Lighting Journal May 2018 by Matrix Print

Professional best practice from the Institution of Lighting Professionals

May 2018

HEALTH MATTERS The growing health worries around light pollution and flicker TAKING FLIGHT How aircraft interiors, and lighting design, have changed in the past 100 years URBAN SHIP-SHAPE Rethinking the humble bollard for the modern age

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May 2018 Lighting Journal

Contents

06 06 TAKING FLIGHT

Aircraft interiors have changed immeasurably in the past 100 years. And so has the lighting design for what can sometimes be a challenging space, as Jonathan Howard explained at Light School in February

22 40

12 BURNING BRIGHT

A 5m-high galvanised steel leopard illuminated by LED is at the heart of an Aberdeen regeneration project

14 URBAN SHIP-SHAPE

Originally simply old ships’ cannons buried muzzle-down in the ground, the humble bollard has evolved into a vital multi-faceted tool for urban safety, security and even regeneration

HEALTH MATTERS

England’s chief medical officer, Professor Dame Sally Davies, has argued that light is one of a ‘toxic cocktail’ of pollutants increasingly worrying health professionals, with flicker also perceived as a possible health hazard, as Public Health England’s John O’Hagan explains

THE 22 LIGHTING NARRATIVE

For the first ‘How to be brilliant…’ lecture of 2018, 18 Degrees’ Christopher Knowlton took his audience on a fascinating journey around concepts of narrative, memory and illusion, as two audience members recall

26 CAPITAL CONCERNS

32 COURT CONTROL

A lighting upgrade for Wimbledon’s Centre Court has resulted in a more responsive and flicker-free system, which should mean better illuminance if (or more likely when) the British summer means the heavens open

ILP President Alan Jaques wrote to London mayor Sadiq Khan in March to emphasise the lighting profession’s disquiet that lighting and lighting design appears at risk of being overlooked within his ‘London Plan’ for transforming the capital’s infrastructure

34 RAILWAY JOURNEY

38 DEVELOPMENT PLAN

VICTORIAN VALUES

In Victorian times, the high street was all about personal service and socialisation. Intelligent connectivity is now bringing us back round full circle, with lighting columns and street furniture at the heart of this urban transformation, writes Amy Barker

Lighting designer and YLP member James Duffin was privileged to be asked to create an installation for last year’s LewesLight festival. He describes how the process worked

Too busy, budgets too tight: there are always reasons for CPD to drop down the ‘to do’ list. But in a fast-changing lighting world, CPD is becoming more, not less, important, emphasises Scott Pengelly. So get registered for next month’s ILP Professional Lighting Summit

40 INTELLIGENT DESIGN

It was perhaps no surprise that new product launches and discussion around ‘intelligent’ lighting, digitalisation and urban spaces of the future dominated March’s Light + Building in Frankfurt. But innovations in solar-powered lighting, control systems and street furniture were also very much in evidence

Professional best practice from the Institution of Lighting Professionals

May 2018

44 MERCURY RISING

Mercury vapour lamps have become synonymous with the radical rethinking of lighting and architectural design that followed the Second World War. But, in fact, the development of vertically-burning mercury lanterns pre-dates the war. Simon Cornwell delves goes back into the archives

50 DIARY

The publication for all lighting professionals

p COVER PICTURE

Manchester illuminated by night – light pollution and flicker are becoming growing health worries, England’s chief medical officer has warned

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May 2018 Lighting Journal

Editor’s letter

Volume 83 No 5 May 2018 President Alan Jaques IEng FILP Chief Executive Tracey White Editor Nic Paton BA (Hons) MA Email: nic@cormorantmedia.co.uk Editorial Board Tom Baynham MEng MA (Cantab) Emma Cogswell IALD Mark Cooper IEng MILP Kevin Dugdale BA (Hons) IEng MILP Graham Festenstein CEng MILP MSLL IALD Nathan French John Gorse BA (Hons) MSLL Alan Jaques IEng FILP Gill Packham BA (Hons) Nigel Parry IEng FILP Richard Webster Art Director Adriano Cattini BA (Hons) Email: adriano@matrixprint.com Advertising Manager Andy Etherton Email: andy@matrixprint.com Published by Matrix Print Consultants Ltd on behalf of Institution of Lighting Professionals Regent House, Regent Place, Rugby CV21 2PN Telephone: 01788 576492 E-mail: info@theilp.org.uk Website: www.theilp.org.uk Produced by

Matrix Print Consultants Ltd Unit C, Northfield Point, Cunliffe Drive, Kettering, Northants NN16 9QJ Tel: 01536 527297 Email: gary@matrixprint.com Website: www.matrixprint.com © ILP 2018 The views or statements expressed in these pages do not necessarily accord with those of The Institution of Lighting Professionals or the Lighting Journal’s editor. Photocopying of Lighting Journal items for private use is permitted, but not for commercial purposes or economic gain. Reprints of material published in these pages is available for a fee, on application to the editor.

or me, Light + Building is not just about taking in new product launches and industry innovation, although that is of course a key part of the show (along with getting seriously footsore). It’s also about the conversations you have, the chatter and gossip you pick up. What, then, did I take away? Much as in 2016, smart cities, automation and connectivity were a central (if unsurprising) talking point on many of the stands I visited, with control systems, CMS and open platforms increasingly becoming recognised as key enablers in this transformation. The opportunity of Li Fi in the home or office was another subject that cropped up regularly, with Philips in particular making some significant moves in this area during the week in Frankfurt, as we highlight in this edition. However, there was also recognition (as we picked up in last month’s Lighting Journal) that, for this technology to make the transition from ‘innovation’ to mainstream, there needs to be a much wider public dialogue, education and ‘selling’ process. It is all well and good the lighting industry having the technology and prowess to make this revolution a reality, but it’s only going to happen if ‘people’ – corporate and municipal budget-holders and decision-makers but also individual homeowners – can see what’s in for them and why this extra investment might stack up. Another interesting talking point for me at Light + Building was whether 5G – the rollout of the next generation of mobile networks – could be the game-changer that kickstarts these conversations and accelerates this adoption process? We’re already seeing lighting columns with inbuilt 5G masts coming to market (the Philips/American Tower Smart Fusion pole, for one). But 5G, it is predicted, could also lead to the wholesale deployment of networks of low-cost, ultra-fast sensors across many cities, with lighting columns an obvious existing infrastructure for both these and for 5G base stations. The initial stage of the UK’s 5G auction got underway in March, and the first commercial services are expected to launch in 2020 – the year, of course, of the next Light + Building in Frankfurt. It’s going to be fascinating to see how this one plays out. 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 2018 Lighting Journal

Aviation lighting

Aircraft interiors have changed immeasurably in the past 100 years, from railway carriage-style interiors through to the opulence of the 1920s, the bland 1970s and ‘cattle class’, and now ‘hyper-personalised’ premium spaces. And so has the lighting design, as Jonathan Howard explained at Light School in February By Jonathan Howard

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May 2018 Lighting Journal

HA Designs has been going for about 30 years and the ‘DH’ stands for David Hersey. If you every saw Cats, Miss Saigon, Les Misérables in the theatre – that’s the genesis for our firm. David was able to bring work he does in the theatre to exhibitions and architecture and lighting design. That led to a collaboration with Virgin Atlantic over a number of years. What this article therefore will be about is the work we’ve done for Virgin, as well as a potted history of where aircraft lighting started from, where it’s ended up and where it appears to be going. The history of commercial flying starts just over 100 years ago. The genesis of cabin design really started with the mail service. At this point the aircraft interiors were secondary to the process of getting mail to

a destination; passengers, too, were very secondary. So, the interior used to bear a strong resemblance to a railway carriage interior, right down to the fact it had hat racks and simple seating. It was all about weight, and a very simple interior. Planes had large windows because, obviously, back then they weren’t pressurised. The lighting was also very much a secondary thing. Aircraft didn’t fly at night generally, and certainly not passenger services. So cabin lighting wasn’t really considered. It took 62 hours to fly from London to Delhi, stopping along the way, mainly to refuel but also to let passengers stretch their legs. From a lighting design point of view, essentially there wasn’t anything. They didn’t need it, mainly because most of the aircraft was canvas; you could actually rip the ceiling off. www.theilp.org.uk

May 2018 Lighting Journal

Aviation lighting

By 1929, the passenger suddenly was becoming much more important; the interior become incredibly elaborate. You tended to have very large seating areas but, again, overhead lighting and picture windows. By this time, it would still take you seven days to fly to Karachi. You couldn’t fly at night; you had to stop pretty frequently to refuel. To bring that slightly more up to date, my father was stationed in India at the end of the war and was required in Berlin, because he was an engineer and was needed to do work there. He did the opposite flight in 1945 and that still took four days in a Short Sunderland flying boat. By the time you get to the 1930s, aircraft suddenly became more streamlined. The ostentation seen from the 1920s started to go, and we began to see more 1930s’ Art Deco influences coming in, with more metalwork and more interesting woodwork. Concealed lighting also suddenly become part of the design feature. By the 1940s, you still had hat racks in

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the passenger areas; incidentally, what you would describe today on a modern aircraft as an overhead bin or locker is, to an aircraft engineer, still referred to as the hat rack. We also started to get forward-facing seating. But it was also still a time of overhead lighting and curtains over the windows, although they were getting smaller as aircraft moved to metal construction. Then, post-war, the language we understand now started to come in, with aircraft seats, headrests, and a recline function. We started to see things like individual reading lights. Aircraft travelled later into the day, so there was a need for a personal light. By the jet age – the 1950s – fluorescent lighting started to appear, replacing the old tungstens. The overhead bins also began to appear, with the hat racks becoming more of a luggage space. We started to see individual seat lighting controls develop. The windows were getting smaller and further away; so the need for interior illumination was increasing. We also started to see more personalisation of the seating area. By this period, we’ve gone from the aircraft interior being a communal space for a group of people travelling together to become more a space where you’re in your own individual cocoon; personalisation has become more

important. By the time the Boeing 707 appears in 1958, we’re getting into pressurised cabins. Aircraft are also now flying overnight. Once we get to the 1970s, aircraft start to get very large, with twin aisles and, again, we’re seeing the language of lighting we understand inside aircraft. We’ve got typically 1970s louvred overhead lighting and we’ve got side lighting. The luggage bins are being used as a lighting application; trying to keep it glare-free but replacing the natural light as the windows are getting very small, with more task lighting. However, by this point the lighting is still not playing a very big part in your experience of the aircraft. We’re just seeing it as one big space; there is not much differentiation. There were attempts at interior design when they started to introduce double-deck planes and 747s with their own ‘clubroom’. We’ve got materials like curtains and wood panelling, the seat covers are trying to evince a more domestic environment; down-lighting in the ceiling.

