardlow suggest that levels ‘as low as 0.1 lux have been shown to affect invertebrate activity; that constant light pollution at or above the equivalent of full moon light (0.5-1 lux) can be expected to have a profound effect on many invertebrates; that insects can be attracted to an

Bath. Good design decisions will make a difference when it comes to light pollution and, as lighting professionals, we need to be bold in the use of low lighting levels and think about how much light is required in a particular position

unshielded light source from a distance of at least 500m’ [6].

WHAT TO DO?

1. Make the right choices – to save ourselves and the planet. We need to stop playing with the truth, for example using photography to convince people levels are fine, when they are not. The use of nighttime aerial pictures from drones, for example, can apparently demonstrate the ‘tightness’ of a product’s distribution. But when you look at calculations, you can see the light goes way past, say, the football pitch being lit.

These aerial cameras can’t cope with such high contrast ratios and so the pitch looks well lit, while all around ‘looks’ dark. We need to start to value other creatures and their habitats, exercising stewardship.

Adjustments, such as incorporating a

May 2019 Lighting Journal

u A busy (and heavily illuminated) road junction in London. If, because of light pollution, we lose being able to see the sky at a night, we risk losing a sense of our perspective – of being able to see that we are reassuringly small in the scheme of things – and it is lighting professionals who need to lead on this

‘green bridge’ within developments to allow bats to fly between wooded areas, could make a big difference. We also shouldn’t sell our out-of-date junk to other countries. Instead, we should lead by example and ensure that the most efficient technology is used everywhere.

2. Don’t believe the hype. Which leads me to the outrageous claims of some exterior LED products – and here it gets a bit ‘Wild West’ I concede. I won’t ‘name and shame’ but will use my experience at home. I have an LED streetlight just beyond the wall of my garden and (sad I know) I measured the lighting levels.

They were between 2-3 lux in half the said garden. Good neighbour? I don’t think so!

This tells me that, although LEDs are small and neat and therefore inherently ‘good’ at putting light where we want it and not where we don’t want it, the light trespass in my garden is down to the manufacturer’s poorly designed or inappropriately positioned fitting.

Also, the same LED street lights are on the road outside my house. Since I moved there three years ago two have failed. I know from neighbours that these were only installed five to six years ago. So, where’s that long-life, low-maintenance promised? I can feel the bullets ricocheting as I write!

3. Be ‘good’ designers. Good design decisions will make a difference and we need to be bold in the use of low lighting levels and think about how much light is required in a particular position.

The peripheral areas of a retail site will need a different lighting level to the main square, maybe a ratio of around 4:1. As long as there are suitable transition areas between the two, then the fear of the retailer, that their facility will appear ‘dark’, can be designed away without the need to light up the retail park like a Christmas tree.

Good design can also ensure that light is directed appropriately. A fitting located on a 12m-high column, for example, is more difficult to control than a fitting located on an 8m-high column. However, this could mean using more fittings and be more expensive.

But this expense should be outweighed by the benefits of being a better neighbour to

people and diversity. Maintenance is also crucial. Fittings placed within planting, for example, may be easy to install, but they will soon be overrun with foliage. And without care, in-ground uplights can fill up with water – better not to have been installed.

We should recognise that lighting levels can be different at different times of the day and dim up and down. Reducing levels at 2am makes sense because there are not the people or traffic to justify the same level used at 7pm.

But should they be switched off alltogether? Well, how do you feel about walking into a commercial bathroom where the lighting is on PIRs and it’s so insensitive that the door is closing behind you, about to leave you in the dark, before the lights go on?

CONCLUSION

Using artificial lighting at night is not a bad thing. It has many benefits, for example encouraging people to use streets at night and reducing opportunistic crime and anti-social behaviour.

Having no light at night, equally, is not an option, whatever the amateur astronomer might want. This is because, as I keep on hearing from every MP asked about the need for energy security, ‘we need to ensure the lights keep burning’. Light and security are synonymous.

But we need to be cautious and respectful and stop being selfish. Or perhaps we actually need to be more selfish. Ultimately, we will be the losers if we blot out

the night sky, losing a sense of our significance and returning to a state where we see ourselves as the centre of the universe.

Seeing the Milky Way puts things into perspective. We need to know – and be able to see – that we are reassuringly small.

Dominic Meyrick is a partner at Hoare Lea

REFERENCES [1] Guidance Notes for the Reduction of Obtrusive Light - ILP Guidance Note 2011 [2] ‘Revised National Planning Policy Framework’, Ministry of Housing, Communities and Local Government, July 2018, available online at www.gov.uk/government/ collections/revised-national-planning-policy-framework [3] ILP/Bats Conservation Trust Guidance Note 08/18, Bats and Artificial Lighting in the UK, September 2018, www.theilp.org. uk/documents/guidance-note-8-bats-and-artificial-lighting/ [4] ‘Lighting’, Bats Conservation Trust, www. bats.org.uk/about-bats/threats-to-bats/ lighting [5] Fure, A., (2012) Bats and Lighting – six years on. The London Naturalist N. 85.

[6] Bruce-White, Charlotte Bruce-White and Shardlow, Matt (2011). A Review of the Impact of Artificial Light on Invertebrates, Buglife, the Invertebrate Conservation Trust, available online at www.buglife.org.uk www.theilp.org.uk

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May 2019 Lighting Journal

Tackling light pollution

18

Our understanding of the environmental impact of artificial lighting at night on wildlife is growing all the time. When artificial lighting schemes are planned or delivered carelessly, they can have devastating effects on everything from insects through to river life, bats, birds and a wide variety of nocturnal mammals

By James Miles

W

hile lighting has many advantages for humans, as lighting professionals we do also need to recognise there are many unseen ways it changes the world we live in that are not positive. In fact, lighting can damage the environment around us. This article intends to look at some of these impacts on a range of animals and wildlife.

INSECTS

The first thought of many of us might well be ‘why should we care if lighting affects insects?’. However, it is worth noting that two-thirds of the animal protein consumed on our planet comes from insects [1]. While, obviously, not solely down to light and lighting, concern is growing for www.theilp.org.uk

example about the worldwide decline of insects [2].

We know that insects are drawn to light, but there are three different categories for this effect [3]. The first is the ‘near’ effect on individual insects, called the ‘fixated’ or ‘capture’ effect. Some insects will fly towards and actually stop some distance before a light, stuck there as if dazzled.

Being so captured by the light means then they are unable to perform their basic functions for life.

The next two effects are classed as ‘far’ and are broader in scale, and their effects vary according to background conditions, such as the lunar phase or from localised

skyglow. These effects include the ‘crash barrier’ effect, where a string of lights, such as those along a road that crosses an insect flight path, becomes an actual ‘fence’ to those insects, prohibiting their crossing. This effect stops the insects’ movement across the land.

The final effect is the ‘vacuum cleaner’ effect, where the insects are drawn out of their environment to their deaths by a light making the landscape evacuated of life.

Impact on reproduction An example of the vacuum cleaner effect was noted by the researcher Gerhard Eisenbeis with the Burrowing Mayfly [4].

The adult lifespans of these creatures are very short, ranging from just 30 minutes to a few days. Their swarming to lamps on

May 2019 Lighting Journal

t Moths attracted to a light at night. Being captured

by light at night means months and insects are often unable to perform their basic functions for lifemapping’.

Photographs by Martin Bostock

bridges or by riversides gives them the nickname ‘the summer snow’ as the ground near lights becomes centimetres thick with their bodies.

Eisenbeis noted that one report estimated 1.5 million individuals dead in one night on an illuminated bridge’s road surface. As each female releases her eggs on the first surface she come into contact with, this single night represents an enormous loss of reproductive potential for the species Crypsis and Predators Camouflage is only protective for creatures who match their backgrounds, and artificial lighting can change that rule for many insects. Not only does it illuminate moths that should be not visible, it also concentrates the moths around the lights.

RIVER LIFE

River life is also indirectly affected by the loss of insect life, as insects account for a large share of food for fish and amphibians [5]. Mating cycles, for one, can be affected; for example, tree frogs do not call for a mate when in brightly-lit areas

q

Cell development Melatonin is the master hormone that is regulated by photoperiods (it is produced only in dark periods and is inhibited by light). Under constant light, melatonin production is reduced. This, for example, affects thyroid hormones of salamanders (involved in metamorphosis), gonadal development, reproductive behaviour, skin coloration and thermoregulation.

This means, in turn, that the development of young tadpoles is affected, with the result that we see a reduced number of mature adults in an ecosystem.

BIRDS

Indirect effect of light Sparrow chicks, which were thought to be grainivorous, and other hatchlings feed on insects early on in life to get the protein they need and to help them grow.

Research has shown that, if they do not get enough insects when young, they do not survive to adulthood. The number of sparrows has declined by more than half in the last 25 years and it is thought that this is a factor [6].

Migration Nocturnal migrating birds use the moon and stars for navigation; light pollution confuses them and can cause them to fly into buildings. Light pollution affecting migratory birds is put down to poor light control. Studies have shown that light in the green spectrum affects birds the least.

