Lighting Journal Nov/Dec 2017

November/December 2017 Lighting Journal

Professional best practice from the Institution of Lighting Professionals

Nov/Dec 2017

SPACE AND VISION Concept, context, contrast, control – the four ‘Cs’ of lighting an event space OXFORD HUES Oxford’s dreaming spires illuminated for the Night of Heritage Light PASSIVE PROTECTION Making the case for passive safety testing

The publication for all lighting www.theilp.org.uk professionals

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November/December 2017 Lighting Journal

Contents

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SPACE AND VISION

Creatively and effectively lighting an event space, whether it be a museum, exhibition or gallery, comes down to four ‘Cs’: concept, context, contrast and control, as Jonathan Howard explained in his ILP ‘How to be brilliant’ lecture

12 CHRISTMAS CHEER

Lighting Christmas markets and festive displays, while increasingly popular, can be a tough market in which to make your mark, as Douglas Bennett reveals

OF 16 CHORUS APPROVAL

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Designing and installing a new lighting system for the ancient Greek theatre of Taormina in Sicily required a deeply sympathetic and non-invasive approach. But it was also an opportunity to make full use of the potential of modern technologies

18 OXFORD HUES

Lighting design was celebrated in September, when six of Oxford University’s most iconic buildings were lit up for the third ‘Night of Heritage Light’ run by the Society of Light and Lighting

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22 DIMINISHING RETURNS

Accounting for lumen depreciation is a critical part of ensuring a lighting design complies with end-of-life requirements.

But are lighting professionals asking the right questions, asks Lawrence Baynham

36 NIGHT-TIME ECONOMY

With more than 31 million cars on the UK roads, and rising, it is vital to make the safest choices when it comes to public lighting and other roadside objects. Wider adoption of passive safety could be one answer, explains Ian McDonald

On many high streets, shopfronts contribute significantly to the illuminated urban landscape, often still being lit even when they are closed. So, should this illumination be taken into account when designing and implementing urban street lighting schemes? Maximilian Kompatscher takes a night walk

32 SOCIAL CAPITAL

40 TRACK CHANGES

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PASSIVE PROTECTION

Transport connectivity and healthier urban environments were key discussion points at the London Infrastructure Summit in September. But with skills shortages also a growing worry, will the infrastructure industry (and lighting professionals) be able to deliver?

Rebecca Hatch investigates

35 STADIUM OF LIGHT

By integrating innovative luminaire ‘light tubes’ into an aluminium tube façade, Zumtobel’s Atelier of Light team has created a spectacular illuminated experience at a German football stadium

An unused 160-year-old former railway tunnel in Canada has been given a stunning light-led makeover that, it is hoped, will now turn it into a community and tourist attraction

42 WORK SMART

This year’s LuxLive will be, as ever, jam-packed by top-quality CPD and diverse presentations. But if connected lighting is your thing, here is an outline of just some of what can expect to find at the new smart spaces ‘campus’

44 BLUE LIGHT DEBATE

The focus for the ILP’s Lightscene CPD event in October was ‘Blue Light and Colour Temperature’.

Lighting Journal was there

45 LEARNING OBJECTIVES

With the first speakers and exhibitors for 2018 now confirmed, February’s Light School at the Surface Design Show is expected to be even more popular than ever

November/December 2017 Lighting Journal

Professional best practice from the Institution of Lighting Professionals

Nov/Dec 2017

SPACE AND VISION Concept, context, contrast, control – the four ‘Cs’ of lighting an event space OXFORD HUES Oxford’s dreaming spires illuminated for the Night of Heritage Light PASSIVE PROTECTION Making the case for passive safety testing

46 LETTERS TO THE EDITOR 47 CONSULTANTS The publication for all lighting www.theilp.org.uk professionals

48 LIGHTING DIRECTORY 50 DIARY

p COVER PICTURE

The ‘David Bowie Is’ exhibition at the V&A, lit by Jonathan Howard of DHA Designs.

The exhibition, and event lighting in general, was the subject of Jonathan Howard’s ILP ‘How to be brilliant’ lecture in September

www.theilp.org.uk

November/December 2017 Lighting Journal

Editor’s letter

Volume 82 No 10 November/December 2017 President Alan Jaques IEng FILP Chief Executive Richard G Frost BA (Cantab) DPA HonFIAM Editor Nic Paton BA (Hons) MA Email: nic@cormorantmedia.co.uk Editorial Board Tom Baynham MEng MA (Cantab) Emma Cogswell IALD Mark Cooper IEng MILP 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 2017 The views or statements expressed in these pages do not necessarily accord with those of The Institution of Lighting Professionals or the Lighting Journal’s editor. Photocopying of Lighting Journal items for private use is permitted, but not for commercial purposes or economic gain. Reprints of material published in these pages is available for a fee, on application to the editor.

I

had the privilege during September and October of attending two ILP CPD events, Jonathan Howard’s ‘How to be brilliant’ lecture on ‘Lighting Bowie’, and Lightscene, which this year was themed around the controversial topic of blue light and health.

What was intriguing to me, as a non-lighting professional looking in, was how different they were, yet at the same time how both got to the heart of why CPD is such an important part of great lighting practice, especially the ‘C’ of ‘continuing’ professional development.

I’m not going to dwell here too much on Lightscene, in part because the intention is that Lighting Journal will early next year bring you papers based around various presentations from that day, and so I don’t wish to jump the gun.

Suffice to say, the fact extra chairs had to be rustled up to accommodate everyone who wanted to listen speaks volumes about the appetite of ILP members to learn more about an area that remains stubbornly opaque, but which many recognise, if the evidence were ever to becoming damning, could yet have severe ramifications for the industry.

The audience at Lightscene was predominantly experienced and established lighting professionals. Therefore, one of the cheering aspects of Jonathan Howard’s ‘How to be brilliant’ lecture was the number of students and young lighting professionals who took the time out to attend.

This was, in part, because the event was held at UCL. But it is also because of the burgeoning reputation of ‘How to be brilliant’ for attracting top-level speakers in an informal, accessible and friendly environment.

Jonathan’s presentation certainly hit that mark. It was a wide-ranging, insightful and deeply thoughtful discussion, and do check out the abridged version in this edition.

The wider point I’m trying to illustrate by highlighting these contrasts is that, as a lighting professional, you’re never too young or new to start engaging with CPD, and never too old not to ‘know it all’. Yet, with time and budgetary constraints as they are, it is a constant struggle for many lighting professionals to carve out the CPD they need or would like.

However, if anything, CPD is becoming more, not less, important. There is the fact the Engineering Council is making CPD mandatory from 2019. But there is also simply the fact that lighting technology, and with it lighting best practice, is becoming ever-more complex and multi-faceted.

The ILP will continue to champion CPD through events such as Lightscene, How to be brilliant, the Professional Lighting Summit, Light School, Lighting Journal (of course), its regional events, courses and guidance and tools such as mycareerpath. But, too often, CPD is still the first thing to get ‘parked’ when the pressure is on.

Nic Paton Editor

q SUBSCRIPTIONS

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

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November/December 2017 Lighting Journal

Event lighting: the ILP’s ‘How to be brilliant’ lectures

Creatively and effectively lighting an event space, whether it be a museum, exhibition or gallery, comes down to four ‘Cs’: concept, context, contrast and control, as Jonathan Howard explained in his ILP ‘How to be brilliant’ lecture in September. Here is an abridged version of his talk

By Jonathan Howard

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avid Bowie Is’ was an exhibition at the V&A in 2013, one of what the V&A calls its ‘blockbusters’, where it features either a subject or a particular designer and does a retrospective. They are fantastically popular mainstream exhibitions.

What I am going to talk about is not just David Bowie, but also some of the other exhibitions we’ve worked on over the years, but which inform the same sort of work we do.

Let’s start with some first principles.

Overleaf is an image of the V&A’s Paintings Gallery. This is what people ‘know’ as a museum. It is very standard and how museums probably were until quite recently.

It’s more a mausoleum than a museum; it’s very staid, it’s very straightforward; it presents things in a particular manner.

However, below it (and still overleaf ) is another image. This is also a museum, in fact it is only 100 yards away. This is the Atmosphere Gallery at the Science Museum.

It is doing the same job; it’s still presenting concepts to people so they understand them in an historical perspective. But it’s very different.

Then, if you turn to page ten, this is also a museum, and is the next building to the Science Museum. This is Savage Beauty, the retrospective of Alexander McQueen that we did a few years ago. As you can see, it is doing the same thing, but again coming at things in a different way To cite a very bad joke, everything we do comes back to four principles based around the idea that lighting is a ‘con’ – concept, context, contrast, and control.

There are two old theatre adages: one, if you can’t see the actor, you can’t hear the www.theilp.org.uk

November/December 2017 Lighting Journal

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‘David Bowie Is’ at the V&A. It was important for the lighting to reflect the concept of the exhibition, which was about trying to explain how Bowie came about, how he was the person he was and how his stage presence matured and changed over time

actor; two, don’t light the scenery. And that was said by the very, very famous lighting designer Richard Pilbrow. He argued you should just be telling the story of the actor.

When we do an exhibition, we don’t agree with that. We think that everything in the space is telling the story.

CONCEPT

Concept can be tricky for a lot of designers because, when we come to work on an exhibition, we’re already working for a design company that sold the concept, the idea, to a client. The client has said ‘we want to display this’, they’ve shown them the model, the ideas. If we’re really lucky we’re involved in those concepts so we can say to people, ‘this is how we’re going to do it’.

Sometimes, we’re not so lucky and we only get involved at a later stage, sometimes at design stage, where decisions have already been made. If you’re a lighting designer, fight against that, try and get involved in the project as early as possible.

The earlier you get involved, the better the results will be.

For Bowie, the concept was about trying to find a way of talking people through, explaining to people, how Bowie came about, how he was the person he was. It was also about explaining to people how his stage presence matured and changed over time.

The idea was to take them through a journey through two galleries and then, finally, into this stage space. And in that final stage space we could use the height the V&A to recreate the effect of standing in a crowd watching and listening to the performer. One element of the concept we therefore had to take on board was the fact we were working with a performance space, as well as working with objects.

Concept informs the lighting design; sometimes we’re lucky and we get to provide the concept, we drive it; sometimes we have to respond to it.

CONTEXT

What was the context of Bowie? The story about David Bowie, as we all know, is that he was an amazing performer who every time he did something he reinvented himself.

When we start working on any job with our clients, one of the core things we try to understand is ‘what is it we’re actually telling the story of?’. With Bowie, for example, it was telling the story of his character, the story of him, his costumes, his approach to his work.

We therefore started the exhibition in a domestic setting. The objects were simply placed, the staging was very simple; it was as his career would have started. It was all www.theilp.org.uk

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November/December 2017 Lighting Journal

Event lighting: the ILP’s ‘How to be brilliant’ lectures

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Above: The V&A’s Paintings Gallery. While effective, the lighting is very standard and straightforward and what people will often expect from a museum. t

Left: the Atmosphere Gallery at the Science Museum, which uses lighting in a very different way

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about very simple structures. We used truss, we used lighting bars, because that’s exactly how he would have been when he was performing in pubs. We wanted people to be reminded of where he had started, in quite basic surroundings.

But then, as people then moved through the exhibition, it all got more complex, because his staging became more elaborate; his response to his work more complex. So, the lighting had to play that part, too. One issue, however, is that, unlike stage lighting where there is no light limit, when you’re going to a museum there are very, very strict light limits and controls.

So, to get the context of the way we wanted people to see things, we also had to control the background light level. For example, with Bowie’s costumes on stage, we were trying to explain through light where his character was going and we were modelling objects and his costumes.

But some of them are in terrible condiwww.theilp.org.uk

tion, because they’re stage costumes. They haven’t been stored in the same way a museum would store things – temperature and humidity-controlled surroundings – they’re kept in a very, very humble warehouse. A lot of them he literally just took them off and put them in the box and put them into storage because he was on to the next thing; he wasn’t thinking about what he was doing next.

That meant we had to play down that damage and play up other things, like textural qualities, colour, materials and so forth. Again, the role of the lighting, the context, is to make people aware of what’s going in the space. We’re directing the viewpoint as we tell the story. We control the lighting, we control the viewpoint.