REDUCING PERSONALISATION

By the time we get to the Tristar series in 1972, the poor people in the middle; their lighting is now taken way away from them; it’s all very, very bright. The interior is all lit to the maximum, and we’ve got the standard language of aircraft, with side-lighting, a lot of lighting the ceiling, lighting the side. Again, you’ve gone back to less personalisation because you’re now in the economy cabin. Just before the oil crisis in the 1970s, there was a riot of design going on – even economy passengers had lounges on board the aircraft. Even fairly basic airlines were introducing design for economy passengers. Travel was getting so ubiquitous that, even if you travelled in economy, they’d be a bar at the back of the plane. And that bar could be quite detailed. By the jet age, again, we’re talking about personalised space because passengers now are in larger numbers and are cocooned in planes for longer periods. You need to have your own reading light control because you’re now flying at night. Which leads me on to the work we did with Virgin, starting with the Virgin Atlantic 2000. The whole point with Virgin is

May 2018 Lighting Journal

The elaborate interiors of the early days of flying (top and bottom) have gradually given way to the much more standardised experience we recognise today

they have three classes of travel: economy, premium economy and upper class. They have positioned it quite well, because you feel you’re not paying the larger premium you pay for first class but you’re definitely getting a better class of travel. The focus of the design for us was trying to improve the whole experience of business class passengers, and this would then bubble down the whole plane. For example, there was a standalone bar that people could gather round, like the glamorous 1970s age, with a light feature overhead. One challenge is that, unlike what you sometimes see in the movies, the gap between where the cabin stops and the outside of the plane is very, very small. So when Virgin gave us a visual saying ‘we want a chandelier’, you think ‘that’s quite difficult’ because we haven’t got the headroom. Another challenge is anything that goes into an aeroplane has to be tested beyond any normal level of testing. Every part has to be certified and traceable. You can’t just come up with any old light fixture, it has to be certified, and that is a long process, sixnine months. For business class, Virgin did not want the standard reading-light approach; they wanted a more creative solution. And that chandelier. In business class, the design is around the individual seat. They also wanted their surfaces picked out so you feel you are in a distinctly Virgin plane. We therefore started looking at things that we felt made Virgin ‘Virgin’. The colours, for example, are very striking – Virgin has quite a long history of using purples and burgundies; and red is very particular to them. We did things like we sneaked red lighting into the ottomans; we had lighting on

the floor. We built up the lighting in the space to work with all the vertical surfaces; in an aircraft you don’t tend to need to worry so much about the horizontals. What you did need to do was define all the edges of the space, and then create nice low-level lighting that encouraged people to move around. Another issue, at least before LED, was that you couldn’t use colour mixing. So we simply wrapped fluorescents. But this created its own challenge. Your £3 Osram fluorescent had to go away to be certified and then wrapped. They’d sleeve it in a fire-retardant film and return it to the airline

with the certification and the tracing document, and that £3 fluorescent had now become £97. So every time we added an element, we were adding not only to the energy costs of the plane, but to the maintenance and certification costs. The Virgin concept was ‘Work, rest and play’, and they wanted the cabin to go through this natural cycle: warm and inviting when you get on, cool as you go through the dinner process, and then dark through the night.

MORE RELAXING BLUE LIGHT

We found early on that people quite liked a bluer light; they found it restful, they found it more sleep-inducing. The combination of the two opposite colours – blue and red – was very, very simple and gave the cabin a really nice, pleasing feel. There are a number of processes we

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May 2018 Lighting Journal

Aviation lighting

We’re defining the edges of space and the fabrics; so, when people come into the cabin, they’re aware of the shape of the space. Twin rows of LED can be used to light the bin opposite. Rather than just having light on the edges of the space, we’re now able to throw the light across the space and light more details in the cabin. So where is this all going in the future? Well, we’re starting to see the testing of much larger aircraft; the spaces are getting much bigger. But there is still that demand for more passengers. We’re beginning to understand much more how light affects mood in the cabin. For example, you don’t have to define whether you’re in premium economy or upper class anymore by the bulkhead or other physical manifestation. You can say ‘well you’re sitting in the purple zone today’ and change the light colours inside the space.

For modern aircraft interiors we’re beginning to see a return to larger communal spaces but also the hyperpersonalisation of individual spaces, with lighting to match

have to go through with aircraft materials. The first one, obviously, is safety. But there’s also the power load – when an aircraft is sitting on the ground and it is plugged into ground power, you can use as much as like. In flight, there are a number of generators attached to the engines, which are doing some important stuff. But we can’t just keep adding to that load. The volume of what you’re working with therefore can be an issue. Every time you put a light fixture in and you have an associated driver or ballast, you’ve got to find the room for it somewhere in the aircraft. The last one is weight. The more weight you add, the more fuel you’re using, the more cost you’re adding. So, again, we’ve got to keep all these elements in check. Virgin built an entire cabin for themselves for their own training, basically recreating the entire space. This was not only invaluable for training staff, it enabled us to start putting in lights in various spaces and just testing whether these things worked. We could also test light levels against the daylight outside the aircraft; we could show the whole aircraft operations personnel how the aircraft moved from the day to the night sequence. ‘We’re flying back from New York, what is the night-time situation going to be be?’. We fade out the house lights and put on the interior lighting and show them the difference, which was really useful. Space on an aircraft is at a premium for everybody. So we try to look at the overall picture: where are things stored, where are people going to be working, where are they going to be standing at night, what are the things they’re going to need to be able to www.theilp.org.uk

see? We start sketching those out and developing things. It could be ‘so the bar is going to be dark at night, but what if somebody drops something; can we sneak any lighting down here so that people can have a little bit of concealed light around the base of the stool?’. By the time we got to the Airbus 380 we were able to introduce LED. And that meant Virgin could keep pushing their design strategy of making the aircraft more elaborate each time. Because we are now into LED-based solutions we are not worried about individual ballasts and drivers; we can now control things via smaller, lighter, cheaper elements.

LED GIVING MORE FLEXIBILITY

Moving to the modern day, there is still a lot of red because that’s still the Virgin brand. We’re still keeping the lighting where people need it; so there’s low-level lighting around the bar; there’s little pockets of light so people know where their storage areas are; there are areas at the end of the bar so people can see where the bottles are in place. We have moved to an RGB system and we’re selecting the purple colour, which is the other core Virgin branding colour; it is about creating a restful ambience. We’re able to hide more details in tinier places. With halogen lamps we would have been more constricted on the space available to, say, put a little detail at the top. But with LED you can just put in an LED strip and start to light all the materials in that space. We’ve introduced new details. We’ve hidden the footlight in the aisle, again creating that low-level lighting in the space.

ORGANIC LED MATERIALS

Aircraft manufacturers like this as an idea because they do move the divisions in the space around depending on the route. Some aircraft going to Hong Kong, say, will have much larger business class sections, and smaller economy. I’m not sure how they would physically define the seats, that’s up to them, but you could define the space much more easily by changing the lighting. We’re seeing much larger communal spaces but also the hyper-personalisation of individual spaces. Passengers will have their own lighting controls, their own personalisations, be able to plug in their laptop and play their own Spotify playlists in their own space. And that’s been brought about by the fact the technology has moved on and things have got lighter and use less power. The materials are getting more interesting; we’re seeing the use of organic LED materials; lighter, fewer metallic surfaces to deal with means less weight and less power. The seats themselves can become part of the process. Whether or not we see OLED being used in the near future, I don’t know, it is at the moment still too expensive. Some airlines are going back to the 1930s’ Art Deco feel, very, very opulent and individualised, and very detailed designs, which is a world away from the 1970s’ bland flat surfaces. Either way, in terms of the opportunities this gives us for lighting design, they’re off the scale. We’re able to add a huge amount of detail in-cabin without adding significantly to the weight.

Jonathan Howard MSc is director at DHA Designs

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May 2018 Lighting Journal

Urban regeneration

the lights were drilled in the leopard’s skin, which is constructed from thousands of welded steel plates of various thicknesses from 10mm to 3mm and assorted lengths, with 3mm-thick laser-cut steel for the spots. The fixtures were positioned in the hind legs, shoulders, head and top of the tail. The ArcSource power supplies driving the lights are remotely fitted within the courtyard’s basement, with all cabling concealed in the column.

COLOUR CHANGE OPTION

LEOPARD, LEOPARD BURNING BRIGHT A 5m-high, two-tonne galvanised steel leopard illuminated by LED is at the heart of an Aberdeen regeneration project By Nic Paton

www.theilp.org.uk

hen you think of Aberdeen what springs to mind? Perhaps its longstanding links to the oil industry? Or maybe its reputation as the ‘granite city’, both because of its grey stone architecture but also because of its hard, unforgiving weather, its long, dark winters and tough port mentality? How about leopards? Yes, the ones with spots that can run seriously fast and which generally live in hot, sunny climates in sub-Saharan Africa and parts of Asia? Curiously enough, there is a link, because Aberdeen City Council’s ancient coat of arms features two leopards. And now this historic connection has been celebrated in an illuminated 5m-high, twotonne galvanised steel leopard that has become the focal point for one of the city’s key urban regeneration projects. Created by sculptor Andy Scott, the installation – called ‘Poised’ – sits on top of a 10m steel column as the centrepiece of the newly-developed, mixed-use Marischal Square urban quarter in the centre of the city. The leopard’s lighting design – which has been intended to help bring the beast ‘alive’ after dark – was created by Scottish-based lighting and environmental design practice Atelier Ten, which was also responsible for lighting all the Marischal Square commercial, retail and leisure spaces. The leopard is internally lit by 11 Anolis ArcSource Outdoor 4MC LED fixtures. Mounting plate holes to accommodate

In addition to the aesthetics, practical considerations for picking the luminaires included longevity – the lights are extremely tricky to access once in position – and quality engineering. Atelier Ten’s Peter Kerr wanted a fixture that would theoretically last for at least a decade without needing to be changed or any maintenance, and a fixture with the ability to change colour. The leopard’s signature lighting state is mixed to a ‘neutral’ white around 3500K. But for events taking place in Marischal Square and special occasions, there is the potential and flexibility to change the colour of the sculpture if needed, with a range of hues and shades available. The lighting is controlled via an Anolis ArcPower 36 DMX controller complete with a scene-setting user interface. The lights are small, high quality and the lensing gives a smooth, refined spread of light that ‘beautifully illuminates the steel fragments without any hot-spots’, argues Peter Kerr. The leopard took more than a year to complete and, now installed, has already become a great local talking point and a tourist attraction in its own right.

May 2018 Lighting Journal

ILP membership and competition

When: 10 May 2018, 11:00 – 15.00 Where: University College London, The Bartlett, Faculty of the Built Environment, Lecture Room 225, Central House, 14 Upper Woburn Place, London WC1H 0NN

HAVE YOU UPGRADED YOUR MEMBERSHIP? IF NOT, DO YOU HAVE ALL THE INFORMATION YOU NEED IN ORDER TO DO SO? YLP is organising a one-day event to support all the members and non-members of the ILP to upgrade their membership and follow the required process in order to obtain their EngTech, IEng or CEng registration through the Engineering Council

• Are you under 35 years old? • Do you have an interest in any aspect of lighting? • Do you want to share your passion, your ideas, and your work with other professionals of the lighting industry? The YLP invites you to enter the YLP Mini Paper Competition!!! All you need to do is submit a 500-word

abstract of your work as a Young Lighting Professional to ylp@theilp.org.uk. Your work will be assessed by a panel of competent lighting professionals and four finalists will be invited to present their work in front of the assessment panel and other lighting professionals at the YLP AGM in November. The winner will be announced

Details: The event will start with presentations from • Vice President Membership Development, •ILP members who have completed their upgrade following either the standard route or the individual route •One member of the ILP Assessment Panel that will give you the insights of a successful application and interview After the presentations, we will be hosting a one-to-one membership guidance session from the ILP membership team. •We will provide an opportunity for individuals who are looking to join or upgrade their membership to obtain one-to-one guidance from those who have been through the full membership process. Members of the ILP membership committee will also be in attendance, and this will be an informal opportunity to discuss any obstacles that you are encountering. Interested? Contact ylp@theilp.org.uk

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

Dates: • 01 July 2018 – Submit your 500-word abstract to ylp@theilp.org.uk • 01 September 2018 – four

finalists announced • November 2018 (exact day TBC) – final 15-min presentation at the YLP AGM in London • November 2018 (exact day TBC) – Winner announced

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May 2018 Lighting Journal

Bollards, safety and urban regeneration

Originally simply old shipsâ&#x20AC;&#x2122; cannons buried muzzle-down in the ground, the humble bollard has evolved into a vital multi-faceted tool for urban safety, security and even regeneration By Jonathan Brown

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May 2018 Lighting Journal

his article intends to examine bollards and the part they play in the urban environment, notably their safety aspects and how their use contributes to urban regeneration. Bollards can be categorised into various groups, and this article will focus on how those used on the highway as low-level traffic signs – traffic bollards and street bollards – are also used for aesthetic and safety purposes.

