Lighting Journal November December 2018

Professional best practice from the Institution of Lighting Professionals

Nov/Dec 2018

HOME TRUTHS Elevating residential lighting schemes beyond the ordinary NIGHT FLIGHT How to mitigate the effect of artificial light at night on bats, including using the ILP’s updated guidance FIRE TO THE FUTURE What does the future hold for luminaires and light sources?

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The publication for all lighting professionals

Nov/Dec 2018 Lighting Journal

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Nov/Dec 2018 Lighting Journal

Contents

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FIRE TO THE FUTURE

From firelight through to candles, electric lighting to LED and SSL: where next for luminaires and light sources, asks Peter Thorns

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RUSTY TO 10 ‘FROM DANGEROUS’

In the presentation voted most popular by ILP members at last year’s Professional Lighting Summit, James Hill argues that progress within the industry is being built upon columns that are reaching the end of their lives

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14 ROAD SAFETY

Lighting designers will often turn to ILP’s TR30 guidance when assessing the need for passively safe lighting columns. But as a document it is not without its limitations, contends Paul Spence

18 NIGHT FLIGHT

In September the ILP updated its guidance on lighting and bats, GN08. Our understanding of how artificial light at night, especially LED, potentially affects bats is growing all the time, but there is still much to learn, as Harry Fox and Jo Ferguson make plain

26 STORE WARS

With many retailers struggling to cope with online competition and tough high street conditions, the look and feel of ‘bricks and mortar’ shopping is more important than ever, and that includes getting the lighting scheme right, says Daniel Swannack

ACROSS 34 FERRYING THE MERSEY

The new Mersey Gateway Bridge is a showcase for LED luminaires and floodlights, as well as local collaboration and innovation, outlines Hayley Whittaker

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HOME TRUTHS

The first speakers have been agreed for February’s ILP-supported Light School. Lighting Journal got ready for class

50 DIARY

Lighting designer Rebecca Hutchison looked at how to elevate residential lighting beyond the ordinary at September’s ILP ‘How to be brilliant…’ lecture. Lighting Journal got comfy

LANGUAGE OF 30 THE LIGHT 42 FIVE-YEAR PLAN As populations become more focused in cities and urban centres, how we use architectural and public realm lighting – and the dialogue we seek to create as a result – will become ever-more critical, forecasts Dan Hodgson

44 POWER TALKING

Five years on from converting the entrance lobby of One Canada Square in Canary Wharf, London to LED, manufacturer FUTURE Designs carried out an audit of what has been achieved in terms of reduced energy and maintenance

p COVER PICTURE

One of the residential lighting schemes that featured in September’s ‘How to be brilliant…’ lecture by Rebecca Hutchison of John Cullen Lighting. Full story, p36

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Nov/Dec 2018 Lighting Journal

Editor’s letter

Volume 83 No 10 Nov/Dec 2018 President Colin Fish IEng MILP Chief Executive Tracey White Editor Nic Paton BA (Hons) MA Email: nic@cormorantmedia.co.uk Editorial Board Tom Baynham MEng MA (Cantab) Emma Cogswell IALD Mark Cooper IEng MILP Kevin Dugdale BA (Hons) IEng MILP Graham Festenstein CEng MILP MSLL IALD Nathan French John Gorse BA (Hons) MSLL Alan Jaques IEng FILP Lora Kaleva MSc Assoc IALD Gill Packham BA (Hons) Nigel Parry IEng FILP Paul Traynor Richard Webster Graphic Designer Sacha Robinson-Forster BA (Hons) Email: sacha@matrixprint.com Advertising Manager Andy Etherton Email: andy@matrixprint.com Published by Matrix Print Consultants Ltd on behalf of Institution of Lighting Professionals Regent House, Regent Place, Rugby CV21 2PN Telephone: 01788 576492 E-mail: info@theilp.org.uk Website: www.theilp.org.uk Produced by

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

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part from the pretentiously ‘edgy ’ Glastonbury-style toilets, I very much enjoyed darc room in September and Rebecca Hutchison’s ‘How to be brilliant…’ lecture for the ILP. As we report in this edition, Rebecca, of John Cullen Lighting, spoke about ‘inspirational’ lighting design for the home, covering everything from the latest building regulations through to the importance of control, zoning, layering and concealment, all illustrated with some fascinating imagery.

In truth, while I – as a lay lighting person – enjoyed her presentation well enough, it was clear it was a talk pitched at a relatively junior level of lighting professional as that is, after all, the core target audience of ‘How to be brilliant…’ – students, interns, apprentices, career changers and so on.

There was probably little in what she spoke about that would have been new or unknown to an experienced lighting professional.

But that, for me, is precisely one of the attractions of ‘How to be brilliant…’, the fact it is the ILP – the most authoritative body within the industry – going out and proactively engaging with the public and future generations of lighting professionals, or simply those with an interest in light and lighting. Sometimes its topics are far from ‘easy’ intellectually, and Colin Ball’s ‘The Darkness of the Unconscious’ lecture back in April springs to mind. But they’re always accessible, and the atmosphere is always welcoming and friendly. The fact, too, ‘How to be brilliant…’ is now beginning to spread its wings outside metropolitan London, with its first lecture in Edinburgh last month is, I feel, a very positive development.

‘How to be brilliant…’ may, at one level, be a slightly superficial element of the ILP’s raison d’être but its existence, to my mind at least, in no way takes away from or dilutes the core role or remit of the ILP, that of the high-level gate-keeper of standards, guidance and professional best practice within the industry. In fact, we can see both these sides of the ILP living happily together within this very edition, when we compare it with, say, our heavyweight articles on bats and artificial light at night by Jo Ferguson and Harry Fox, or Paul Spence on passively safe lighting columns, or James Hill on our crumbling lighting infrastructure.

If anything, I feel this is a strength the ILP could be making more of, the fact it is an organisation that can do accessible and weighty with equal authority. Long may this balancing act continue.

Nic Paton Editor

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

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Nov/Dec 2018 Lighting Journal

Luminaires and light sources: evolution and future developments

FIRE TO THE

FUTURE

From firelight through to candles, electric lighting to LED and SSL: where next for luminaires and light sources, especially amid growing concerns over climate change, energy use and sustainability?

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By Peter Thorns

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hen discussing luminaires and light sources we have to consider their basic function. One of the earliest light sources was fish. A grass reed would be pushed down through its mouth and as fish skin is so oily it worked in a similar way to candle wax; fish were one of the first candles and they gave off light. All developments since then have been on ways to improve the light, either efficacy, lit effect or presumably smell.

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And light is very powerful. Light defines a space, giving it a focus or boundary. It gives feeling to the space, an atmosphere of welcome or a note of caution; it reveals beauty or supplies functionality, a mood of excitement or a feeling of calm. Obviously, the light source may be a part of the lit effect; imagine a crystal chandelier in the dining room of a stately house. But if the lit effect of the light source and space are wrong ,then light source is wrong.

When discussing light sources we have

to consider a number of fundamental issues. What kind of light do we get, is it useful and pleasant, how much control do we have over it, and accepting that all lighting will have an environmental impact, how sustainable is it? Fire gives us a useful basis of where we really came from with regard to lighting, an anchor point.

It generally gave limited illumination, had little optical control, very limited operational control and had a high impact on the environment. On the plus side it was

Nov/Dec 2018 Lighting Journal

perceived to have a good colour and create a pleasing ambience.

If we now skip a lot of history and look at the first electric lamp, it probably did not seem a big step forward from firelight. In fact, it could feel like a step backwards, especially when we consider some of the gas lighting technologies available at the time.

Illumination was poor, along with colour and ambience (we had not learned how to design spaces with this new light source).

However, it was easier to control and in principle had a lower environmental impact. However, like many new technologies we should consider not so much what it is as what it can become.

CHARACTERISTICS OF THE LIGHT SOURCE

Once you have a light source you can build something around it to optimise it and make it practical and safe. And to an extent this is still true today, the characteristics of the light source constrain or free the luminaire design. So, to a point, if I have a small light source I can produce a smaller luminaire easier than a larger luminaire requiring multiple small light sources, and if I have a large light source I am going to have a large luminaire. However, the intensity of the light source can also drive the design. A very bright source needs more careful optical control than a less intense source to control visual discomfort and glare.

Within these requirements solid state light sources such as LED have removed many design constraints resulting in more imaginative solutions, for example in size, aesthetic or control, both optical and via scene-setting effects. OLED technologies can produce very interesting concepts and comfortable light, albeit at a price, both in terms of efficacy and cost. SSL allows us to move from purely lighting solutions to lighting systems with elements of connectivity and control. However, a major constraint is still building and infrastructure; for example, ceiling design and existing street lighting columns and established design practices can also be restrictive for

more imaginative solutions. In addition, people’s expectations, what they are used to and will accept, is a key consideration.

Technology has moved on but infrastructure, design approaches and perception have generally moved much more slowly.

If we consider technology from a more human viewpoint we can see that electric lighting, whilst beneficial in many ways, also had its issues. The use of electric lighting within workplaces introduced new possibilities but also created new problems. Small, bright sources created discomfort and glare.

The industry response was large luminous area opal diffuser and prismatic optics. This created more comfortable environments, well-lit rooms and a balanced ambience within the space. Surfaces were generally free from harsh shadows, but high uniformity could make a space appear bland. A major disruptor to lighting practice was the introduction of computer terminals and personal computers. Large diffuse luminaires created visibility problems when viewing computer screens. The solution was the introduction of concentrating low brightness reflector luminaires. A side-effect was the creation of dark, un-

p We’ve come a long way from when workplaces used

to be bywords for discomfort, glare and poor lighting

comfortable spaces where room surfaces were poorly lit and modelling was harsh.

THE LIT AREA AS WELL AS THE TASK

The response was to start considering the lit area as well as the task, considering lighting as more than task visibility. A tentative step towards lighting for people but also a demonstration that each time we take a few steps forward we sometimes take a small step back, frequently having to re-learn past lessons.

So, the path to current practice in application and product design has frequently been guided by needs and problems, and luminaire development is more frequently driven by application need rather than technological development. A new technology without an application is initially of little use (although think about the first electric light source and what it has developed into). We have moved from burning

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Nov/Dec 2018 Lighting Journal

Luminaires and light sources: evolution and future developments discovery of iPRGCs, the non-visual receptors in the eye, this is less likely to be enough. Light affects wellbeing as well as visibility, and lighting purely for visibility becomes less defensible, however much easier it makes lighting practice.

PRINCIPLES OF GOOD LIGHTING

p Figure 1. LightingEurope’s lighting ‘roadmap’ to 2025. This

shows how the value of light in society can improve

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things to electric lighting, with SSL pushing the possibilities of electric lighting further. But what happens next?

LightingEurope produced a roadmap to 2025 (figure 1). This showed how the value of light in society can improve. The key foundation was the continuing adoption of LED technology, ‘LEDification’, to enable the controls and features for lighting to move beyond purely visual concerns into intelligent lighting systems and human centric lighting concepts. And of course underpinning all developments was sustainability and the growing importance of the circular economy (and see figure 2).