Overleaf again, on page ten, is an image from an exhibition we did for the British Museum, for the subject of the Book of the Dead, which is the very large papyrus you can see. The context is that we were trying

to explain where the Book of the Dead sits in Egyptian mythology. To Egyptians, the afterlife is actually a reed bed. And it is a reed bed that you find yourself in after your die, in glorious summer in Africa, with the reeds gently moving in the African breeze.

So, we tried to recreate that. We tried to make the visitor understand through the lighting what Egyptians thought the afterlife was. We had simple GOBO projectors, and we had a series of theatrical projectors hidden above the ceiling panel with a ripple effect. Every so often those reeds must just ‘move’ ever so slightly, almost subliminally. It just put people in the frame of mind that they understood what the Egyptian thought process of what death might have meant.

CONTRAST

The next ‘con’, contrast, is a more technical approach. Contrast is about the way we see objects in space. For us, you can have a bright space, you can have a dim space.

Usually for us, though, you have to set the light levels around the objects we’re lighting. It doesn’t matter so much in architecture – it becomes an issue about glare and you’ve got some regulations about how spaces are illuminated – but for museum work, we’re given regulations, we’re given light levels, that you can’t mess with.

Museums use 50 lux as a benchmark for lighting something. Why 50 lux? Because a Japanese team found it was the lowest level of light at which the human eye can still perceive colour well. It’s not that 50 lux is not going to damage the object, it will, all lights damage an object; it’s about the colour and the contrast.

Contrast is really important. If you sit in a room that is too glary or too dark for a long time the response you have is very psychological; it can really affect the way you see things. It is about balancing the contrast and balancing how people see things.

CONTROL

Control is a multi-faceted word. Some people from a theatre background, when they hear the word control, they’re probably thinking of DMX or other control protocols. But it’s more than that. Control is a tool that we use for adapting and changing light over time and space. It’s also about how we control the space. Lighting is really important for directing people’s views.

It’s really important also for changing the way that the space is.

Control is not just about physically turning the lights on and off. Back in the day, when we started, control was we had a

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November/December 2017 Lighting Journal

Event lighting: the ILP’s ‘How to be brilliant’ lectures

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Left: the ‘Book of the Dead’ exhibition at the British Museum. The aim was to use lighting to help the visitor understand how Egyptians perceived the afterlife.

Below: ‘Savage Beauty’, the Alexander McQueen retrospective, again at the V&A

10 lighting desk, a set of dimmers, and a tungsten filament lamp on the end of it which we could turn up and down, and that pretty much was it. More recently we had a lighting playback controller, then an LED controller, which is sending out just 24V and we had an LED fixture on the end of it.

Now, we have an app on our phone that will talk directly to the LED light source.

We’re doing an exhibition at the moment in Westminster Abbey where all of the light fixtures are controlled by Bluetooth low energy. There is no centralised system, each light fixture is its own little dimmer, its own little lighting controller.

You’ve got a series of sensors that are just sending information around the space, and they’ll just individually control each individual light fitting. Control has got simpler for us, in some ways, because we can go in and say what we’d like to change, turn the app on our phone and adjust it.

Even better, that fixture can send me back a signal, as a visitor, and say ‘the object you’re looking at has this web link, and if you’d like to open the web link on your smartphone, you can get information on it’.

And that’s coming out of the light fixture.

But you have to be very careful when you start giving your clients these new levels of control. Because the issue for them is who do www.theilp.org.uk

they call when it stops working? In the old days it would have been an electrician. Now, do you call a software engineer? So, the control is getting better for us as designers, but you’ve got to make sure clients know what to do when something goes wrong.

CONCLUSION

Where does this all leave us with the way we dealt with the David Bowie show? With Bowie, we were given this thing called the Bowie Box wall. In each box, we put in a number of light sources. Something we do in our work a lot is we try and layer lighting as much as possible. One light’s good, six is better, 24 is fantastic – if you’ve got the money for it.

Each source can also change their focus

and beam angle, and we put in a single fixture behind the mesh, just so we could illuminate that. There were a number of control channels, just using DMX protocols, running off a single playback controller.

When it came to the programming, we realised we did need a time-coder pretty early on because, the number of changes we came up with, we could not control it until we were frame accurate.

The main image you see on pages six and seven shows the space, the Bowie Boxes.

The costumes you see in front of them; these were just lit by ordinary parcans. We were given a bit of free hand because they said, ‘OK these are stage performance costumes, we’re not worrying about damaging these, just light these as you would if they were on stage’.

We were able to use much higher light levels than in the museum. And then just by playing with the layers of light and responding to the video we’re revealing that costume, pulling focus, through the wall.

The wall goes from being sold to ethereal, just by changing the lighting at that point.

It’s the idea again of playing with physicality of focus, changing the beam angle; we’re changing the colour very, very quickly.

To sum up, when we talk about lighting an exhibition, museum or event space, we start off with the concept – what is the client trying to tell the story with? We then talk about context: how can we make the lighting tell you the story? Then we look at the contrast: how are we going to place these objects in the space, how are we going to illuminate so we understand where they sit?

We also often talk about ‘contouring’, which is the simple physical process of lighting an object so we understand the structure of the object. But finally, we talk about ‘control’, which is about adapting and changing light over time and space; controlling the space.

Jonathan Howard MSc is director at DHA Designs

HOW TO BE BRILLIANT… The aim of the ILP’s ‘How to be brilliant…’ lecture series is very simple: to allow lighting professionals to meet an inspiring expert in an informal, convivial setting, who will talk and inspire about lighting in a way formal education doesn’t always cover.

The lectures take place at The Shed in Haggerston, east London, and there is one final lecture still to be held in 2017:

However, do keep an eye out online or in Lighting Journal for 2018’s programme of lectures.

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

For more details go to www.theilp.org. uk/brilliant

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November/December 2017 Lighting Journal

Event lighting: lighting Christmas markets and events

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Christmas comes but once a year, but lighting Christmas markets and festive displays, as well as outdoor festivals and other events throughout the year, is becoming an increasingly popular specialism within the industry. However, it can also be a tough market in which to make your mark, as one specialist operator reveals

By Douglas Bennett

www.theilp.org.uk

November/December 2017 Lighting Journal

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t Icthus Event Solutions, we’re a professional provider of technical services to events and public bodies, specialising in (among other areas) providing lighting for Christmas markets and festive events.

For the past eight years, we’ve worked with a wide range of councils, Business Improvement Districts and private organisations. We currently provide Christmas lighting solutions for towns and cities including Winchester, Newbury and Cirencester, and have close links with partners who service several others.

We do decorative site and security lighting, chalets and, in fact, just about everything else for Christmas markets. But we also do summer festivals, county shows, music festivals, opening ceremonies, stage displays, everything from simple PA systems through to advanced lighting systems and large-screen LED displays.

You would think that, with all this experience – and the fact that Christmas, of course, comes around every year – that working in this sort of specialised area would be a doddle. But, like most things in life, it’s never as simple as that.

Christmas and event lighting is a hugely competitive sector – to get into, to make a name for yourself, and in which to maintain and secure contracts. Therefore, as a lighting professional, you really need to be

on top of your game. Here are a few of my ‘frights’ and ‘delights’ of working within this sector.

STIFF (AND SOMETIMES UNSCRUPULOUS) COMPETITION

I’m sure we’re not alone in this industry in that one of the biggest problems we face is the proliferation of contractors out there who can ‘talk the talk’ but, when it comes to it, are actually not properly qualified to do the work.

We have not lost a major contract yet and have many satisfied long-term clients.

This is, in part, to do with the personalities involved on both sides, but it is primarily, of course, because we do the job right, we do it professionally and we go the extra mile to make sure that clients are left happy. Unfortunately, however, this is the sort of sector where you do tend to find less scrupulous operators who are, at best, prepared to undercut tenders and, at worst, happy to cut corners and even safety.

It is therefore vital councils or clients looking to invest in this sort of event lighting not only check references with previous customers very rigorously, but also visit the prospective contractor at their offices or storage facilities to verify they have the necessary and appropriate processes in place to protect both the client and their stock.

We make a point of being very upfront

about the fact we follow strict operating procedures, including the various guidelines issued by The Electrical Contractors’ Association, The Construction Fixings Association, The Institution of Engineering & Technology and, of course, the Institution of Lighting Professionals. We also run a variety of internal training courses to ensure our operators are compliant with International Powered Access Federation rules and are fully conversant with current health and safety guidance.

SHORT-TERMISM

This brings me on to the second challenge we face – and it is one of the biggest bugbears we have – namely the trend we are increasingly seeing of councils and other public bodies insisting on only offering one-year contract deals on large-scale event contracts.

Why are they doing this? Sometimes it is because they have genuinely had a bad experience with a previous contractor and want to see how the land is lying before they issue longer contracts. That’s fair enough of course but, especially for something like event lighting, the initial costs are often high and it can be difficult to design a scheme that is aesthetically pleasing and cost-effective on a one-year contract.

Where we can, we therefore try to ensure a contract is for a three- to five-year

www.theilp.org.uk

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November/December 2017 Lighting Journal

Event lighting: lighting Christmas markets and events

period, which allows you to spread the costs more effectively. But the way tender processes are structured can often make this difficult to achieve.

STAFF SHORTAGES

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The third common challenge we face is finding suitable staff to do the work. By its nature, setting up Christmas lighting involves work that is sometimes physically demanding, and often needs to be carried out in adverse weather conditions. Although we do work on contracts all year round, Christmas lighting is, naturally, seasonal and so this can mean intense bursts of activity for short periods.

We demand that our staff are electrically competent but also able to operate the machinery (such as a cherry-picker) and are astute enough to work independently or dynamically. This is necessary in order to overcome the myriad small obstacles that an installer can meet in the small hours of the morning, in the cold and wet, when some aspect of the installation needs repair or modification.

We are always on the lookout for reliable people willing to work the long, unsociable hours and willing to learn the trade. Yet, in spite of the obvious remuneration benefits, this continues to prove difficult.

A further challenge can be in ensuring you have the necessary storage arrangements, again especially given the fact you may need to be holding large quantities of stock for relatively short periods of time.

So, why do we love it, and why is event and festive lighting becoming such a popular area for people to get involved with?

First, of course, the financial recompense can be quite large if you can bring the right skill-set, attitude and quality of work to the job. As already highlighted, however, that same fact does mean that, as a sector, it also tends to attract unscrupulous contractors. So, you have to go into it with your eyes open and be prepared.

But, second, and while I can’t speak of course for all the other Christmas contractors out there, for me, the positive aspects of this industry when operated correctly far outweigh the downsides. As a team, we always feel great pride in seeing the reactions of our clients and, especially, the general public when the displays we design or manage are switched on. ¢

Douglas Bennett BEng (Hons) MIET AILP is director of Icthus Group www.theilp.org.uk

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All lit up for Christmas: St Albans Christmas market and, left, Newbury clock tower C

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HOW THE ILP CAN HELP For lighting professionals involved in festive or seasonal lighting, don’t forget the ILP’s PLG06 guidance can provide an invaluable best practice template.

PLG06 Guidance on Installation and Maintenance of Seasonal Decorations and Lighting Column Attachments is designed to help those

planning festive lights or other attachments to street lighting columns, furniture or buildings.

It covers common issues when planning and installing decorations, and how a competent lighting professional must address them. It also explains the health and safety implications and responsibilities that

a lighting professional has in this area, and the competency requirements.

For example, different lighting columns have different limitations, and PLG06 explains this comprehensively. It is available through the ILP for a member price of £40 and a non-member price of £70.

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November/December 2017 Lighting Journal

Lighting landmarks

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www.theilp.org.uk

November/December 2017 Lighting Journal

Designing and installing a new lighting system for the ancient Greek theatre of Taormina in Sicily required a deeply sympathetic and non-invasive approach.

But it was also an opportunity to make full use of the potential of modern technologies

By Nic Paton

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he ancient Greek theatre of Taormina dates back to the third century BC and is the largest ancient theatre of its kind in Sicily, only rivalled by the ancient theatre of Syracuse.

Naturally, the site is a beacon for tourists and Sicily’s Department of Cultural Heritage and Sicilian Identity was keen to look at how visiting hours could be extended into the evening, with a new light scheme the obvious answer.