A BRIEF HISTORY OF THE BOLLARD

Historically the word ‘bollard’ referred to a post on a quay or ship and was used principally to moor boats and ships. Originating in the 17th and 18th centuries, many bollards were actually old cannons buried muzzle-first. Two-thirds would be buried leaving the back of the

cannon, the breech, above ground for attaching ropes from the ships. Even in the 19th century, when many bollards became purpose-made, they often retained the ‘cannon’ shape. It wasn’t until the 18th century that we first saw bollards used for traffic management, either to limit access, control speed or separate pedestrians and roadside assets. The same century saw the introduction of timber bollards, specifically oak, to protect pedestrians from injury by carriages. The best documented case of this is the ‘two oak-posts’ set up next to the medieval Eleanor Cross at Waltham Cross, Hertfordshire, in 1721, at the expense of the Society of Antiquaries of London. When decommissioned cannons were used (which came in all shapes and sizes) sometimes the muzzle was simply left

open and filled with mortar or earth. But, in many cases, the muzzle was capped off by hammering in an oversized cannon ball. This canon and ball design bollard has stood the test of time and is still prevalent today in many street bollards. The early 20th century saw the introduction of the illuminated traffic bollard, very different from the rigid cast-iron and timber bollards of yesteryear. These ‘modern’ bollards carried low-level road signs, such as ‘Keep Left’ and ‘No Entry’ and were internally illuminated by an underground light unit visible day and night. Illuminated bollards were less a physical enforcement device and more a supplement to street signs and street lighting, providing a visual cue to approaching drivers that an obstacle exists ahead. The 20th century also saw many www.theilp.org.uk

May 2018 Lighting Journal

Bollards, safety and urban regeneration

advances in plastic as a construction material, especially the invention of polyethy l e n e . T h i s n e w m a t e r i a l wa s revolutionary for bollards. Suddenly traditional, decorative and internally-illuminated bollards could be produced at a much lower cost, were safer if hit, and were easier to install as they only weighed a fraction of the weight. The bollards we see on the highway today are a mixture of internally-illuminated and ‘Retro-reflective Self-righting Bollards’ or RSRBs. The RSRB was actually invented by us, then known as Traffic Management Products (now TMP Solutions), back in the early 2000s. Both revolutionary and innovative for its time, the RSRB was able to deliver clear driver communication day and night, whilst being resilient to impact and needing no external power.

THE SAFETY BOLLARD

The RSRB was invented to improve safety for motorists and has now been adopted by all local authorities throughout the UK and is used where an illuminated bollard is not required. It delivers many advantages for the motorist and the urban environment. First, RSRBs are retro-reflective, which means they use the light directed at them from a vehicle’s headlights to highlight themselves at night. They achieve this because the bollard has front, side and sometimes rear panels of prismatic material that reflects the light. BS 8442:2015 governs the size and position of the panels, and BS EN 128991:2007 govern the amount of light reflected to motorists. Compliance with BS 8442:2015 is now a mandatory requirement under TSRGD2016. The fact the bollard is retro-reflective means an internal light source is not needed, therefore no external power is needed for the bollard to function. Typically, RSRBs require comparatively little energy to produce and no energy to function. Maintenance is just a question of a scheduled clean with soapy water to ensure the reflectivity meets the standards. This all results in a very ‘clean’ solution and, once the production energy is offset, zero carbon emissions. Many RSRBs, such as the TMP EVO-N, are also recyclable at the end of their life, further reducing their impact on our environment’s resources. The safety benefit for the motorist comes from the self-righting element of RSRBs. Self-righting bollards are designed to return to an upright position following an impact, in other words passive safety, as governed by BS EN 12767:2007 Passive www.theilp.org.uk

safety of support structures for road equipment: requirements, classification and test methods. BS EN 12767 specifies performance requirements and defines levels in passive safety terms to reduce the severity of injury to the occupants of vehicles impacting with the permanent road equipment support structures. Consideration is also given to other traffic and pedestrians. Three energy-absorption types are considered and test methods for determining the level of performance under various conditions of impact are given. It is important to note that levels of performance relate to test conditions; real-world conditions and types of impact will, of course, vary. RSRBs, too, are not indestructible. The best RSRBs in the UK will be designed and tested to achieve 100:NE:4. This means that at 100kph, in test conditions, the vehicle impacting the bollard lost little or no momentum, continued its onwards travel and the bollard returned to its upright

stance intact. This standard is designed to show that the bollard would not slow or stop a vehicle on impact, therefore avoiding sudden deceleration and/or impact for the occupant, in other words far safer than hitting a metal or timber bollard. Passive safety is not just limited to traffic bollards. Many street bollards benefit from being classified as passively safe. For example, a street bollard such as the TMP Orion is available as a rebound bollard, and fully-certified passively safe to performance standard 100:NE:4. Bollards such as the Orion are often used as part of traffic-calming schemes to highlight chicanes or road narrowing, which can be very effective in urban areas. But, as the bollard is located on the edge of the kerb, it can be very prone to impact. Rebound or passively safe bollards therefore highlight the hazard, are safer for the motorist and better for budgets. Like RSRBs, rebound street bollards are not indestructible. But, certainly in the case of the TMP range, they are designed to withstand impacts in test conditions and real-world conditions.

URBAN REGENERATION AND BOLLARDS

Both street and traffic bollards can be an effective tool in urban regeneration. There are so many applications where bollards can add value, either financial or in safety. These include:

The EVO-N is recyclable at the end of its life, making it a very ‘clean’ environmental option Opposite from top left clockwise: the Manchester anti-ram bollard; the solarpowered EVO-S; the Phoenix street bollard; the Pictor, which can aid traffic segregation

•Cycle schemes. Cycling to work, and in general, helps reduce pollution and carbon emissions. Many local authorities are therefore improving existing or installing new cycle routes across their constituencies. Bollards can play a vital role by highlighting and segregating the cycle path from pedestrians and motorists. Sign-carrying bollards such as the TMP Pictor are a perfect example of this. Splitting a footpath for pedestrian and cycle use can be a great solution, and can be achieved by using a sign-carrying bollard displaying diagram 957 ‘Segregated route for use by pedal cycles and pedestrians’. Rotationally-moulded using an advanced linear low-density polyethylene (LLDPE), these rigid bollards are durable, resistant to ultraviolet light and have great low-temperature impact resistance. Moreover, bollards made from polyethylene weigh just a fraction of a cast-iron bollard, meaning they can be installed in just a matter of minutes by one operative. •Hostile vehicle mitigation. This is, of course, a hot topic all around the world at present, with reports of vehicles leaving the

May 2018 Lighting Journal

only is this great for giving temporary vehicle access to pedestrian areas, but in highrisk traffic-calming locations bollards can be quickly and efficiently replaced.

CONCLUSION

This article is by no means the be-all and end-all of traffic bollards. It is simply a summary of their history, purpose and example of uses in our urban environment. There are some great products out there that can really make a difference to the safety and appearance of our streetscape, but not all are created equal. As a lighting professional, it is vital when specifying a bollard for your next project that you make sure it is fully compliant and fit for purpose; that you carry out your due diligence and chose a solution that ticks all the boxes. Ultimately, the purchase price is far less important than whole-life costs. When choosing a supplier, choose a manufacturer – and (although of course I would say this) you certainly cannot go wrong by choosing the people who invented the bollard as we know it today.

Jonathan Brown is communications and marketing manager for TMP Solutions highway, entering pedestrian areas and causing death and serious injury happening on what seems to be a monthly basis. As ILP President Alan Jaques highlighted last year (‘Curbing terror’, Lighting Journal September 2017, vol 82, no 8) street furniture can be an invaluable first line of defence in this scenario. Many street bollards, such as the TMP Manchester anti-ram bollard, can be used securely to protect pedestrians and other streetside assets from vehicles. These bollards have an aesthetically pleasing polyethylene outer over a 5mmthick steel core. The ability to match the existing street-scene makes these bollards a popular choice for low profile yet effective protection. A vehicle entering a pedestrian space is not always something done intentionally and low-profile protection of this kind is a useful tool to improve safety without intimidating local residents. •Traffic calming. Reducing vehicle speeds in urban areas undoubtedly improves safety for pedestrians and motorists alike. Bollards are a great way of highlighting traffic-calming measures, with passively safe bollards such as the TMP Cetus a good option. The Cetus again achieves 100:NE:4 and, should a vehicle impact the bollard, it will rebound on impact and reduce the risk of injury to the oc-

cupants. This is not only safer for the motorists but, as rebound bollards are designed to withstand multiple impacts, they are great for budgets, too. •New routes. In many urban regeneration projects, roads and traffic-flows will be updated or modified. RSRBs are the perfect solution for traffic control displaying low-level signage. RSRBs can quickly be installed using concrete-in foundation cages, retrofit base light conversion plates or ground sockets/ NAL sockets. They of course need no external power, are highly visible day and night and can be passively safe. Even when an illuminated traffic bollard is required, some RSRBs (such as the solar-powered EVO-S) have an illuminated sign-face that meets the appropriate lighting level to BS EN 12899-1:2007. These completely self-contained solar solutions replace the need for expensive ground works, have zero running costs and need minimal maintenance. •Access. Combining bollards with ground sockets is a great way of providing temporary access to a location as part of an urban regeneration project. LockSafe, a system pioneered by us, is a bollard root system that is compatible with industry-standard sockets to allow bollards to be removed and installed in seconds using a special key. Not

REFERENCES Wikipedia. (2018, April 2). Bollard. Retrieved 7 April 2018 from https://en.wikipedia.org/wiki/Bollard Old cannon re-used as bollards by Martin H. Evans. (2017, July 25). Bollard. Retrieved 7 April 2018 from http://people. ds.cam.ac.uk/mhe1000/bollards/cannonbollards.htm Wikipedia. (2018, April 2). Traffic Sign. Retrieved 7 April 2018 from https://en.wikipedia.org/wiki/Traffic_sign TMP Solutions. Street Bollards. Retrieved 7 April 2018 from https://www.tmp.solutions/street-furniture-bollards/ BSI. BS 8442:2015 Miscellaneous road traffic signs and devices: requirements and test methods. Retrieved 7 April 2018 from https://shop.bsigroup.com/ ProductDetail/?pid=000000000030256157 TMP Solutions. Traffic Bollards. Retrieved 7 April 2018 from https://www.tmp.solutions/traffic/ UK Roads. Passive Safety UK Guidelines for Specification and Use of Passively Safe Street Furniture on the UK Road Network. Retrieved 7 April 2018 from http://www. ukroads.org/webfiles/guidelines%20Print%20ready.pdf BSI. BS EN 12767:2007 Passive safety of support structures for road equipment: requirements, classification and test methods. Retrieved 7 April 2018 from https://shop.bsigroup.com/ ProductDetail/?pid=000000000030212079

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May 2018 Lighting Journal

Light pollution

HEALTH MATTERS

England’s chief medical officer, Professor Dame Sally Davies, has argued light is one of a ‘toxic cocktail’ of pollutants increasingly worrying health professionals, with street light flicker also a possible health hazard, as her leading light expert explains By John O’Hagan

umans evolved with the sun as the main source of light. Therefore, daily activities took place when it was light: when the sun went down, we sought shelter and slept. Fire provided a form of artificial light, which was developed into lamps by burning oils and then candles. Despite this, 100 years ago when houses had artificial light in the form of gas lamps, most people’s day was still driven by the availability of daylight. The incandescent lightbulb and the installation of electrical supplies into factories and homes changed this, extending the day with sufficient levels of light to carry on complex tasks. Since then lighting has changed. The focus on energy efficiency meant that the incandescent lightbulb was phased out, moving to fluorescent lighting and then to LEDs. Fluorescent lamps provided one health concern. Linear fluorescent lamps were known to leak small amounts of ultraviolet radiation, managed using plastic diffusers to filter it or by the distance the lamps were from people. Following concerns from dermatologists, scientists at what is now Public Health England (PHE) carried out an extensive study of the emissions from compact fluorescent lamps. www.theilp.org.uk

This showed that some emitted levels of ultraviolet radiation could exceed the exposure limits for workers, especially when used close to the skin. A small proportion of the population appeared to be particularly sensitive to these emissions. However, there were significant benefits to some people who needed a light source, for example, those needing a source close to the page of a book so that they could read. Ideally, light should be controlled so that it only illuminates the areas where it is required – and only for the times when it is required. Light pollution is not new – the orange glow from sodium lighting above towns and cities has been a problem for decades. LEDs, coupled with well-designed optical systems, provide an opportunity to control light distribution, specifically to ensure that light goes onto the surface to be illuminated and not, for example, into the sky.