When discussing intelligent lighting systems, intelligence is fairly difficult to define: what is the difference between an intelligent and unintelligent system? I would suggest an intelligent system can decide upon and perform actions without human intervention, to a greater or lesser extent. And the key word is ‘decide’. It is

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not purely reactive; the system identifies a presence and activates the lighting; it is a considered response based upon a selection of factors including presence.

This implies that an intelligent lighting system needs a communications gateway to make the wider world visible, for example to BMS or infrastructure systems, both in terms of an input (what should I do?) and an output (what should you consider based upon what I have done?). And this does beg the question: do we trust intelligent systems and their controllers, up to and including the potential data gathering capabilities of the Internet of Things? Regulations such as the GDPR will become increasingly important to control data misuse (realistically complete prevention is unlikely).

But currently luminaires remain products to light spaces where tasks are performed. Installations generally have limited flexibility to respond to all but the most basic environmental changes. With the

The principles of good lighting, where we consider the task, the entire space, and the people and objects within the space to produce a balanced lit scene need to move from good design practice to a minimum level of acceptability, or we are producing environments that are potentially harmful to occupant wellbeing.

This is before considerations of variable lighting levels, exposure and colour temperature based upon light history, Chrono type and personal needs are added. However current lighting metrics based around lumens and the V(λ) curve are insufficient to describe all of the impacts of light we are now acknowledging.

We have pragmatically accepted the limitations of the V(λ) curve as lighting criteria have to an extent self-corrected these; basing design criteria on an acknowledged imperfect metric, and changing the established metric was no minor challenge. However, as non-visual effects of light are totally different from visual effects and cannot be measured in the same way, now may be the time to start a fundamental review of metrics and measures.

Within all of this the needs of the environment cannot be ignored; functionality should be delivered in a way that supports environmental and climate goals. The circular economy aims to remove waste, with the aim that every component can be reused or recycled. This is a good aim but needs deeper consideration. For a typical office luminaire, 50,000 hours’ life equates to about 20 years (based on annual burning hours of 2,500 hours, EN 15193:2017).

So how much internal servicing will it need and, of its component parts, how many will be useful after 20 years of use and technological development?

Nov/Dec 2018 Lighting Journal

t Figure 2.

How the circular economy works.

The circular economy aims to remove waste, with the aim that every component can be reused or recycled. It is a good aim but needs deeper consideration

To make a luminaire that is serviceable requires additional connectors/toggles/ clips and safety devices. A side-effect of the circular economy could be increased resource usage to make a luminaire serviceable that will never in practice be serviced. And if a luminaire is serviced, how much can be replaced before it is no longer the same luminaire as manufactured but a new product with all the legal and testing implications for safety and compliance to regulations?

The lighting industry is also being driven by regulation, gradually raising required light source efficacy standards beyond the capabilities of older technologies and thereby increasing LEDification by default.

But this is not an end point. As new technologies and techniques develop, the efficacy of LED technology should increase. However, as LED technology becomes more efficient all this potentially does is make lighting cheaper to buy and use, so we can afford to have more lights. The environmental benefits get lost (see figure 3).

This limits their brightness (or the possible glare depending upon your viewpoint) and you therefore need more LED in a module to reach a set lumen output.

Laser LED technology has the potential to overcome these issues, removing current droop at high current densities and also allowing superior bandwidth for Li Fi and visual light communications. They of course may also introduce their own problems, for example which safety standards do we need to consider: those for general lighting products or those for lasers? And within the precepts of the circular economy, a luminaire with a laser

product that can be disassembled could be problematical, especially if it is possible to operate or reassemble it without including all of the components.

Further out on the horizon are concepts such as monolayer semiconductor technologies, producing devices so thin and flexible they can be made transparent and conform to any surface. In the US at the University of Berkeley scientists have produced a proof of concept that is just three atoms thick but can emit four different colours of light. And graphene shows great potential. Similar to the original invention from Thomas Swan, who knows what these technologies will grow into?

Finally, it comes down to what do we want enough to be willing to pay for it, in other words acceptability? And, increasingly too, the question of what can we afford to do to the planet before it calls time on us? We no longer need cheaper lighting, or even more efficient lighting, we need to decrease the global environmental load from lighting.

So, alternatives to electric lighting may be necessary. Perhaps, for example, biochemical lighting such as produced by some fish (deja vu?), or daylight storage will some day become viable.

Peter Thorns BSc (Hons) CEng FCIBSE FSLL is head of strategic lighting applications, Global Lighting Applications, at Thorn Lighting Limited, part of the Zumtobel Group

LIMITATIONS, AND FUTURE, OF LED

Current LED technologies also have their limitations. They do not like higher current densities; it makes them less efficient.

p Figure 3. The links between package price and performance. As LED technology becomes more efficient,

all this potentially does is make lighting cheaper to buy and use, so we can afford to have more lights.

Therefore, the environmental benefits get lost

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Nov/Dec 2018 Lighting Journal

Asset management

‘FROM RUSTY SILLS TO DANGEROUS COLUMNS’ New lighting technologies have slashed energy bills, reduced carbon emissions and extended maintenance regimes. But, in the presentation voted most popular by ILP members at last year’s Professional Lighting Summit in Glasgow, James Hill argues this progress has shortsightedly been built upon columns that are, in the main, reaching the end of their lives

By James Hill

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I

remember buying my first classic car magazine while waiting for a flight at Newcastle Airport in 1985. I was 12 years old.

I had a strong interest in cars from the 1960s and ‘70s, as my family had some fantastic cars that I loved back then. I remember this magazine had a French Blue Triumph TR6 that had been rescued from certain death. The photographic record of the restoration was unbelievable and told a story of a car that had once left the showroom to admiring onlookers, only to end up used and worthless, but saved by an enthusiast who brought the car back to its original condition. I was sold.

Like many passions, reality takes control and dampens them down. I was desperate to buy and drive classic cars but needed sensible working vehicles that I could rely on. Throughout my 20s and 30s I ran, like many others, Golf GTIs and 3 Series Coupes.

MY FIRST LOVE

However, as I got older so did the cars I lusted after, and to mark my 40th I bought a 1989 325i Sport, known to those in the know as a Tech 2.

Having spent 30 years reading classic car magazines, you would have thought I’d www.theilp.org.uk

have picked up on the one re-occurring piece of advice that is repeated at every opportunity: ‘buy the best you can buy’.

I didn’t do this. I bought a car that needed work, and I was happy to do that. Only later would I consider that the earlier advice is actually very good – when the bills start to mount.

So ultimately, after a year, the decision was made to restore rather than move on

u A labour of love. James Hill’s 1989 325i Sport or ‘Tech 2’

and what appeared as a very presentable but older car was stripped back to a shell.

And that’s when the fun started. How could something be so presentable but so completely rotten?

As we removed the bumpers and body kit we found corroded sills and rotten arches. As we removed boot carpets we could see through to the floor, and when we removed the rear back seats we could

Nov/Dec 2018 Lighting Journal

see through a hole large enough to shake hands. As panels, exhausts and components came away from the car I just walked them straight into a skip. The only panels we kept were a door and the roof.

That was my first experience of a car restoration on a vehicle that, in my opinion, wasn’t that old. 1989 was only 25 years ago – a long time in many minds – but in the car world it’s considered a ‘young-timer’; many of which have benefited from modern standards of galvanising and metal protection.

I’m enjoying my hobby, and have drawn similar comparisons with my day job – which just happens to be structurally testing lighting columns and reporting to our clients on those identified as unsafe and in need of replacement. Exploring the similarities between rusty cars and rusty columns, I discovered some fascinating facts.

My car had lived outside exposed to salting routes and extreme weather conditions – just like the lighting columns. My car had lived in a seaside town exposed to salt air and high winds – just like the coastal columns. My car had its lower half wrapped in a body kit – just like the embellished columns. And after 25 years, my car

p Figure 1. How the ILP’s TR22 recommends a ‘red’ warning should be treated

was finished. Next stop? A breaker’s yard to strip it of some of the salvageable items.

And that’s when the comparisons stop – because in our industry we’re only just starting to get going with a 25-year-old column as we now install LED lanterns with 25-year guarantees that expect our columns to support.

I’M STILL STANDING?

In the business of structural testing for lighting columns, we have first-hand experience of corroded columns and a photographic library of many failed columns to back it up. However, the interesting information would always be in the statistics we

q Analysis of breakdown of ‘red’ high structural defects over a six-year period

had and if these photographs from site reflected in the column condition not specifically in one area but across the country – so I started digging.

Firstly, how many had failed? And in this respect, how many had been classified as ‘red’ with a treatment plan as stated in the ILP’s TR22 (now recently relaunched as highlighted in Lighting Journal in July) as requiring replacement/action within 12 weeks, as shown in figure 1.

I ran the numbers over a five-year period, between 2011 and 2015 and identified that, from 1,259,000 structural tests we had reported, 3.3% classified red and in need of replacement. The considered failure rate in the industry is between 2% and 4%, so there was confidence in the report.

The frightening statistic was financial: our clients had been presented with a bill based on a conservative £1,000 per column to replace 44,000 units. That’s £44m. And, more worryingly, that’s just our own clients and doesn’t take into account testing that’s being completed by other test houses.

In an age of efficiencies and reduced budgets – though a need to maintain the highest regards for health and safety – we have provided our clients with a significant bill and a problem that can’t be ignored: these columns are dangerous and need replacing without excuse or question.

Over the last five years, our clients have done just that, maybe not within the recommended timeframe stated within the document, but the columns have been replaced and new equipment installed.

These red defects had their full attention, but that’s not the end of the problem.

Why? Because it’s not just a case of fail or pass, as many columns sit between the two as they deteriorate through time, moving towards a red defect and eventual replacement.

TICKING TIME-BOMB?

What was the status of these columns six years ago?

My attention turned to identifying the overall condition of the country’s lighting stock and not just those that needed replacing – and I found a worrying statistic.

Firstly, I needed a good cross-section of www.theilp.org.uk

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Nov/Dec 2018 Lighting Journal

Asset management

lighting stock that represented the country.

I took 80,000 units from eight clients with an even number of units all within a oneyear testing programme from the South East into London down to the South West and up to the North East and into Scotland.

From these statistics, we understood that a potential ticking time-bomb lies in wait for not only the industry but also the taxpayer and highway user.

From 80,000 structural tests, we identified 46,000 as being installed before 1990: that’s 58% of our clients’ stock already past the manufacturer’s design life. More of a concern is that 22% (18,000 units) had a residual life of five years or less, and a fur-

ther 18% (15,000) had a residual life of 10 years or less.

Clearly, our clients have some issues on the horizon – columns not immediately dangerous but aged columns with defects that had limited residual life; columns that would need replacing soon.

It is common knowledge that 25-year Private Finance Initiatives tidied up many lighting authorities during the 2000s, and that this funding stopped for highway lighting projects in 2012 with the last awarded contract.

Our structural inspection and testing has generally focused on non-PFI contracts but, because of the volume of works

q James’ 325i Sport all stripped down

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completed, has covered nearly 50% of the country’s lighting stock. The statistics are relevant to authorities who have not had the funding for mass replacement or focused column replacement works.