However, and again self-evidently, for such a precious and architecturally important site, this had to be achieved in a way that enhanced and protected the site and allowed visitors to access the theatre in safety at night.

The department turned to iGuzzini, in collaboration with Energy Service Company Metaenergia (ESCo), for a solution, with the result being unveiled to the public at the end of June.

The project was designed by engineer Roberto Sannasardo, and has updated an existing lighting system installed in 1999 by the French studio Roland Jeol.

NON-INVASIVE SOLUTIONS

With non-invasive design solutions being of paramount importance, compact and hidden luminaires have been used, and the existing installation system reused wherever possible to avoid attaching more brackets to the ancient walls.

The overall aim was to create a lighting system that would reproduce the subtle colours of dusk, meaning a warm colour temperature of 2,900K-3,000K was chosen. Products with high colour rendering (a CRI of 90) ensured the site’s natural materials were properly saturated with the required range of colour.

All the existing lighting units were replaced with new DALI LED elements, resulting in an 80% reduction in energy consumption and, consequently, lower

management costs, iGuzzini has calculated.

Exit routes have been lit with linear lighting, with the company’s Underscore InOut luminaires recessed in the handrails and diffused floodlighting from its Woody brand. The theatre entrance is also lit by Woody luminaires. For the viewing platform, pole-mounted iTeka luminaires were used, with directional lighting created by using OptiSmart reflectors.

VISITOR EXPERIENCE

Woody downlights were again used to illuminate the vaulted portico and open portico, emphasising in particular the structure of the steps. Underscore InOut Side Bend luminaires were installed in the handrail to guide visitors safely towards the orchestra, with the aim being to achieve an even and continuous line of light with no shadow areas whatsoever.

The ‘cavea’ (auditorium) and ‘paraskenia’ (side wings) are lit with the company’s wide-beam Maxiwoody luminaires, with Woody luminaires again being used to guide visitors along the ‘parodoi’ (stage side entrances) towards the ‘skene’ (backstage area), where Miniwoody luminaires have been used to light up the ‘proskenion’ (area in front of the skene) and Maxiwoody floodlights used for the skene itself.

Architect Vera Greco, head of the Naxos Archaeological Park, said of the project at the opening: ‘The fact that architecture and light are inseparably bound is well known. This is why this project, in addition to satisfying lighting and energy requirements, also boasts the added value of accurately highlighting architectural and archaeological features, like the ruins surrounding the summa cavea (upper auditorium). These are perceived as significant parts of the site, and enrich the visitor’s experience educationally and emotionally.’ www.theilp.org.uk

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November/December 2017 Lighting Journal

The 2017 Night of Heritage Light

18

www.theilp.org.uk

November/December 2017 Lighting Journal

The power and creativity of lighting design was celebrated in September, when six of Oxford University’s most iconic buildings were lit up for the third ‘Night of Heritage Light’ run by the Society of Light and Lighting

By Nic Paton

A

fter UK world heritage sites in 2015 and the architecture of York in 2016, in September it was the turn of Oxford to be the focus for the third Night of Heritage Light.

Six of Oxford University’s most iconic buildings were lit up in a stunning and colourful display organised and overseen by the Society of Light and Lighting (SLL).

Buildings illuminated during the evening of 29 September included Radcliffe Camera and the Museum of the History of Science, both buildings that are not ordinarily lit.

Others then illuminated were the Ashmolean Museum, the Museum of Natural History (pictured, left) and Pitt Rivers Museum, the Radcliffe Observatory, and Radcliffe Humanities.

The volunteer lighting design teams taking part included LuxPopuli, Enigma Lighting, WILA, Projection Studio, dpa lighting consultants, and Hoare Lea, with design themes focused around the history and function of the buildings featured. www.theilp.org.uk

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November/December 2017 Lighting Journal

The 2017 Night of Heritage Light

20

p

STUDENT DESIGNS

The evening was also linked to SLL’s ‘Pockets of Light’ schools’ initiative, with students from local schools challenged to produce designs for the event.

To that end, students from the City of Oxford College, St Gregory the Great secondary school and North Kidlington primary school came up with lighting designs for the quad of the Bodleian Library, with the winning designs then made reality.

The event took place alongside the Oxford Curiosity Carnival, a city-wide programme of activities across the university’s museums, libraries, gardens and woods, including live experiments, games, www.theilp.org.uk

stalls, busking, debates, music, and dance.

SLL president Richard Caple said the event had shown ‘a new side to some of the UK’s most iconic buildings on the Oxford University campus, allowing the public to see them in a new way, and really showing off the power of light to change how we see the world around us’.

It had also been an opportunity for top lighting designers to show off some of their best work, and ‘show people what our profession is all about’.

He added: ‘The Night of Heritage Light has become a fixture in the society’s calendar as a celebration of what our work is all about, the art and science of light.’

ALL PHOTOS BY DAN PATON

Clockwise from top: the Radcliffe Observatory; the Ashmolean; the Radcliffe Camera; and Radcliffe Humanities

INSPIRED BY

LIGHT LIGHT SCHOOL IS NOT YOUR USUAL, RUN OF THE MILL EXHIBITION FOR THE LIGHTING INDUSTRY Co-located with the highly respected Surface Design Show in London’s iconic Business Design Centre, Light School sets out to educate architects and designers in the importance of lighting in the design of both the interior and exterior of buildings.

WWW.LIGHT-SCHOOL.CO.UK

#LIGHTSCHOOL @SURFACETHINKING

November/December 2017 Lighting Journal

Lumen maintenance and LED

22

www.theilp.org.uk

November/December 2017 Lighting Journal

Accounting for lumen depreciation is a critical part of ensuring a lighting design complies with end-of-life requirements.

But are lighting professionals asking the right questions?

By Lawrence Baynham

I

t is commonly known that over time the light output of an LED will reduce, what is known as lumen depreciation.

To ensure a lighting design complies with requirements even at end of life, we therefore need to account for this lumen depreciation over the luminaire’s life.

By doing this, we either end up with more light than required at the beginning of life or we utilise a constant light output (CLO) method to deliver consistent levels over the period by starting the unit in a dimmed state and gradually increasing to maximum power over the operating life.

So far of course, so good. We have two clear choices about how to deal with lumen depreciation, and these are readily available from all major lighting manufacturers.

CHOOSING THE CORRECT CLO PROFILE

One consideration which can easily be overlooked however, is matching the CLO algorithm to the scheme life being designed for.

If the scheme design life is for, say, 100,000 hours and we know that, after this time, a unit’s LED output will be 80% of its original value then, when the luminaires are installed, we should start at 80% output and increase the power so that it reaches 100% after 100,000 hours.

Likewise, if a scheme life is 60,000 hours and that same product has 88% of its output after this period, then the CLO algorithm should start at 88% output and increase to 100% output over the 60,000-hour period.

So, looking at an LED lantern with an L80 of 100,000 hours, CLO could save 10% of the lifetime energy costs over the period.

It is common for luminaire manufacturers to set a default CLO algorithm that assumes the scheme life is equal to the product life. But it is important to be aware of this so that the CLO profile can be correctly matched to the installation.

Don't forget too that, when using CLO programmes within the LED driver, when a driver replacement becomes necessary, unless it is programmed on a unit-by-unit basis, the CLO algorithm will reset and start from the ‘beginning of life’ again! This will result in an underlit, and therefore non-compliant, scheme.

UNDERSTANDING LED LIFETIMES & MAINTENANCE

So, how do we know what the output of the LED will be at the end of the scheme?

There are several models to project lumen output, so we can predict what light output will be after a given period of operation. These methods work from measured data and then use mathematical models to project how the LEDs will perform in the future based on observed performance during the testing period.

TM-21 is one such calculation and is commonly used in the lighting industry [1]. The calculation is based on data collected according to the LM80 results of the LEDs [2].

LM-80 = TESTING

LM-80 is a test standard that defines the way in which an LED package, array or module should be tested, and the way in which results should be gathered.

The method involves mounting the sample of LEDs into a test chamber with carefully controlled ambient conditions and electrical inputs, and then ensuring the devices are periodically measured for lumen output and chromaticity.

The duration of the test must be at least 6,000 hours and is typically continued for a much longer period to improve the accuracy and validity of projections. Testing is carried out at an LED case temperature of 55 degrees, 85 degrees and a third temperature selected by the manufacturer.

Data must be collected at least every 1,000 hours at 25 degrees.

LM-80 is just one reliable source of information that allows clients to evaluate and compare lumen maintenance of LED fittings from different manufacturers.

However, it is not a complete measure of LED system performance or reliability.

If the lifetime for the driver is shorter than that of the module, a driver replacement may be necessary before the luminaire’s lifecycle is complete. This means you cannot have a single figure declaring the total luminaire lifetime. The values of the module and driver should be declared separately and not combined.

TM-21 = PROJECTIONS

TM-21 was developed to extrapolate this short-term LED component test data to www.theilp.org.uk

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November/December 2017 Lighting Journal

Lumen maintenance and LED

predict future lifetimes and give assurance of the technology.

For predicting lumen depreciation, TM21 simply requires the average (mean) lumen output (as a percentage of the starting lumen output) of the tested LEDs to be recorded at various equally spaced points during the test.

The projection method can then be used to predict lumen depreciation after a period, or predict the number of operating hours that will pass before the lumen output reaches a defined depreciation level.

The table below (Figure 1) shows an example of how the LM80 results are captured and which results are used in the TM-21 calculation.

The result is rated lumen maintenance life Lx, which is the elapsed operating time over which the LED light source will maintain the percentage, x, of its initial light output. For example: L70 (hours) = time to 70% lumen maintenance.

Since TM-21 defines a calculation based on the average lumen maintenance at each measurement point, the result is, by definition, the average lumen maintenance of a sample of units after the rated

lumen maintenance life.

In other words, after the quoted hours, the arithmetic mean of the sample’s lumen maintenances will be the Lx value. Since lumen maintenance approximately follows a normal distribution, we can also say that for a sample of LEDs we would expect half of the units to exhibit a higher lumen maintenance than predicted, and half to exhibit a lower lumen maintenance than predicted (see Figure 2 overleaf ).

We see from this that the common method specified in street lighting tenders, TM-21, is only able to project average lumen maintenance figures (for a normal distribution mean = median = mode) and, using the LxBy notation, would represent LxB50.

WHAT IMPACT DOES THE B-FIGURE HAVE?

1) Over-lighting and energy usage Some tenders call for projections of ‘B’ values that don’t represent the average lumen maintenance performance. For example, LxB10 or, in other words, the number of hours of operation until no more than 10% of the LEDs are providing

24

p Figure 1. Example results from an LM80 test. Note the mean (average) scores at each time point for this sample set of LED chips

www.theilp.org.uk

less than x% of the initial light output.

Figure 3 shows that, for LEDs whose decay follows a normal distribution, B10 would be the lumen maintenance value for which 10% fall below the Lx target and 90% fall above the threshold.

For any given LED, the number of hours for a lower By value will always be less than the number of hours to B50. The difference would depend on the variation in lumen maintenance measured between test samples. A B10 value is therefore more conservative than B50. In practical terms, this means that B10 is reached at an earlier stage in the lifetime on a set of LED modules compared to B50.

As an example, for an LED with L80B50 of 100,000 hours, we might expect the L80B10 value to be in the region of 70,000 hours. At this point, we can say that 10% of the LEDs will have less than 80% of the light output. However, as can be seen in Figure 2, the average light output for this example after 70,000 hours is in fact 87.5%.

So, if an installation is being designed with a scheme life of 70,000 hours, then the question for the designer is whether to use L80B10 = 70,000 hours and take the maintenance factor as 0.8, or use L87.5B50 = 70,000 hours and take the maintenance factor as 0.875. Clearly, the latter will result in less energy being used.

Arguably, the average lumen maintenance figure is more appropriate when selecting the maintenance factor because we want to ensure the scheme is not under or overlit. Using the example above, if L80B10 is used, the scheme will be overlit by 7.5% on average, compared with L87.5B50 where it is not (both 70,000 hours).

Don’t forget, an LED luminaire usually contains a number of LEDs. LED chips will decay at differing rates, so the lumen depreciation of the luminaire will already be averaging the lumen depreciation of the individual LED chips within the unit.