MAMMALS

All species of bats, badgers and most smaller carnivores, most rodents (besides squirrels), 20% of primates, and 80% of marsupials are nocturnal, and many more are active at night [8]. This means that a large amount of wildlife can be affected by artificial lighting.

Disruption of foraging behaviour Many nocturnal mammals avoid open spaces during moonlit conditions to reduce the risk from predators. This avoidance reduces foraging activity and movements, meaning that the amount of food they eat is reduced. External lighting could cause some mammals to be undernourished because of this.

Suppression of melatonin As mentioned above, melatonin is a hormonal regulator of neoplastic cell growth and as with amphibians, mammals (including humans) are affected by melatonin suppression when exposed to artificial light; this is one of the reasons that lighting affects biological clocks.

Studies have demonstrated that ten-to 15-minute exposures to moderately bright light, equivalent to twilight levels, can shift the circadian clock by one or two hours for nocturnal animals [9].

Disruption of dispersal movements Lighting can be very disorienting for animals that are trying to move at night. So,

Migrating birds at sunset over Brighton beach. Light pollution affecting migratory birds is put down to poor light control

www.theilp.org.uk

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May 2019 Lighting Journal

Tackling light pollution

wildlife corridors can be compromised by even a single light and so prevent animals from moving to crucial landscapes.

In 1995, for example, Paul Beier found that pumas avoid brightly-lit areas when travelling at night and moved toward the darkest horizon [10].

WHAT CAN WE DO?

This, of course, is the crucial question for lighting professionals. It makes sense to make full use of resources and guidance available including, for example, the ILP’s new GN08 Bats and Artificial Lighting [11] to understand the impacts of artificial lighting on bats and how to mitigate this.

But, more generally, I would argue there are four common-sense steps that lighting professionals can embed into their day-today practice.

20

1. Determine what could be present on site. It is encouraged that this is done by an ecologist so that the correct approach is taken.

2. Identify key areas before any design or construction work is done. This is critical as the outcome will affect how a site is lit and what measures will need to be put in place to not disturb any wild life.

3. Avoid lighting on key habitats and features altogether. Once identified as high risk, it is important not to light areas such as open waterways or roosts, as these will have a huge impact on the population. For example, directly lighting the entrance to a roost can entomb bats within.

4. Apply mitigation methods to reduce lighting to agreed limits in other sensitive locations/lighting design considerations. For example, in the context of bats, it is recommended the architecture and

p A badger foraging at night. Artificial light can reduce foraging activity and movements, and can cause nocturnal

mammals to become undernourished as a result

orientation of the site be used to shield the bats from lighting where possible. The ILP’s Guidance for the Reduction of Obtrusive Light recommends 70° peak intensity limit and the use of asymmetric fittings to limit tilt requirements [12]. It also recommends limiting the colour temperature of the light source to a

maximum of 2700K, ensuring flat glass zero tilt fittings are used with excellent optical cut-off as well as use of the minimum usable mounting height.

James Miles MSLL is technical manager at Kingfisher Lighting

International Conference in Defense of the Quality of the Night Sky and the Right to Observe the Stars, Starlight 2007, La Palma, April 19-20, 2007. Department of Biology, Utica College of Syracuse University, Utica, NY USA. Available online at cescos.fau.edu/ observatory/lightpol-Amphib.html [6] ‘Is light pollution killing our birds?’, Challenge, Summer 2006, www.gruppelighting.com/v2/wp-content/uploads/2013/07/CliffSummer-2006.pdf [7] ‘Light Pollution Kills Birds in the Environment’, cescos.fau.edu/observatory/

lightpol-Birds.html [10] Beier, P. 1995. Dispersal of juvenile cougars in fragmented habitat. Journal of Wildlife Management 59:228-237 [11] Guidance Note 08, Bats and Artificial Lighting, The ILP and the Bat Conservation Trust, September 2018. Available online at www.theilp.org.uk/documents/guidancenote-8-bats-and-artificial-lighting/ [12] Guidance for the Reduction of Obtrusive Light, The ILP, January 2012. Available online at www.theilp.org.uk/documents/obtrusive-light/

REFERENCES [1] ‘Light Pollution Decimates Insects in the Environment’, physics.fau.edu/observatory/ lightpol-Insects.html [2] Worldwide decline of the entomofauna: A review of its drivers, Biological Conservation, April 2019, vol 232, pp8-27, www. sciencedirect.com/science/article/pii/ S0006320718313636 [3, 4, 8, 9] Rich C and Langcore T (eds).

Ecological Consequences of Artificial Night Lighting 2006. Island Press [5] Wise, S. ‘Light Pollution Affects Amphibians in the Environment’, Presentation at the www.theilp.org.uk

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May 2019 Lighting Journal

Asset management

TEST TRACKING

22

The UK Roads Liaison Group’s Well-managed Highway Infrastructure Code of Practice is transforming how local authorities manage and maintain their street lighting assets. It has also led to changes in how structural test houses support and assist the industry

By James Hill

I

n recent months much has been written about the UK Roads Liaison Group’s new Well-managed Highway Infrastructure Code of Practice, not least of course within Lighting Journal, with interesting articles published by Andrew Warrington, Allan Howard and Paul Middleton (Lighting Journal January-March 2019, vol 84 nos 1-3).

Here at Electrical Testing, we have been equally focused on these changes that are happening in our industry as, from last October, our clients have had to at least start the process of adopting the new code of practice and retiring their old policies.

In addition to this, as an industry, we are all keenly anticipating the ILP’s longawaited GN22 update to TR22: Managing a Vital Asset: Lighting Supports, which is designed to complement the new code of www.theilp.org.uk

practice. At the time of writing in April this was due for publication imminently.

So, in a short period of time we have two new documents released into the public realm with a clear message of guidance designed to create a risk and asset management-based approach for how we look after our highway lighting assets.

In reality, the timing of both these documents couldn’t be better as our industry enters a difficult time, with the challenges faced in maintaining an ageing and defective infrastructure with limited funding.

What I intend therefore to outline in this article is how a structural test house can assist local authorities in meeting the requirements of the new code.

BACKGROUND

As a test house, we have seen an increase in

column failure, and we have seen an increase in the number of defective ‘Amber’-grade columns we are being asked to re-test. In many cases we have returned to these assets four or five times with a best-case scenario of only recommending another three-year test cycle.

It is common-sense that tells us we can only ‘sweat’ an asset for so long. And whilst good practice allows us to maintain an asset and monitor its deteriorating condition, a risk-based approach allows us to promote vulnerable columns further up the replacement ladder.

We have analysed client data between test years looking at the column condition from year one and then the same column data in year seven when the asset becomes due for its next test, as shown in figure 1.

Interestingly, the ‘Red’ defects remain

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May 2019 Lighting Journal

Asset management

24

static as budget is available to replace these. However, the amber grade columns increase as they remain unchanged and their condition continues to deteriorate.

A RISK-BASED APPROACH

Well-Managed Highway Infrastructure: a code of practice outlines a series of recommendations with recommendation seven, or adopting a risk-based approach, stating the following: ‘A risk-based approach should be adopted for all aspects of highway infrastructure maintenance, including setting levels of service, inspections, responses, resilience, priorities and programmes.’

We have already seen BS7671 move to a risk-based approach in 2012 with its Sixth Edition and the Institution of Engineering and Technology’s Guidance Note 3 Inspection and Testing supporting the inspection of electrical installations. This states: ‘The person carrying out subsequent inspections may recommend that the interval between future inspections be increased or decreased as a result of the findings of their inspection.’

As a structural test house, we can www.theilp.org.uk

implement this new risk-based criteria, which can change the final outcome – and potentially move a column from a re-test to a replacement.

This is how we have adopted the policy and have updated our systems in line with the requirements.

• Locations where the poor condition of the lighting columns has been established as a result of routine visual inspections or other reports.

In other words, this is the testing of a specific area (based on a previous visual inspection or previous test) and determining the structural strength of the area of concern. In some cases, we have seen visually poor columns removed, and once sectioned, they have significant wall thickness and the visual defect was aesthetic rather than structural.

• Environmental conditions. With a record of the GPS co-ordinates, we can determine the column position in relation to sea level. Columns located in high, exposed areas can be susceptible to a higher degree of failure as they are

p Figure 1. This depicts two six-year testing cycles from a typical authority with sufficient budget to only action ‘red’ defects. Comparable years show an increase in ‘amber’ rated stock

exposed to harsher weather. Equally, recording coastal location columns allows us to apply a risk multiplier to assets in vulnerable locations.

• Lighting columns of greater than 8m mounting height. Our algorithm now applies a risk multiplier to the overall column height and our ultimate risk score will be increased with columns greater than 8m in height that have recorded defects.

• Other steel lighting columns on classified roads and steel lighting columns on other roads including residential streets. This is relatively self-explanatory.

• Results of previous inspections and tests. As a standard, our inspectors return to site with previous test results.

This provides them with a reference point to start their testing process. Previous test results allow ongoing monitoring and, importantly, starts to build a

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The technique for lighting column testing is a dry-coupled system that provides a cost-efficient assessment of the column.

Results obtained estimate the percentage loss of section allowing the columns to be classified (on a scale of 1-5) for either replacement or periodic re-testing. An electronic reporting procedure enables test results to be uploaded directly into the clientâ&#x20AC;&#x2122;s inventory.