Another statistic of concern that caught our eye was a large non-PFI authority with a full and complete LED programme based on a lighting stock structurally tested but with more than 100,000 units installed from 1990 and older. A total of 40% of these showed a residual life of less than 10 years.

This indicates that, while the council may have benefited from the energy efficiencies provided by the new lantern, this had been installed on an infrastructure that is potentially at end of life. The lesson here: a huge bill can follow if you don’t consider column age as well as column condition.

Or how about this statistic of concern? A six-year cycle of structural testing return to year one and the second visit. Anecdotally, ‘amber’ columns migrate to red at a rate of 10%, and clients generally allow for a 10% replacement budget on any retesting works. So, year one comes around again and, for the first time, we see the increase from the expected 10% rise to 53%, and a client now in need of additional funding to replace these columns.

Who’s to blame? No one. It’s just that extending the column age will generally show an increase in column defects and we could now see that these older ‘amber’ grade columns increase in failure rates.

The lesson here is that unless authorities target an increase in column replacement, they are just saving a larger and more costly problem for a later date.

CONCLUSION

Large savings have been made in carbon consumption and energy bills with the introduction of new lighting technologies together with extended maintenance regimes. However, the supports they are being mounted on are, in the main, reaching the end of their lives and will pose a financial and safety risk over the coming years.

If this issue is recognised and not ignored, then it’s not too late to plan sensibly and source the required funding, and maybe apply some radical thinking around column use and lighting design.

Because, you need to ask yourself, the last time you saw a car built in 1989 it probably looked like this… (see image to left).

James Hill is director at Electrical Testing

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Nov/Dec 2018 Lighting Journal

Passive safety

ROAD SAFETY Lighting designers will often turn to the ILP’s TR30 guidance when considering and assessing the need for passively safe lighting columns. But as a document it is not without its limitations, and should definitely not be seen as a panacea in terms of risk assessment or the lighting designer’s role and responsibilities, argues one street lighting engineer

By Paul Spence

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T

he advice contained within the ILP’s technical report TR30 Guidance on the Implementation of Passively Safe Lighting Columns and Signposts is seen by many highway lighting designers as the only way to approach passive safety.

From time spent scrutinising schemes from third-party designers, I (as a street lighting engineer) can see that there is misunderstanding and misapplication of the guidance. As a highway authority (Hampshire County Council), we need to help outside designers to apply a consistent logic and we saw that we needed to give further advice – and to clearly show designers where to ‘hang their hat’.

At the same time, as we realised there www.theilp.org.uk

was a need for better local guidance, the lighting team was invited to contribute to a review of the technical guidance issued by the highway authority – and one of the issues to clarify across all design disciplines was the approach to passive safety.

For street lighting, this wasn’t related to the technical requirements (defined in BS EN 12767 and usefully repeated in TR30), but the underlying assessment of when passively safe equipment might be needed.

With the review we hoped to avoid reinventing the wheel and to quickly find ready-

made and referenced frameworks. To this end we spoke with a few other authorities and followed up with a trawl of the online advice being issued by our peers.

Though there were some clear statements of practice (some quite innovative), mostly what we found online were relatively undeveloped generic statements, along the lines of ‘follow TR30’ – statements that brought no great clarity.

We already knew that designers given this kind of guidance quite naturally scrutinise TR30 and find the straightforward flowchart setting out a step-by-step decision path. Experience has shown they would then simply try to make this ‘fit’ whatever scheme they were designing The issue with the TR30 flowchart is

Nov/Dec 2018 Lighting Journal

This table is derived from the UKRLG document Provision of Road Restraint Systems on Local Authority Roads and it shows the criteria used in determining how to assess whether a road restraint system is required Traffic Flow (AADT)

Speed Limit (MPH)

Guidance to use

Risk assessment method

>5000

≥50

TD19

RRRAP (and by inference the TR30 flowchart)

>5000

<50

UKRLG

<5000

≥50

UKRLG

<5000

<50

UKRLG

Relevant UKRLG method (for new roads this involves risk scoring of the relevant highway factors; for existing roads and for roads with minor alignment changes this is accident analysis; roads with adjacent railways have additional requirements)

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that it is aligned with the TD19/RRRAP [1] approach from the Design Manual for Roads and Bridges (DMRB) – this is mainly aimed at trunk roads and motorways and is not always the right tool for assessing local authority roads. TR30 itself acknowledges that it is ‘not suited for all scenarios’ – but crucially it doesn’t state what alternative frameworks might apply.

For works affecting major roads (busy, high-speed routes) TR30 provides lighting designers with useful context and guidance on risk assessment. For these busy high-speed roads where the overall design process already tends to be closely managed with a rigorous formal assessment of the need for road restraint systems via the DMRB’s TD19/RRRAP process, the light-

ing designer just needs to make coherent choices in response to those assessments and to consult with the principal designer.

It is for the less busy, slower roads where TR30’s scope lacks clear guidance. And it is on these ‘lesser’ sites that lighting designers are often imperfectly briefed by their clients – or in other words they are left on their own and in need of guidance. I’ve seen design submissions where lighting designers have erroneously used the TR30 flowchart as a template for risk assessment and ended up advising their clients that passive-

ly safe streetlights are needed. They are apparently unaware of the wider context whereby a principal designer should already have taken responsibility for co-ordinating risk assessment) [2].

Through discussion with civil engineering colleagues we came across a source document (the UK Roads Liaison Group’s (UKRLG’s) Provision of Road Restraint Systems on Local Authority Roads and found that this shows a clear framework for determining the appropriate risk assessment methodology for all highway schemes.

The determinant factors are the traffic flow and speed limit of a road. Using flow and speed is hinted at in the ‘example of passive safety policy’ included in TR30, www.theilp.org.uk

Nov/Dec 2018 Lighting Journal

Passive safety

but the idea isn’t referenced or developed.

The UKRLG document does develop this fully: it transpires that only roads carrying more than 5,000 vehicles per day and having a speed limit of 50mph+ qualify for the approach outlined in the TR30 flowchart. Lesser roads may be dealt with by other assessment methods, fully described in the UKRLG document. This approach has now been integrated into the advice that the authority now gives to third-party lighting designers [3].

When passively safe lighting was first approved (as an alternative to road restraint systems), it was confined to highspeed roads and only later were we invited to consider it on all roads.

TR30 recommends that local authorities should consider developing their own written policy statement on passive safety [4] and this is clearly the local authority’s responsibility. Unfortunately, TR30 does not contribute much to policy development, as it omits any mention of the methods suited to the roads that constitute the majority of local authority asset.

Both TR30 and the UKRLG document were published at the same time in 2011 –

possibly this is the reason why TR30 doesn’t reference the UKRLG document and the alternative risk assessment frameworks it contains.

Having been through the process of clarifying the risk assessment process, I thought it would be useful to document our findings and make a few suggestions.

As an informative advisory document, TR30’s usefulness to lighting designers might be greatly enhanced if it were to highlight not only the alternative risk assessment frameworks, but also to restate the lighting designer’s role in the wider CDM context.

To my mind, any revision of TR30 could usefully be: • stressing that the use of passively safe lighting equipment hinges on a wider risk assessment – that is, whether roadside features in general merit protection • pointing out explicitly that that this risk assessment is primarily the principal designer’s responsibility • highlighting that the risk assessment framework is not always derived from TD19

• expanding the flowchart to foreground possible alternative risk assessment methods (as per the UKRLG document) With the risk assessment framework clarified I think we should turn to how discussion of how solutions are applied in the real world. Perhaps the ILP could facilitate workshops alongside the safety engineering professionals who have a good grasp of wider highway design and traffic behaviours?

Or maybe, too, the ILP could instigate some kind of forum where designers could summarise how they’ve collaborated with other professionals and used their engineering judgement in applying solutions to real-world schemes? Knowledge-sharing of this kind, from the ground-level up, would surely be useful for all practitioners and might help foster consensus and align good practice across the country.

Paul Spence is a street lighting engineer with Hampshire County Council

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REFERENCES [1] The TR30 flowchart is aligned with the TD19/RRRAP approach from the DMRB – which is mainly aimed at trunk roads and motorways. TD19 is the part of the DMRB that is concerned with road restraint systems. The RRRAP – Road Restraint Risk Assessment Process – is the formal appraisal process for motorways and trunk roads specified in TD19 [2] Lighting designers should only lead the risk assessment when dealing with solely street lighting replacement schemes (when the lighting designer is the principal designer). Even then they may need to defer to other professionals for advice (for example, www.theilp.org.uk

maybe commissioning an RRRAP on a busy high-speed road) rather than independently following the TR30 flowchart. TR30 identifies that following its suggestions is likely to mean compliance with TD19 [3] HCC issued a revised technical guidance note TG13 for street lighting in July 2018 [4] Many local authorities will have approved the UKRLG guidance and this would qualify as a policy (box one of the TR30 flowchart).

Designers should check with each local authority to check if the UKRLG guidance has been adopted as policy and practice

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Lighting and bats

NIGHT FLIGHT

18

In September the ILP updated its guidance on lighting and bats, GN08.

Our understanding of how artificial light at night, especially LED, potentially affects bats is growing all the time. Lighting professionals need to work in close collaboration with others, especially ecologists, to mitigate the impact of lighting schemes on these important animals

By Harry Fox and Jo Ferguson

www.theilp.org.uk

Nov/Dec 2018 Lighting Journal

I

n 2016, studies estimated that more than 99% of the US and European population lives under light-polluted skies [1]. This means that only around a fifth of England now has ‘pristine night skies’ [2]. For the UK’s 18 bat species this is a real problem. The brightness caused by light pollution or artificial lighting at night is thought to increase the chances of predation; many avian predators such as sparrowhawks, hobbies and owls will hunt bats [3]. Therefore, artificial lighting at night can have a number of negative impacts on a range of natural behaviours, especially for the slower flying species, such as the brown long-eared bat (pictured opposite).

Unfortunately, bats in the UK are still recovering from significant declines in their populations over the last century, caused by a number of man-made impacts, such as changes in land use and loss of roosting and foraging habitat. All of our bats eat invertebrates; however in the winter when food is scarce, bats hibernate in cool, humid roosts, such as in hollows in mature trees. In the summer, female bats gather together in warm, dry roosting sites such as roof voids, to give birth, usually to only one pup a year.

It is the specific conditions of these roost sites that bats require to complete their lifecycle, and this is why bats return to the same place year after year. Bats are unusually long-lived mammals with a slow reproductive rate for their size, meaning that if roosts are damaged or disturbed it takes a very long time for a population to recover.

BIO-INDICATOR SPECIES

All of this is important because bats are one of our bio-indicator species. In other words, where their populations are doing well it shows that the local environment is in good condition, which we now realise has benefits not only for the wildlife that inhabits that area but for people too.

Healthy environments have been shown to link directly to our physical and mental wellbeing, even increasing productivity in the workplace and schools [4].

We really do have a vested interest, as well as a moral obligation, to ensure our bat species thrive. This is also why all species of bat and their roost sites (whether bats are present at the time or not) are fully protected under international and domestic legislation.