2) Affects accuracy and comparisons As well as the risk of over-lighting, another problem regarding the use of ‘B’ figures is the way in which they are calculated.

TM-21 is a defined calculation method for average lumen maintenance, and requires the LEDs to be tested according to LM-80. However, TM-21 does not provide guidance on how to calculate ‘B’ figures.

Therefore, any figures supplied are calculated using a method selected by the manufacturer. This is problematic, since the lack of a standard approach means results cannot be compared on a like-for-like basis which, at best, clouds the decision-making process between luminaires.

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November/December 2017 Lighting Journal

Lumen maintenance and LED

t Figure 2. LED lumen

maintenance follows a normal distribution

variance or standard deviation of results of a unit’s LM-80 test report. Since LM-80 is an industry-standard test procedure, this would ensure a fair and robust comparison between like-for-like luminaires.

This could even be added into procurement documents by simply stating a maximum allowable standard deviation (a measure of variation of results from the average) from any lumen maintenance measurement point during the LM-80 test process.

SUMMARY

Example 1

26

Example 2

Sample 1

80

74

Sample 2

80

83

Sample 3

80

82

Sample 4

79

79

Sample 5

80

86

Sample 6

80

81

Sample 7

80

80

Sample 8

81

77

Sample 9

80

78

Sample 10

80

80

Average (Mean)

80

80

p Figure 3. Variation in lumen maintenance between samples

3) What do British Standards state?

Annex C of BS 5489-1 outlines the process for calculating maintenance factors to be used in lighting designs.

This document only refers to lumen maintenance as an Lx value with no method for incorporating By values into the equation.

GETTING TO GRIPS WITH BY FIGURES: VARIATION IN LUMEN DEPRECIATION

One key factor that the ‘B’ value attempts to shed light on is the variation in lumen maintenance between LED samples during testing.

For example, if we have a sample of ten LEDs and we operated them for 100,000 hours, it would be more desirable for the measured lumen maintenance results to resemble those of ‘Example 1’ in Figure 3 www.theilp.org.uk

above rather than ‘Example 2’.

The reason for this is that, despite having the same average lumen depreciation (and therefore identical L80B50 figures), Example 1 offers more consistency in lumen maintenance. This would mean that all LEDs would decay much more steadily, and thus deliver a more consistent light output over time.

If we could be certain that the same methods were used to calculate B10 figures across both example sets, then the quality of the Example set 1 would be highlighted by the request for L80B10. But in reality, as we know, there is no standardisation for the calculation of this metric so drawing comparisons is not always useful.

An alternative way that clients can gather information about variability is to check the

Using alternative ‘B’ figures compared to standard TM-21 projections can: 1) Result in an overlit scheme and therefore higher lifetime costs 2) Cloud judgement between different lanterns since there is no standard to ensure manufacturers use the same calculation. By comparison, TM-21 is the same across all manufacturers Using B50 is the most appropriate measure to provide consistency with Maintenance Factor principles whilst maximising life and efficiency.

Of course it's never quite that simple.

Whilst there are clear benefits to using TM21 and ignoring any ‘B’ claims, the problem with TM-21 is that an LED with a high degree of variation in lumen maintenance between LED samples is treated the same as an LED which has a very consistent lumen maintenance between LED samples.

It is therefore desirable to specify an LED source that has as little variation in lumen maintenance performance as possible. This can be done in a consistent and comparable way by specifying minimum observed variations in the LM-80 test results (see beige row in Figure 1).

Ultimately, using more energy than required to meet the standards is clearly not desirable. So, why ask for a performance metric such as L80B10 that not only causes this and is open to manipulation, thus impacting the ability to compare luminaires?

Lawrence Baynham MEng is Technical Director at INDO Lighting

REFERENCES

Society of North America (IESNA)

[1] TM-21-11 Projecting LongTerm Lumen Maintenance of LED Light Sources, Illuminating Engineering

[2] LM-80-08 Approved Method: Measuring Lumen Maintenance of LED Light Sources, IESNA

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November/December 2017 Lighting Journal

Passive safety of lighting columns and signposts

PASSIVE PROTECTION

With more than 31 million cars on the UK roads, and rising, it is vital to make the safest choices when it comes to public lighting and other roadside objects. Wider adoption of passive safety could be one answer

By Ian McDonald

28

T

he volume of traffic on our roads increases every year. A consequence of this is a growth in the number of accidents on the road network.

The careful consideration in the placement of lighting columns, signal poles and signposts has never been more important; the use of passive safe road side structures and which classification of passive safety specified has also therefore never been more critical than it is now.

p Figure 2. 2015 Reported single vehicle collisions (built-up roads)*

www.theilp.org.uk

ACCIDENT STATISTICS

Highways England (or The Highways Agency as it was) were early adopters of passive safety on the strategic trunk road network.

Roads managed by Highways England are well known as being the safest roads in the country, and this is demonstrated by clearly by the latest available government statistics for road traffic collisions, as shown in Figure 1.

p Figure 1. Casualties by severity and road type 2015

p 2015 Reported single vehicle collisions (rural roads)*

November/December 2017 Lighting Journal

These statistics are further endorsed when we look more closely at the type of single vehicle collisions on the entire road network during the same period, as highlighted in the three charts shown in Figure 2.

Use of Passive Safe Signposts, Light Poles and Traffic Light Posts to EN 12767 was published. The development of passive safety has been ongoing ever since, as is shown in the signpost image left.

COSTS OF AN ACCIDENT

PASSIVE SAFETY NOW

Every accident has an immediate financial cost to the taxpayer; the more severe the accident, the higher the cost, as we can see in Figure 3.

These figures do not include ongoing costs for the support of individuals suffering from life-changing injuries following severe impacts, for example costs such as ongoing medical care, modifications to their homes, loss of earnings and so forth.

p A typical passive safe

roadside signpost

p Figure 3. Average value of prevention [1] of reported

road accidents [2] by road type (GB 2015)

A BRIEF HISTORY

Passive safety was originally a Scandinavian development in the 1980s and 1990s.

Passive safe signposts were first installed on a new UK trunk road scheme, the A34 Silverstone bypass in 2002.

This was the first major use of passively safe product in the UK. In 2005, TA89/05

q A passive safety test

vehicle. Note that it will be crashed at 20 degrees from centre to better reflect the reality of an accident

The European standard EN 12767, part of the standard EN 40 for lighting columns, specifies performance requirements for passively safe support structures for permanent road equipment. It both defines and limits the levels of occupant injury severity when impacting these structures.

EN 12767 specifies the requirements and methods for testing passive safety.

This standard offers numerous options for classifying roadside structures. It makes a distinction between the following: impact speed, performance level and occupant safety level.

When testing any passive safe roadside object, two tests must be carried out. First, a slow-speed test at 35kph must be passed, followed by a high-speed test at either 50, 70 or 100kph. The test vehicle can weigh no more than 900kg, and will be crashed at 20 degrees from centre to try to better reflect an errant vehicle leaving the road.

The image below shows a test vehicle doing just this.

A typical passive safe classification could be, for example, 100NE3. In case, ‘100’ would be where the impact speed in kph, ‘NE’ is the energy absorption and ‘3’ is the occupant safety level.

Three types of performance class are available to the designer and all react very differently upon impact. These are: High Energy Absorption (HE). This will slow the vehicle considerably on impact and the risks of secondary collisions with trees, pedestrians and other road users is reduced. However, the severity of the impact for vehicle occupants can be higher.

Low Energy Absorption (LE). This is designed to bend in front of and under the impacting vehicle, before shearing or detaching towards the end of the collision.

p 2015 Reported single vehicle collisions (motorways)*

www.theilp.org.uk

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November/December 2017 Lighting Journal

Passive safety of lighting columns and signposts

No Energy Absorption (NE). This will permit the vehicle to continue after the impact with a limited reduction in speed.

Such poles may therefore provide a lower primary injury risk than energy-absorbing support structures, but a higher secondary injury risk if other hazards exist behind the support structure.

OCCUPANT SAFETY

There are four levels of occupant safety, ranging from 1-4, where one is the lowest level and four is the highest.

These levels are determined by two measurements taken in the vehicle during the test to replicate how an occupant reacts during impact. These measurements are the ‘Theoretical Head Impact Velocity’ (THIV) and the ‘Acceleration Severity Index’ (ASI).

PERCEPTION OF RISK

30

During the early adoption of passive safety there was a perception that using passive safe structures would result in an increased risk to pedestrians and other ‘non-motorised users’ near an impact.

BS EN 12767 contains general requirements pertaining to occupant safety, but also to the localised environment around the ‘crash site’, namely that: • The test item shall perform in a manner predicted by the manufacturer • The test item or detached elements, fragments or other major debris from the test item shall not penetrate the occupant compartment or present an unnecessary hazard to other traffic, pedestrians or personnel in a work zone • The vehicle shall remain upright for not less than 12m beyond the impact point with a roll angle of less than 45 degrees and a pitch angle of less than 45 degrees To date, there have been no recorded instances of injuries occurring because of a secondary impact following collision with a passive object.

FUTURE OF PASSIVE SAFETY

Classifications are based on tests in a controlled environment. In practice, factors that affect the performance of the product play an important part, meaning that the pole may not perform as expected. Figure 4 in the next column displays several factors with their possible consequences.

It is only logical, too, for new regulations to be added for long-term performance. A new norm was expected during the second

Factor

Possible consequences

A changed product (for example corrosion)

The pole may break or an NE3 structure cannot shear off or slide away

Different backfills (for example composition, density, groundwater level, frost)

The pole can be knocked out of the ground or can be broken. An NE3 pole will probably not shear off and an HE3 pole can break too soon.

Non-standard vehicle or non-standard impact (for example lorries, buses, heavy passenger cars or side impact)

The pole can react differently than expected. Heavier cars result in more impact energy and impact the pole at higher level than a passenger vehicle.

Deviations in positioning (for example height, compaction, saturation, collision direction)

A mechanism in (or on the outside of) the pole does not work at all or is reacting differently than intended

p Figure 4. Variation factors and their possible consequences

half of 2017 (but had not been published at time of writing), including changes for: • Occupant safety class • Backfill type • Collapse mode • Directional sensitivity In more detail, these encompass: Occupant safety class. The occupant safety classes will change from 1-4 to A-D. As the ASI and THIV limits for NE2 and HE3 are the same, the new classes will therefore become NE, C and HE, C. Backfill type. Backfill is very important for the performance. The types S, R or X are added to the performance class.

Collapse mode. The new norm will include two collapse modes, SE (Separation) and NS (No Separation). This indicates how the structure behaves when impacted. In some cases, separation can’t be avoided to achieve the right safety levels, but in some cases detached objects are not acceptable either.

Direction sensitivity. The angle at which a passive safe pole is hit is important to consider when installing such a product. In the new norm, three different options are described, SD (Single Directional), BD (Bi-Directional) and MD (Multi-Directional).

SD poles can only be safely hit from one direction of 20 degrees as tested. BD poles perform equally for the opposite traffic as well, (20 degrees and 160 degrees). MD poles are not sensitive for the impact angle and are, obviously, the safest choice, but not always available.

THE BUSINESS CASE

Earlier, the costs associated with accidents on the road network were demonwww.theilp.org.uk

strated. In 2015 there were 51 fatal collisions with lighting columns and signposts, costing the taxpayer an initial £102m.

If, by the wider adoption of passive safety, these fatalities could be reduced to minor injuries this would result in a saving to the taxpayer of more than £100m.

Nowadays, with more than 31 million cars on the UK roads (and with this figure still rising), it is vitally important to make the safest choices when it comes to public lighting and other roadside objects.

CONSIDERATIONS FOR THE CHOICE OF PASSIVE SAFETY Finally, when the use of passive safe poles is considered, it is important to reassure yourself that all criteria have been met by making sure that: • The product has a valid certificate (for example EN 40-6 or EN12899-1) that specifies the safety classification and states whether it is based on the most recent EN 12767.

• The certificate has been signed by a notified body.

• The applicable test reports (35, 50, 70 or 100km/h) are available.

• The report of the low-speed test is available. In many cases, this is more critical than the high-speed test. For example, shear off constructions (NE3) and absorption systems (HE3) will not always activate at low speed.