The lighting column testing process covers all areas identified in the ILP TR22 (Technical Report 22 - third edition 2007) as being at risk.

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May 2019 Lighting Journal

Asset management

26

history of degradation. TR22 Edition Three ‘Rate of Corrosion’ on page 82 states that ‘little published data is available that refers to corrosion levels above and below ground’. Maintaining this information will now allow the consistent monitoring of column degradation.

• Age profile. As a standard, we estimate column age or import the asset installation date if our clients have this information. This is vital in predicting a realistic residual life and providing clients with the information they need to determine if they choose to maintain an asset within the testing programme or commit to a column replacement option.

• Homogeneous asset groups. We provide data enabling clients to build a case for asset replacement based on homogeneous groups utilising our ‘big data’ and algorithm-based pattern analysis.

• Known asset types with problems.

By collecting the above-mentioned data fields, we have a library of both assets with a high percentage of failure and assets that have shown accelerated signs of degradation against other asset types.

• Luminaire conversions. We had concerns that the initial LED installation process increased the risk of column failure. Not only did we have clients installing LEDs to aged and defective columns, we also had to contend with increased loading to columns, as the LED lanterns had an increase in weight and windage compared with the existing lantern the column had been designed for. To allow us to provide an affordable assessment, we therefore developed a generic EN40 calculation that provides a series of outcomes our clients can follow.

Those that have an increase in either weight or windage go forward to a calculation that recommends a reduction in bracket length and provides the minimum length allowed. In many cases we retain the aesthetics of the street profile by approving lanterns without the necessity for bracket removal.

• Unusual column foundations/footings. We identify unusual root sections (recording crank roots and modified root sections). In certain cases, authorities have added this information to their asset log stating that the column has a non-standard root section and authority approval was required prior to any excavations or civils works.

• Types of lighting column posing a significant risk. For example, this can be: those fitted with unauthorised attachments; steel columns with right-angled door openings; steel www.theilp.org.uk

p A lighting column being inspected

columns with hot swaged joints and brackets with missing bolts or sealing gaskets; and pre-stressed concrete columns with poorly fitted or missing spacing plugs.This is where our new technology can really enhance the client’s risk-based approach. Unauthorised attachments would require an EN40 calculation. Machine learning therefore allows us to build a library of attachments and then, based on a simple image taken by our inspector, the machine learning calculates the wind area of the attachment. Furthermore, based on the column specification and test results, we can determine if these attachments overload the column. The other above-mentioned defects form part of our inspection programmes and have for a number of years; these are all defects that our City & Guilds inspectors are trained to identify and report.

• Non-galvanized steel columns may be more prone to failure than older steel lighting columns or newer galvanized lighting column. Our algorithm now applies a multiplier to the overall risk score for non-protected mild steel columns. Column failures predominately come from non-galvanised steel columns and, although galvanising can be damaged on installation, our statistics identify spray-coated and non-protected columns as the higher percentage of column failures.

• Areas of high and frequent wind exposure. This is covered under the previously mentioned environmental conditions.

• Lighting columns mounted on overbridges, and volume of traffic. Our

algorithm now applies a risk multiplier to the overall risk score for high-speed roads and high pedestrian counts. With the increase of risk involved, defective columns now get upgraded appropriately.

CONCLUSION

From a test house perspective, these guidelines are important if we are to align with a risk-based methodology as outlined within the new code of practice. By following them, by using our experience and expertise, and by leveraging the full history of our structural testing data, we believe we are in a strong position to be able to adapt accordingly. In turn, this helps us to help our clients towards designing their risk-based approach to structural testing.

As we have learned from the previous articles on this subject, which all of course come from different perspectives, the way forward is together. Each of us within the industry has an equally important role to play in implementing recommended changes. We can only succeed if, as an industry, as a whole, we work together.

James Hill is sales director at Electrical Testing

Well-Managed Highway Infrastructure: a code of practice is available to download from the UK Roads Liaison Group, at www. ukroadsliaisongroup.org/en/codes/

08454 989 066 @ELECTEST electricaltesting.co.uk

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May 2019 Lighting Journal

The Copenhagen Lighting Festival

p ‘Chromatic Fields’ by Jakob Kvist at the Louis Poulsen headquarters building

30

FULL DANISH

Billed as ‘the ideal festival for visitors who hate noise’, February’s Copenhagen Lighting Festival also reflected the Nordic nation’s complex relationship with light and shade, from its long, dark, intense winters through to its equally long and bright summer nights

By Nic Paton

C

openhageners and visitors to the Danish capital were able during February to immerse themselves in ‘the ideal festival for visitors who hate noise’: the ‘virtually silent’ Copenhagen Lighting Festival, taking in some 40 light installations, 16 events and a range of guided tours across the city.

The annual festival is organised by the non-profit association Danish Lighting Center, and aims to bring together local and international artists to create an array of visually stunning light shows and video and light installations and laser beam displays.

Light and lighting (obviously) is at the festival’s heart. But it also reflects the Danes’ wider and often complex relationship with light, including the country’s intense and long winter darkness, the fact sun angles are often low as a result, yet the country also experiences bright and equally long summer nights.

As just a snapshot of this year’s festival, which ran from 01-24 February, ‘neon master’ Gun Gordillo illuminated rental boat company GoBoat’s maritime pavilion at Islands Brygge with an eye-catching red neon installation called ‘Taraxa’.

‘DYNAMIC SHADOWS AND LIGHT’

p ‘Taraxa’ by Gun Gordillo

www.theilp.org.uk

Artist Camilla Brix Andersen’s created an ‘upcycling’ work called ‘The Orb’ located under the nearby Langebro bridge. This was made from 12 bicycle wheels and numerous metal cans, all suspended from the ceiling under the Langebro with, the organisers said, the intention to ‘cast dynamic shadows and light in an otherwise dark city space’.

Anita Jørgensen’s neon work ‘You Are Still Here’ comprised letters 55cm tall

May 2019 Lighting Journal

p ‘EKKO’ by Vertigo

p ‘You Are Still Here’ by Anita Jørgensen

bent in white neon and mounted 21m up on the gable of the city’s Foreign Ministry building which were, the organisers said, ‘shouting in silence and calling for personal reflection’.

Across the harbour, visitors were able to experience a specially programmed lighting LED installation by Phosphor at the Danhostel Copenhagen, which aimed to distort the building and make ‘transitions between floors look more diffuse’.

At the waterfront area of The Kalvebod Wave (in front of the city’s Marriott Hotel), the festival saw the return of artist Mads Vegas’ installation ‘Eternal Sundown’, which had been a popular attraction in 2018.

This comprised 142 coloured fluorescent lamps and a laser mounted on The Wave itself, which, as the organisers put it, ‘from sunset to dawn, maintains an abstract sunset colour spectrum, spreads joy and reminds us that the much-needed sunlight soon returns’.

‘INTUITIVE LIGHTING EXPERIENCE’

In the Kuglegården district, the front of ILP member (and main festival sponsor) Louis Poulsen’s head office boasted an impressive installation by Danish lighting designer Jakob Kvist called ‘Chromatic Fields’.

This three-dimensional installation featured 72 coloured posts, forming ‘an intuitive lighting experience in transverse axes’.

As Louis Poulsen chief executive Søren Mygind Eskildsen put it: ‘We see ourselves as carriers of an outstanding Danish lighting design heritage, which we can draw attention to by means of Jakob Kvist’s beautiful work,’ adding that the festival was about creating ‘a full month infused with light.’

Another eye-catching (as well as ear-catching) installation was by artist collective Vertigo. ‘EKKO’ combined auditory and visual light art. The artwork involved four 30m light columns interspersed with quadrophonic sound.

The city’s famous Tivoli Gardens were home to no fewer than 15 ‘Winter in Tivoli’ installations, including Olafur Eliasson’s ‘Little Sun Light Swarm’ illuminated skating rink and two music shows on its lake, ‘The Prophecy of Vølven’ and ‘Tango Jalousie’.

The Danish Lighting Center’s head of project Catja Thystrup said the city had been ‘buzzing’ during the festival and that the centre had been ‘completely overwhelmed by the public interest in this year’s festival’.

p ‘Winter in Tivoli’ in the Tivoli Gardens

q ‘The Orb’ by Camilla Brix Andersen

www.theilp.org.uk

31

May 2019 Lighting Journal

Local lighting histories

HISTORY MAKERS

32

How much do you know about your local lighting history?

Delving into your local lighting heritage is not just an enjoyable past-time, it can help to improve your lighting practice and be a way to celebrate your industry within your local community

By Steve Fotios

S p One of Sheffield’s famous gas destructor

lamps following its recent restoration

www.theilp.org.uk

imon Cornwell’s regular ‘Light on the past’ articles for Lighting Journal are always a fascinating read – and in fact turn to page 40 of this edition for his latest look-back at our industry’s history.

The history of lighting can help us as lighting professionals to understand why we do what we now do. It can also be a great way to get under the skin of your local community; to communicate history and change in an accessible and engaging way.

I would love to see more lighting professionals getting involved in their local lighting history; keeping their local lighting stories alive for future generations.