Lighting of a bat roost causes disturbance and even abandonment of the roost, which could constitute a criminal offence [5]. In addition, the associated flightpath to and from the roost is just as valuable and vulnerable as the roost itself. Artificial

q Artificial lighting can have a particular effect on slower-flying species of bat, such as the brown long-eared bat

lighting at night can cause the severing of key flightpaths, which could cause desertion in its own right.

In addition to causing disturbance to bats at the roost, artificial lighting at night can also affect the feeding behaviour of bats.

Many night-flying species of insect are attracted to light, especially those light sources that emit an ultraviolet component or have a high blue spectral content [6]. Slower flying bat species such as longeared bats, Myotis species (which include Brandt’s bat, whiskered, Daubenton’s bat, Natterer’s bat and Bechstein’s bat), barbastelle and greater and lesser horseshoe bats generally avoid artificial lighting at night because of the increased threat of predation. In addition, insects can be attracted to lit areas from adjacent habitats, creating a ‘vacuum effect’ where bat species less tolerant of light are unable to access the lit food resources and fast-flying species will opportunistically risk predation to do so [7].

FLIGHT, FEEDING AND DISTURBANCE

When presented with lights with a range of colour types, it has been shown that some slow-flying species avoided white and green light lit areas but Pipistrellus species (fast flying) were significantly more abundant feeding at these lights. However, both groups were equally abundant in the red light areas compared to the dark control [8]. This field work has now been extended to real world study, where a housing devel-

19

opment in the Netherlands is trialling red streetlights, looking at not only what is best for bats but also people [9].

The effects of artificial lighting on drinking resources for bats has been recorded to be stronger than on foraging, with white light being shown to reduce even faster flying species’ drinking behaviour [10].

When considering how bats move through the landscape, lesser horseshoe bats have been shown to abandon the flightpaths which link their roosts and foraging grounds to avoid artificial light installed on their usual commuting route.

Significant impacts have been recorded from as low as 3.6 lux [11]. Furthermore, the average light level on hedgerows most regularly used by this species has been recorded at 0.45lux [12]. www.theilp.org.uk

Nov/Dec 2018 Lighting Journal

Lighting and bats

20 u A typical habitat for the Daubenton’s bat. Local

authorities will commonly require lighting schemes to demonstrate in detail the steps taken to avoid lighting near habitats used by bats

Even fast-flying bat species that have been shown to opportunistically forage in lit conditions have subsequently been recorded being impacted by artificial lighting. In our cities, for example, common pipistrelles — the UK’s most numerous species — have been recorded avoiding gaps that are well lit, thereby creating a barrier effect [13].

Migratory behaviour is also being impacted, with Nathusius’ and soprano pipistrelles being shown to be attracted to green light from a distance further than their echolocation calls reach, indicating they are attracted to the light rather than

insects [14]. The latest studies have even shown that this response is also present with red light, above and beyond the impact for than warm white lights [15]. This demonstrates positive light attraction for these species meaning limiting UV is only part of the solution and indicates there is still a lot to learn about migrating bats and the impacts of artificial lighting at night on all our bat species.

Given their legal status, together with their role as indicators of healthy ecosystems and the link to our own wellbeing, it is incumbent upon local authorities, land-

owners, developers and those who specify lighting to consider bats during the design process of a project. Local authorities commonly require lighting schemes to demonstrate in detail the steps taken to avoid lighting near habitats used by bats.

This has been further strengthened following the publication of the newly updated ILP Bats and Artificial Lighting in the UK guidance note in September, in collaboration with the Bat Conservation Trust, Clarkson & Woods ecological consultants and Nick Smith Associates (and see separate panel on this overleaf ).

ROLE OF THE LIGHTING PROFESSIONAL

This requirement by local authorities often results in the imposition of pre-commencement conditions on planning applications and the requirement for ongoing monitoring. Addressing such tasks can be costly and time-consuming where the issue has not been dealt with early enough and can sometimes lead to the significant reconfigura-

www.theilp.org.uk

Nov/Dec 2018 Lighting Journal

Constraints and Opportunities Plan’ (ECOP) which would identify key habitats and features to be safeguarded from lighting impacts. The Chartered Institute of Ecology and Environmental Management (https://www.cieem.net) provides an online directory of professional ecologists by location and expertise. It may be appropriate, therefore, to alert the wider project team to this issue as early as possible.

Where the presence of bats has been determined, an ecologist’s assessment should detaiL THE RELATIVe importance of each habitat feature on the site, taking into consideration the rarity of the species, numbers of individuals, the type of activity likely (breeding, hibernating, foraging and so on), the habitat quality and connectivity to other bat habitats or bat populations. From this (as summarised in an ECOP) the habitats and features should be broadly divided into three categories: • Key habitats. Those which should receive absolutely no artificial illumination as significant adverse effects are highly likely to result.

• Secondary habitats. Habitats less frequently used or which are of lower sensitivity or importance for the local bat population and therefore attract less severe lighting restrictions.

• Other habitats. Habitats of low or negligible sensitivity/value to bats which can be lit without likely significant effects.

tion of a site at the eleventh hour.

As a lighting professional, it is advisable therefore that, where any of the habitats and features suitable for bats are present on, or connect to, the site, you should make enquiries as to whether ecological information on the status of bats on site has been prepared. Habitats and features suitable for bats can include: • Woodland or mature trees • Hedgerows and scrub • Ponds and lakes • Ditches, streams, canals and rivers • Rough or tussocky grassland • Buildings – pre-1970s or in disrepair If such enquiries have not been made, it is likely such information will be required to support a planning application or simply to undertake due diligence in order to avoid unlawful impacts upon a roost. For this, a professional ecologist should be sought in order to provide an assessment and, if necessary, develop an ‘Ecological

Depending on the categories applicable to your site, the ecologist will recommend to the team, or discuss with you, the appropriate illuminance limits (including, potentially, zero lux) and appropriate sizes of buffer zones radiating from the habitat features. Completely avoiding any lighting conflicts is advantageous as, not only would projects be automatically compliant with the relevant wildlife legislation and planning policy, but they would avoid costly and time-consuming additional bat/lighting surveys, mitigation measures and post-development bat/lighting monitoring work.

IMPACT OF LIGHT-SPILL

It is often overlooked that light-spill through windows is potentially a significant contributor to obtrusive light and will need to be understood through appropriate modelling where buildings are located in proximity to bat habitats. While every detail regarding light fittings and room dimensions may not be known, assumptions can be made and discussed in order to obtain a ‘worst case’ assessment of this factor in the absence of blinds and curtains.

Similarly, glare from poorly controlled or intense yet distant luminaires may result in disturbance effects on bats over a greater distance than other, closer luminaires. Any lighting scheme should include at least a brief assessment of the potential for glare to act upon key and secondary habitats, including off-site luminaires as necessary.

Assuming that any key habitats have been kept dark with suitably sized buffer zones, lighting designers will be instrumental in applying their expertise to ensure agreed illuminance limits and buffer zones are achieved for secondary habitats. This is where discussion with the ecologist and the rest of the project team will be essential in order to balance the legal and policy objectives of wildlife protection with the need to light for public safety and security.

Where a full discussion (potentially including consultation with the local authority and their ecology and highways team) and balanced decision has been made with a complete trail of decision-making, the deviation from said lighting policy standards is highly likely to be adequately justified. Additionally, where the ecological importance of a feature is sufficiently high, reconfiguration of the site, including building orientation, window design, road layout and so on may be necessary. It is always important to ask as early as possible for an ecologist if you suspect bats are present on site.

Local authorities will likely require accurately modelled lighting schemes to accompany planning applications or to discharge planning conditions. These calculations should assume a Maintenance Factor of 1 and for luminaires to be at 100% anticipated output in order to represent a worst-case ‘day one’ scenario.

Vertical calculation planes may be necessary at features such as woodland edges, roost buildings or hedgerows. Baseline lighting surveys may be appropriate where long-term or post-completion monitoring www.theilp.org.uk

21

Nov/Dec 2018 Lighting Journal

Lighting and bats

A lesser horseshoe bat. These bats have been shown to abandon flightpaths that link their roosts and foraging grounds to avoid artificial light installed on their usual commuting route t

POSSIBLE MITIGATION METHODS Mitigation methods used successfully on projects or limit light spill include the following:

22

is likely to be required in order for an accurate comparison to be made once built, or in order to quantify the contribution from off-site lighting on the baseline.

More detailed guidance on the information likely to be required, plus further details on mitigation techniques, can again be found in the new GN08/18.

CONCLUSION

In summary, without careful planning artificial lighting at night is likely to have significant negative effects on bats, potentially affecting reproductive, foraging and roosting opportunities.

Poorly planned artificial lighting at night

can also cause costly delays to projects, and there is a danger of reputational risk to companies involved. However, consultation with ecological expertise early on in a project alongside using the latest guidance (including from the ILP) can bring the project in line with protected species legislation, planning requirements and reflect positively on a company’s corporate environmental responsibility.

Harry Fox BSc MCIEEM is principal ecologist at Clarkson and Woods and Jo Ferguson BSc MCIEEM is built environment officer at the Bat Conservation Trust

THE ILP’S NEW GUIDANCE The updated Guidance Note 08 Bats and Artificial Lighting in the UK was published in September and provides lighting professionals with practical guidance on considering the impact upon bats when designing lighting schemes.

The guidance note supersedes the previous 2009 guidance and goes into depth about lighting levels and colour temperature impacts on different bat species. It is intended to raise awareness of the impacts of artificial lighting on bats but also the potential solutions to avoid and reduce this.

It can be downloaded from the ILP website, at www.theilp.org.uk

www.theilp.org.uk

• Concentric buffer zones with diminishing illuminance limits • Sensitive building design, including height, orientation, set-back and use of balconies, can avoid light-spill • Hard landscaping, including robust fences and walls, can provide a permanent solution • Soft landscaping can contribute to light attenuation. However, this should not be the sole means, as vegetation can be cut down and new planting can fail or take years to establish • Dimming or part-night lighting regimes may be appropriate in secondary habitats, although key times where people require lighting often coincide with key emergence and foraging times for bats • Motion-sensitive security lights on short, one- or two-minute timers are likely to be acceptable in secondary habitats • Some specialist bollard or low-level downward luminaires may be appropriate • Glazing treatments may be suitable near secondary habitats, although automated blinds are unadvisable as they require maintenance • Recess internal luminaires near windows • Provision of compensatory habitats may be a last resort where impacts from lighting cannot be avoided. This relies on robust ecologist assessment and design • Use of LEDs with sharp cut-off should predominate • Fittings with 0% upward lighting ratio must be used • A warm white spectrum should be used throughout (<2700K) • Peak wavelengths higher than 550nm avoids the most disturbing component of light

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Lighting and bats REFERENCES [1] Fabio Falchi, Pierantonio Cinzano, Dan Duriscoe, Christopher C. M. Kyba, Christopher D. Elvidge, Kimberly Baugh, Boris A. Portnov, Nataliya A. Rybnikova and Riccardo Furgoni.