CHALLENGES OF 24-HOUR SOCIETY

There are also concerns that 24-hour light may have an adverse effect on flora and fauna. Moving to a 24-hour society presents some challenges for our bodies. We evolved to experience a reddening sky as we move into the evening. Our melatonin

levels should start to increase to prepare ourselves for sleep and to facilitate the body’s repair mechanisms. When we get up in the morning, the sunlight should suppress our melatonin levels, whilst serotonin production is increased to prepare us for activities of the day. In the early 2000s a type of sensor was discovered in the eye, in addition to the long-known-about rods and cones, which was also sensitive to light. Intrinsically photosensitive retinal ganglion cells (iP-

May 2018 Lighting Journal

RGCs) were identified as the main sensors for entraining our circadian rhythms. Humans have a natural body clock that has an approximate 24-hour cycle. However, light is the main trigger to ensure that we stay entrained. The initial research on iPRGCs suggested that melatonin suppressed was most effective at a wavelength of about 480nm (blue light). However, this wavelength is close to the peak wavelength known to cause adverse photochemical changes in

the retina, which at high levels can result in eye injury. More recent studies have suggested that the rods and cones also contribute to the bodyâ&#x20AC;&#x2122;s response to light and circadian processes. Therefore, it is likely that bright light, of almost any wavelength, could have an impact. Disruption of the circadian system can have a major impact on sleep quality and daytime alertness, which in turn impacts wellbeing and safety. It is a bit like having permanent jet lag. As artificial lighting technology devel-

oped, installers recognised the importance of ensuring the observer was shielded from high luminance (bright) sources of light because of glare, which in extreme cases can be very stressful. An obvious example of a shield is the lampshade used in the home. Some LED installations, however, have LED chips visible, which can form a source of glare. An extreme example is daylight-running lights on cars. These are clearly visible to other road users and pedestrians. At night, if they do not dim, they www.theilp.org.uk

May 2018 Lighting Journal

Light pollution

can be very dazzling and more so for young children (who have higher transmission of light through to the retina) and older people (who will suffer from scattering of the light, particularly in the lens of the eye). This means that older drivers, in particular, will be dazzled by oncoming vehicles with the risk that they may not see hazards until too late. The problem is exacerbated by fog. Local authorities have been replacing mercury and sodium streetlights with LEDs. If this is done purely on the basis of energy efficiency and cost, it is possible to end up with installations that may not be fit for purpose. Some streetlight luminaires have LED sources that can be seen physically projecting below the luminaire, becoming a glare source or light pollution. The light spectrum may be enriched in the blue, which may be beneficial for keeping drivers alert, but many people will find the light uncomfortable. High levels of blue light are known to cause damage to the retina in the eye. This only tends to be a problem for blue LEDs and not for white-light LED sources containing a blue LED and a yellow phosphor. It is possible to have LED street lighting that directs the light only to the areas that need to be illuminated, minimising the light that goes in the sky. They can also be provided in a range of colour temperatures, where warmer colours are likely to be more appropriate for populated areas. Aside from the wavelength and brightness, there may be another impact of LED lighting. Some of the LED sources assessed by PHE and others vary in illuminance at a frequency of 100 hertz. At the extreme, the LEDs switch on and off 100 times per second. This is of concern for a number of reasons. Some people seem to be very sensitive to this light modulation, resulting in headaches, migraine and less specific feelings of malaise. However, most people will experience phantom arrays (as happens when you move your eyes quickly when behind a car with its brake lights on, particularly in the dark) and there is the risk of a stroboscopic effect. This effect may manifest itself as moving objects appearing to jump, rather than move smoothly. More seriously, rotating machinery, which could include the blades on a food mixer, may appear to be stationary if the rotation rate matches the modulation rate or is a multiple of it.

John O’Hagan heads the laser and optical radiation dosimetry group at Public Health England’s Centre for Radiation, Chemical and Environmental Hazards

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THE REPORT’S CONTEXT AND RECOMMENDATIONS Professor Dame Sally Davies’ Annual Report of the Chief Medical Officer is often described as an ‘end of term’ yearly evaluation of the state of the nation’s (or, to be precise, England’s) health. Dame Sally (pictured above) in her report looking back at 2017 (her ninth as chief medical officer), Health Impacts of All Pollution – what do we know? [1], assessed a wide range of different pollutants and pollution-related areas. This included chemical, noise, vehicle, biological, waste and air pollution, among others, with individual sections written by experts in each field. Light pollution therefore was not solely in the spotlight. There were also some quite technical sections on issues such as the difficulties of measuring, evaluating and communicating pollution and pollution risk, and health and pollution inequalities. What, then, does Dame Sally recommend government, policy-makers and industries do about this? Well, here is the rub. As Dame Sally points out in her introduction, ‘on researching this report I expected to find

many concrete actions official bodies could take to reduce the impact of pollution on the public’s health. I have been surprised by how little we know about many of the common pollutants that surround us each day.’ She adds: ‘At the moment we do not have the systems in place to effectively monitor, understand, and act on data about the health impacts of pollution. The clarion call from this report is therefore to create these systems so that we can determine effective actions.’ Indeed, one of the ‘knowledge gaps’ specifically cited is the effects of light pollution on human health. As Dame Sally notes: ‘There is increasing public and policy concern about the impact of computer/ smartphone screen use, and “blue light”, upon human health. Research is ongoing, and this is an important area of investigation, particularly given children’s use of social media via smartphones, increasing their exposure to potential risk.’

POLLUTION DATA

To that end, she recommended that Public Health England ‘works to bring together all of the routinely produced data on the health impacts of pollution and the surveillance of pollution (including data held by local authorities, the Environment Agency and others), to ensure availability for the public, public sector and researchers.’ More widely, however, Dame Sally argues that a conceptual shift is required in how we view pollution. As she contends: ‘We must start to address pollution as disease prevention. And we must consider the impact on human health of all of the different singular pollutants alone AND in combination with others, over short AND over long-term periods.’ While there may be no hard-and-fast conclusions drawn, it is clear Dame Sally feels light pollution needs to be very much part of this discussion.

REFERENCE [1] Chief Medical Officer annual report 2017: health impacts of all pollution – what do we know? Department of Health and Social Care, March 2018. Available online at https://www.gov.uk/government/publications/chief-medical-officer-annual-report-2017health-impacts-of-all-pollution-what-do-we-know

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May 2018 Lighting Journal

The ILP’s ‘How to be brilliant…’ lectures

LIGHTING THE NARRATIVE For the first ‘How to be brilliant…’ lecture of 2018, 18 Degrees’ Christopher Knowlton took his audience on a fascinating journey around concepts of narrative, memory and illusion, tangibility and intangibility, as audience members Melissa Byers and Francesca Barnes recall

hristopher Knowlton, leader of the London lighting design studio 18 Degrees, launched this year’s ILP ‘How to be brilliant…’ lecture series in March with a talk entitled ‘Crafting the Intangible’. During a fascinating presentation, he compared light to music – because it is www.theilp.org.uk

completely untouchable yet emotionally can create powerful feelings. A musical score on paper, like a lighting plan, needs to be crafted into something beautiful. Christopher told us: ‘Your role, as a conductor, is to bring everyone together to play in harmony.’ Schedules, costs and deadlines can threaten to take over from the

vision originally sold to the client by the time you start talking with the electricians. But, Christopher argued: ‘If you can sell the same vision to the person with the screwdriver in their hand and the light fitting, then it provides the best opportunity to communicate what you’re trying to achieve.’

May 2018 Lighting Journal

‘Visuals don’t explain what it’s actually going to be like,’ said Christopher, ‘you have to take them on that journey, selling them on a dream, of how the lighting can show an incredible building that works.’ Narrative explores the possibility of combining real-life objects with dramatic illusion. It’s not a static unchangeable concept, but a fluid existence oscillating between what is there and what can be created by… crafting the intangible.

Melissa Byers is a director of photography, photographer and a stereographer, including designing images in 3D

‘BY MAKING LIGHTING SOMETHING TANGIBLE, IT MAKES THE PRODUCTS AND SUBJECT OF LIGHTING ACCESSIBLE TO MORE PEOPLE’ By Francesca Barnes

THE ILLUSIONS OF LIGHT

Using optical illusions, Christopher demonstrated how light and colour perception are a product of the surrounding environment. He used light artist Anthony McCall’s ‘Line Describing a Cone’ (1973), (pictured above) a 16mm film that projects a dot of light on to a wall, progressing into an arc and slowly drawing a circle over 30 minutes. The beam of light between the projector and wall grows as haze lights up the air particles forming a three-dimensional cone of light. In other words, solidity out of nothing, or at least the illusion of it. As Christopher said: ‘You feel like you can put your arm though the light but you don’t feel anything because light is essentially invisible until it interacts with something.’ He also highlighted James Turrell’s ‘Breathing Light’ exhibition at Los Angeles County Museum of Art, which was designed to eliminate the viewer’s depth perception using the Ganzfield effect. An almost religious experience, you exit a bright courtyard into another building. You remove your shoes and don white ‘booties’ before climbing the stairs, as if into a temple. Entering a rectangular space, your field of vision is surrounded by

undifferentiated uniform light. Missing visual cues, your brain becomes confused leading to a loss of balance, colour shifts and, if overexposed, hallucinations!

BUILDING THE NARRATIVE

The physical components of light, direction and source communicate light, yet aren’t necessarily understood by clients or fail to inspire. Christopher explained how he used to be able to communicate about light to his mum: everyone knew what a 100W incandescent bulb was. But LED has changed the metrics and removed this common language. Christopher’s experience in theatre helps to explain why he so successfully communicates light through narrative – using semiotics to derive meaning from the abstract. He projected images of aerial cityscapes to show how lighting ‘narratives’ are evolving in cities; the beauty of the world around us can make light a consumable item. For a project at King’s Cross, for example, his clients loved an image of a tree lit from above, which created a magical scene. Thus, the intangible of a project becomes tangible and aspirational.

Christopher Knowlton’s ‘How to be brilliant…’ lecture was a very relaxed atmosphere; it was all about like-minded and enthusiastic people coming together to learn more about the effects of lighting as well as how to communicate lighting to others. With a specific and complicated vocabulary, the lighting industry can be quite difficult to explain to customers and others who have not studied this area. This is why ‘crafting the intangible’ is so important – by making lighting something that is tangible it makes the products and subject of lighting accessible to more people. Using Anthony McCall’s ‘Line Describing a Cone’, Christopher showed how this crafting of the intangible can be achievable. McCall, he argued, created the illusion that light is physical (and therefore something one can touch). This provides the viewer with an unsettling and exciting feeling because they can see the light but cannot feel it, as it is not a material object. This perceptual deprivation alters how the viewer visually orientates themselves, and therefore how they understand the space around them; emphasising what is www.theilp.org.uk

May 2018 Lighting Journal

The ILP’s ‘How to be brilliant…’ lectures

THE ‘HOW TO BE BRLLIANT…’ LECTURES The ILP’s ‘How to be brilliant…’ series, in association with acdc lighting, is now well underway for 2018. It is aimed at students, interns, apprentices and new entrants to the lighting profession and is a free, fun, friendly talk in London. Last month Colin Ball, design director at BDP, gave a talk on ‘How to be brilliant: the darkness of the unconscious’, focused on the challenges of understanding depth psychology. Talks for the rest of the year will include Lisa Hammond, of Gravity Design Associates, on 23 May; Rebecca Hutchison, of John Cullen Lighting, on 19 September; Lauren Lever, of NDYLight Lighting, on 17 October; and Magdelena Gomez, of Elektra Lighting Design, on 28 November. All ‘How to be brilliant’ talks this year will take place at Body & Soul, on Rosebery Avenue, London. Doors open from 6pm. For more information go to www.theilp.org.uk

not there can be vital in understanding the emotional impact lighting can have on an individual. As most of us use light as a reference point, manipulating it can be a way of communicating a message about what a building represents. One example would be how the Eiffel Tower was illuminated after the various terrorist attacks in Paris. The lighting became a form of solidarity, to highlight France’s commemoration to those who lost their lives in those tragic events. In a similar way, Christopher outlined how the colour of light can be manipulated for different effects, for example changing how we perceive the size of an object. In a lightly coloured room, an object can appear smaller than it actually is, whereas if you take the same room but use dark colours, it can appear larger. This is a result of the way humans naturally attempt to white balance.