• The collision movies of the official crash tests are available. In these, you can often clearly see differences between the behaviour of the various shear off constructions and absorption systems. One 100HE3 pole will perform in a different way to another 100HE3 pole (for example, exit can be 50 or zero, which differs a lot for secondary risk).

• The exit speeds and movies are available, so that you can see the dents in the vehicle. After all, this secondary effect cannot be extracted from the performance class, but it can still cause very serious injuries to occupants.

When you make a well-considered choice for passive safe poles by taking the above recommendations into consideration, the poles will increase the safety level without becoming an obstacle.

Ian McDonald is national sales manager for pole products, Hydro Extruded Solutions

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November/December 2017 Lighting Journal

The London Infrastructure Summit 2017

32

SOCIAL CAPITAL The future shape and connectivity of transport and the demand for healthier urban environments were key discussion points at the London Infrastructure Summit in September. But with skills shortages also a growing worry, will the infrastructure industry (and lighting professionals) be able to deliver?

By Rebecca Hatch

F

or those who aren’t aware of London First, London First is an influential business membership organisation whose mission is to make London the best city in the world in which to do business.

It has aspirations to influence national and local government policy and investment decisions to support London’s global competitiveness. A successful London, it argues, is vital to the health of the UK economy.

Within this, it recognises that infrastructure is a critical part of mainwww.theilp.org.uk

taining and sustaining a successful, vibrant London economy.

Having only taken on the role of VP infrastructure for the ILP relatively recently, one of my priorities (and indeed one of my key performance indicators) is to increase the ILP’s presence, profile and influence within the infrastructure arena. To that end, attending London First’s London Infrastructure Summit in September was very much on my radar.

The programme of speakers was certainly high level. Speakers in-

cluded London’s deputy mayors for regeneration, environment and transport (Jules Pipe, Shirley Rodrigues, and Val Shawcross, respectively); Mark Carne, the chief executive of Network Rail; Dr Michele Dix, the managing director of Crossrail 2; and Robin Mortimer, chief executive of Port of London Authority.

Alongside the main conference programme there was an exhibition area where shorter ‘spotlight’ sessions were held, including with a key focus on connectivity. VU City demonstrated their fully interactive 3D digital city models used by developers, planners and local authorities to ‘future proof’ a city’s built environment considering new developments, viewing angles, light paths and transport.

Throughout the day three key messages were consistently reinforced, all of which I suggest will have an effect on ILP members in one way or another. These were:

November/December 2017 Lighting Journal

skilled and unskilled labour.

Currently, 25% of the construction workforce are European Union national. So, will this resource still be available post-March 2019 when the UK is expected to leave the EU or (possibly) enter a transitional period?

AIR QUALITY MONITORING AND IMPROVEMENTS

With research from London mayor Sadiq Khan in October suggesting Londoners are breathing air that exceeds global guidelines for some toxic particles, improving and monitoring air quality was a very topical area of discussion, with the mayor’s draft London Environment Strategy being discussed.

This is focused on improving the quality of life for residents and visitors to the capital, and includes ambitious plans to reduce air pollution, including making London a zero-carbon city by 2050.

This will be achieved by facilitating and encouraging more walking and cycling, taking vehicles off the roads, creating more green open spaces, and investing in electricity infrastructure to handle increasing demand and become more sustainable.

CURRENT AND FUTURE TRANSPORT NEEDS

The discussion here was very much focused on areas such as public transport digitalisation and the current and future role of electric vehicles.

The mayor’s transport strategy has set out a goal to increase the daily journeys made in London by walking, cycling or public transport to 80% by 2041, from 65% currently.

The transport strategy has also set out ten ‘healthy street indicators’, as shown in Figure 1.

All inner-city taxis, buses and private hire vehicles will become zero emission by 2037 and, in fact, London’s entire transport system is set to be zero emission by 2050.

Alongside this, another key focus is the mayor’s ‘healthy streets for London’ initiative, which is looking at ways to encourage more Londoners to walk and cycle. Both the strategy and the initiative, of course, also link to the wider green aspirations outlined above.

Digitalisation and connected transport was a further theme for discussion, especially the role of digital railways in the future. The technologies around this already exist,

LOOMING SKILLS SHORTAGES

There were fears expressed about current skills shortage but also worries about future skills’ requirements, notably the industry’s capacity to deliver the government’s proposed ‘National Infrastructure Pipeline’.

This includes some £425bn of planned investment in more than 600 major projects across the UK to 2021 and is, potentially therefore, a massive opportunity.

Yet there are serious fears as to how this will all be delivered with the current skills and capacity available, with a recent report by consultant Arcadis warning that the infrastructure industry will need to double its current output to £95,000 a minute for the next decade to deliver on these ambitious infrastructure plans.

A further worry was the possible impact of Brexit on the industry’s ability to attract and retain both

u Fig 1.

London mayor Sadiq Khan’s ten healthy street indicators.

Source: Mayor’s Transport Strategy Draft for Public Consultation 2017

www.theilp.org.uk

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November/December 2017 Lighting Journal

The London Infrastructure Summit 2017

spend time outdoors. As devolution in England gathers pace (with newly-elected

handling the expected increased demand.

Lord Adonis, chairman of the National Infrastructure Commission, closed the event with a keynote address where he spoke about his concern that, as a country, we are not doing enough when it comes to infrastructure development and investment.

Both major and local infrastructure projects must push forward if London is to continue to be great, he emphasised. However, while he argued that Crossrail 2 should be given the go-ahead, he did concede this should not be at the expense of other major projects, such as the HS2 high-speed rail link in the north.

‘London cannot afford to lose sight of the benefits these projects could bring for growth across the country, and I’m encouraged that the government and mayors across the country are working together to make these happen,’ he said.

HOW DOES THIS AFFECT LIGHTING PROFESSIONALS?

34

and are being used on the Jubilee Line, for example. However widespread roll-out into existing lines and to overground rail services has proved more challenging, with a range of difficulties to be overcome, including (and perhaps most significantly) the need for a culture change in that sector.

Another point of discussion was the fact that London’s population is expected to grow to more than ten million in the next ten years, all of which will put more pressure on the capital’s transport network, particularly public transport.

To that end, infrastructure projects awaiting approval such as Crossrail 2 (the proposed route of which is shown opposite) and Heathrow expansion are set to be vital to www.theilp.org.uk

The key message and effect on us as lighting professionals from these debates is that cities such as London – but also others around the UK – are increasingly demanding quiet, safe, accessible streets that are not dominated by motorised traffic.

Citizens and municipalities are increasingly looking for well-designed spaces that allow people to walk, cycle and simply spend time outdoors. As devolution in England gathers pace (with newly-elected mayors now in charge in northern cities such as Greater Manchester, Liverpool and the Tees Valley) this could lead to an increased focus on, and demand for, infrastructure such as well-lit footpaths and cycle-paths, and for connected infrastructure, such as attractive station entrances, bus stops and cycle holding areas.

Ultimately, if we expect people are to be encouraged to leave the safety of their own vehicle when travelling into or around a city, then lighting needs to be a key factor in helping to enhance that experience.

As lighting professionals, providing adequate lighting for safe movement but also comfortable, attractive, dynamic lighting that is well-designed and fit for purpose is going to become an increasingly important infrastructure conversation for the UK, both in London and elsewhere.

Rebecca Hatch is the ILP’s VP Infrastructure as well as commercial director for INDO Lighting

November/December 2017 Lighting Journal

Sports lighting: projects

STADIUM OF LIGHT By integrating innovative luminaire ‘light tubes’ into an aluminium tube façade, Zumtobel’s Atelier of Light team has created a spectacular illuminated experience at a German football stadium

By Nic Paton

L

ike many big building projects, the Augsburg Stadium in Bavaria, Germany, went through various twists and turns before its new exterior architectural façade was finally revealed in September.

The 30,600-seat stadium, home of the FC Augsburg football team, was first opened eight years ago. An exterior façade designed by local architect Bernhard & Kögl was originally conceived as part of that design. But it was only at the start of the 2015/16 season, when insur-

ance group WWK came on board as a new main sponsor, that the finance became available to complete the façade for the now renamed WWK Arena.

The façade comprises a structure of aluminium tubes wrapped around the stadium like a nest in three levels. Integrated into this are luminaire ‘light tubes’ specifically developed for the project by Zumtobel, with the project led by its Atelier of Light architectural projects team.

‘MIKADO’ STICKS

The aluminium and fluorescent tubes are interwoven with each other, much like ‘Mikado’ sticks. Depending on the distance between the tubes, a sense of depth is therefore created, with the framework appearing more or less dense in places.

The 8m-long fluorescent tubes have the same dimensions as their aluminium counterparts, are 20cm in diameter and are equipped with IP67 RGB LED in continuous rows.

They also work as a structural load-bearing element of the façade, meaning they had to be fully approved by the relevant building authorities. By integrating effect lighting into the façade in this way, it has allowed the façade to be illuminated in a range of colour variations and combinations.

Alongside the façade lighting, 36 Contrast 2 LED L RGB spotlights from Thorn, also part of the Zumtobel stable, have been mounted on existing

poles around the stadium. These support the light tubes in illuminating the façade, as well as serve as basic lighting for the façade structure.

CONTROL SYSTEM

The spotlights cover the RGB spectrum, so accentuating the three-dimensional character of the construction. Both the light tubes and mast lights are controlled by livebau Solutions via a DMX server, so each tube and each spotlight can be controlled separately.

And the result? The arena is now ‘one of the few stadiums in Germany that attracts attention with its impressive façade and creates a special atmosphere for fans’, argues Jürgen Schrameier, chairman of the board of WWK. For the fans of FC Augsburg, however, it’s the performance on the pitch that matters most, of course. And, so far, the commitment shown by WWK, both directly in terms of its investment in the team and indirectly through its investment in the stadium, appears to be returning dividends.

At time of writing (October), the World Soccer website was pointing out that, with five wins out of six so far this season, a team more commonly considered to be ‘weeds in the Bundesliga rose garden’ (or automatic relegation candidates), had never before ‘started a top-flight campaign so promisingly’.

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November/December 2017 Lighting Journal

Retail lighting on high streets

NIGHT-TIME ECONOMY

36

On many high streets, shopfronts contribute significantly to the illuminated urban landscape, often still being lit even when they are closed. So, should this illumination be taken into account when designing and implementing urban street lighting schemes?

By Maximilian Kompatscher

www.theilp.org.uk

November/December 2017 Lighting Journal

W

hen walking down a typical high street in London you, naturally, come across many different shops, pubs and restaurants.

All of them try to get your attention in one way or the other. It might be flashing signs, colourful LED strips, an illuminated shop window, a floodlight blasting on the pavement, or everything combined.

In short, shops add light – in some cases a very high amount – to the nocturnal sidewalk of shopping streets, often even after they are closed if the space continues to be illuminated.

Yet street lighting does not take this into account. How could it? To guarantee a sufficiently lit environment, street lighting has to be designed having a completely dark street in mind with the lanterns as only light source.

In the recent years, several studies have been conducted to developed more intelligent street lighting systems. Based on a multitude of parameters, such as traffic, weather and reflectance of the street surface, these systems determine how much light is needed where. But why, then, are we not also using this additional light provided by shops and restaurants?

As lighting professionals, we’re all undoubtedly aware of the ongoing debates around the role and potential of energy-efficient street lighting (especially LED) in reducing energy costs and usage within the urban environment. Yet we also appreciate the importance of needing to strike a balance between creating night-time urban environments that are safe and welcoming yet also not overlit or light polluted.

Street lighting makes an important contribution to the night-time environment and to the appearance and atmosphere of a street; in town centres and high-streets its contribution is often fundamental [1]. For this purpose, the lighting needs to be stimulating and provide a general feeling of wellbeing and security. It is well understood that the amenity in shopping precincts is increased by having the shop windows lit and by using decorative fittings as accent lighting [2].

Following the maxim ‘trade follows the light’, it is also beneficial for the shopkeepers to light their shops or shop windows at night, even after closing [3].

This applies especially for high streets, because these roads are important for the traffic in the city, and many pubs, bars and restaurant will be located there, making them a more attractive place to visit during later hours of the night. Furthermore, keeping shop lights on after closing increases the safety of the shops against burglars, as well as the perceived safety of pedestrians through the brighter friendlier environment.