(2016). The new world atlas of artificial night sky brightness. Sci. Adv. 2016; 2 : e1600377 [2] Night Blight: Mapping England’s light pollution and dark skies. Campaign to Protect Rural England. (2016).

[3] Speakman, J R (1991). Why do insectivorous bats in Britain not fly in daylight more frequently?

Funct. Ecol. 5, 518-524. Jones, G, Rydell, J (1994). Foraging strategy and predation risk as factors influencing emergence time in echolocating bats. Philos. T. R. Soc. B. 346, 445–455.

[4] A review of nature-based interventions for mental health care (NECR204), Natural England (2016), http://publications.naturalengland.org. uk/publication/4513819616346112 [5] Downs, N C et al (2003). The effects of illuminating the roost entrance on the emergence behaviour of Pipistrellus pygmaeus.

Biological Conservation 111, 247-252.

Duvergé, P L, G Jones, J Rydell and R D Ransome (2000). The functional significance of emergence timing in bats. Ecography 23, 32-40.

[6] Bruce-White, C and Shardlow, M (2011). A Review of the Impact of Artificial Light on

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Invertebrates. Buglife.

[7] Stone, E L, Harris, S, Jones, G (2015a).

Impacts of artificial lighting on bats: A review of challenges and solutions. Mammal. Biol. 80, 213-219. Stone, E L, Wakefield, A, Harris, S, Jones, G, (2015b). The impacts of new street light technologies: experimentally testing the effects on bats of changing from low-pressure sodium to white metal halide. Philos. T. R. Soc. B. 370, 20140127.

[8] Spoelstra, K, van Grunsven, R H A, Donners, M, et al (2015). Experimental illumination of natural habitat – an experimental set-up to assess the direct and indirect ecological consequences of artificial light of different spectral composition.

Philos. T. R. Soc. B. 370, 20140129. http://dx. doi.org/10.1098/rstb.2014.0129. Spoelstra K, van Grunsven RHA, Ramakers J J C, Ferguson K B, Raap T, Donners M, Veenendaal M, Visser ME, (2017). Response of bats to light with different spectra: light-shy and agile bat presence is affected by white and green, but not red light.

Proc. R. Soc. B 284: 20170075. http://dx.doi. org/10.1098/rspb.2017.0075 [9] ‘Dutch town helps out rare bat species by installing “bat-friendly” streetlights, July 2018, Inhabitat, https://inhabitat.com/dutch-townhelps-out-rare-bat-species-by-installing-bat-friend-

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ly-streetlights/ [10] Russo, D, Cistrone, L, Libralato, N, Korine, C, Jones, G and Ancillotto, L (2017). Adverse effects of artificial illumination on bat drinking activity. Anim Conserv. doi:10.1111/ acv.12340 [11] Stone, E L, Jones, G, Harris, S, (2012).

Conserving energy at a cost to biodiversity?

Impacts of LED lighting on bats. Glob. Change Biol. 18, 2458–2465.

[12] Stone, E L, Jones, G, Harris, S, (2009).

Street lighting disturbs commuting bats. Curr.

Biol. 19, 1123–1127.

[13] Hale, J, Fairbrass, A, Matthews T, Davies G, Sadler J, (2015). The ecological impact of city lighting scenarios: exploring gap crossing thresholds for urban bats. Global Change Biology, 2015; DOI: 10.1111/gcb.12884 [14] Voigt C C, Roeleke M, Marggraf L, Pētersons G, Voigt-Heucke S L, (2017).

Migratory bats respond to artificial green light with positive phototaxis. PLoS ONE 12(5): e0177748.

[15] Voigt C C, Rehnig K, Lindecke O, Pētersons G, (2018). Migratory bats are attracted by red light but not by warm-white light: Implications for the protection of nocturnal migrants. Ecology and Evolution.

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Nov/Dec 2018 Lighting Journal

Retail lighting

STORE WARS With many retailers struggling to cope with online competition and tough high street conditions, the look and feel of ‘bricks and mortar’ shopping is more important than ever, and that includes getting the lighting scheme right

26

By Daniel Swannack

T

he well-documented online shopping ‘tsunami’, coupled with rising business and lease rates, means it is no surprise the high street is having a tough time of things right now.

Many retailers are reducing their store footprints and cutting down their estates to combat this financial black hole. This means the physical space they have left needs more than ever to represent the ambitions of their brand and enable customers to engage with them – and lighting, of course, needs to be a key element of this.

Stores need to stimulate the senses, evoke emotions and provide inspiring lifestyle spaces. We are in the era of so-called ‘omni-channel’ retailing, or where people now shop in multiple ways, from their laptop or tablet, their phone or in person in a store.

We also need to accept that stores cannot offer the same level of convenience that online can but, when done well, ‘bricks and mortar’ can more than make up for it in experience. www.theilp.org.uk

ENERGY EFFICIENCY AND MAINTENANCE

p The changing room experience, and how the space is lit, is becoming a critical part of the ‘bricks and mortar’ retail experience

From a lighting perspective, traditionally it would have been fair to say large-format stores would typically have prioritised energy efficiency, maintenance and uniformity, with small format or boutique stores focusing more on colour quality, temperature and contrast.

However, we have seen this approach change significantly in recent years.

During this year, for example, we have worked on retail projects with floor space in excess of 100,000sq ft that have centred on the lighting concept, in other words on very high light quality, a variety of colour tones and contrast ratios of 3:1 – three times’ more light on product than that on the floor or circulation space.

Department stores and large format retailers can see the impact improved colour rendering has on the appeal of their products; making the colours more vibrant and ultimately helping to increase sales. With

Nov/Dec 2018 Lighting Journal

27

developments in light quality, colour temperature and control, LED luminaires have helped make the boutique philosophy scalable.

Understanding each zone within a store and the lighting concept that works within it is key to a cohesive and stimulating store environment. Weâ&#x20AC;&#x2122;re seeing more retailers adding â&#x20AC;&#x2DC;store-in-storeâ&#x20AC;&#x2122; concepts: integrating coffee shops, salons and even car dealerships, all of which require a different approach and considered lighting design.

LED is an incredibly flexible light source, with the ability to be dimmed, change white tone and primary colour, as well as being small enough to integrate into tiny luminaires and building elements.

These compact LED chips enable manufacturers to miniaturise their luminaires, which in turn allows lighting designers to be more creative, highlighting the finest of architectural, store and product details.

The future of retail lighting is more excit-

p Sports Direct in Thurrock (left) and Debenhams p

in Stevenage, both with a lighting design by Fagerhult.

Light quality, colour temperature and control is transforming the physical retail experience

ing than ever as a result of the development in this technology which, when used intelligently, delivers huge benefits to the retailer.

LIGHTING CONTROLS AND IN-STORE ILLUMINATION

The flexible light source that is LED is enabling lighting designers to create lit spaces that help draw emotion and enrich the shopping experience, picking out product displays with such impact and vibrancy that they are impossible to miss when navigating the store.

LED is far beyond a trend, but the miniaturisation of luminaires, which has come

about almost as a by-product, has created a step-change in retail lighting design.

Almost parallel with the development of LED, lighting controls are changing the parameters of in-store illumination. Variations in colour temperature, intensity and pre-set scenes for times of the day or year are no longer the prohibitively complex and expensive undertakings they once were.

They can now be set using intuitive smartphone apps, or increasingly remotely from the site via a gateway solution.

We are also increasingly seeing customers taking control of their own, albeit curated, lit environment. This level of control has been missing from the retail sector, largely because metal halide, an inherently non-dimmable light source, has been the technology of choice for retailers.

Changing rooms are a very hot topic and for good reason. It is known that as many as 60% of buying decisions are made in them. When strategically positioned in changing rooms, LED luminaires can help www.theilp.org.uk

Nov/Dec 2018 Lighting Journal

Retail lighting

reduce the appearance of ageing by enhancing the natural skin tone and reducing unwanted shadows.

q The flexibility of LED is allowing retailers, and lighting designers, to enrich the shopping experience

FOCUS ON CHANGING ROOMS

28

This is then boosted by washing the customer in a warm, soft and high-quality light that shows off the clothes and makes the changing room experience invaluable. We are now integrating technology in changing rooms that encourages customer engagement through interfaces that allow them to create lit environments that replicate their usual daily activities. This is achieved via scene switches, labelled with daily activities such as office and dinner, or school and bedtime for children’s fitting rooms.

Such customer interaction has become a key part of our lighting design offer, tailoring specific controls solutions to the customer and allowing them to make better buying decisions. This ultimately helps drive sales, reduces returns and elevates the customer in-store experience.

This level of customer control is now starting to come out of the changing rooms and on to the shopfloor – allowing customers to stand in front of mirrors that can wash them with specific levels of intensity and a variety of colours. Integrated cameras can also be employed to send their mini in-store Instagram shoot straight to their social media profiles.

Having the ability to dim LED, we can now create environments that automatically move with the time of day. We at Fagerhult have been using this technology with one of our major global coffee shop partners, allowing their customers to walk into a store at 7am, which is lit in a warm

tone and soft in level, as you would find during sunrise. This is then contrasted by a whiter light at lunchtime, incorporating higher ambient levels to encourage a faster pace for the middle of the day. This is followed by the dimmest setting for dinner and a warm temperature to encourage longer ‘dwell time’ and a domestic ambiance. All controlled automatically, synced to an astronomical timeclock, commissioned off site and totally flexible.

Lighting is subjective not just because of personal design preference, which over time is often manipulated by marketing, but also because the way our eyes age and react to light is fundamentally different. Therefore, it is impossible to have a one-size-fitsall approach to retail lighting design.

CHANGING CUSTOMER DEMOGRAPHICS

A prime example of this is working with department stores, where we have to be mindful that customer demographics can span 60 years or more.

The challenge is balancing the latest trends: marrying higher contrast ratios and more drama, with a solution that is more utilitarian, softening the edges and increasing the ambient levels. Before we embark on a lighting design solution for our retail partners, we spend time getting to know their brand and, crucially, their customer profile.

From there we can work with the retailer on a lighting concept that enhances the store design in a way that will aid customer engagement, increase sales and reduce the carbon impact.

The future of retail lighting, when employing the latest technology and lighting design principles, will be focused on the customer’s emotion. We need to be asking what can be done to help improve the customer’s self-esteem, wellbeing and happiness.

We need to encourage customers to make decisions with their heart, through positive experience and brand engagement, and not just with their head and wallet, or as some may call it, by shopping online.

Daniel Swannack is UK retail sales and marketing director for Fagerhult t Jaguar Land Rover in Watford, with a lighting scheme by Fagerhult. As well as standalone schemes, retailers are looking more and more to add ‘storein-store’ concepts, such as integrated coffee shops, salons and even car dealerships, all of which need to be appropriately illuminated

www.theilp.org.uk

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Nov/Dec 2018 Lighting Journal

Architectural and public realm lighting

30

LEARNING A NEW LANGUAGE OF

LIGHT www.theilp.org.uk

As the world’s populations become more focused in cities and urban centres, how we use architectural and public realm lighting – and the dialogue we seek to create through and with it – will become ever-more critical

By Dan Hodgson

Nov/Dec 2018 Lighting Journal

tion for the ever-changing needs and expectations of that space’s community.