Delving into the lighting archives can be an enjoyable past-time and hobby in itself.

It can also create opportunities to connect with your peers through articles in the likes

of Lighting Journal and other publications.

More widely, getting involved in talks and presentations on aspects of local lighting history can be a great way to promote the message of lighting – what our industry has done.

SHEFFIELD ‘LIGHT FACTS’

Take for example the history of my hometown of Sheffield. Here are just a few of my city’s ‘light facts’.

When James Harkin, a researcher on the TV show QI and Sheffield University alumnus, was asked in March 2017 for his best Sheffield fact, he stated that the world’s longest-lasting (or longest-observed) rainbow was seen over Sheffield.

It lasted for over six hours on 14 March 1994 [1]. Alas the record was beaten only a few months after James’ proclamation,

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May 2019 Lighting Journal

Local lighting histories

34

with Guinness World Records reporting a nine-hour rainbow over Taiwan in November 2017 [2].

Sheffield also has an interesting place in the history of outdoor lighting. The Association of Public Lighting Engineers (APLE) held its first ever conference in Sheffield, in 1928 [3].

The APLE, formed in the early 1920s, was of course the forerunner of the Institution of Lighting Engineers (ILE), which then became the Institution of Lighting Professionals (ILP) that we know today.

That meeting included 52 trial installations of outdoor lighting that were described by Jack Waldram as ‘the second milestone in street lighting’ [4]. The first milestone was the publication in 1927 of the first British Standard (Specification 307) for street lighting. The 52 installations across Sheffield in the following year highlighted problems in the specification, leading to a revised standard being published in 1931.

Our nearby town of Chesterfield was one of the first in the UK to have electric street lighting [5]. In 1879, Mosley Street in Newcastle was the first in the world to have electric streetlights. Chesterfield was lit on 8th October 1881.

Gas destructor lamps were installed to burn off methane, a potentially explosive gas, which accumulated in Victorian sewers due to anaerobic digestion.

These destructor lamps were installed at places where sewer gases were likely to collect, such as at the tops of hills. Sheffield, being very hilly, had about 85 lamps of these lamps installed between 1915 and 1935 of which around 22 still remain [6].

The story of how these were restored as part of a city regeneration project was told in Lighting Journal back in 2017 (Victorian Valued, October 2017, vol 82 no 9).

Another outdoor application, of course, is sports lighting. The world’s first ever floodlit football match took place at

p xThe record-breaking (at the time) Sheffield

rainbow. Photograph by PhD student James Bowell u Another image of Sheffield’s gas destructor lamps. This photograph was taken by Steve Fotios, while the image on the previous page shows one of the restored columns

Sheffield’s Bramall Lane stadium on 14th October, 1878. Around 20,000 people (or 30,000 according to some sources) turned up to watch, mostly for the spectacle of artificial light rather than for the football match.

The floodlights were four arc lamps, located 30ft above the ground. They were apparently sufficiently bright to dazzle the players and did not always provide the improved visibility they were meant to [7, 8].

Steve Fotios CEng, MEI, FSLL, MILP, PhD, BEng is professor of lighting and visual perception at Sheffield University School of Architecture

REFERENCES [1] ‘Where are they now? James Harkin’, University of Sheffield alumni, www.sheffield. ac.uk/alumni/news/where-are-they-nowjames-harkin-qi-1.686941 [2] ‘Record confirmed for stunning Taipei rainbow that lasted almost nine hours’, Guinness World Records, April 2018, www. guinnessworldrecords.com/news/2018/4/ record-confirmed-for-stunning-taipei-rainbowthat-lasted-for-almost-9-hours-520704 [3] Simon Cornwell’s lighting history ‘timeline’, www.simoncornwell.com/lighting/timeline/

www.theilp.org.uk

[4] Waldram JM. The Development of Street Lighting in Great Britain. Transactions of the Illuminating Engineering Society 1950; 15(8): 285-313 [5] ‘Chesterfield City of Lights’, S40 magazine, s40local.co.uk/chesterfield-city-of-lights/ [6] ‘Webb patent sewer gas destruction lamps’, Alan Cordwell, alancordwell.co.uk/Legacy/ misc/webb.html; ‘Sewer gas destructor lamp’, Wikipedia, en.wikipedia.org/wiki/Sewer_ gas_destructor_lamp; ‘New lease of life for Sheffield’s gas lanterns’, Sheffield City Council

news, October 2018, sheffieldnewsroom.co. uk/news/historicgaslanterns/ [7] Court WHB. British Economic History, 1870-1914: Commentary and Documents.

London: Cambridge University Press. 1965. pp123-124 [8] ‘The world’s first floodlit soccer match’, Chris Hobbs, www.chrishobbs.com/ firstfloodlitfootball1878.htm; ‘The first floodlit football match’, ‘Stuff by Paul Brown’, www. stuffbypaulbrown.com/the-first-floodlit-footballmatch/

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May 2019 Lighting Journal

The ILP 2019 Professional Lighting Summit

36

NORTHERN A EXPOSURE Next month’s ILP Professional Lighting Summit in Newcastle is set to be a golden opportunity for members to immerse themselves in high-end CPD and engage with peers and colleagues. With the speaker line-up now confirmed, here is what members can expect

By Nic Paton

www.theilp.org.uk

sset management, electric vehicle (EV) charging, glare, maintenance factors, the nocturnal urban environment, underwater lighting and much, much more will be on the agenda next month at the ILP’s 2019 Professional Lighting Summit.

The Summit, the highlight of the ILP’s CPD calendar, will take place from 12-13 June and will be held at the Life Science Centre in Newcastle upon Tyne. This year’s Summit is also being sponsored by Designs for Lighting.

What, then, can members expect? The idea this year is for each of the two days to have a broad theme. On the Wednesday (12 June) the focus will be issues facing the exterior lighting community. The following day, Thursday 13 June, will be more lighting design-focused. There will also be workshops running across the two days.

ILP’S NEW GN22 GUIDANCE

The conference will launch with Paul O’Brien, chief executive of the Association for Public Service Excellence (APSE) on the ‘financial crisis’ facing local authorities, contractors and consultants and what, if anything, the industry can do to respond.

ILP technical services manager Peter Harrison will introduce members to the ILP’s new GN22 guidance, which is superseding TR22. Richard Hayes, chief executive of the Institute of Highway Engineers, will also emphasise the importance of good evidence and life-cycle

planning within asset management.

Josey Wardle of Gateshead College will discuss the EV ‘opportunity’ for street lighting, including summarising the charging requirements of today’s plug-in vehicles and the funding available.

Josey’s presentation will be complemented by two other papers. Allan Howard, WSP’s technical director lighting and energy solutions, will address infrastructure requirements associated with EV charging points, including the Institution of Engineering and Technology’s latest guidance document.

And Nick Ebsworth, electric vehicle technical specialist at Siemens, will look at challenges and opportunities around EV charging.

On the Thursday, Stuart Alexander, senior designer at Michael Grubb Studio, will be speaking ‘in praise of narrow wavelength’, as well as discussing the rise and fall of both sodium and LED street lighting.

He will look to answer a range of challenging questions, including ‘what happens when an LED project is not well thought out?’, ‘are we listening to people well enough?’, and ‘how does losing that orange glow affect our communities and places?’.

Lighting designer Lucy Record will discuss her MSc research on the effects of LED street lighting on the nocturnal urban residential environment, as highlighted in last month’s edition of Lighting Journal (Suburban Nights, vol 84, no 4, April 2019).

May 2019 Lighting Journal

t The Life Science Centre in Newcastle upon Tyne, venue for this year’s ILP Professional Lighting Summit

SPECIAL SUBSIDISED DAY RATE For this year’s Summit, a special delegate day rate has been agreed of just £90. To find out more about the various delegate packages available, go to www.theilp.org.uk/summit Our thanks to Designs for Lighting for its sponsorship of this year’s Professional Lighting Summit.

GLARE AND DISCOMFORT

Glare and flicker will also be key topics of debate. Luke Price of Public Health England will provide members with the latest technical information and advice on flicker. Nic Winter, road lighting sales manager at TRT Lighting, will then present a paper looking at understanding types of glare, disability and discomfort, and the metrics and methods we use to measure and control them in street and tunnel lighting.

Nigel Parry, principal at OrangeTEK, will review and discuss the key points in the two new reports on Maintenance Factors from the ILP and ISO/CIE and provide an update on recent CIE activity.

Charlie Wadsworth, commercial director at Light Projects, will then take the plunge into underwater lighting, including looking at current considerations for underwater and wet area lighting, such as swimming pool, spa and fountain lighting.

David Orchard, sales manager at Telensa, will discuss how local authorities can best collect, protect and utilise their data

assets, including highlighting a new approach to harnessing the power of urban data.

Finally, Ryan Carroll, lighting designer at Designs for Lighting, will look at ‘how to overcome the challenge of lighting sensitive natural environments’.

Ryan’s presentation will explore some of the challenges around this area, including how lighting strategies are key to minimising the effects and impacts of artificial lighting on sensitive receptors such as bats, other fauna and residential observers and where the effect of light would be detrimental to the dark sky.