PERCEPTION OF THE ENVIRONMENT

On a larger scale, the colour of lighting is significant in the way people view the world around them. For example, those living in London predominantly experience a warm light, as can be seen from an www.theilp.org.uk

aerial photograph of the city. In Los Angeles, by contrast, most of the population will see their city through blue LED. This can be particularly significant when designing the lighting for a building within a major city, so that it fits in with its surroundings and is aesthetically pleasing to the viewer. Christopher also talked about semiotics and how an individual can produce meaning from something abstract. The process of turning an image into a narrative marks a journey; this is also true for the effects of light. Understanding how a client processes light is vital in the production process, for example lighting can be used for unification or fragmentation. This is particularly important when considering the relationship between a viewer and building scale. The example Christopher gave was that, by having two opposing tones on a four-walled building at night-time, you can reveal the building’s three-dimensional shape, so making it appear tangible in the dark. When looking at an image, the tones and

colours have an emotional impact, and it is similar within lighting. Ultimately therefore, in order to ‘craft the intangible’, one must use a universal language for others to also understand it, including the use of colours and tones to reveal the desired effect upon its viewers.

Francesca Barnes is a student studying comparative literature at Queen Mary University, University of London

STOP PRESS! ‘How to brilliant…’ is up for an award! The ‘How to be brilliant…’ series has been shortlisted for a Memcom ‘excellence’ award. Memcom is a conference and awards for professional associations, and ‘How to be brilliant…’ has been shortlisted for its ‘Best Social Mobility Initiative by a Professional Body’ excellence award. We’ll find out when the awards are announced on 16 May at County Hall in London. So, fingers crossed!

May 2018 Lighting Journal

London’s lighting infrastructure

‘LIGHTING IS TOO IMPORTANT TO BE CONSIGNED TO THE MARGINS OF PLANNING POLICY’ 26

In March, ILP President Alan Jaques wrote to London mayor Sadiq Khan to emphasise the lighting profession’s disquiet that lighting and lighting design appears at risk of being overlooked within his ‘London Plan’ for transforming the capital’s infrastructure. Here is what Alan said

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Dear Mr Mayor, The Institution of Lighting Professionals is the professional body for lighting designers and engineers in the UK. Many of our members are designers working in public realm and engineers working for local authorities or on large scale infrastructure projects. Our members work both in the UK and worldwide; London in particular having an international reputation for excellence in lighting design. London is unusual as a major international city in that it does not have an overarching lighting strategy or masterplan for its public space and, although some London boroughs have introduced lighting masterplans, notably the recent document prepared by the City of London, there is no strategic planning document that addresses the long-term approach to public lighting across the capital. The London Plan is an excellent opportunity to rectify this, but unfortunately the present draft does not address many of the important issues and opportunities that could and should be included. London is a night-time city with many residents, visitors and tourists drawn to the capital for its internationally re-

May 2018 Lighting Journal

nowned nightlife. As well as providing a safe and comfortable environment, lighting is critical to the appearance of the city at night, not only creating a high-quality public realm but also providing some of the most iconic images of the city as it is perceived around the world. Lighting facilitates the night-time economy but also the lives of those who work and travel at night supporting the wider economy. Lighting is also hugely important as a part of urban design, especially when considering the development of sustainable communities in residential areas. When undertaken as a coherent and integrated approach with other design disciplines, good lighting has a positive impact on public safety and the perception of safety, helping to tackle anti-social behaviour, improving quality of life and consequently contributing to social cohesion. These are principles that have been endorsed by the ‘Configuring Light’ research programme at the London School of Economics and demonstrated by their work in London with social housing and the Peabody Trust. Lighting also has an impact on health and wellbeing. Much research is being undertaken regarding this matter and we feel this is an issue that should be addressed.

As well as the design aspects relating to visual appearance, there are technical factors to lighting that are important to consider. As new technology advances quickly, there are dangers that the quality of our night-time environment may be compromised if the wrong technology is adopted. As new energy-efficient LED lighting will have a service life of decades, it is critical that a long-term strategic approach is taken to its selection and application.

CROSS-BOROUGH APPROACH

Technology is also bringing new challenges and opportunities. The concept of smart cities and the potential for data collection and Wi Fi networks provided by communications equipment integrated within the public lighting infrastructure is becoming a reality. The provision for other services, such as charging systems for electric vehicles, are again being integrated with lighting equipment. This type of system integration is already being used elsewhere to help co-ordinate traffic, parking, public transport and emergency services. Using technology in this way can bring improvements in energy efficiency, a reduction in traffic emissions and provide valuable data for long

term analysis. For this to succeed in London a long-term cross-borough approach is important alongside plans for lighting infrastructure upgrades. We feel that lighting is too important to be consigned to the margins of planning policy. We wish to urge those with influence in policy-making to move this essential element of our city life and health further up the agenda. As an Institution we are committed to promoting best practice and quality in lighting and, as such, feel we are uniquely placed to contribute to the ongoing development of this important document. I offer our support in helping you to develop the London Plan. I look forward to hearing from you. Yours sincerely

Alan Jaques IEng FILP President Institution of Lighting Professionals

THE CONTEXT Graham Festenstein, ILP VP Architectural, outlined in Lighting Journal in March (‘Capital Concerns’, vol 83 no 3) the profession’s concerns that Sadiq Khan’s draft London Plan had all but ignored the impact, and opportunity, of good lighting and lighting design, as well as fast-changing lighting technologies. Mr Khan and the London Assembly had launched a consultation in December seeking views on their vision for how London’s built infrastructure and environment should evolve and develop over the next 20-25 years. That consultation closed at the beginning of March, with the ILP feeding in a formal response as well as this letter from Alan. The final London Plan is not due to be published until April 2019, so the hope is that the industry’s concern has been noted and any further iterations will give light and lighting more prominence. Either way, as the process unfolds the ILP will continue to make the case for lighting to have an important role in transforming the capital’s infrastructure. So, watch this space. www.theilp.org.uk

May 2018 Lighting Journal

Street furniture

In Victorian times, the high street was all about personal service and socialisation. Intelligent connectivity is now bringing us back round full circle, shifting the focus from convenience and the transactional to an experience that is more individually nuanced and targeted. Lighting columns and street furniture can be at the heart of this transformation By Amy Barker

www.theilp.org.uk

n order intelligently to plan for the future it is worthwhile taking the time to look back at what have been the driving forces behind the development of our towns and public spaces and how these have shaped our urban living. At their heart is the need to trade and the desire to socialise. Both of these have ebbed and flowed through our cities over the years. But, ultimately, they have always been â&#x20AC;&#x201C; and always must remain â&#x20AC;&#x201C; at the centre of our decision-making as we look towards a smarter future.

May 2018 Lighting Journal

From Victorian high streets to modern (left), how we perceive and shape our urban spaces has changed immeasurably, but also not that much at all

Let’s start our journey 100 years ago when our towns were the centre of socialisation. The daily shop was a chance to catch up on the local gossip and was one of life’s more pleasurable tasks. On the way to pick up your groceries, it’s likely you would have passed through a park full of trees and beautifully-kept flowerbeds – something we’ve got the Victorians to thank for. What we now know as ‘the public realm’ was born out of the desire to escape the heavy smog and dirt that shrouded the cities of the 19th century.

The Victorians embraced the latest technologies and innovations and lavished them upon our open spaces, creating (among other things) beautifully crafted benches with elaborate wrought and castiron embellishments.

HAND-CRAFTED LANTERNS

By day, you could make out the detail of hand-crafted copper lanterns, adorned with crests and exuberant swirls – something we’re happy to pay a premium for today. Everything was designed with vigour

and energy – with the sole purpose of enticing people to stop and linger, to spend time enjoying their surroundings and each other’s company. But this socialisation didn’t stop in the park – fewer than 100 years ago you could walk into a local corner shop and expect a personalised shopping experience. The shopkeeper would greet you by name and would know your shopping list by heart. They would diligently fill up your bag with your favourites and recommend new items that might be of interest. It was all about the experience and the enjoyment of life’s every-day tasks. But if we fast forward to the 1950s, it’s become less about the experience and more about convenience. Cars are commonplace and you are unlikely to want to bother carrying your now weekly shop through the park – instead taking some form of transport. Streetlights are no longer admired during the day for their decorative beauty but, instead, have become great concrete pillars to ensure we can carry on with our tasks well into the night. The rapid transition to the self-service supermarket is largely complete by this decade and, through the improvement of transport, communication and other technological developments, lives have sped up tenfold. A visit to a town centre in the mid20th century is all about ease; a necessary task that retailers and city planners seek to make as easy and as quick as possible. And so, what about today? Well, in many ways we’ve almost come full circle. www.theilp.org.uk

May 2018 Lighting Journal

Street furniture

when smart technology really takes hold we will be looking at more than just a smart shopping experience, we will be benefiting from smart supply chains too. Amazon is simply experimenting with its own supply chain and ‘shop window’. But we can expect to see this integration of internet shopping with bricks and mortar extending across entire town infrastructures. Already retailers have digital inventory lists. So, imagine the consolidation of this information from multiple retailers into one mobile app allowing you to search for an item, find out who is selling it and then pop into town confident that you know exactly where it is.

INTELLIGENT STREET FURNITURE

RETURN TO PERSONALISATION

Retailers are nowadays returning to that focus of providing us with personalised experiences from the comfort of our own homes. Previous purchases are ‘remembered’, and systems are so intelligent it is almost like having a personal shopper advising and recommending products. Convenience has been taken to whole new level, an evolution that has left our traditional bricks-and-mortar retailers and our local councils facing a challenge of having to entice people into urban spaces for reasons other than their weekly shop. What, then, does this mean for the future of our town centres? Will they continue to shrink in size until they become nothing but coffee shops and hairdressers? Will independent retailers all but vanish because everything can be done from the comfort of your own home? If history is anything to go by then the anwww.theilp.org.uk

swer is a resounding ‘no’, and that is, potentially, good news for lighting professionals. Technology will never overtake the need to socialise. It will never remove the need for experiencing the tangible – meaning our traditional retailers are ‘safe’, at least to a degree. Instead, as smart technology infiltrates our everyday lives, we are seeing a return to an enhanced mix of leisure and shopping. Let’s take a look at Amazon, which has just opened its (physical) doors to its first shop without a checkout process. Customers instead pay for the goods they have selected via an app. Using the same sort of sensors and technology found in self-driving cars, the customer’s Amazon account is charged once they leave the shop. This is the future: where an online and virtual shopping experience meets a traditional and physical one. But it won’t just stop there, because

Maybe the app can also tell you where the nearest available parking space is and recommend a 2-for-1 offer at a local restaurant? And, without a doubt, our humble friend the streetlight will be the backbone of this information network – adorned not with crests and swirls, but with nodes and sensors. We all know by now that lighting columns make great aerials – but what else has all of this got to do with streetlights? Well – everything. The need to trade and the desire to socialise should be driving our street lighting product road-maps and city blueprints. Understanding the end user, their behaviours and needs should be at the heart of our innovations – just as it was at the heart of Victorian innovation. Now it’s all about the light on the ground and the science that is driving developers and designers to push the boundaries of what is possible. No longer are our streetlights iron statues, unable to light any more than their immediate vicinity. Instead they are dynamic and intelligent, allowing us to use a full spectrum of light to encourage people to linger and to enjoy their surroundings. In a world where our day doesn’t have to end when the gas lighters and their ladders appear we, the street lighting industry, have an opportunity to play a critical role in the future development of our urban environments. Ultimately, therefore, we must help to ensure that our town centres continue to evolve into enjoyable and inspirational places to socialise and shop. We need to be confident in (and communicate) the fact that the hearts of our towns and cities will not only survive in a more connected world, they will ultimately thrive.