During the hours of darkness, lighting can create – and needs to be creating – increasingly accessible spaces where people can meet, enjoy and congregate.

URBAN DESIGN FOR 24/7 LIVING

t King’s Cross, London, by StudioFRACTAL. Multidisciplinary design will engulf and promote a 24/7 culture

T

he United Nations, no less, has predicted that by 2050 two-thirds of the world’s population will live in urban areas, from more than half (55%) at the moment [1].

For lighting professionals, this means the need to create a new language of light within new urban spaces is greater than ever.

We live in a world of global cultures, of

great diversity and developing new local communities. But the creation of leisure spaces accessible for everyone within society can provide an extension to everyday life; an effective language of light means that, in the hours of darkness, co-ordinated urban design can positively influence people’s lives.

Lighting within urban spaces therefore must enable and encourage social interac-

Simple and sophisticated control of a complete lighting installation should evolve with the use of the urban environment. It should respond to groups and individuals, putting people at the centre of the design – everything from the evening commute, the quick evening shop, to a temporary art installation.

A multi-disciplinary urban design will engulf and promote a 24/7 culture, making the night-time work for everyone in major urban centres. It can enhance the quality of life of residents and tourists whilst encouraging people to explore, experience and play in the hours of darkness-developing a night-time economy.

Creative architectural lighting design plays a pivotal role in this, creating value by designing a masterplan that encourages social activity. It is about creating an attractive space that promotes a relationship between the community and the people.

Creating spaces they can identify with, encouraging them to spend more time and money by increasing their ‘dwell’ time.

Light shapes our view and our opinion of a space. How we feel and even whether we will come back again can be influenced by light. It helps shape our nocturnal view, bringing our attention to certain elements of an urban space by highlighting the materials, textures and finishes of the surfaces around us.

New technologies have enabled lighting to be considered earlier in the design process – allowing luminaires to be integrated, providing a seamless solution so that by day the building is seen in full view and then, by night, the luminaires and the lit effect brings the buildings to life.

We believe a new language of light will provide a new identity, a new persona to the urban space that people can identify and associate with, that they are proud of, and in turn establishing a sense of social responsibility.

Dan Hodgson BSc (Hons), MSc, PGdip is application director at acdc lighting

t This image and overleaf. Shakespeare’s New Place – Speirs + Major. Lighting shapes our nocturnal view, bringing attention to certain elements of the design

www.theilp.org.uk

31

Nov/Dec 2018 Lighting Journal

Architectural and public realm lighting

p The Serpentine Gallery, by Bjarke Ingels Group. The interplay of light and shadow shapes a project. The same is true in Shakespeare’s New Place, again pictured right

32

DAN HODGSON’S ‘BIG FOUR’ OF LIGHTING PLAZAS, LANDSCAPES AND MONUMENTS 1) Context. At the beginning of any project that involves external architectural lighting it is essential to consider where the project is, what is around it, and also the other ‘layers of light’ that are being integrated into the project.

Context refers not just to the location of the space but its culture and community. Is it in the centre of a busy urban environment or a quiet remote area? Consider that whilst the space may not be currently lit, the view beyond may be well-lit with an element of skyglow and this will act as a background to the view of the space.

2) Colour. The application and consideration for colour in architectural and public realm lighting is in two factors: whether it is dynamic and whether it is consistent. Some may also suggest whether coloured light should be used at all. www.theilp.org.uk

The application of a scheme using only a single colour (for example 3000K) should ensure that the lit effect is consistent, that the colour over the length of the installation does not vary. It is the quality of the tight binning of the LEDs used that will enable a premium and consistent lit effect.

3) Contrast. From any view within the space, around and beyond, there is contrast in its lit appearance. It is the balance between the layers of urban, architectural and functional illumination that determines the experience and the identity of the urban space in the hours of darkness.

The interplay of light and shadow will shape a project, and the methods used to apply light will enable the public to see the detail and the space in a way they have never done before.

4) Control. The control of the lit effect can enable the visitor to have a new experience, a different view each time they visit a space. It can enable the community to use coloured light to celebrate national holidays or promote world charity days – changing the identity and the social impact of the space.

Control doesn’t have to mean blue to red to yellow over three seconds. It can be the play of the intensity of the light, a change from warm white to cool white, or having only a few defined scenes of light that change automatically over a year during the seasons.

Control can mean the slow movement of light responding to the movement of people, or a lighting show that comes on once an hour on the hour to bring people to the space and establish it as an icon within the community.

Project: Shakespeareâ&#x20AC;&#x2122;s New Place Location: Stratford-upon-Avon +44 (0) 845 862 6400 acdc.service@zumtobelgroup.com www.acdclighting.com

WE CREATE AMAZING EXPERIENCES WITH LIGHT

Nov/Dec 2018 Lighting Journal

Bridge lighting

FERRYING ACROSS THE MERSEY 34

Since opening in 2017, the new Mersey Gateway Bridge has been a showcase for LED luminaires and floodlights, as well as the value of local collaboration and innovation. One lighting manufacturer recalls its role in the project

By Hayley Whittaker

T

he new Mersey Gateway Bridge opened to traffic (in a blaze of fireworks) in October 2017 and was officially opened by the Queen in June this year.

It is the new six-lane toll 2.2km bridge (but with a total length of 8.5km) over the Mersey between the towns of Runcorn and Widnes, and has been built to relieve the congested and ageing Silver Jubilee Bridge.

It was built by the Merseylink Consortium, a consortium of Kier Construction, Spanish construction firm FCC and Samsung.

For the lighting scheme for the bridge, CU Phosco’s LED luminaires and floodlights were chosen to light the span of the bridge, which is used by some 70,000 vehicles every day.

Our P850 was chosen early in 2014 for initial lighting proposals by Imtech, which valued features such as the product’s unique reflector optic (incorporating chip technology from Lumileds). This provided excellent design performance for uniforwww.theilp.org.uk

mity and the spacings required.

The longevity of the product life, coupled with the demand to reduce maintenance costs on the bridge, also helped to make the product a contender. HID options were also considered, but these were outweighed by the benefit of using LED technology.

LOCAL FOCUS

The three-year construction project began, naturally, with the bridge infrastructure itself. So we only became actively involved on site for the final 18 months, when the roll-out of the sections to be lit were defined by the project’s appointed electrical contractor, WT Jenkins.

WT Jenkins is based in Merseyside, and one thing that was really positive was the consortium where possible favoured local companies bidding for works that were able to offer their services to the project.

This meant of course an active boost to the local economy but also increased home involvement in the bridge development.

Nov/Dec 2018 Lighting Journal

35

WT Jenkins also continued to support the original P850 product selection. As the project progressed, lighting designs were updated by the design consultant URS, not least the fact that further energy savings were offered in the P850 as the LED performance continued to advance The next element that came under consideration was the floodlighting of the bridge. We proposed adding a new specialist floodlight system, FL800R, to the design concept. Using the FL800R at the toll booth areas reduced roadside clutter, increased uniformity across the toll lanes and, where required, added extra light for the inclusion of vehicle number plate recognition cameras.

The FL800Rs were provided with then-bespoke WB855 gearboxes, which were specially designed to mount on to the same column infrastructure as the P850.

COLOUR-MATCHED

This provided a smooth-looking aesthetic on the side-entry-mounted columns with-

out the need for separate control boxes.

We also colour-matched our products to a special silver paint finish selected by Merseyside Consortium as a later addendum, so that the aluminium columns and lighting matched perfectly.

As is always expected with such large construction projects, there were several changes to forward plans and interim deadlines on site. This meant a flexible approach and forward planning was vital, as it allowed for a rapid response to last-minute alterations in the programme of works.

Another important element was the effective collaboration between contractors to ensure on-site targets were consistently met. This was particularly crucial when meeting the final opening deadline. For example, our existing close relationship with column supplier SAPA Poles (now Hydro) ensured the columns and lanterns arrived in conjunction for installation together.

As Mark Sherrington, contracts manager at WT Jenkins, has put it: ‘From the off-

set we kept in close contact through all the early proceedings and site meetings, keeping them informed of the likely changes and alterations and likewise CU provided us with all the necessary technical information promptly as required.

‘Once underway, myself as contracts manager kept in close contact with CU Phosco’s local area sales manager Stephen Hart, and we had regular meetings and updates for the schedule of products to arrive on time. The supply was never a problem and when we required a quick turnaround near the end of the scheme, CU were able to get us the luminaires in time for the opening dates,’ he adds.

Finally, we’re very pleased to say this project has been shortlisted for the Transport and Industrial Lighting Project of the Year at the LUX Awards later this month.

So, fingers crossed!

Hayley Whittaker is national sales manager for CU Phosco Lighting www.theilp.org.uk

Nov/Dec 2018 Lighting Journal

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

HOME TRUTHS Lighting designer Rebecca Hutchison looked at how to elevate residential lighting schemes beyond the ordinary at September’s ILP ‘How to be brilliant…’ lecture.

Lighting Journal got comfy

By Nic Paton

36

S

eptember’s ILP ‘How to be brilliant…’ lecture decamped from its usual venue of Body & Soul in Clerkenwell to Shoreditch and ‘darc room’, the curated lighting exhibition for specifiers and designers run by arc and darc magazines and Light Collective, the team behind the darc awards.

It was the first time ‘How to be brilliant…’ had been part of a larger event but, thankfully, the friendly, accessible atmosphere was unchanged. ‘How to be brilliant…’ has long prided itself on presenting sometimes complex and technical subjects in an easy-going, accessible format designed to appeal to a broad church, but especially students, interns, apprentices, career changers, anyone new coming into the lighting profession or thinking about it.

The September lecture was no exception, with Rebecca Hutchison, senior lighting designer at John Cullen Lighting, taking on the topic of ‘How to be brilliant at… inspirational lighting design for the home’ or, as she put it, ‘the building blocks of how to implement a lighting scheme, looking at layering techniques, furniture layouts and other points to consider.’ www.theilp.org.uk

COLOUR TEMPERATURE, CONSISTENCY AND BINNING

p Focus on residential lighting: Rebecca Hutchison, senior lighting designer at John Cullen Lighting

Rebecca first took her audience on a brief canter through current lighting regulations, the challenges and opportunities have arisen from the transition to LED, the need to understand colour temperature and, critically within that, colour consistency and binning.

She then moved on to her thinking around what makes for good residential lighting schemes. ‘Good design is carefully considered. Whatever considerations you have gone through, if you have gone through in a careful way then it is probably going to be better than designing by quota,’ she emphasised.

‘You don’t want to be looking at dreaded downlights that just give you x lumen per sq m. In a residential setting it is just not necessary; you just do not have a regulation like that to hit, there is no quota of lights per sq m. Instead, you want to look at furniture arrangements, joinery, artwork location and also the finishes that you are using.