ILP engagement and communications manager Jess Gallacher said: ‘This year’s Summit promises to be two days of engaging, lively discussion.

‘The Professional Lighting Summit is always a great opportunity to catch up with your peers, make new industry contacts and really get to grips with some of the key challenges – and opportunities – facing the industry. So, come and join us in Newcastle!’

WHAT YOU NEED TO KNOW WHAT: The 2019 ILP Professional Lighting Summit WHEN: 12-13 June, 2019 WHERE: Life Science Centre, Newcastle upon Tyne HOW: Register: www.theilp. org.uk/summit

qu Underwater lighting and glare will be among the CPD topics under discussion at this year’s ILP Professional Lighting Summit

CHECK OUT THE EXHIBITORS As well as CPD presentations and networking with peers, the Summit is a great opportunity to check out new products and innovations, as a range of organisations will be exhibiting at

the Life Science Centre. A full list of exhibitors and their stands is available online on the ILP’s website.

www.theilp.org.uk

37

May 2019 Lighting Journal

Light art

p This page and opposite: The illuminated Apollo Pavilion. Photographs by Lee Dobson

38

APOLLO LANDED Durham’s iconic Apollo Pavilion was transformed in March by a light installation marking the start of its 50th anniversary celebrations. It also gave residents a sneak preview of the spectacular light art they can expect during Lumiere Durham later this year

production was provided by audio-visual specialists QED Productions, which worked with Mader Wiermann to display the artwork, using four Panasonic RZ21K projectors installed in four projection structures.

And, from a technical perspective, bringing such a large-scale projection piece into the heart of a residential estate presented a number of challenges.

First, because of the physical restrictions of the site and the low level of mains power available, the 25m-wide building had to be covered on both sides by only four projectors and from a limited range of positions on each side of the lake.

ARRAY OF ILLUSIONS

By Nic Paton

A

note for your diary later this year is that the ‘Lumiere’ light festival will be returning to Durham in November (from 14-17 November) to celebrate the brand’s 10th anniversary of lighting and transforming UK cities.

Ahead of that, the citizens of Durham were in March given a taster of what to expect when the city’s iconic Apollo Pavilion was given a spectacular light art makeover by artists Mader Wiermann.

The pavilion, created by artist and architect Victor Pasmore in 1969, is celebrating its 50th anniversary this year, and the ‘Apollo 50’ installation was commissioned

by Durham County Council to kickstart a year of celebrations. www.theilp.org.uk

VIDEO PROJECTION

Over two evenings, the pavilion’s façade was lit up by a video projection that mapped the structure’s geometric contours, reflecting the moon landing that gave the structure its name and celebrating the Bauhaus designs that were instrumental in its construction.

More than 1,500 people came to view the installation in Peterlee, which was produced by Artichoke, the organisation behind the Lumiere festival brand.

Visitors were able to watch from afar as well as experience the installation close-up by walking underneath the pavilion.

The technical expertise for the

The proximity of residential properties also meant no generators could be used, so all the projectors, video control and PA equipment had to run off the three 16amp power supplies available on-site.

Therefore, four Panasonic PT-RZ21K 20,000 lumen laser projectors were chosen for their low power consumption, high brightness and excellent contrast ratio, and a disguise 4x4pro media server was selected for the video playback and for previsualising the content.

A 3D model was produced, having been generated from old architectural plans.

But, because of a lack of any surrounding topographical data to determine the precise physical projector positions, a baked UV content workflow had to be devised within the program Cinema 4D. This provided a fully content-wrapped model, meaning the virtual projectors could be

May 2019 Lighting Journal

positioned accurately on-site within the disguise server as soon as the precise realworld projector positions and elevations had been discovered.

The baked UV workflow was settled upon after the simulations showed the number of surfaces that would be obscured from the four projectors covering the sculpture. Mader Wiermann incorporated the UV workflow to create an array of perspective illusions, spatial lighting effects and bold animations, all of which effectively played on the brutalist sculpture’s complex shapes.

The looping eight-minute video incorporated three channels of audio (LCR), with the soundscape being designed to follow the movement of the 60fps content across the sculpture, with all assets being played back from within the media server.

Pre-visualisation of how QED’s RZ21K laser projectors were to be positioned in the outdoor enclosures, unsurprisingly, was a key element in the success of the project. Fly-through and workflow simulations were therefore instrumental in communicating rapidly with the artists, highlighting any potential on-site complications so that they could begin their content rendering process.

Because of the close proximity of homes there was a curfew of works in place which meant that (including sunset) mapping time was restricted to only three-and-a half hours over two evenings, which was another challenge.

Nevertheless, more than 96% of those attending rated the installation as ‘excellent’ or ‘good’, Artichoke said.

Comments from visitors included

‘loving all the kids running around casting their shadows under the pavilion like men on the moon’, and ‘absolutely stunning and jaw dropping; love it; has brought it to light in a different way.’

EDUCATIONAL ROLE

Among the visitors was Ralf Teepe, head of culture and education at the German Embassy, which supported the installation, and by John Pasmore, son of Victor.

The weekend was also attended by students from East Durham College, who took part in educational sessions run by Mader Wiermann, Artichoke chief executive Helen Marriage and producer Louise Dennison and Karl Dixon, lecturer from the Guildhall School of Music and Drama.

The students will over the next few months work to create an original light artwork that will be displayed during Lumiere Durham.

Helen Marriage said: ‘The response to Apollo 50 has been amazing, especially amongst the local Peterlee residents who came out to see the pavilion transformed by this slice of Lumiere on their doorstep.

‘Just as important were the sessions we held with the students at East Durham College. It will be a first step for these young people on a potentially life-changing journey learning to produce and develop an original piece of light art which will be premiered at Lumiere later this year.’

• More information on Lumiere Durham will be available later this year at www.lumiere-festival.com

www.theilp.org.uk

39

May 2019 Lighting Journal

Light on the past

STARRY NIGHT The coming of war in 1939 led to a knee-jerk plunging of towns and cities into darkness. But it quickly became clear this response was too draconian, not to mention dangerous, and alternatives needed to be sought. The solution was dimmer but still visible ‘starlight lighting’

By Simon Cornwell

40

T

he streets of the United Kingdom were plunged into darkness in September 1939. This radical policy, the result of a ‘Lighting Restrictions Order’, was to make towns and cities invisible from the air, potentially confusing and outwitting enemy bombers.

But the policy was too draconian: the darkness presented an oppressive environment curtailing many desirable phases of social life; it was a real danger for motorists and pedestrians alike (as fatality and accident rates soared), and the general mood was dark and fearful. It was obvious that something had to change.

The government, whilst firmly advocating this new status quo, was also quietly looking into alternatives. Some public lighting engineers campaigned for centralised control, so the street lighting could be controlled by one switch and turned off when an attack was imminent, but the Ministry of Home Security was sceptical.

Gas lighting couldn’t be easily controlled by such centralised methods, and tuned relay systems for electrical lighting weren’t widely installed. Additionally, it only took the failure of one cascaded relay to leave sections of lighting ablaze.

However, there was a solution that had already been successfully implemented as part of Air Raid Precautions (ARP).

Government departments, working with lighting professionals and the British www.theilp.org.uk

Standards Institution, had developed forms of restricted lighting that only emitted a fraction of the light of a normal luminaire.

These were invisible from the air but gave just enough light to be useful. The resulting publications, BS/ARP 16, BS/ ARP 20 and BS/ARP 21, specified lamps, luminaires and installation directions for this restricted lighting which was confined to various permitted areas such as railway platforms.

STREET LIGHTING PRIORITISED

It was decided that this approach could be used for the now defunct street lighting.

The Ministry of Home Security insisted the Joint Lighting Committee dealing with ARP lighting should immediately prioritise street lighting.

The brief was simple: a form of lighting should be developed that would give the greatest possible amenity without giving assistance to enemy aircraft.

The first step was to identify the scale of the problem. After taking control of some street lighting installations, where it was

u Gas lighting manufacturer Sugg was quick off the mark, after designing the ‘Gas Industry Fitting’ in parallel with the preparation of BS/ARP 37. In this advert, a converted ‘London’ luminaire is shown with the new auxiliary lighting unit fitted to its base

May 2019 Lighting Journal

t The conversion of Sugg’s 8000 luminaire showed the complexity facing the gas industry.

This wing-type luminaire, designed for Group B roads, required the removal of its mantle cluster and the addition of an auxiliary gas supply for its ‘Gas Industry Fitting’

possible to experiment with illumination on the road, reconnaissance aircraft were flown from neighbouring airfields, and the results observed from the air.

It was determined, by these limited trials, that the highest illumination consistent with the requirements of defence was in the order of 0.0002 foot candles (fc).

Unfortunately, weather conditions were never ideal, and the aerial observations were difficult, so the ever-pragmatic Jack Waldram (working from the research labs of the General Electric Company) proposed and developed an optical system that allowed the tests to be carried out in the lab.

His methods correlated with actual aerial observations (when they could be made) and Waldram’s conclusion was the same: an average illumination exceeding 0.0002 fc could not be permitted as it would be seen from the air.

This illumination was a fraction of that produced by standard street lighting. It was dimmer than conditions under a full moon and was compared to starlight.