Amy Barker is marketing manager for Urban Control

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May 2018 Lighting Journal

Sports lighting

COURT CONTROL

A lighting upgrade for Wimbledon’s Centre Court has resulted in a more responsive and flickerfree system, which should mean better illuminance for players, spectators and TV audiences alike this summer if, or more likely when, the British summer means the retractable roof has to be shut 32

hether or not Andy Murray re-

covers in time from his recent hip surgery to wow the crowd at Wimbledon this year remains very much up in the air. But whoever ends up battling through to the men’s and women’s finals on Centre Court this July, a lighting upgrade carried out last year should at least mean that the visibility on court is not affected by the vagaries of the British summer.

www.theilp.org.uk

Next year it will be a decade since the All England Lawn Tennis Club took the plunge and invested in a retractable roof for Wimbledon Centre Court. At the time, in 2009, that was accompanied by a lighting retrofit, and it was this that was upgraded last year. As would be expected with any refurbishment of a 90-year-old building, both old and new schemes had to overcome a variety of challenges, including lighting one of the lowest roof spaces in any professional sports venue worldwide and meeting the high illuminance levels required by the BBC for its high-definition coverage of the event. An additional requirement specified by The All England Lawn Tennis Club was to ensure an easy-to-use, fail-safe way of controlling the lighting for both championship and non-championship games, whether the roof was open or closed. The 2017 upgrade replaced the existing slow-start, high-energy HID lighting with more efficient LED fixtures, and upgraded to Lutron’s Quantum Total Light Management system with Quantum Vue facility management software.

INDIRECT SPORTS LIGHTING

This has resulted in a lighting scheme that is more responsive, can be turned on and off with no delay or warm-up time, and ensures flicker-free performance in real-time as well as during slow-motion replay. The original 2009 scheme was overseen by ME Engineers and architectural practice Populous, and and introduced the technique of indirect sports lighting. By reflecting some of the light off the roof

itself, a layer of diffused light can be added to blanket the court and reduce the number of direct luminaires required, therefore minimising glare for spectators and viewers. For the upgrade, ME Engineers was again called upon. Director Russel Evans knew that the LED fixtures are only as good as their ability to be programmed and controlled. The original GRAFIK 7000 system installed in 2009 was programmed with two distinct operating modes – championship and non-championship. By moving to the Quantum system, and with the introduction of proper password permissions, all lighting on Centre Court can now be controlled remotely from within the championship space. Additional levels of security can also be assigned per event. This has meant the lighting system is now able to react instantaneously to accommodate player needs without compromising the system. The original GRAFIK XP dimming panels have been re-used, although the processors have been upgraded, and a much-improved graphical user interface simplifies changes and offers cleaner, crisper graphics. The lighting upgrade has gone down so well with the All England Lawn Tennis Club that the plan is now to roll the new scheme out to Court Number One as well. The Quantum Vue software will enable the entire system to be monitored and controlled securely from a central location.

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Would highly recommend to colleagues.

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Very supportive, interactive and brilliant.

The lecturers are very knowledgeable, experienced and approachable.

May 2018 Lighting Journal

YLP at the ILP

Lighting designer and YLP member James Duffin was privileged to be asked to create an installation for last year’s LewesLight festival. Here he describes how the process worked, from the spark of inspiration through to creating an evocative light-led memorial to the town’s commercial heritage By James Duffin

M 34

y passion for lighting started in school and from studying theatre arts at university. However, my career as a street lighting designer (however enjoyable) has been a bit different from the original plan 16-year-old me had set in my mind. This article intends to explore precisely this: how being a lighting professional can often be an exciting, if sometimes winding, path of exploration; of taking up opportunities that will rarely, if ever, have occurred to you when starting out in this industry. In my case, it is how I ended up undertaking a design for last year’s LewesLight light festival, a process and design that was very unlike ‘the day job’ but nevertheless fascinating and enthralling.

THE BEGINNING

Having taken part on the fringes of the 2016 LewesLight, I was invited to the post-festival meeting in early 2017 to discuss how people felt the event had gone. The organiser (and the ILP’s VP Architectural) Graham Festenstein asked me to undertake a design in that year’s festival – all I could say, naturally, was ‘yes’! I was completely flattered to be offered this opportunity, not just because of the calibre of

www.theilp.org.uk

the other designers involved, but also because Graham had never seen any of my work before in the theatre or the tiny amount of architectural design I had done in the past. It was at this meeting that the festival’s theme of commerce and industry in Lewes first appeared. On my long drive home along the coast that evening all I could think of was ‘what am I going to do?’, ‘I’m not an architectural designer!’, ‘I couldn’t say no, could I?’. Nevertheless, it was huge opportunity and so, whenever I had a spare moment, I read up on Lewes’ varied history, as this was something that was going to be a strong theme of the 2017 event, as I highlighted in my review of LewesLight in Lighting Journal earlier this year (‘Industrial Revelation’, January 2018, vol 83, no 1). Graham arranged a couple of visits to Lewes to discuss the route he had planned and to help the designers come up with ideas. I therefore joined Graham and fellow designer Pedro Pinto on a sunny day in April to explore the 2017 route. As we walked to the high street I recalled seeing something about an old railway line that had once crossed it, and suggested to Graham this would be an idea I would like to

May 2018 Lighting Journal

James Duffin’s ‘The Ghost of Lewes Viaduct’ makes its presence felt at LewesLight

Photograph: James MacCauley

www.theilp.org.uk

May 2018 Lighting Journal

work with, having long had a passion for railways. However, at the time, that was all it was – an idea.

ity are more my bread and butter. Shortly I sent this over to Graham to review.

THE CONCEPT

Very quickly Graham gave me the goahead and I was so excited. I told my colleagues about my design and it soon dawned on me that the hard work was only just about to begin in earnest. How could I achieve this look? How would I get the smoke? What about the sound? To an extent, the lighting element was the easiest part. I knew I needed a parallel or as near to parallel beam of light as possible to create the ‘girders’ of the bridge in light; so the MAC 250 beams that inspired my concept would be an option. The technical director of the Jerk Jam festival was open to me using them for LewesLight. In the end, however, they weren’t needed because a local entertainment hire company provided four beam lights and a Zero 88 Jester lighting desk to control them with. Having used a large smoke machine over the summer for the Jerk Jam festival, I knew the smoke could be my Achilles heel. Wind can clear an area of smoke in seconds or move it somewhere you don’t want it to be. But my experience of the festival had also taught me that, for smoke to work outside, I would need at least one large high-output fogger to achieve my design. After all, without the smoke, my beams of light would be invisible and the idea would fail. Another massive element in giving the impression that trains were once again

Again, the long drive home from Lewes fuelled my imagination. I thought about the sounds of trains, the front lights, rear lights, the smoke; I thought about a level crossing. Upon arriving home, I immediately researched the former railway line that had linked Lewes to East Grinstead. I came across a webpage with some photos of the viaduct that crossed the high street (that was my idea of a level crossing gone) but I realised I could still use sound and smoke. For a week or two I had no idea what I was going to do until I was at a technical session for the ‘Jerk Jam’ music festival in Fareham, for which I design the lighting. I saw half-a-dozen Martin MAC 250 beam lights all moving in unison and their parallel beams gave the aesthetic of a solid structure in the smoke. This gave me the idea of using light and smoke to give the ghostly impression of the Lewes viaduct, which was a lattice girder structure. I could use four lights to give the feel of the bridge, which physically had disappeared many years ago. I dug out a photo I had taken of the high street and one lunchtime (using MS Paint) I created a sketch of my idea and a few slides describing in more detail what my concept was. I know some people will groan at my use of MS Paint, but I am a street lighting designer and visualisations in Photoshop are beyond me! Calculations in Lighting Realwww.theilp.org.uk

THE DETAILED DESIGN

passing over the heads of the pedestrians on Lewes high street would be the sound. I knew I wanted the acoustics to be authentic, and I wanted to avoid stock sounds. I had worked on sound recording and editing more than ten years earlier at university, but I had no equipment to do it now. Fortunately, Graham was able to put me in touch with a pair of sound art students from Brighton University. One third-year student had many ideas on what could be achieved but because of his extracurricular commitments he was unable to work with me on the project. The second student, Mandy Brooks, was only in her second year, and so was a little less experienced, but with her help I was able to produce a fantastic soundscape. Over the summer I had been in contact with the restored Sussex steam rail line The Bluebell Line. Their film liaison manager, Tim Parkin, had kindly offered me an opportunity to record for free on the line. But, because it was free, I had to fit around his very busy schedule working on a range of blockbuster movies. Therefore, it was a chilly morning in late September when Mandy, Tim and I met at the line’s Sheffield Park Station. The entire morning was spent recording trains passing over the bridge north of the station and trains pulling in and out of the station and passing us up the line half a mile from the station. With more than 60 recordings and a detailed brief on what I required, Mandy had less than a month to put together the soundscape. However, within ten days she had created a soundscape that required

Photography: James Duffin, Iggi Goddard

YLP at the ILP

May 2018 Lighting Journal

[1] You can still see remnants of the railway that once ran through Lewes. Here is the old railway bridge, as seen from behind Friars Walk [2] The installation build on the first night of the festival [3] How the installation was communicated to festival visitors

[5] The installation proved a hit with children especially, who enjoyed playing in the smoke [6] The ‘fog’ on this image is real, as fog swirled in on the second night of the festival and really helped to define the light beams as the crowds gathered

[4] The use of smoke was an integral part of the installation, both to highlight the line of the original track but also to evoke Lewes’ history in the age of steam

only a few minor changes; she had made it sound so realistic that when the trains were passing overhead you couldn’t help but flinch!

THE TECHNICAL REHEARSAL

Sadly, for me and the team the technical rehearsal did not initially run too smoothly. All our equipment arrived OK and we tested the sound, which was just fantastic given that the speakers were battery-powered. However, we then had to wait for the adjacent site to finish with the ladders before we could get access to the power for our site, which was from a shop, and then on to a tree that usually fed fairy lights. Once we got the power we connected all the equipment and I powered on the first light – at which point the power was lost! A temporary feed was set up from across the street but, with almost no time left, we were only able briefly to see one light working in the smoke. However, this was enough for me to know it would work, as long as it wasn’t windy! The next day the students visited the shop providing the power and fixed the problem. It transpired the feed for the fairy lights was fitted with a 1-amp fuse and striking the HID lamp had blown the fuse. The fuse was replaced with a 13A and a second supply was sourced from along the road to give me a safety net should the original supply fail during the festival.

THE FESTIVAL

On the first night of the festival, I arrived in Lewes about 3pm. This gave us approximately four hours to set up “The Ghost Of Lewes Viaduct.” Within three hours, we were ready, with the invaluable help of site manager Truby Bathhurst and three other students from South Downs College The site looked great and the design was well-received, especially by children who enjoyed playing in the smoke. I heard many stories from people who remembered the viaduct and the record store that had been located underneath it, which showed the installation was resonating with members of the local community and evoking the history and heritage of Lewes. Over the next two nights we became faster at building the installation; we even recorded the build in time-lapse, which will be used in the LewesLight video currently being produced. In my opinion, the second night for me was the best as fog descended on Lewes, highlighting my design to its best. Thankfully, the wind was calm on all three nights!

WHAT I LEARNT

It is very rewarding working with students and seeing their skills develop through working with you. In fact, the experience has meant I am now quite tempted to get involved as a STEM ambassador. It has also taught me always to have a backup plan, as things will inevitably go wrong. Finally, it has strongly emphasised to me that

working within your comfort zone isn’t always the best thing. Pushing your boundaries can give you opportunities to produce something completely unique and new.