‘If you’re using a lot of texture, do you want to highlight that? If you’re using a lot of really shiny surfaces, do you want the

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Nov/Dec 2018 Lighting Journal

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

t Image 1. A combined kitchen, living area and dining room, showing the importance of zoning

38

lights reflected in that? Or if you’re using something very, very colourful, is that going to be your main focus? Or actually do you want that to be daylit instead? So you have a lot of things in your head.

‘Not only are you looking for the important things you are proud of or that are interesting and want to draw attention to, you also looking for locations to hide equipment. Halogen has transformers to power it, LEDs have drivers; you are not getting away from the equipment scenario. You can group different lights on to one driver, but you cannot get away from using a driver. A lot of the time you will have this equipment to hide,’ she added.

IMPORTANCE, AND OPPORTUNITY, OF CONTROL

Control is, naturally, a key element within this. ‘You need to think quite early on about how you are going control the lighting. If you are going to be restricted to manual control, whether that be by personal preference or by the wiring limitations of the build, you will not have as

many circuits to play with as if you have a control system.

‘I often think three dimming, four at a push, is really as much as anyone can handle. We’ve all been in a restaurant where they’re trying to work out which dimmer does the downlights, and it never goes well! So really clear labelling, if necessary engraving if that can be done, but limit it in number so people can actually learn what these dimmers do,’ Rebecca highlighted.

‘If you do have the option, a one-room control system can work quite well. This is good where the budget doesn’t quite stretch to a whole-house system, but you still want to have flexibility and to press one button not twiddle four knobs. So a one-

p Image 2. An example of the kitchen area being zoned separately

room control system could be a local thing, not wired to a central plant room, usually in a utility room cupboard, and perhaps a box that controls the kitchen lights. But if there is more budget available and the client or yourself would like more flexibility, more options, more integration, then a wholehouse control system would be the way to go,’ she added.

ZONING, LAYERING AND CONCEALMENT

p Image 3. A contemporary kitchen space. The use of a coffer scenario eliminates the need for downlights and creates a calm, soft light

www.theilp.org.uk

Rebecca next turned her attention to the important of zoning within your residential lighting design scheme. ‘In an open-plan area zoning really is quite important. In image 1, for example, we’ve got a kitchen, living area and dining room all in one. I’ve kept the kitchen zoned completely separately to the living area. This means you can have bright, practical task light in the kitchen.

Nov/Dec 2018 Lighting Journal

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

q Image 4. Recessed strips underneath each step create a crisp feel as well as interesting shadowing

40

‘But when you move through from the kitchen you don’t want to have to look at all the dirty stuff you’ve not washed-up yet – so I’ve lit under the kitchen island and that gives you enough to go and top up your glass of wine. The main focus of the room is now the living area. You’ve got the skylight lit, you’ve got the uplights.

‘In image 2 (previous page), we’ve got the kitchen again zoned separately. But you can also see that in between the table and kitchen island there really isn’t very much light on the floor. There are no downlights here; it is just to show you your task areas. You don’t need to light the floor, it’s not what you’re looking at.’

Concealing lighting was an absolutely central skill within the residential setting, Rebecca argued. ‘Concealing the lighting is the key to making the things that you’re lighting more of a feature. Because your eye is always drawn to the brightest point, you don’t want that to be the fitting. You want that to be the thing you’re attracted to, the artwork or the feature. So in image 3 (also previous page), we’ve used a coffer scenario to eliminate the need for lots and lots of downlights and actually to create a calm, soft light in a room where want that flexibility of mood.

‘In this kitchen you’ve got fairly standard lighting. You’ve lit the tables, you’ve lit a little bit of the walkway as it is not really that interesting as it is. Adding in a few layers and concealing that light really makes it come alive; it is those little touches that really make the difference. The sculpture at the end, for example, which is obviously a really important piece, as it is right in your view as you walk in. So, we integrated a little downlight there. www.theilp.org.uk

‘Under the units, again quite a dark, looming, heavy-looking area when it’s not lit, lighting it has made quite a difference and brought it in. The banquette seating has got that backlight, which gives you a sort of restaurant feel; it feels quite luxurious. The roof lights, with a band of lights through them, just brings the room back it; they make the room feel less heavy.’

Contemporary lighting on the staircases was becoming an increasingly popular option with many clients, she pointed out.

‘And you can really play around with how you do this. In the project highlighted in image 4, we recessed a strip underneath the step itself. With no nosing, it is just a solid step, but you get very crisp light and some very interesting shadowing too.’

All this, of course, requires careful planning and co-ordination. ‘It was carefully

considered from quite an early stage of the project. We had to talk with the staircase manufacturer to make sure it was the right material thickness, that they understood this detail, it was far enough back from the main join, that we were satisfied it was going to light the next tread so it wasn’t going to compromise the nosing and so on. Everybody needs to co-ordinate to get the right light,’ Rebecca explained.

Rebecca then moved on to her thinking around effective layering of lighting, illustrating it with images of the same project (image five). ‘If you add in hidden lighting techniques – for example, you’ve got backlit shelves, which makes the splashback really come alive, and underneath the island as well – there is another level.

‘With one layer you can see it is really quite flat, but adding in a shelf light, miniature downlights at the back of the shelves, and a strip underneath that island really makes it a lot more interesting and a lot more considered. So even though there aren’t a huge amount of considerations within that, you’re just going “OK I’ve got a kitchen island, can I put a strip underneath it?” and “yes I’m going to have shelves, how shall I put that lighting in?”.

It is just those two things that make a real difference,’ she highlighted.

Mood lighting, or fusing the layers to create different moods and feels, could also be effective in this context, as could be playing with light on different textures, especially on veneers and stone, or working with joinery and looking behind the windows, or using light to highlight architectural features.

‘This was a listed property (image six) that I worked on not too far away,’ she pointed out. ‘We started off with a scheme

p Image 5. An example of layering – note the backlit shelves

Nov/Dec 2018 Lighting Journal

where we literally just had a pendant and some really striking contemporary wall lights. We really had to push to get the next look, and it was very worthwhile – downlights either side of the pendant.

‘They are revolutionary apparently, even though it’s a very simple thing to do.

But, actually, you are getting so much more from it. You don’t look at them, you look at the pendant. The pendant is the thing with the naked lightbulb, it’s the glitzy bit, it’s the statement piece. But the downlights at the side of it do the job of lighting that table. And you’ve got the lovely, lovely wood of that table and the sculptural bowl in the middle; it is creating more focus. So the starting point and the layering really makes that difference, make it much more dynamic,’ she continued ‘Image 7 was an interesting project, where the client had a collection of pharmaceutical bottles. So we very carefully borrowed one and tested it with lots of different colour temperatures of LED light sheets in order to backlight those shelves.

And also added a joinery detail at the front to allow us to frontlight the labels as well.

That is really going into the detail and considering every single possibility to make sure the collection that was so important to that client was shown to the best it could be,’ Rebecca added.

Finally, Rebecca turned her attention to how lighting outside areas – predominantly the garden space – can really extend your view and create a more interesting scheme that runs beyond the pane of glass.

‘If you don’t light outside, before you draw the curtains your window really is a mirror. So by adding that extra landscape lighting you get a lot more,’ she explained.

For her conclusions, she emphasised the importance of careful, early-on planning. ‘You need to start early. It is all

about careful consideration; that is the key theme. We’ve looked at zoning, so what functions does your area do? And where are these areas located? What are the most prominent features, the client’s favourite things?’ she said.

‘Think about layering and controlling it all properly; making sure it works not just for you but for the end user. And make sure you go back to the commission once you’ve set it up to make sure it is looking how you wanted it to look, to look its best,’ Rebecca emphasised.

‘This can also help to sort out any snags.

If you finish something and you go back and, actually, they have a brand new pic-

p Image 6. An example of the kitchen area being zoned separately

ture you’ve got the opportunity to sort that out without them sitting there wishing they could have it lit,’ she added.

41

p Image 7. LED light sheets backlight the shelves to highlight the client’s valuable collection of pharmaceutical bottles

‘HOW TO BRILLIANT’ IS NOW OUTSIDE LONDON The ILP’s ‘How to brilliant…’ lectures have been a very popular initiative within the lighting community since they launched in 2014. But they have, it is only fair to say, been very London-centric.

That all changed in October, with the first ‘How to be brilliant…’ lecture taking place in Edinburgh.

Malcolm Innes, reader in design at Edinburgh Napier University’s School of Arts and Creative Industries, gave a lecture on ‘True colours: explorations in art, design and research’.

This explored some of the questions around colour that designers tend not to ask, such as ‘do you see colour the same way that I see colour?’, ‘do colour metrics really help designers?’, ‘do metrics reflect our real-life experience of light and colour?’ and ‘are we actually measuring the right things?’.

His talk was illustrated with examples of light art projects, architectural lighting design and conservation lighting for museums and galleries, with Malcolm discussing his personal attempts to understand our complex relationships with light and colour. A review

of his lecture will appear in Lighting Journal in the new year.

The final ‘How to be brilliant…’ lecture of 2018 will be later this month, on 28 November, with Magdalena Gomez, of Elektra Lighting Design. Magdalena will be back at the regular venue of Body & Soul in Rosebery Avenue, Clerkenwell, London.

Keep an eye out on the ILP’s website, https://www.theilp.org.uk/events/, for the 2019 ‘How to be brilliant…’ schedule, including lectures taking place outside of London. www.theilp.org.uk

Nov/Dec 2018 Lighting Journal

LED conversions

FIVE-YEAR

PLAN 42

Five years on from converting the entrance lobby of One Canada Square in Canary Wharf, London to LED, manufacturer FUTURE Designs has carried out an audit of what has been achieved in terms of energy efficiency and reduced maintenance

By Nic Paton

O

ne Canada Square is, by pretty much any stretch, one of the most iconic and prestigious buildings within Canary Wharf.

Five years ago, the building ’s management team, Canary Wharf Management, took the decision to switch the lighting source within its entrance lobby from traditional sodium lamps to LED. The sodium lamps that had been in place for 23 years had reached the end of their life and were difficult to maintain, as they had an extremely high mounting point (circa 9m) that required a specialist mobile elevating working platform.

Canary Wharf Management was therefore in the market for a new lighting solution for this reception space, one that could potentially reduce energy consumpwww.theilp.org.uk

tion and ease maintenance, while maintaining the existing lux levels and uniformity of illumination. Converting to LED, even though at that time a technology in its infancy in commercial settings, was identified as one solution.

FUTURE Designs carried out a fitting mock-up to ensure the aesthetics of the luminaire passed muster, followed by a further three mock-ups test the change in colour temperature from warm white to cool white, and how this might affect the aesthetic of the marble walls and floor of the reception area. Sub-metering was installed to monitor energy performance.

CORRECT CONTROL

This was followed by a final 12 fitting mock-ups, which were installed directly over the reception desk, to ensure the fitting lit the main entrance area appropriately and that there would be correct control for those working beneath it.

Final approval was given, and the phased installation began over a period of weeks, with work taking place during the weekends to cause minimum disruption.

While Canary Wharf Management reported an immediate drop in maintenance costs and the disruption this had

previously caused, what has been the effect – five years on – of this transition in terms of reduced carbon usage and increased energy efficiency?