There was some consternation that the value was so low that it was either unobtainable or useless. But aerial and laboratory observations confirmed it, and the proposal for this restricted lighting became known as either ‘0.0002 lighting’, ‘comfort lighting’ or ‘starlight lighting’. It was the final term that eventually stuck.

Once the maximum illumination value was resolved, the committee had four main considerations: 1. Illumination should be the maximum permissible and should not be exceeded. Easy ways of checking installations must be possible.

2. Costs were of utmost importance. It

u Manufacturers of central control systems dropped their advertising for control of street lighting after the government ruled out its use during the war. Instead, firms such as Standard Telephone and Cables Limited concentrated on other ARP measures, such as the control of air raid sirens

was necessary to use existing columns and accept spacing limitations.

3. The lighting units should be simple.

They should provide the required distribution without adjustment and have reasonable installation and running costs.

4. The light distribution should give the maximum amenity possible. But this needed to be without emitting any light above the horizontal or appreciable glare.

Whilst the committee was deliberating, Sugg was asked to produce a fitting that could be used to convert the hundreds of gas lanterns in Westminster.

It was given the target illumination of 0.0002 fc and a time limit of just ten days.

The director of the company, P Crawford, recalled the apparently ridiculous demands. ‘When faced with the stringent requirements of earlier BS/ARP specifications, and being asked to produce a fitting which could produce 0.0002 foot candles,

41

the design staff simply laughed. This unit had to be designed and produced at a price far cheaper than any other gas lighting unit, be simple of construction, and designed that every part fulfilled as many duties simultaneously as possible,’ he said.

But Sugg quickly knuckled down to the task and developed a plan.

CONVERTING GAS LUMINAIRES

Converting gas luminaires presented a unique problem, given the different sizes of mantles, their clustering, and their arrangement within the luminaire.

Therefore, the gas industry chose to produce an auxiliary unit for gas lighting, which had its own burner unit, gas supply and optical system. This ‘Standard Industry Fitting’ could then be attached to the gas luminaire, usually within the body to take advantage of its weatherproofing and ventilation, and the existing gas supply re-routed to the new fitting.

Three different sizes of unit had been www.theilp.org.uk

May 2019 Lighting Journal

Light on the past

t The new Metrovick Starlight Unit produced by Metropolitan-Vickers.

This was typical of the luminaires produced for electrical installations. One of its most important features was the ‘Permanent Optical System’, which didn’t allow any adjustments. It could replace existing luminaires (as it was tapped for top-entry fitting) or could be supplied with an adaptor for fixing to an existing luminaire

42

produced for each of the three previous BS/ARP lighting specifications.

Sugg took a Standard Industry Fitting rated at 0.002 fc, and with its slotted mask removed, started installing it within Westminster’s gas luminaires. Whilst this work was being carried out, the firm produced several experimental slotted masks, and undertook photometric tests.

When a solution was found, which produced the required 0.0002 fc, custom tools were constructed, and production started in earnest. The new masks were quickly fitted to the newly installed fittings and, with help from the British Standards Institution (who tested and validated the design) and the Public Lighting Department of the Greater London County Council, the whole of Westminster’s gas installation was successfully modified within the extreme time limit imposed.

In tandem, the Joint Lighting Committee took the same pragmatic approach and based its street lighting specification on existing restricted lighting standards.

It took the view that four units should be available: two at a mounting height of 10ft (which were designed for different spacing), one at 15ft and another at 20ft. No reference was made to the Ministry of www.theilp.org.uk

Transport Final Report of 1937, which fixed mounting heights at 25ft and 15ft for Group A and Group B lighting respectively.

However, these new proposed heights came from earlier BS/ARP specifications where the luminaires and optical systems had already been designed and installed; so it appears these heights were adopted for expediency. The specification, Street Lighting under War-time Conditions was then issued in January 1940, under reference BS/ARP 37.

BRINGING THE INDUSTRY ROUND

This new lighting had to be sold to doubting lighting engineers, watch committees, councillors, government officials and the public alike.

So, three meetings were arranged by the Joint Lighting Committee at the Empire Restaurant in London’s Victoria on the evenings of 6th, 7th and 8th February, 1940.

After introducing the concepts of this new form of lighting and outlining the newly published BS/ARP 37, the delegates were given a conducted tour of Westminster’s streets, now dimly illuminated by Sugg’s new fittings.

The meetings were attended by 500 delegates and all agreed to the immense

amenity and value of this new type of lighting. However, the issue of cost was often raised, and many local authorities considered the new lighting too expensive, especially when combined with other war-time restrictions. But the Ministry of Health already had a financing package, repayable over five years.

Publicity for this new ‘Starlight Lighting’, and the potential end of the dreaded ‘black out’, was dealt with by typical wartime expediency. District meetings were arranged to explain the technical details, with the first in Leicester in April, 1940.

Local lighting engineer Thomas Wilkie, who had been so vocal in the push towards centralised control of lighting in war-time conditions, arranged for modified electrical and gas luminaires to be installed in roads adjacent to the meeting hall.

Even the Secretary of the Association of Public Lighting Engineers was asked the help. Mr H O Davies, appeared on the radio programme In Britain Now, and gave a short talk on this new form of war-time lighting. The word was being spread.

Many electrical manufacturers immediately took up the challenge of BS/ARP 37 and produced a range of fixtures that complied with the new BSI specification. Two manufacturers, GEC and REVO, produced conversion fittings that were designed to screw into the lamp holder of existing luminaires. Other manufacturers produced self-contained fittings that could either replace or supplement the existing lighting.

Families of fittings that complied with the three mounting heights, and the three permitted sizes of lamp, were also on offer.

In all cases, the luminaires were rigidly fixed, and the optical arrangements could not be disturbed.

The expediency of the work, and the co-operation of government, standards authorities, manufacturers and lighting authorities, ultimately succeeded and the new specification was issued in record time.

With the standard gas fitting already in production, the streets of Westminster converted, and electrical manufacturers producing compliant fittings, the conversion of street lighting could commence.

Professionals and public were slowly being made aware that the total darkness of the black out could potentially come to an end. And the cry of the public was unanimous: ‘Why was their own town still without light?’.

Simon Cornwell BSc (Hons) is an R&D development senior manager at Dassault Systems

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May 2019 Lighting Journal

Façade lighting

BENEATH THE FAÇADE The modernist concept of ‘Lichtarchitektur’ or light architecture may have fallen out of favour in recent decades but, as a research project by Lebanese lighting designer and YLP member Samer Haddad has illustrated, the flexibility and versatility of LED could allow architects and designers to embrace it once more and take façade lighting to a new level

44

pq Above and below: The De Volharding building at The Hague. It is considered one of the best examples of modernist architecture to apply the concept of ‘light architecture’. This can be seen in particular, as this top image shows, through its composition of vertically and horizontally lit elements

By Samer Haddad

L

ight, as renowned architect Richard Meier argues, is not only the source of life but also of all form. As he puts it: ‘Architecture which enters into a symbiosis with light does not merely create form in light, by day and at night, but allows light to become form.’ [1] Ever since its discovery, artificial light has played a major role in the lives of human beings. It has shaped our cities and transformed darkness into a new ‘world’ full of life. As the new ‘building material’ of the 20th century, light has fascinated architects and designers with its ability to convey a message and influence form. It is a medium that has revolutionised the way buildings are designed, and it has affected all design decisions, including shape, materials and colours.

NOCTURNAL ARCHITECTURE

In the early 1900s, a new term emerged ‘Lichtarchitektur’ or light architecture, www.theilp.org.uk

coined by Joachim Teichmüller. Light architecture, he argued, was ‘the architecture that conceives light as a building material and incorporates it purposefully into the overall architectural design’ [2].

Taking up this thinking, architects and designers increasingly began to realise and embrace the power of light; how it could affect and influence their design decisions. Lighting gradually became an integral element of modern architecture.

The role of materials was also key.

Architects and designers experimented with different materials and different light sources in order to achieve the desired results. For example, as the magazine Bauwelt described it in 1930: ‘It would be difficult to find any construction or new building material offering as many artistic possibilities, and thus challenges, as Light’ [3].

Once the advertising capabilities of lighting were discovered, light became

May 2019 Lighting Journal

tu Simpson’s Department Store in London in daylight and (right) at night.

A composition of red, green and blue neon light sources (although black and white in this image) revealed the vertical and horizontal elements of the building

increasingly used for this purpose, too.

Façades were no longer simply building ‘skins’ but surfaces of advertisement [3].

The idea of ‘Lichtreklame’, or luminous advertisement, became the new trend in architectural lighting. It didn’t add any architectural value but gave buildings an advertising role. Façades become structures holding luminous signs, letters, logos [3].

Another way of advertising through light was floodlighting buildings. This was mostly used in the United States where towers were floodlit to advertise a company or brand. According to David Nye, historian and professor of American history, ‘a selective nightscape emerged, a new kind of visual text, one that expressed an argument or view of the world without writing’[4].