THANK YOUS

Whilst I was listed as the designer for the site, there are of course many people who need to be thanked for the help and support they gave me in making my idea a success. Firstly, I would like to thank Graham Festenstein for giving me such an amazing opportunity to go back to my roots and design an installation with an element of theatricality. I would like to thank my former boss Rebecca Hatch and the whole team at INDO Lighting for the support they gave me throughout the design phase of my installation. Also, Simon Bushell and SSE Enterprise for the support during the weeks leading up to the festival. I would also like to thank Tim Parkin at Groundframe, Mandy Brooks from the University of Brighton and the Bluebell Line for making the sound element of my installation possible. A final thanks goes to site manager Truby Bathurst and the team of students who assisted me each night. For those who are interested, the timelapse video of the build can be found on YouTube at https://www.youtube.com/ watch?v=rKkE_e7aagA

James Duffin is a YLP member and lighting designer at SSE Enterprise Lighting

The photograph on page 30-31 that accompanied the ‘Industrial Revelation’ review of LewesLight in the January edition of Lighting Journal should have been credited to Iggi Goddard, a talented young photographer and student at South Downs College. Our apologies for missing that credit off and we’re sure she has a bright future ahead of her!

www.theilp.org.uk

May 2018 Lighting Journal

The 2018 Professional Lighting Summit

DEVELOPMENT PLAN Too busy, boss says ‘no’, budgets too tight: there are always reasons for CPD to drop down the ‘to do’ list. But in a fast-changing lighting world, CPD is becoming more, not less, important. So carve out the time and get registered for next month’s ILP Professional Lighting Summit

By Scott Pengelly

Lumiere Durham. ‘Light festivals and place making’ will be in the spotlight at this year’s Professional Lighting Summit

www.theilp.org.uk

May 2018 Lighting Journal

appreciate it feels like I say this every year, but the upcoming ILP Professional Lighting Summit is important for us all. It is the ILP’s key continuing professional development (CPD) event of the year and allows all of us – however experienced – to ensure we are staying current and up-to-date with the fast pace of change in our industry. But surely, I hear you say, I try to keep up to speed with things by reading Lighting Journal, checking Twitter and LinkedIn to see what is changing on a day-to-day basis, without the cost, hassle and time lost out of the office of attending an event like the Professional Lighting Summit? Certainly, yes, you can get a lot of good CPD that way, through Lighting Journal in particular. We all know, too, that ‘the day job’ – commuting, work, meetings, admin, more meetings, site and client visits, more admin and meetings, not to mention family, leisure time and down-time – can all get in the way of CPD. It is all too easy, especially with budgets as tight as they are for most of us, for CPD to drop down to the bottom of the ‘to do’ list or fall off it altogether. But, if anything, it is more important than ever to be making that time and space for CPD, to ensure that, as lighting professionals, we are all continually learning about the important and technical issues we all face. After all, from next year CPD will become a mandatory requirement of being Engineering Council-registered. CPD is something we need to keep on top of not only for our own individual success, but for the success of the industry we all represent and which provides us with a living. If this year’s Summit can help you just a little bit towards this, then that is something positive.

WHAT TO LOOK FORWARD TO

The full speaker line-up is still being finalised, but here is a flavour of some of this year’s top-quality presentations: ‘Street lighting ’s plus ones’ – Gary Thorne, street lighting manager, Ringway Infrastructure Services Street lighting is not just lights: it includes everything else connected into or maintained as part of the street lighting contract. Street lighting engineers are often not consulted, but then landed with issues caused by bus shelters, advertising free-standing units, way-finders, vehicle charging points and smart city systems.

These items have been installed on the highway, either sub-circuited from street lighting equipment or with a direct connection to the DNO. Without changing all street lighting furniture, how do we ensure such structures are secure; that electrically they are sound; that they are fit for purpose? Gary will share some worrying scenarios and ask: ‘How can local authorities balance the needs of smart cities with safety and good practice requirements?’ ‘Light festivals and place making’ – Gail Kelly PhD, Manchester Metropolitan University The popularity and occurrence of light festivals in UK cities has grown exponentially in the last decade. Yet, unlike cultural festivals (which have often been the subject of academic research), little is known about the impact of light festivals on the lives of participants and audiences. How does the spatial landscape of their urban context shape participants’ feelings and behaviours, for example? Using a case study of a small lantern procession in Ordsall, Salford, which started in 1994, Gail’s presentation will analyse the 2018 festival, which marks a major anniversary for an inner-city community. She’ll also address how landscape and sense of place is increasingly influenced by central and peripheral private housing developments. Her research seeks to understand how this annual lantern procession deepens a sense of place for established residents and introduces the character of place to newer residents. ‘The elephant in the street’ – Kelly Smith MSc BEng (Hons) AMCIBSE MSLL AMILP, principal engineer at WSP The ‘elephant in the street’ relates to the frequently discussed but little addressed topic of glare from LED exterior luminaires and how this affects the visual task through disability glare but in the case of wet road surfaces a loss of uniformity Industry and user concern exists over the application of threshold increment assessment with respect to LED luminaires. Currently threshold increment is based upon traditional light sources which are comparatively large compared to the luminaire. The advent of LEDs with their much smaller size is raising concerns that, although these seem to meet the threshold

increment requirements, the installations often display a high level of disability glare. So, is the assessment approach right for LED external luminaires? This, don’t forget, is just a snapshot of what you can expect over the course of the two days. How could you afford to miss it?!

WHAT ABOUT THE COST?

On the subject of ‘afford’, one of the key obstacles in recent years for many lighting professionals has been the struggle to get the cost approved. To that end, we’ve this year adapted the final section of the Summit. As Colin Fish outlined in last month’s Lighting Journal, the technical committee’s update on the final day of the Summit (from 3pm-4pm) will now be free to attend. The ILP is all about high-quality CPD and, if we want our members to have access to CPD and technical services as a core membership benefit, then we need to make that available to all our members, especially those up-and-coming within our industry. To that end, I urge and encourage members and employers to send their younger staff to this, now free, session. You are also welcome to have a look around the exhibition hall which accompanies the Summit, where many manufacturers have demonstrations of new products and technology. I very much look forward to seeing you in Thame between 13-14 June.

Scott Pengelly EngTech AMILP is the ILP’s VP Events and account manager at INDO Lighting

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

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May 2018 Lighting Journal

Light + Building 2018

It was perhaps no surprise new product launches and discussion around ‘intelligent’ lighting, digitalisation and urban spaces of the future all dominated March’s Light + Building in Frankfurt. But innovations in solar-powered lighting, control systems and street furniture were also very much in evidence, among many other advances By Nic Paton

www.theilp.org.uk

May 2018 Lighting Journal

Left: the Philips Hue outdoor range. Right: the Festhalle at Messe Frankfurt

upload data to the Interact IoT platform. It will come in five iterations: Interact City (for public space lighting, roads, streets, pedestrian areas, parks and plazas); Landmark (for architectural lighting); Office (for offices and commercial buildings); Retail (for large retail and food stores); and Sports (for stadiums). Later this year, there will also be an Interact Industry geared to the specific lighting needs of factories, warehouses and logistics centers. Other segment-specific Interact lighting systems will be added to the portfolio in the months ahead, Philips added.

ALL-IN-ONE SOLAR STREETLIGHT

ith more than 220,000 visitors and 2,700 exhibitors, this year’s Light + Building in Frankfurt in March was bigger than ever. So, what caught the eye? As ever, there was so much to take in and see in an expo the size of Light + Building, an article such as this is never going to be able to do justice to the scale of the event. So, and with apologies in advance, there will inevitably be an element of ‘pick and mix’. Nevertheless, the launch by Philips of a new ‘Internet of Things’ platform called Interact was one important announcement to note, along with its move to offer Li Fi-enabled luminaires within its existing office lighting portfolio. Interact will be a connected lighting system but will also be able to generate and

Another innovation by Philips was an accelerated push into solar-powered lighting with the launch of a new generation of solar products. This included a LifeLight solar lantern (which comes with a replaceable battery) and an all-in-one solar streetlight, the SunStay, which combines solar panel, luminaire, charge controller and battery in one housing. Keeping with streetlights, Philips also used Light + Building to promote its new Smart Fusion Pole, a collaboration with the American Tower Corporation. This is designed to improve wireless broadband access in dense urban areas while providing quality, controllable LED lighting. Other announcements from the Dutch giant included a new Philips Hue outdoor product range, Hue white wall luminaires, white post and pedestals, a white and colour ambiance spot and bollard. Alongside product innovation, Philips used Light + Building as a springboard for its new corporate name – Signify – although it is emphasised its products will retain the Philips branding.

Another promoting solar street lighting was French manufacturer Fonroche Lighting, particularly its ‘Power 365’ range, which includes a Nickel alloy battery specifically created for solar street lighting applications, with 50,000 solar streetlights recently installed in Senegal.

THE ‘IDEAL CITY’

The ‘intelligence’ of light (in all senses) was a key theme across Light + Building this year, and one very much picked up by iGuzzini. It held various presentations and events focused around how the lighting community could redesign ‘the ideal city’, a place where people are at the centre of everything (all thanks, again, to connected, intelligent lighting). Its stands included, among others, ‘The Light Experience’, where visitors could see iGuzzini products in action, and a themed room around ‘The Intelligence of Light’, focused on ‘the ideal ecosystem’ for new services linked to connectivity. Sticking with the intelligent theme, Osram introduced an IoT software platform called ‘Lightintelligence’. A range of components and control systems can be integrated into the platform, as the system is open to products, applications, and interfaces from all manufacturers, Osram emphasised. The company highlighted how the new system had allowed luminaire specialist RZB automatically to carry out remote function tests on emergency lighting systems, rather than people having to physically walk through buildings and check emergency exit sign manually. Manufacturer Cree, meanwhile, picked up on the ‘Inspiring Tomorrow’ theme of the expo, although there was also the www.theilp.org.uk

May 2018 Lighting Journal

Light + Building 2018

Clockwise from left: iGuzzini’s ‘Light Experience’ allowed visitors to immerse themselves in the company products, including through VR. Visitors at the show. The Philips Smart Fusion Pole, a collaboration with the American Tower Corporation. The Unico downlight from XAL

expo’s ‘Connected – Secure – Convenient’ motto to play with. Cree demonstrated and promoted its ‘future-oriented’ street lighting line, including the newest addition to its XSP Series, the XSPM streetlight, its latest canopy/soffit luminaire CPY Series, its upgraded Cree Urban Series and its upcoming range of OSQ High Output luminaires. Lutron unveiled its new Enterprise Vue lighting and shading control and management platform which, it argued, gives facilities managers real-time control of all their buildings, whether all on one campus or scattered around the world. The company also showcased its Lutron Energi Savr Node, which it argued is the world’s first DALI-2 certified lighting control product, a range of tuneable white applications and its new Pico four-button RF wireless control.

LUMINAIRE ‘TREE’

One innovation that certainly caught this author’s eye was the ‘Arini Tree’ from Hess. The luminaire ‘tree’, which is designed to be a central street furniture hub or lightwww.theilp.org.uk

led anchor for an urban space (such as a park), appears, said the company (somewhat quirkily), as ‘a harmonious portraiture of a stylized parrot sitting in a tree’. It is designed to ‘unite the natural with the urban’ and can incorporate up to 12 luminaires at fixed positions with four curved luminaire brackets, with the tree at a height of 6,000mm and a total ‘overhang’ of approximately 3,300mm. It also has inductive charging options. Another Hess product that was popular with visitors – especially the more footsore – was its Positano illuminated seat. The outer glass surface of this product features anti-slip squares in a quadratic arranged pattern, while the inner glass surface is frosted with a pattern of identical squares exactly for a 3D effect. The unit’s static load capacity is 500kg and each seat is wired and configured for 120 RGB LEDs. Megaman, meanwhile, was very much promoting the pivotal importance of control, including its Estela recessed louvre LED panel and its INGENIUM ZB Smart Lighting Solution, which now works with Amazon Alexa voice commands.

ALL-EMBRACING DIGITALISATION

Finally, and although only scraping the surface of the innovation on display across the various halls, another notable launch was the Unico, a downlight from XAL that includes nine individually controllable 38mm x 38mm inserts, each of which can have its own photometrics and colour temperatures. There are six design shapes and three control options. Michael Ziesemer, president of the German Electrical and Electronic Manufacturers’ Association, said of this year’s Light + Building:‘The role to be played by intelligently connected devices and systems in residential and functional buildings and how they contribute to greater safety, security, convenience and energy efficiency was to be seen clearly at this year’s Light + Building. Digitalisation was the all-embracing subject, together with the resulting potential for new services and business models.’ And, for those with two-year diaries to hand, the next Light + Building will be held in Frankfurt am Main from 08 to 13 March 2020.