This further increases the vitality of a high street and attracts even more people during night-time.

Currently, of course, the most frequently used measure to save energy in street lighting is to replace the light source with a more efficient one, predominantly LED. Through use of intelligent control systems and adaptive lighting technologies, councils can now much more easily monitor the correct functioning or exact electricity consumption of each streetlight as well as dim or switch off at certain times of the night.

More advanced systems use networks of cameras and different proximity sensors to measure car and pedestrian traffic volume in real time and dim the road lighting accordingly. Developing this further, systems can now (in theory at least) know the exact location of every street user and dim all street lanterns individually to meet the needs. In simulations, this has shown energy savings of up to 80% compared to conventional systems. [4] The advance and potential of this intelligent lighting revolution has been well-documented, not least within Lighting Journal. But how, or how much, should an intelligent lighting system take into account light from shops and bars and react to it?

This was the subject of a study I carried out as part of my MSc thesis in light and lighting at University College London, and an abridged version of the findings is the subject of this article.

HIGH STREET SURVEY

To try to answer the question ‘should shops leave their lights on at night?’, it was important first to determine whether shop lighting did in fact contribute a significant amount of light to the streets.

From there, we could ascertain whether shop lighting was an important parameter that needed to be taken into account

www.theilp.org.uk

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November/December 2017 Lighting Journal

Retail lighting on high streets

38

when planning street lighting, especially connected street lighting.

We did this was by carrying out a survey on 500m to 650m stretches of pathways of four typical high streets in London, and assessing the light contributed by shops.

This included shop-window lighting but also façade lighting and other decorative lighting elements as well as lighting for outdoor seating of restaurants and bars.

Our goal was to find out the percentage of the light contributed by shops and how much additional light was incident on the footways compared to the required light levels for the relevant street class.

All measurements were taken after nightfall in June. This meant that, because it was the time of the year with the most hours of daylight (at least in the northern hemisphere) most shops were already long closed by the time it was dark. The reason this time of the year was chosen was that these measurements would therefore represent a worst-case scenario and a minimum value of light emitted by shops.

The surveyed high streets were: Camden, Upper Street Islington, Clapham and Stoke Newington. Despite all being relatively similar, the streets have different characteristics, such as the traffic and pedestrian density during the night, the structure of the street and the distance between the street lanterns. Likewise, the ratio of shops, restaurants and bars varies as well.

According to BS 5489-1:2013, the standard illuminance levels for S1 and P1 streets (the lighting class of the four surveyed high streets) are 15 lux average

illuminance and 3 lux minimum.

Luckily there is a standard for most things, so also for the grid in which illuminance on a street should be measured.

In accordance with BS EN 132013:2003, the distance between the points in the longitudinal direction is <= 3m. The spacing of the points in the transverse from the edge of the calculation area, in this case of the footway, should not be wider than 1.5m. Depending on the width of the footway of the four discussed high streets, either two or three rows were measured in the transverse direction. This ended up being 350 to 480 grid points per high street

METHODOLOGY

At each point, first the total light incident on the pathway was measured; this was in general the sum of luminous flux emitted by the street lighting system and the light given off by the shops. This was followed by a measurement of the light emitted solely by the shops. To achieve this, the sensor of the light meter was again placed on the same grid point on the pavement and shielded from the street lights. The shielding occurred with a box which had been sprayed matt black on the inside so as not to reflect any light, and hence to not distort the results.

Both measurements were taken at every grid point, even though the shops directly in front of a multitude of these points were not emitting any light. This was done because of the fact that the light given off by shops or restaurants on the side could be incident on this grid point. It was also takt

High street shops and outlets contribute a significant amount of light to the total illuminance on the pathway surface, on average 26% of the total light, or an additional 13 lux

www.theilp.org.uk

en into account that at some points the measured values were merely the result of reflected light from the street lanterns on the building façade. Therefore, these values were not contributed to the shop light.

The average illuminance levels were taken for each street and each row individually. At the same time, these values were checked for ‘dark areas’, thus points at which the light levels were equal to or lower than the recommended minimum illuminance value of 3 lux. These calculation steps were also applied to the total illuminance values.

Following this, the light emitted by the street lanterns was determined by subtracting shop light values from the total at each point. These numbers were again checked for dark spots and the averages were determined.

From the collected data, the percentage of light emitted by the shops in respect to the total illuminance on the street surface was calculated for each point, row and street. Finally dimming factors for the street lanterns were established, which guarantee a maximum of energy saving but still full compliance with the standard.

HOW MUCH LIGHT DO WE GET FROM SHOPS?

The most obvious finding to emerge was that shops, restaurant, bars and so on contribute a significant amount of light to the total illuminance on the pathway surface.

On average, this equalled 26% of the total light, adding 13 lux to the average, which is relatively high considering that 15 lux is the standard requirement.

However, as many shops were not lit, this additional light source only provided a very patchy non-uniform illumination: The percentage of dark areas on the street was, on average, 47%, which was very high.

It is also valuable to note that some shops were using floodlights of up to 400 lux to illuminate the pathway in front of them, while others just contributed 10 lux or fewer. The shop light levels also revealed a steep fall of the illuminance levels over the width of the pathway. This means that shop light as a whole cannot be expected to replace the actual street lighting system.

Based on these results, my study determined that the current street lighting could be dimmed by 40% to 70%, offering significant potential for energy saving. However, dimming all lanterns would lead to patchy illumination over the length of the street and non-uniform lighting over the width of the pathway.

It was also problematic to rely on shop

November/December 2017 Lighting Journal

t

lighting with a static street lighting system, as the light contributed by the shops fluctuated over time. This also neatly illustrates why street lighting needs to be intelligent and adaptive.

Lighting systems should consider the additional light contributed by shops, even if not all are lit, as the amount of light and potential for energy savings are significant

CONCLUSION

The light emitted from shops, bars and restaurants contributes a high amount to the total light on pathways. Intelligent lighting systems should therefore definitely take this extra light into account.

In addition to factoring in shop light, systems could also react to changing reflectance of the pathway surface, for example because of snow or trees blocking the light from neighbouring lanterns. It should be possible for the lanterns to adjust the direction of the emitted light to precisely light dark spots. By measuring the luminance patterns, the system could potentially also detect the presence of obstacles, for example car parts or rocks on the street, which would add to road safety and could prevent accidents [5].

For the one and off switching, classical daylight sensing function should still be implemented into the system, as it is an appropriate method for it. However, the threshold levels for the switch should be reconsidered – modern LEDs do not need time to warm up and therefore can be switched on when an absolute minimum of daylight is reached [6].

Furthermore, presence detection should be implemented in the system, so it can provide lighting on demand based on the current traffic and number of pedestrians. Ideally, the system would distinguish between different street users, as the lighting requirements of drivers and cyclists are different from those of pedestrians [4].

It could also be considered valuable to add additional sensors to building entrances, in order to avoid residents having to step out on to a dark street. So as not to cause nuisance to the residents, this dimming should occur very smoothly; you don’t, after all, want then to wake up from a flashy light show on the street.

In general, it has to be considered that is not desirable to switch off all the street lights even if there is no street user present. This is because criminals, for example, could find a way to avoid being detected.

Thus, a minimum light level should be maintained at any time.

However, should shopkeepers keep their lights on during the night, so that the street lighting system can be dimmed? If all shops were lit during the entire night, even with dimmer street lighting, the en-

39

ergy use would probably increase and hence also the carbon dioxide emission.

Nevertheless, this approach also has advantages for shopkeepers, and could increase their revenue and therefore the costs could be balanced. In addition, councils could consider whether shops that take this approach could gain tax reliefs in return as an incentive.

To conclude, lighting systems should

REFERENCES [1] BSI, 2013. Code of practice for the design of road lighting – Part 1: Lighting of roads and public amenity areas, UK. [2] Raynham, P, 2001. Public Lighting in Cities, University College London, London.

[3] Bouman, M J, 1991. The ‘Good Lamp is the Best Police’, Metaphor

definitely consider the additional light contributed by shops, even if not all of them are lit. This is because, as shown, the amount of light and the potential of energy savings are significant.

Maximilian Kompatscher MSc is a student at University College, London. It is abridged from a thesis supervised by UCL researcher Navaz Davoodian ¢

and Ideologies of the NineteenthCentury Urban. American Studies, 32(2), pp.63–78.

[4] Lau, S P, Merrett, G V & White, N M, 2013. Energy-Efficient Street Lighting through Embedded Adaptive Intelligence, Southampton.

[5] Atici, Ç, Özçelebi, T & Lukkien, J J, 2011. Exploring user-centered intelligent road lighting design: a road map and future research directions.

IEEE Transactions on Consumer Electronics, 57(2), pp.788–793.

[6] East Sussex County Council, 2015. Frequently Asked Questions – Part Night Lighting. Available at: https://new.eastsussex.gov. uk/roadsandtransport/roads/ maintenance/xtures/street-lighting/ faqs-part-night-lighting/ [Accessed August 26, 2015]

www.theilp.org.uk

November/December 2017 Lighting Journal

Tunnel lighting: projects

40

TRACK CHANGES An unused 160-year-old former railway tunnel in Canada has been given a stunning light-led makeover that, it is hoped, will now turn it into a community and tourist attraction

By Nic Paton

www.theilp.org.uk

T

he Brockville Railway Tunnel in Brockville, Ontario, was constructed back in the late 1850s and was Canada’s first railway tunnel.

It first opened to railway traffic in 1860 and was designed as an important commercial link to give the timber trade of the Ottawa Valley access to the city of Brockville’s important port facilities on the St Lawrence River and, from there, markets around the globe.

Although used for its original purpose for well over 100 years, by the 1980s it had fallen into disuse, with the rails and ties being sold and removed.

COLOUR-CHANGING LIGHT SHOW

However, the tunnel has now been given a spectacular new lease of life as a pedestrian route from the city’s waterfront to its Brock Trail recreational pathway.

And lighting has been very much at the heart of this regeneration. Using Philips Color Kinetics dynamic LED lighting, the

525m tunnel has been transformed into a visually stunning walkway, with a dynamic, colour changing 365-day-a-year light show, as illustrated above.

The installation was completed in August, and comprises more than 700 Philips ColorGraze MX4 Powercore RGBW fixtures, over 2,800 individually controllable nodes, and more than 1,500ft of cable.

Grazing fixtures were specifically chosen for the inside of the railway in order to showcase the unique architectural and geological components of what is a pre-Confederate era tunnel.

David Bouwers of Ford Electric Co, lead lighting and infrastructure design team for the project, explained at the reopening: ‘Our design team wanted to turn what had become an overlooked part of the city of Brockville into a safe, energetic and vibrant attraction, not only for the local community but also to change the historic tunnel into a tourist attraction on the world stage.’

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November/December 2017 Lighting Journal

LuxLive 2017

WORK SMART 42

This year’s LuxLive will be, as ever, jam-packed by topquality CPD and diverse presentations. But if connected lighting is your thing,here is an outline of just some of what you can expect to find at the new smart spaces ‘campus’

T

he clue, very clearly, is in the name.

But lighting professionals targeting LuxLive’s new smart spaces ‘campus’ this month will be able to savour an array of presentations, case studies and professional best practice devoted to all things ‘smart’ and connected lighting.

There are too many presentations to outline them all in the finite space we have in a print magazine such as Lighting Journal, but here is a snapshot of perhaps some talks to look out for at the London Excel between 15-16 November.

Bryan Lawrence from Holophane will be addressing the critical challenge of how we make smart cities actually happen, how the technology that we have all been talking about for the past few years will need to be deployed, used and evolve.

At a more micro level, but one that is nevertheless intriguing in terms of its potential, John Davies, chief researcher with BT, will be explaining how the ‘CityVerve’ project is working in Manchester, and whether it could become a wider blueprint for smart cities.

CityVerve, for those unfamiliar with it, is a trial involving the use of smart lights atwww.theilp.org.uk

tached to bicycles, with some 200 cyclists testing it out around the city, with the smart lights being used to generate data about cycle usage patterns in Manchester. This, it is hoped, will enable better decisions to be made on investment in things such as new cycle paths and traffic hotspots.

SMART PARKING

There are presentations on smart parking apps and how smart technologies are helping councils manage extreme weather, flooding, air pollution and snow.