By the 1960s, however, the utopian ‘Lichtarchitektur’ vision seemed to be dying a death. Lighting, increasingly, was becoming an afterthought in the architectural and design process. Even with the introduction of LED, which as we all know has brought previously unimagined possibilities into lighting, façade lighting is all too often little more than an end product added to a building, almost an illuminated coating without any understanding of the structural, morphological or typological elements of the architecture [5].

While it is of course a generalisation, today many projects are designed without any consideration to their night-time appearance. Architects, designers, planners and investors still lack awareness of the effect lighting could have on our cities, buildings and people’s perception.

Which is a pity as, with LED, the ‘Lichtarchitektur’ vision is, perhaps more than it has ever been, achievable. As part of my thesis for my master’s degree in Light

and Lighting at the Bartlett, University College London and my passion about the role, and potential, of light architecture I decided to study how lighting was incorporated – both in concept and practice – into buildings from the 1930s onwards.

I used physical modelling to gauge how light architecture could be used to transform modern-day buildings; how embracing a vision of the past could allow architects and lighting designers to use LED lighting in more powerful and creative ways.

EXAMPLES FROM THE PAST

I have chosen three major existing examples of light architecture: Simpson’s Department Store in London; the De Volharding building in Hague; and Manufacturers Trust Building in New York, each of which I shall now look at separately.

Highlighting architectural elements – Simpson’s Department Store, London (1936) Simpson’s Department Store in London was designed by Joseph Emberton in 1936.

The façade was conceived to incorporate light as one of its materials. To create an even illumination, the surfaces were inclined towards the light source.

During the night a composition of red, green and blue neon light sources revealed the vertical and horizontal elements of the building, also shown here, albeit as a black and white image from the period. The lighting design revealed surfaces and volumetric characteristics of the building [6].

Highlighting interior activity – the De Volharding Building, the Hague (1928) The De Volharding building was designed by architect Jan Buijs in 1928. It is one of the best examples of modernist

architecture to apply the concept of ‘light architecture’.

In response to the client’s advertising needs, Buijs created a ‘structure that seemed to consist of light’. Letters were placed behind translucent glass panels; at night the panels were backlit, revealing the messages.

The top of the building announced the name of the cooperative through a composition of vertically and horizontally lit elements [7].

Highlighting daylit effect – Manufacturers Trust Building, New York (1955) Designed in 1955 by Gordon Bunshaft of Skidmore, Owings and Merrill, Manufacturers Trust was one of the first banks to be designed of glass, conveying the message of transparency and openness.

During the night this idea was emphasised through luminous ceilings on different floors which lit the interior and made it visible to the outside. According to architectural historian Lewis Mumford the building is ‘a crystal lantern. It is even more striking by night than by daylight’ [3].

EXAMPLES FOR THE FUTURE?

In order to test the reason behind the success of these schemes, each principle was applied to an appropriate contemporary building. I chose contemporary buildings that, I felt, had a certain architectural www.theilp.org.uk

45

May 2019 Lighting Journal

Façade lighting

46

pu Case study 1: the ABC Dbayeh shopping mall. From top downwards: the current lighting, the lighting scheme created for Samer’s MSc exhibition, and his original lighting model

value and a concept that had driven the design process. Moreover, they each had an actual lighting scheme that was neutral; the scheme was there but, arguably, not adding any value to the building.

Being based in Beirut, and with the increase in the number of lit buildings in Lebanon (yet with very little thought given to the design of their lighting schemes), I chose to highlight case studies from my own country.

The different lighting architecture schemes were tested on the contemporary buildings using physical models. Physical modelling is, I feel, a very powerful tool that is being used less and less today, especially in the lighting industry as everybody is relying on digital simulation.

However, my experience with physical models during architecture school has allowed me to understand the accuracy of results models generated and the interactivity they created during assessment.

The three cases selected for the experiment were the shopping mall ABC Dbayeh, USJ Campus de l’Innovation et du Sport and the headquarters building of shiping firm CMA CGM. www.theilp.org.uk

Case study 1 Highlighting architectural elements – the ABC Dbayeh shopping mall ABC Dbayeh was an expansion design for the original mall built in 1979. In 2009, the American firm nARCHITECTS was in charge of redesigning the existing mall.

The design was to create several volumes that are shifted horizontally and vertically in response to site and zoning constraints. The main façade is made of laser-cut aluminium sheets, with

apertures varying in sizes.

The lighting scheme consisted of backlighting the main volume to reveal the openings and uplight the other three volumes to reveal the cladded logos and the different textures. The architect’s vision was to create a coherent volumetric ensemble that provides a different experience for users depending on the time of their visit. Moreover, because of its location on the main coastal highway, the architects wanted to create a landmark by day and by night [8].

May 2019 Lighting Journal

tq Case study 2: the USJ Campus de l’Innovation et du Sport.

From top downwards: Samer’s lighting model, the current lighting and the lighting scheme created for his MSc exhibition

47

Case study 2 Highlighting interior activity – USJ Campus de l’Innovation et du Sport Designed by Youssef Tohme Architects and 109 Architects in 2011, this new campus for Saint Joseph University takes a contextual approach, integrating historically, physically and culturally with Beirut’s urban tissue.

The building consists of different blocks connected on different levels. This fluid circulation created several meeting points

for the students with interesting viewpoints to the city. The main building was made from polycarbonate sheets housing the main basketball stadium.

The other blocks had a very unique façade design. The concrete was perforated according to a pattern inspired from the ‘Mashrabiya’ design and the destruction caused by the Lebanese civil war.

This allowed direct and ambient light to penetrate the interior spaces and create

play of light during the day. The current lighting scheme consisted of uplighting the inner voids between the blocks revealing the different volumes [9].

Case study 3 Highlighting daylit effect – CMA CGM CMA CGM headquarters in Beirut is a transparent composite structure designed

by Nabil Gholam Architects and completed in 2011.

The building design was based on www.theilp.org.uk

May 2019 Lighting Journal

Façade lighting

48

several environmental strategies to increase efficiency and create a model for environmentally friendly buildings in Beirut. The façade design was one of the key elements in this environmental strategy.

The glass panels were designed to reduce heat gains while keeping a transparency with the outside and increasing daylight supply. The shading elements were a second shield for the building against solar gains and protected from the external high noise levels.

The current lighting scheme of the building consisted of lighting from the inside by creating a false ceiling system on each floor that allowed for cove lighting.

This indirect light is projected to the outside during the night and gives a linear lighting effect of each slab [10].

THE STUDY AND DISCUSSION

While building the physical models for each scheme, both the current lighting scheme and the new one were incorporated. As part of my MSc, these physical models were placed in an exhibition space at the Lebanese American University, Byblos Campus in July 2017, where experts and the public were invited to assess the different lighting schemes.

The process was the same for all the viewers. First the participants saw the models without any lighting. Then the current lighting scheme of the first case study was switched on, after which the participants had to answer the first part of the survey related to that scheme.

Then the current lighting scheme was switched off and the new scheme based on the modernist principle was turned on.

The second set of questions relating to the new scheme were answered. Then the process was repeated for the other two buildings. www.theilp.org.uk

p Case study 3: the CMA CGM. From top downwards, this again shows Samer’s original lighting model, the current lighting and the lighting scheme created for the MSc exhibition

CONCLUSION

It was very interesting to see the reaction of people while viewing each lighting scheme. Moreover, seeing an actual physical model made the experiment much more interactive, especially as viewers were able to move around the models and see them from different angles.

The results obtained from this study verified, to me, the success of façade lighting during the modernist period.

By applying the principles on contemporary buildings, the lighting scheme was transformed in all the three cases. According to the participants, the new lighting schemes were more impressive; they emphasised the concept of the building

and became more complementary to the daylit appearance. However, it was also felt that, in some cases the new scheme seemed to be too bright and the modelling of the façade was not improved.

When these results were related to the luminance obtained in the computer simulation, interesting results were found. A more uniform luminance pattern could make a scheme more successful and improve the reading of volumes. Moreover, the scheme should provide a certain minimum luminance on all the façades of the building. This way it is read as a whole and the scheme becomes more coherent.

Ultimately, I’d argue that the exterior lighting scheme of a building should

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May 2019 Lighting Journal

Façade lighting

50

pu Manufacturers Trust Building, New York by day (right) and by night. It was one of the first banks to be designed of glass, conveying the message of transparency and openness. Luminous ceilings on different floors lit the interior and made it visible – and again transparent – to the passing world outside

reflect the architect’s concept and ideas. In order to achieve this, there should be a collaboration between architects and lighting designers at the concept stage of a project.

The thinking process of the night-time appearance is very important in order to achieve the best end result.

Finally, at a practical level, some guidelines can be deduced from this study for future façade lighting projects. For

buildings with large façades and surfaces of different materials, the lighting should focus on revealing the texture and highlighting the important façade elements.

For buildings with a lot of activity and circulation the lighting should emphasise this by highlighting passages, connections and main meeting points.

For commercial buildings with glass façades designed to show a company’s

transparency and openness and highlight the daylit effect, the design should focus on lighting up the interior spaces to reveal them to the outside.