May 2018 Lighting Journal

Light on the past

t is generally considered that there was a radical rethink in lighting design after the Second World War; core principles and fundamental ideas were re-examined and challenged, new materials were discovered and exploited. With ‘form following function’, the excesses of finery and decoration were swept away. Yet, in fact, such concepts started to appear in the late-1930s, so the war years were not the principal catalyst for their creation. An example of this emergence of these new ideas can be found in the pre-war vertically-burning mercury lanterns from the General Electric Company (GEC). Its first lanterns from the early 1930s exhibited primitive optical designs housed in overlarge but elegant Art Deco-inspired lanterns. Its final designs from the decade were developed with sound engineering practices, manufacturing expediency, low cost and easy, reduced maintenance. In fact, the lantern designed and produced in 1939 became the final design of its type, and was a popular choice with lighting engineers throughout the rebuilding years of 1950s and 1960s. To look at this story in more detail, the introduction of the medium-pressure mercury vapour lamp (MA) in 1932 presented GEC with some novel design problems. The lamp’s dimensions and optical characteristics were unique and would require a completely new optical system. The lamp had to be burned vertically which would affect the fundamental dimensions and appearance of the lantern; and the lantern itself had to act as a showcase for the new technology.

INTRODUCTION OF THE WATFORD LANTERN

Mercury vapour lamps have become synonymous with the radical rethinking of lighting and architectural design that followed the Second World War. But, in fact, the development of vertically-burning mercury lanterns pre-dates the war, and they first started to appear from the late-1930s onwards By Simon Cornwell

www.theilp.org.uk

Given such a brief, it is not surprising that GEC started from first principles, wiped the drawing board clean and designed a custom lantern from scratch (rather than relying on the tried-and-tested incandescent lantern styles they were producing at the time). The result was the novel and idiosyncratic Watford lantern, which was introduced in 1933. As the fundamental principles of ‘the mechanism’ weren’t yet solidified, a precise optical system wasn’t designed, and the glassware simply spread the flux from the lamp in azimuth. Given this vague requirement, and the relatively long dimensions of the light source, a new plate refractor type was created. The adoption of this rectangular-shaped refractor naturally led to a frame lantern. But, rather than produce a simple box, the design was given a sweeping curve and

May 2018 Lighting Journal

reduced and removed, giving the lantern a simple box profile. Therefore, the early lanterns were driven by a vague optical arrangement and varying decorative requirements by municipal engineers. But frame lanterns were costly and slow to manufacture, and their openings were inexact and loose, which resulted in increased maintenance costs due to cleaning.

DEVELOPMENT OF THE BOWL REFRACTOR

So two years after the introduction of the Watford, GEC was back at the drawing board. At this point the ‘mechanism’ had been solved by developing the theories of silhouette lighting by high background brightness, and so the requirements of the optical system were better understood. The firm’s engineers could now concentrate on a more precise design, now the correct angles of spread and elevation were understood. The solution was the bowl refractor. An elongated glass bowl encapsulated the lamp, providing the necessary optical adjustments along its entire depth. This obsoleted the cumbersome plate refractors and the necessity for a frame, which resulted in a far more compact optical system, and a potentially smaller lantern. However, the firm then seemed to lose its nerve, or looked at its R&D budget and decided to cut costs, as a modified incandescent pendant design was used to accommodate the new bowl. Therefore, the new Di-Fractor lantern was more compact than its frame-based predecessors, but it wide overhanging brim; the nod to the Art Deco movement. The new tech underpinning the lantern was given additional emphasis by the lantern’s novel fixing arrangement: four spindly bracket arms fixed it to the column, adding to the lantern’s unique profile. The Watford only achieved limited success, however, as it was quickly joined by other lanterns in the range. Municipal engineers were well versed in demanding their own designs; a unique or new street lighting system was often part of the area’s civic pride and actively boasted about in town brochures. These early adopters, mainly neighbouring London boroughs, were quick to design out some of the Watford’s quirkier details, whilst retaining the same optical system and frame. It’s not surprising that the next lanterns in the range took on the names of the localities that specified them:

p The GEC Di-Fractor was an often incongruous addition to

q An illustration of the Watford lantern, the first medium-

picturesque pre-war scenes. Its side-only entry also encouraged simpler columns and brackets, which only added to the austere appearance of the design

pressure mercury lantern designed by the General Electric Company (GEC). It was initially installed along Watford Road in Wembley, not far from GEC’s research laboratories. The lantern’s novel mounting system, of twin brackets with two arms each, was never repeated

the Lewisham and the Tunbridge Wells. The Lewisham was enormous and almost double the size of the Watford. The fiddly mounting brackets were gone and the Lewisham returned to a top-entry pendent-style fixing, which was almost universal at the time (GEC also designed a convoluted anti-condensation connector, as any precipitation into the lantern from the bracket arm would have cracked the lamp). The lantern’s boxy appearance was softened with a pyramidal base and the addition of an enormous curved canopy. Oddly, the Tunbridge Wells, given the affluence of the area, was an even more functional affair. The excesses of the Lewisham were www.theilp.org.uk

May 2018 Lighting Journal

Light on the past

chimney and fiddly thumbscrews was gone. Every part of the lantern’s design was investigated and analysed, thinking of cost, performance and maintenance. GEC did not know it at the time, but this would be the total break with the past and the firm’s final say in the vertically-burning mercury lantern.

SIDE-ENTRY BRACKET MOUNTS

p This advert from 1936 shows both the growth of the range

of lanterns and the spread of installations. London boroughs dominated as the medium-pressure mercury lamp, tradename Osira, spread from the first installation in Wembley. The earliest version of the Di-Fractor is illustrated along with the Tunbridge Wells, which was the last of the frame-based style

was an odd combination of a copper spun decorative canopy supporting an ultra-modern, efficient glass bowl refractor. The Di-Fractor became GEC’s flagship main-road lantern and the earlier frame lanterns were quickly dropped from the advertisements. Further improvements included the Fulham Di-Fractor, where the narrow chimney-shaped canopy was plumped out into a more bulbous unit where the canopy’s profile matched the bowl’s. The lighting of Fulham Road by these units became a famous showcase of the basis of silhouette lighting and high background brightness. In the study, each lantern was switched on in turn, the bright patches on the road photographed as they individually coalesced into one area of light. GEC literature included this sequence of pictures to explain and validate the principles under which silhouette lighting was designed and operated. The final reworking took place in 1938, which saw a complete redesign of the Di-Fractor along functional and manufacturing lines and not to the whim of architectural movements, classically inclined borough engineers, or borrowed old incandescent lanterns. The old canopy with its antiquated airflows, obsolete decoration, oversized www.theilp.org.uk

The old long canopy was replaced with a squat, flat-topped bare unit. The fussy condensation anti-drip device was rendered obsolete by the adoption of a side-entry bracket mount. This was an extremely bold move as pendant fixing was near universal, and the same idea had failed for the Watford, but the bracket mounting was made much simpler and plainer. The old thumbscrews were replaced by snap fasteners, which were not only simpler, easier and quicker to open and close but would also provide the correct pressure on the gasket around the bowl and ensure a good seal. A further improvement to the maintenance factor was the elimination of the old air-circulating system that was so important for hot-burning incandescent lamps but unnecessary for mercury. This meant the dirt and insects that gained access to the older lanterns were now eliminated. It was a revolutionary design. GEC knew it, as its advertisement style radically changed to match. The bucolic shots of quaint tree-lined streets with decorative q The final form of the GEC Di-Fractor lantern, which arrived

in 1939. Adverts were simple, straight-to-the-point, and simply illustrated the lantern

p In another first, the advertisement campaign continued with

exploded views and explanations of the various features of the new lantern

street lighting, or simple illustrations plucked from sales catalogues were gone. The replacements were full-frame pictures of the new lantern, or hitherto unused engineering style diagrams.

STRONG, FUNCTIONAL AND MAINTAINABLE

Each point of the new lantern was illustrated and explained in detail, and exploded views of the component parts included leader arrows indicating the major design points. The whole exercise read as a fundamental checklist of what was required to make a strong, functional and maintainable street lighting fixture. It was an early ‘reveal’ of the future of lanterns of this type, but it turned out to be extremely brief. The lantern was only produced for a limited number of months before production was interrupted by the start of the Second World War. Yet, it was such a forward-looking design that manufacturing continued after the conflict and it became extremely popular in post-war rebuilding. The design was kept on catalogue – relatively unchanged – until the late 1960s, and so became synonymous with the rebuilding and new ideas in architecture and industrial design. Many, however, would be surprised to discover that its roots were firmly planted decades before, and the ideas and principles behind its design were rooted in the 1930s.

Lighting

May 2018 Lighting Journal

Consultants

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

Steven Biggs

Allan Howard

Alan Tulla

Skanska Infrastructure Services

WSP

Alan Tulla Lighting

IEng MILP

Peterborough PE1 5XG

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

www.skanska.co.uk

BEng(Hons) CEng FILP FSLL London WC2A 1AF

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

www.wspgroup.com

IEng FILP FSLL

Winchester, SO22 4DS

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

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

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

Simon Bushell

Alan Jaques

Michael Walker

SSE Enterprise Lighting

Atkins

McCann Ltd

MBA DMS IEng MILP

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

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

IEng MILP

Nottingham, NG9 2HF

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

www.atkinsglobal.com

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

Lorraine Calcott

Tony Price

it does Lighting Ltd

Vanguardia Consulting

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

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

www.itdoes.co.uk

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

BSc (Hons) CEng MILP MSLL Oxted RH8 9EE

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

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

Mark Chandler

Alistair Scott

MMA Lighting Consultancy Ltd

Designs for Lighting Ltd

EngTech AMILP

Reading RG10 9QN

BSc (Hons) CEng FILP MIMechE Winchester SO23 7TA

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

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

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

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

John Conquest

Anthony Smith

4way Consulting Ltd

Stainton Lighting Design Services Ltd

www.mma-consultancy.co.uk

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

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

www.4wayconsulting.com

www.designsforlighting.co.uk

IEng FILP

Stockton on Tees TS23 1PX

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

www.staintonlds.co.uk

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

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

Stephen Halliday

Nick Smith

WSP

Nick Smith Associates Limited

EngTech AMILP

Manchester M50 3SP

IEng MILP

Chesterfield, S40 3JR

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

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

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

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

www.wspgroup.com

www.nicksmithassociates.com

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

MILP IEng CMS.

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

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

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

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

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

Lighting

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

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

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

Venues by arrangement t: 01246 229 444

E-mail: enquiries@hagnerlightmeters.com

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

Nick Smith Associates Ltd www.hagnerlightmeters.com

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

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for more details

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

May 2018 Lighting Journal

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

Kiwa CMT Testing Unit 5 Prime Park Way Prime Enterprise Park Derby DE1 3QB

T: E: W:

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

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

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May 2018 Lighting Journal

Diary

THE DIARY 22 May

13 September

23 May

17-21 September

Emergency Lighting Conference Venue: Cavendish Conference Centre, London

13-14 June – the ILP’s Professional Lighting Summit at the Oxford Belfry, near Thame

‘How to be brilliant’, Lisa Hammond from Gravity Design Associates Venue: Body & Soul, Rosebery Avenue, London

13-14 June

Professional Lighting Summit Venue: The Oxford Belfry, near Thame

50 10 May

YLP membership upgrade day Venue: University College London, The Bartlett, UCL

14-15 May

17-22 June

Sixteenth International Symposium on the Science and Technology of Light Venue: The Diamond, University of Sheffield

Horticultural Lighting Conference 2018 Europe Venue: Jaarbeurs, Utrecht, The Netherlands

20-21 June

16 May

12 July

International Day of Light Worldwide

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

LSE regional afternoon technical seminar Venue: Garry Weston Library, Southwark Cathedral, London Exterior Lighting Diploma module A Venue: Draycote Hotel, London Road, Rugby

19 September

‘How to be brilliant’, with Rebecca Hutchison, of John Cullen Lighting Venue: Body & Soul, Rosebery Avenue, London

26 September

Lighting for Health and Wellbeing Conference Venue: Cavendish Conference Centre, London For full details of all events, go to: www. theilp.org.uk/events

Fundamental LED course Venue: ILP, Regent House, Rugby

IN THE JUNE ISSUE GLOBAL PLAYER

How lighting professionals are setting the pace internationally

www.theilp.org.uk

THINKING SIDEWAYS

Understanding, and unlocking, creativity as a lighting designer

LIGHTING THE WAY

All the winners and up-and-coming names from this year’s Lighting Design Awards

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

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For pricing and more information

Tel: 0203 0511687