Lighting professionals will also be able to check out case studies examining how smart and connected lighting is transforming universities on the one hand and our rail networks on the other.

Another presentation to watch out for is Mark Stokes, of British Transport Police, who will be taking about the role smart lighting can play within security and surveillance.

Mark will outline how trials are being carried out in Japan using blue light to dissuade suicide attempts on its rail system.

He will also then discuss the opportunities, and limitations, of using smart lighting to monitor urban issues such as intravenous drug injecting or gangs, plus how lighting can be better used to ensure maximum-quality CCTV images are available to police forces.

Of course, this is just a taster of the pre-

sentations in one area within LuxLive. Beyond this, there will be talks and CPD within the Gooee IoT Arena, the lightspace arena and the ‘Escape Zone’, which will focus on emergency lighting.

There will be education through the Lighting Industry Association’s ‘Lighting Academy’, guidance on financing and investment within the ‘Strategies in Light Investor Forum’ and demonstrations aplenty from start-ups within the ‘Li-Fi Experience’.

All in all, whether you’re attending for both days or just the one, with so much to see and do it’ll make sense to sit down carefully and plan out your visit in advance.

WHAT YOU NEED TO KNOW WHAT: LuxLive 2017 WHERE: ExCeL london WHEN: 15-16 November 2017 HOW: admission is free, though pre-registration is required.

For more information go to www.luxlive.co.uk

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Design a compact, easy-to-install product that fits into an ever-diminishing ceiling void and through a minimal cut-out. It encompasses sufficient power to exceed the necessary performance figures, exceeds all lifetime and safety requirements, and gives users the option on installation with interchangeable lenses.’

It has taken the combined design and engineering skills of Tridonic’s emergency lighting team to complete the robust design and testing procedures alongside stringent safety and reliability criteria. The first challenge was finding a small battery that would yield enough power for all possible applications as the current NiCd and NiMH technologies did not deliver. Tridonic settled on a LiFePO4 battery which exceeded all the safety, lifetime, and performance requirements.

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terface, and monitoring circuit inside a space of approximately 75mm x 35mm x 25mm.

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November/December 2017 Lighting Journal

News from the ILP

NEW VP TO BOOST MEMBERSHIP

LIGHTSCENE BRINGS BLUE LIGHT DEBATE INTO FOCUS 44

S

ome 260 lighting professionals attended the ILP’s Lightscene CPD event in Northampton in October.

The focus for the day, on Thursday 5 October, was ‘Blue Light and Colour Temperature’, particularly the ongoing debate within the industry, academia and the media around the role and effect, if any, of blue light on health and wellbeing and our circadian rhythms.

Speakers included Nathan French, street lighting sales manager for ASD Lighting, who discussed some of the variables that can often accompany the specifying of LED capital investment programmes, and the role that absolute photometry and luminaire design features can play in resolving this.

This was followed by a wide-ranging presentation from Alan Grant, design and development director at DW Windsor, who looked at some of the latest reports, including this year’s preliminary report from the European Union’s Scientific Committee on Health, Environmental and Emerging Risks (SCHEER), Potential Risks to Human Health of Light Emitting Diodes.

Alan also examined the American Medical Association’s 2016 report Human and Environmental Effects of Light Emitting Diode Community Lighting, and Public Health England’s report, Human Re-

www.theilp.org.uk

sponses to Lighting Based on LED Lighting Solutions, also published last year.

An interactive presentation by Ryan Carroll, lighting designer at Designs for Lighting, looked at some of the science behind colour temperature and how we perceive light, and different colour temperatures.

‘BLUE LIGHT HAZARD’

The day then concluded with a presentation by Dr Neil Haigh, director at Blueside Photonics, looking, again, at some of the latest medical and academic research, including discussing what ‘blue light hazard’ then means, or could mean, for the lighting industry.

ILP chief executive Richard Frost expressed his delight at the level of turnout.

‘The fact so many lighting professionals attended this year’s Lightscene illustrates just what an important, as well as contentious, topic blue light and health and wellbeing is within the industry right now.

‘Our understanding of how blue light affects the body is very much in its infancy – there is a lot we still do not know, but much we are finding out all the time. As our knowledge grows, it is clear this is a debate that could, in time, have significant implications for the whole industry,’ he added.

Articles based around some of these presentations will appear in Lighting Journal during next year.

Congratulations to Glen Warner, technical director (lighting) at Ringway Jacobs, who has been appointed as the ILP’s Vice President Membership Development.

The role has been newly created, and follows the election of former VP for membership Guy Harding to the ILP’s executive board.

ILP chief executive Richard Frost said: ‘We identified a pressing need for a Vice President to address membership recruitment and retention strategies, which Glen will start to address over the coming weeks.’

Glen himself added: ‘I am very pleased to be joining the Vice Presidential team and look forward to working with them to develop and progress the work of the institution as it gears up for the challenges of the future.’

WALK THIS WAY FOR PEDESTRIAN GUIDANCE The ILP has set up a technical committee to review TR12: Lighting of Pedestrian Crossings.

The technical report was last revised in 1997 and provides guidance on the approach for evaluating the lighting required in locations where pedestrians are encouraged to cross the road.

However, the fast-changing urban landscape, especially smart and connected lighting, digitisation and changing automotive and lighting technologies, has meant the ILP has decided it is time to revisit the guidance.

Anyone interested to feed in views or opinions should contact committee chair Nick Smith on TR12@NSAL.eu, Vice President Technical Haydn Yeo on vp.technical@theilp.org.uk or technical services manager Peter Harrison on peter@theilp.org.uk. Alternatively, views can be contributed through your regional technical liaison officer.

November/December 2017 Lighting Journal

Light School 2018

LEARNING OBJECTIVES With the first speakers and exhibitors for 2018 now confirmed, February’s Light School at the Surface Design Show is expected to be even more popular than ever

T

he first speakers and exhibitors have been confirmed for next year’s Light School at the Surface Design Show.

Now in its fifth year Light School, presented by The Light Collective, is supported by the ILP, and provides an opportunity for lighting professionals to communicate with, educate and engage with an audience far beyond the lighting world.

The school will take place at Islington’s Business Design Centre, north London, between 6-8 February 2018.

Light School comprises three elements: Light Talks, Product School and, new for 2018, Poster Display.

Light Talks is the two-and-half days of CPD presentations that sits at the heart of Light School.

While more names are expected to be added between now and February, it has been confirmed that Rebecca Weir, from Light IQ, Christopher Knowlton, of 18 degrees, and Theo Paradise-Hirst, from Chapman BDSP, will be among next year’s Light Talks presenters.

Product School is where manufacturers and suppliers come together to display their architectural lighting.

SHOW WITH ‘GREAT REACH’

For 2018, some 15 companies will be selected to exhibit in Product School. Confirmed exhibitors set to return after exhibiting last year include Optelma, Evans Turner and Applelec, whilst F-Light has been confirmed as a new exhibitor.

The final element, Poster Display, will replace the Light School Newspaper that appeared in previous years.

This will be a display of postcards and lighting projects and products from both speakers and exhibitors.

Speaking about Light School 2017, former ILP Vice President Mark Ridler summed up why the event is an important place for lighting professionals to see, and be seen.

It is, he pointed out, a ‘great opportunity to evangelise lighting to the architectural design community’; it is a show that ‘has great reach’.

The Surface Design Show saw more than 5,000 visitors attending in 2017, and for 2018 will have a focus on design and materials for both transport and residential projects.

WHAT YOU NEED TO KNOW WHAT: Light School 2018 WHERE: at the Surface Design Show, London’s Business Design Centre, Islington WHEN: 6-8 February 2018 HOW: find out how to register at www.theilp.og.uk/events

www.theilp.org.uk

45

November/December 2017 Lighting Journal

Letters to the editor/Advertorial

‘BACK IS BETTER’ FOR THE LOCATION OF LIGHTING COLUMNS September 2017 Lighting Journal

Sir,

September 2017 Lighting Journal

Countering terrorism

people, and none of the obvious, formal security features.

PASSIVELY SAFE LIGHTING COLUMNS

The Motor Industry Research Association has carried out many tests to understand and demonstrate to practitioners the damage that can be done to a vehicle and occupants if it hits a lighting column at speed, and much of this research led to the introduction of different categories of passively safe lighting columns. Indeed, there was an interesting presentation on just this topic at June’s Professional Lighting Summit, which is set to be published shortly within Lighting Journal.

Many of us will have seen the damage that can happen to a vehicle when it has hit a standard lighting column, and very few are driveable afterwards.

In locations where, from time to time, there can be relatively high numbers of people, I feel that consideration should be given to siting lighting columns towards the front of the footway.

The types of locations that I’m thinking of are district centres outside of the nucleus of city centres, football grounds, near schools and colleges, and so on. People are used to seeing lighting columns, so wouldn’t be concerned by seeing them being relocated or sited along footways in greater numbers, and they wouldn’t realise they were there to make them safer at all times of the day and not just at night.

Siting columns towards the front of the footway will help to prevent vehicles from driving for long distances along the footway with the sole purpose of causing harm.

Lighting columns may not, of course, completely stop the largest HGVs, but they would certainly slow them down, providing people with additional life-saving seconds to make their escape.

Such lighting columns could be specified to a higher strength to provide higher resistance than normal units, meaning the use of street lighting in this way could become a valuable added protection for the public.

A risk-based approach would, naturally, be required, and decisions recorded on the design risk assessment. However, provided the speed limit of the road doesn’t exceed 30mph, I would suggest there are many locations around the country where our streetlight assets could help save lives in more than just the usual ways in which we know lighting already helps society. ¢

In recent months, we’ve seen a spate of horrific attacks where terrorists have used speeding vehicles as weapons. Could rethinking how and where streetlights are sited on the footway be one way that lighting professionals could help to protect the public from such attacks?

By Alan Jaques

16

I

f we look back just 40 years or so, the thought-process regarding the siting of lighting columns was completely different to what is perceived as current best practice.

Up until this time, most local authority lighting engineers positioned their columns towards the front of the footway.

There were many reasons for this, including the fact the original gas lighting had always been installed in this location, and so it had become to be seen as the norm.

Also, the most widely used light source was low pressure sodium and, being a long light source with a prismatic bowl, the optical performance was relatively poor.

Therefore, locating the luminaire directly above the kerb edge resulted in the edge of the road being well lit, plus it didn’t need to throw the lighting as far across the road compared to if it had been installed at the rear of the footway.

There wasn’t a single reason for the change in practice of siting columns at the rear of the footway, rather there were several things which influenced the change.

Locating the columns towards the rear of the footway reduced the number of columns struck be vehicles, thereby reducing the costs of replacing the columns on the revenue budget and increased road safety.

The increased use of smaller lighting

sources, such as high-pressure sodium, with efficient reflector technology meant that the light was better controlled and could be positioned further back.

Decluttering of the footway, together with the additional requirements of the Disability Discrimination Act (now part of the Equality Act), meant that in some instances the reduction in available footpath width because of columns being installed towards the front meant there wasn’t sufficient width available for a wheelchair or double-width buggy to pass through.

COUNTERING TERRORISM

There are still occasions when columns are routinely located towards the front, such as terraced streets where the properties have no front garden or have cellars; where the width from back edge to back edge is excessive; where there is a verge between the highway and footway and where the street is tree lined. However, these types of situations form quite a small proportion of locations of new and replacement installations.

In recent months, I’ve started to think we may need to reconsider the default option of siting the column at the rear of the footway. The horrific terror-related incidents involving vehicles in London earlier this year, and most recently in Barcelona,

has made me think that street lighting can play an active part in counter-terrorism.

Counter-terrorism tactics in the design of new public realm schemes to prevent vehicles driving into these public areas are fairly well known. Additionally, large bollards are a common sight nowadays outside many transport interchanges, airports and public buildings.

In the case of newly-designed open spaces, these security features are well integrated into the whole design solution so they aren’t generally noticed by the public.

When large robust bollards are installed as the main deterrent, it is extremely obvious to most people what their purpose is. This will comfort some, however for other people it could make them more nervous, since it is a reminder of what could happen, however remote that possibility is.

Moreover, both concealed and obtrusive security measures have two things in common: they are expensive and require substantial foundations to comply with the appropriate requirements.