[4] Nye, D. (1990). Electrifying America: Social Meanings of a New Technology, 1880-1940. Cambridge, Mass, MIT Press [5] Warson, A. (2007). Illuminating architecture. Building, 57(2), p.26 [6] Compton, J. (1980). The Night Architecture of the Thirties. The Journal of the Decorative Arts Society 1890-1940, 4(1), pp. 40-47 [7] Rehorst, C. (1985). Jan Buijs and De Volharding, The Hague, Holland. Journal of the Society of Architectural Historians, 44(2),

pp.147-160 [8] Narchitects.com. (2017). ABC Dbayeh Department Store | nARCHITECTS. Available at: narchitects.com/work/abc-dbayeh-department-store-2/ [9] 109architectes.com. (2017). USJ Campus de L’Innovation et du Sport. Available at: www.109architectes.com/Projects/USJ_ Campus_de_L’Innovation_et_du_Sport-312 [10] Nabilgholam.com. (2017). cma-cgm headquarters. Available at: www.nabilgholam.com/project.14

Samer Haddad B.Arch MSc is an architect, lighting designer and YLP member based in Beirut. He holds an MSc in Light and Lighting from the Bartlett, University College London

REFERENCES [1] Keskeys, P. (2015). Day and Night: 8 Transformations of Architecture After Dark.

Architizer. Available at: architizer.com/blog/day-and-night/ [2] Ganslandt, R. and Hofmann, H. (1992).

Handbook of Lighting Design. 1st ed.

Braunschweig/Wiesbaden: ERCO Leuchten GmbH [3] Neumann, D. and Ackermann, M. (2006). Luminous Buildings: Architecture of the night. 1st ed. Ostfildern: Hatje Cantz Verlag, Germany

www.theilp.org.uk

Lighting

May 2019 Lighting Journal

Consultants

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

Steven Biggs

Allan Howard

Alan Tulla

Skanska Infrastructure Services

WSP

Alan Tulla Lighting

IEng MILP

Peterborough PE1 5XG

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

www.skanska.co.uk

BEng(Hons) CEng FILP FSLL London WC2A 1AF

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

www.wspgroup.com

IEng FILP FSLL

Winchester, SO22 4DS

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

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

Professional artificial and daylight lighting services covering design, technical support, contract and policy development including expert advice and analysis to develop and implement energy and carbon reduction strategies.

Expert witness regarding obtrusive lighting, light nuisance and environmental impact investigations.

Simon Bushell

Alan Jaques

Michael Walker

SSE Enterprise Lighting

Atkins

McCann Ltd

MBA DMS IEng MILP

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

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

IEng FILP

Nottingham, NG9 2HF

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

www.atkinsglobal.com

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

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

IEng MILP CMS.

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

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

Asset management, data capture, inspection and testing services available.

Lorraine Calcott

Tony Price

Peter Williams

it does Lighting Ltd

Vanguardia Consulting

Williams Lighting Consultants Ltd.

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

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

www.itdoes.co.uk

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

BSc (Hons) CEng MILP MSLL Oxted RH8 9EE

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

Bedford, MK41 6AG T: 01234 630039 E: peter.williams@wlclighting.co.uk

Chartered engineer with wide experience in exterior and public realm lighting.

All types and scales of project, including transport, tunnels, property development (both commercial and residential) and sports facilities. Particular expertise in planning advice, environmental impact assessment and expert witness.

Specialists in the preparation of quality and effective street lighting design solutions for Section 38, Section 278 and other highway projects. We also prepare lighting designs for other exterior applications. Our focus is on delivering solutions that provide best value.

www.vanguardia.co.uk

Mark Chandler

Alistair Scott

MMA Lighting Consultancy Ltd

Designs for Lighting Ltd

EngTech AMILP

Reading RG10 9QN

BSc (Hons) CEng FILP MHEA Winchester SO23 7TA

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

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

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

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

www.mma-consultancy.co.uk

John Conquest

MA BEng(Hons) CEng MIET MILP

4way Consulting Ltd Stockport, SK4 1AS

T: 0161 480 9847 E: Jason.mcnulty@4wayconsulting.com

www.4wayconsulting.com

www.designsforlighting.co.uk

Anthony Smith IEng FILP

Stainton Lighting Design Services Ltd Stockton on Tees TS23 1PX

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

www.staintonlds.co.uk

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

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

Stephen Halliday

Nick Smith

WSP

Nick Smith Associates Limited

EngTech AMILP

Manchester M50 3SP

IEng MILP

Chesterfield, S40 3JR

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

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

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

Specialist exterior lighting consultant. Private and adopted lighting and electrical design for highways, car parks, area and sports lighting.

Lighting Impact assessments, expert witness and CPD accredited Lighting design AutoCAD and Lighting Reality training courses

www.wspgroup.com

EngTech AMILP

www.nicksmithassociates.co.uk

www.wlclighting.co.uk

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

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

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

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

Lighting

Directory

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

• Lighting Design Techniques • Light Pollution • Tailored Courses please contact

Venues by arrangement Contact Nick Smith

Nick Smith Associates Ltd

t: 01246 229 444 f: 01246 588 604 e: mail@nicksmithassociates.com w: www.nicksmithassociates.co.uk

36 Foxbrook Drive, Chesterfield, S40 3JR

www.intratest.co.uk M 07795 903858 T 01202 530166 E sales@intratest.co.uk

We offer straightforward, no-nonsense, professional advice and solutions to all those involved in street lighting and the highway assets maintenance: to implement integrated asset management programmes in a cost effective, sustainable manner.

Your contact is Martin Wyeth

NON-DESTRUCTIVE TESTING • ULTRASONICS • ULTRASONIC THICKNESS • VISUAL INSPECTION • ELECTRICAL TESTING & GENERAL MAINTENANCE • MAGNETIC PARTICLE INSPECTION • DYE PENETRANT • FLOODED MEMBER

Multi-Award Winning Structural Testing Business

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

52

Delivering Decorative Lighting Festoons for over 25 years

ILLUMINATING THE WAY Survey, design, energy management & distribution of road, commercial, industrial & architectural lighting solutions.

To illuminate your next project, contact our lighting team on 01236 458000 or 0191 217 0119. www.lightandenergy.co.uk

European distributors of StormSpill®, only system specified by: • London 2012 Olympic Games • Glasgow 2014 Commonwealths

We create bespoke low energy, durable festoon lighting for architects, designers, retail chains, sign makers, ship builders, and more.

Contact us to discuss your lighting project. www.lumisphere.co.uk saleslj@lumisphere.co.uk 01245 329 999

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

Column testing and guarantee service available.

The most approved system by Highways Engineers

Cumbernauld Newcastle Aberdeen Dingwall Great Yarmouth Light & Energy Distribution, formerly known as MacLean Electrical Lighting Division.

Part of the MacLean Electrical Group.

0208 343 2525 baymedia.co.uk

May 2019 Lighting Journal

Meter Administrator Meadowfield, Ponteland, Northumberland, NE20 9SD, England Tel: +44 (0)1661 860001 Fax: +44 (0)1661 860002 Email: info@tofco.co.uk www.tofco.co.uk

Power Data Associates Ltd are Power Associates the leadingData meter administrator in Great Britain.

We Ltd are the achieve leading accurate energy calculations meter assuring youadministrator of a cost effective quality in service.

Great Offering Britain. We independent consultancy advice achieve to ensure correct accurate inventory coding, unmetered energy forecasting and energy calculations impact of market developments.

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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claim your spot for the year in the lighting directory Contact Andy on 01536 527297 or email andy@matrixprint.com for more details

May 2019 Lighting Journal

Diary

THE DIARY IN THE JUNE ISSUE THE NEW-LOOK ILP An update on the ILP’s new regional structure, including its Lighting Delivery Centres

p The Life Science Centre in Newcastle upon Tyne, venue for next month’s ILP Professional Lighting Summit, which takes place between 12-13 June

08 May

Fundamental Lighting Course Venue: ILP, Regent House, Rugby

10 May

Closing date for the Society of Light and Lighting’s ‘Young Lighter’ competition Details: www.sll.org.uk or email sll@cibse.org

54

15 May

Electric know-how for architectural lighting designers Venue: Conway Hall, 25 Red Lion Square, London

21 May

Bats and Artificial Lighting Symposium, organised by the Bat Conservation Trust Venue: Arup London Enquiries: jferguson@bats.org.uk

22 May

How to be brilliant (London)… with John Bullock of Light Review Venue: Body & Soul, Rosebery Avenue, London EC1R

12-13 June

The ILP 2019 Professional Lighting Summit Venue: The Life Science Centre, Newcastle upon Tyne Details: www.theilp.org.uk/events/professional-lightingsummit-2019/

19 September

How to be brilliant… at daylight, experience and wellbeing (London), with Arfon Davies and Nicola Rigoni of Arup Venue: Darc Room, London Design Week

23 October

How to be brilliant… at circadian lighting (London), with Neil Knowles, director and founder of Elektra Lighting Design Venue: Body & Soul, Rosebery Avenue, London EC1R For full details of all ILP events, go to: www.theilp.org.uk/events

www.theilp.org.uk

EUROPEAN ROADMAP A look at LightingEurope’s 2019 European Lighting Summit, including including better school and human-centric lighting SAFE PASSAGE How tragedies such as Grenfell have raised the profile of fire safety, including the role of emergency lighting

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