It is impractical and too expensive for the government and local councils to install the formal security measures anywhere other than in high-profile locations.

However, it is also not unreasonable to assume terrorists will generally look for locations that have significant numbers of

Alan Jaques IEng FILP is President of the Institution of Lighting Professionals as well as practice manager for lighting systems at Atkins

www.theilp.org.uk

www.theilp.org.uk

17

I have to take issue with Alan Jaques’ suggestion (Lighting Journal, September 2017, vol 82, no 8) that mounting lighting columns towards the front of the footway would deter terrorists driving along a pavement.

This measure is likely to be a hazard if the column collapses and falls across the carriageway, causing danger and injury to other vehicles and pedestrians alike.

I have always considered that ‘back is better’ for the location of lighting columns for a number of safety reasons. I am afraid Alan’s suggestion will not deter the determined attacker, and will only provide a further hazard on our overcrowded highways.

Nice try Alan – but not a practical solution.

Yours Neil Macaulay, Past President, ILP

t

The opening of the new Lucy Zodion extension at Sowerby Bridge, West Yorkshire, which was attended by the Mayor and Mayoress of Calderdale and local Labour MP Holly Lynch

46

‘AN EXCITING NEW CHAPTER’ Street lighting manufacturer Lucy Zodion celebrated its 60th birthday in September, and marked the occasion with the formal opening of its expanded West Yorkshire site www.theilp.org.uk

L

eading UK-based street lighting manufacturer and reigning HEA Manufacturer of the Year Lucy Zodion was delighted to celebrate its 60th anniversary in September with the grand opening of its new extension at its Sowerby Bridge, West Yorkshire site.

The new site, which took a year to complete, has created 100% more space. Overall, the build used more than 25 tonnes of structural steel, 300m2 of concrete blocks and took 7,700 man hours, not to mention almost 1,000 tea breaks!

It means Lucy Zodion can now benefit from increased product stocks and manufacturing facilities, as well as enhanced office space for the company’s growing team

of engineers and industry specialists.

Lucy Zodion introduced its first ever photocell 50 years ago, and continues to develop industry-leading designs that are used both in the UK and internationally.

But its product portfolio is now much broader than photocells, encompassing fused products, enclosures and CMS for remote streetlight management and control.

Lucy Zodion managing director John Fox said at the opening: ‘We aim consistently to progress, and the opening marks another chapter in our development; I am thoroughly excited by recent product introductions and our development pipeline over the next few years gives me great confidence in our future.’

Lighting

November/December 2017 Lighting Journal

Consultants

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

Steven Biggs

Stephen Halliday

Anthony Smith

Skanska Infrastructure Services

WSP

Stainton Lighting Design Services Ltd

IEng MILP

Peterborough PE1 5XG

EngTech AMILP

Manchester M50 3SP

IEng FILP

Stockton on Tees TS23 1PX

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

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

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

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

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

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

Simon Bushell

Philip Hawtrey

Nick Smith

SSE Enterprise Lighting

WSP

Nick Smith Associates Limited

www.skanska.co.uk

MBA DMS IEng MILP

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

www.sseenterprise.co.uk Professional consultancy from the largest external lighting contractor maintaining 1.5m lights in the UK and Ireland. Exterior lighting/electrical design for Motorways, Highways, Architectural, Car Parks, Public Spaces and Sports lighting. From advice on carbon reduction strategies to delivering the whole installation package.

www.wspgroup.com

BTech IEng MILP MIET MHEA

Chesterfield, S40 3JR

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

www.wsp.com

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

Widely experienced professional technical consultancy services in exterior lighting and electrical installations, providing sustainable and innovative solutions, environmental assessments, ‘Invest to Save’ strategies, lighting policies, energy procurement, inventory management and technical support. PFI Technical Advisor, Designer and Independent Certifier.

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

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

Allan Howard

it does Lighting Ltd

WSP

Milton Keynes, MK19 6DS

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

www.itdoes.co.uk

Alan Tulla

London WC2A 1AF

Alan Tulla Lighting

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

www.wspgroup.com

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

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

Euan Clayton

Alan Jaques

Clayton Fourie Consultancy Ltd

Atkins

Edinburgh, EH15 3RT

T: 07722 111424 E: claytonfourie@aol.com

www.clayton-fourie-consultancy.com Internationally experienced multi-disciplinary consultants. We provide design and technical advice on all aspects of exterior lighting, hazardous area lighting, traffic signals and other highway electrical works.We also provide Planning Advice, Road Safety Audits and Expert Witness Services

IEng MILP

Nottingham, NG9 2HF

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

www.atkinsglobal.com

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

Mark Chandler

Tony Price

MMA Lighting Consultancy Ltd

Vanguardia Consulting

EngTech AMILP

Reading RG10 9QN

BSc (Hons) CEng MILP MSLL Oxted RH8 9EE

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

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

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

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

John Conquest

Alistair Scott

4way Consulting Ltd

Designs for Lighting Ltd

www.mma-consultancy.co.uk

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

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

www.4wayconsulting.com

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

www.nicksmithassociates.com

BEng(Hons) CEng FILP FSLL

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

IEng MILP

IEng MILP

Sutton Coldfield B72 1PH

Lorraine Calcott

IEng MILP IALD MSLL ILA BSS

www.staintonlds.co.uk

www.vanguardiaconsulting.co.uk

BSc (Hons) CEng FILP MIMechE Winchester SO23 7TA

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

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

IEng FILP FSLL

Winchester, SO22 4DS

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

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

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

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

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

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

Lighting

Directory CPD Accredited Training • AutoCAD (basic or advanced) • Lighting Reality CPD Accredited Training CPD Accredited Training Standards CPD Accredited Training CPD Accredited Training • AutoluxLighting • AutoCAD (basic or advanced) • Lighting Design Techniques • •AutoCAD (basic or advanced) • AutoCAD (basic or advanced) •• AutoCAD (basic or advanced) Lighting Reality Light Pollution • Lighting Reality • Lighting Reality • Lighting Reality • AutoluxLighting Standards CPD Accredited Training • Tailored Courses please ring CPD Accredited Training • •AutoluxLighting Standards • AutoluxLighting Standards • AutoluxLighting Lighting Design Techniques Standards Accredited Training • •Lighting Design Techniques •CPD Lighting Design •Venues Lighting Techniques

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

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Venues by arrangement

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f: 01246 270 465

Contact Nick Smith e : mail@nicksmithassociates.com 48

w: www.nicksmithassociates.com Nick Smith Associates Ltd www.hagnerlightmeters.com

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

Feeder Pillars

Hazardous Area Lighting

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Lighting

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Barry Morrison UK Lighting Manager

Tel Email

01236 458000 barry.morrison@dnow.com

www.maclean.co.uk

The new 2018 ILP Lighting Journal Media Pack is now available.

Please call Andy on 01536 527297 or emailandy@matrixprint.com for more details

November/December 2017 Lighting Journal

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

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

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

Contact: Kevin Doherty Commercial Director kevindoherty@tofco.co.uk

If you would like to switch to Tofco Technology contact us NOW!

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NOW AVAILABLE! PLG06: Guidance on Installation and Maintenance of Seasonal Decorations and Lighting Column Attachments PLG06 has been developed to help those planning festive lights or other attachments to street lighting columns, furniture or buildings.

Different lighting columns have different limitations and PLG06 explains this comprehensively, looking at columns in current use as well as advising on the design of new columns.

YOU CAN PURCHASE PLG06 THROUGH THE FOLLOWING METHODS: Post the order form below to: •• Our website: www.theilp.org.uk/resources of Lightingplease Professionals, • OInstitution r for more information contact Regent House, Regent Place, Diane on Diane@theilp.org.uk Rugby, CV21 2PN • Our website: www.theilp.org.uk/resources • Please scan and email back to: diane@theilp.org.uk

Backed up with a comprehensive set of appendices, PLG06 is set to become an essential document for those involved with seasonal decorations and lighting column attachments.

Essential for local authorities, parish councils, town centre managers, local development groups and lighting professionals.

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49

November/December 2017 Lighting Journal

Diary

THE DIARY 13-16 November

Lighting Urban Community International Association (LUCI) annual general meeting and conference Venue: The Gala Theatre, Durham Details: www.luciassociation.org/ agm-durham-home/

13-17 November p

LoveLight London 2010, by GNI Projects. Graham Rollins and Ingo Kalecinski of GNI will be presenting the final ‘How to be brilliant’ lecture of 2017 on 30 November, at The Shed, Haggerston, east London

50

Exterior Lighting Diploma – module three Venue: The Draycote Hotel, London Road, Thurlaston, Nr Rugby, Warwickshire

15-16 November

LuxLive Venue: ExCeL, London

16 November

North Eastern Region technical meeting Venue: Radisson Blu Hotel Durham

30 November

How to be brilliant with smoke and mirrors, with Graham Rollins and Ingo Kalecinski of GNI Projects Venue: The Shed, Haggerston, east London

18 January

Northern Region technical meeting Venue: Etihad Stadium, Ashton New Road, Manchester

31 January

Western Region technical meeting Venue: SSE Offices, Exeter

6-8 February

Light School at the Surface Design Show Venue: Business Design Centre, Islington, London

22 November

Northern Region technical meeting Venue: Wetherby Whaler, Otley Road, Guiseley

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

IN THE JANUARY ISSUE GRID LOCK?

From electric cars to smart cities, are we in danger of overloading our electrical infrastructure?

www.theilp.org.uk

EYE ON THE SKY

How developments in antenna technology could help to underpin smart lighting

COASTAL CONNECTIONS

Sea spray, salt, high winds and deprivation – the challenges of lighting coastal communities

Advertorial

UNIVERSAL SYSTEM READY SOCKETS FOR LED LIGHTING A new universal ‘system ready’ (SR) socket for LED street lighting installations addresses the constraints of 7-pin Nema sockets whilst delivering enhanced functionality. *Steve Austin and **John Fox explain how contractors and local authorities can benefit

Why is there a need for a new Can you tell us what new Q:already System Ready socket when we Q: possibilities the SR Socket can have a 7- Pin Nema bring to the lighting industry? socket?

SA: “As compared to the 7-Pin Nema socket, the System Ready (SR) socket can be more easily incorporated across a wider range of luminaires. It has superior fixation and higher IP rating (IP65). Its ultra-sleek design makes it more aesthetically appealing, especially in combination with the new breed of LED luminaires, including architectural designs.”

Q:

How does the new SR Socket help in better photocell integration?

JF: “The SR socket is an open connectivity interface that has been developed by TE Connectivity Corporation and is now available to the lighting industry. This innovative technology has allowed Lucy Zodion to reduce the size and profile of the photocell significantly, allowing us to develop the first low voltage configurable light sensing device (Precizion HALO) for LED street lighting.”

JF: “It is a great solution for integration of smart city devices. It is designed to provide considerable flexibility to customers in terms of connectivity and allowing them to attach a range of upward and/or downward facing sensors to LED System Ready (SR) street lights.

This means that local authorities can use their street lighting infrastructure for much more than just lighting, by connecting light sensors, presence detectors, noise and air quality sensors, cameras etc. now or in the future.”

Q:

How would you sum up the main benefits of the SR socket for installers and end clients?

SA: “The SR socket is DALI 2 compliant and allows the SR driver to provide a low voltage (24V) supply to various CMS (Central Management System) OLC/node and/or sensors on the luminaire. This offers customers the first ever solution that does not bring 240V AC to the exterior of the luminaire. This

in turn negates the risk of fatal electric shock when compared to a 7-Pin Nema solution. It is also significantly smaller, whilst still enabling tool-less mechanical attachment and replacement of outdoor lighting controllers (OLCs), photocells and sensors. The revolutionary SR socket, gives the lighting industry the opportunity to make the leap to a safer, smaller and smarter interface that makes our street lights ready for the future upgrades.” will certainly be very Q:HowReaders interested in this innovation. can they find out more?

SA: They can contact either Philips Lighting or Lucy Zodion and we will be very happy to discuss the SR socket in more detail, or send additional information. You can visit www.philips.co.uk/smartcities OR www.lucyzodion.com for more information

*Steve Austin is Systems Sales Specialist with Philips Lighting. **John Fox is Managing Director of Lucy Zodion. www.theilp.org.uk

www.indolighting.com/guesswhat