FUTURE Designs went back to take a look. The reduction in carbon use has been calculated at 44% when using every fixture in a like-for-like manner.

On top of this, there has been an additional reduction in carbon usage by using three circuits, which allows nearly 50% of the luminaires to be turned off out of peak hours.

This was designed in a chequer-board effect in order to make the reduced number of working fittings still appear uniform.

Since practical completion there has not been a requirement to replace any of the 432 LED fittings, FUTURE Designs has found.

This has resulted in a circa £100,000 saving in maintenance, while an estimated 75 tons of C02 has also been saved.

As Paul Burgoyne, One Canada Square’s building manager, has said: ‘Lifecycle replacement provides a unique opportunity to demonstrate our commitment to providing a sustainable building.

The installation of LED has exceeded our expectations and has been an essential strategy to improve the energy performance of our building.’

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Nov/Dec 2018 Lighting Journal

Light School 2019

POWER TALKING ‘Workspace and landscaping’ is set to be the theme for ‘Light Talks’ at Light School next February. There will also be presentations on workplace lighting, the Illuminated River project that is set to transform The Thames, and much, much more

44

L

ight School at the Surface Design Show has long been an opportunity for lighting professionals to showcase the industry to an audience beyond lighting, and next year’s ‘Light Talks’ from 05-07 February will be no exception.

As Lighting Journal went to press, the full speaker line-up for the school’s CPD pavilion was still being finalised, but there are already some eye-catching names who have been confirmed for the three days of presentations at London’s Business Design Centre in Islington.

School ‘pupils’ will get the opportunity to hear Benz Roos, senior designer at Speirs + Major, speaking about workplace lighting.

Jonathan Gittins, associate director of Atelier Ten, will be giving a fascinating insight into the Illuminated River project.

This is the hugely ambitious project – in fact the longest public art commission in the world – to illuminate 15 London bridges, from Albert Bridge to Tower Bridge, across 4.5 nautical miles of the River Thames.

signer respectively, from lighting design consultants Nulty.

This is, as yet, just a taster of what to expect, as it is intended there will be around 11 presentations taking place during the three days of the show, which will be curated by the ILP’s VP Architectural Graham Festenstein, of Graham Festenstein Lighting Design.

Look out for a full preview in the January edition of Lighting Journal.

Don’t forget, too, Light School is an opportunity to check out some of the latest lighting innovations and products, with a range of manufacturers and suppliers exhibiting, both as part of Light School and within the Surface Design Show itself.

For 2019, more than 150 companies will be exhibiting, from as far afield as Japan and India. In 2018, some 5,114 visitors attended the Surface Design Show, 70% of whom had purchasing authority, with 37% attending no other similar event.

Companies looking to participate in Light School 2019 should contact the show

TALKS CURATED BY THE ILP

Other speakers lined up include Light School regular Christopher Knowlton, of lighting design studio 18 degrees (pictured), who said: ‘I’m delighted to be speaking at “Light Talks” again this year.

Light School has become a must in any designer’s diary – it’s a great opportunity to share my experience and knowledge with other like-minded professionals, as well as hear what my peers have to say too!’

There will also be presentations by Seraphina Gogate and Kael Gillam, lighting designer and intermediate lighting dewww.theilp.org.uk

q Christopher Knowlton: speaking at 2019 Light School

organisers through www.surfacedesignshow.com, while lighting designers wishing to visit can pre-register from this month using the same site.

WHAT YOU NEED TO KNOW WHAT: Light School at the Surface Design Show WHEN: 05-07 February, 2019 WHERE: The Business Design Centre, Islington, London HOW: To register or get involved: www.surfacedesignshow.com

REGISTER

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Nov/Dec 2018 Lighting Journal

Industry-leading photocells now also available direct from our factory Westire Technology Limited, formerly SELC, have pleasure in announcing our entire range of industry leading photocells, electronic time clocks and associated accessories are now available to order directly from our westire factory or through your preferred distributor.

46

For details on setting up an account or information on our distributors please get in touch using the details below.

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James Wright Fiona Gallagher E: jwright@westire.com E: fgallagher@westire.com T: +44 7713 958962 T: +353 97 81209 www.theilp.org.uk

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Lighting

Nov/Dec 2018 Lighting Journal

Consultants

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

Steven Biggs

Allan Howard

Alan Tulla

Skanska Infrastructure Services

WSP

Alan Tulla Lighting

IEng MILP

Peterborough PE1 5XG

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

www.skanska.co.uk

BEng(Hons) CEng FILP FSLL London WC2A 1AF

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

www.wspgroup.com

IEng FILP FSLL

Winchester, SO22 4DS

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

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

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

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

Simon Bushell

Alan Jaques

Michael Walker

SSE Enterprise Lighting

Atkins

McCann Ltd

MBA DMS IEng MILP

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

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

IEng FILP

Nottingham, NG9 2HF

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

www.atkinsglobal.com

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

Lorraine Calcott

Tony Price

it does Lighting Ltd

Vanguardia Consulting

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

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

www.itdoes.co.uk

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

BSc (Hons) CEng MILP MSLL

BSc (Hons) CEng FILP MHEA Winchester SO23 7TA

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

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

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

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

John Conquest

Anthony Smith

4way Consulting Ltd

Stainton Lighting Design Services Ltd

Stockport, SK4 1AS

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

www.4wayconsulting.com

www.designsforlighting.co.uk

IEng FILP

Stockton on Tees TS23 1PX

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

www.staintonlds.co.uk

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

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

Stephen Halliday

Nick Smith

WSP

Nick Smith Associates Limited

EngTech AMILP

Manchester M50 3SP

IEng MILP

Chesterfield, S40 3JR

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

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

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

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

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

www.wspgroup.com

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

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

Peter Williams EngTech AMILP

Williams Lighting Consultants Ltd.

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

Designs for Lighting Ltd

MA BEng(Hons) CEng MIET MILP

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

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

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

www.vanguardia.co.uk

MMA Lighting Consultancy Ltd

www.mma-consultancy.co.uk

IEng MILP CMS.

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

Alistair Scott

Reading RG10 9QN

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.

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

Oxted RH8 9EE

Mark Chandler EngTech AMILP

www.alantullalighting.com

www.nicksmithassociates.co.uk

www.wlclighting.co.uk

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

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

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

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

Lighting

Directory CPD Accredited Training

With 25+ years of experience in structural testing, we offer straight-forward, professional advice and solutions to all those involved in street lighting and highway asset management

• AutoCAD (basic or advanced) • Lighting Reality CPD Accredited Training CPD Accredited CPD Accredited Training CPD Accredited Training • Lighting StandardsTraining • AutoCAD (basic or advanced) • Lighting Design Techniques • AutoCAD (basic or advanced) • •AutoCAD (basic or Pollution advanced) • AutoCAD (basic or advanced) Lighting Reality • Light • Lighting Reality • •Lighting Accredited •CPD Lighting Reality Training LightingReality Standards • Tailored Courses please ring CPD Accredited Training • Lighting Standards • •Lighting • Lighting Standards LightingStandards Design Techniques CPD Accredited Training AutoCADDesign (basicTechniques or advanced) • Lighting Design Techniques • •Lighting Design Techniques • Lighting Venues by arrangement Light Pollution Lighting Reality • Light Pollution • •Light Pollution • Light Pollution • AutoCAD (basic or advanced) Tailored Courses please ring Nick Smith Lighting Courses Standards •Contact Tailored Courses • Tailored Courses please ring please ring • Tailored please ring Nick Smith Associates Ltd • Lighting Reality AutoCAD (basicVenues or advanced) ••Lighting Design Techniques by arrangement 36 Foxbrook Drive, Venues by arrangement Venues by arrangement by arrangement •Reality Lighting Standards •Venues Pollution •Light Lighting Contact NickChesterfield, Smith • Tailored Courses please ring • Lighting Design Techniques Contact Nick Smith Contact Nick Smith

CPD Accredited Training

S40 3JR Nick Smith Associates Ltd • Lighting Standards Nick Smith Associates Ltd Smith Associates Ltd Nick Smith Associates Ltd 01246 229 444 • LightNick Pollution 36 Foxbrook t: Drive,

Contact Nick Smith

Venues by arrangement • AutoCAD (basic or advanced) 36 Foxbrook Drive, 36Chesterfield, Foxbrook Drive, f: 01246 588604 • Foxbrook Lighting Design Techniques 36 Drive, • Tailored Courses ring Chesterfield, Chesterfield, e : please mail@nicksmithassociates.com Chesterfield, Contact Nick Smith S40 3JR • Light Pollution 3JR S40 3JR 229S40 w: www.nicksmithassociates.co.uk • Lighting Reality S40 Nick3JR Smith Associates Ltd t: 01246 444 t: 01246 t:by 229 444 t: 229 Drive, 444Venues arrangement 36 Foxbrook f:01246 01246 588604 •01246 Tailored Courses please ring 229 444 f: 01246 588604 f: e01246 588604 f: 01246 588604 Chesterfield, : mail@nicksmithassociates.com • Lighting Standards e w: : mail@nicksmithassociates.com HAGNER PHOTOMETRIC e : mail@nicksmithassociates.com S40 3JR www.nicksmithassociates.co.uk Contact Nick Smithe : mail@nicksmithassociates.com w: www.nicksmithassociates.co.uk w: www.nicksmithassociates.co.uk w: www.nicksmithassociates.co.uk t:Venues 01246 229by 444arrangement Nick Smith Associates Ltd • Lighting Design Techniques INSTRUMENTS LTD f: 01246 588604 36 Foxbrook Drive, e : mail@nicksmithassociates.com ContactPollution Nick Smith Suppliers of a wide range of quality • Light w: www.nicksmithassociates.co.uk Chesterfield, Nick measuring Smith Associates Ltd light S40 3JRand photometric • Tailored Courses please ring equipment.

36 Foxbrook Drive, t: 01246 229 444

f: 01246 588604 Chesterfield,

HAGNER PHOTOMETRIC INSTRUMENTS LTD e : mail@nicksmithassociates.com S40 PO Box3JR 210, Havant, PO9 9BT w: www.nicksmithassociates.co.uk Tel: 07900 571022 t: 01246 229 444

Venues by arrangement

E-mail: enquiries@hagnerlightmeters.com

f: 01246 588604

e : mail@nicksmithassociates.com Contact Nick Smith

48

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

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

36 Foxbrook Drive, ILLUMINATING THE WAY Chesterfield, Survey, design, energy management & distribution S40 3JR of road, commercial, industrial & architectural lighting solutions. t: 01246 229 To illuminate your444 next project, contact our lighting team on f: 01246 588604 01236 458000 or 0191 217 0119. e :www.lightandenergy.co.uk mail@nicksmithassociates.com w: www.nicksmithassociates.co.uk Cumbernauld Newcastle Aberdeen Dingwall Great Yarmouth Light & Energy Distribution, formerly known as MacLean Electrical Lighting Division.

Part of the MacLean Electrical Group.

Delivering Decorative Lighting Festoons for over 25 years

The new 2019 ILP Lighting Journal Media Pack is now available.

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

Contact us to discuss your lighting project.

Please call Andy on 01536 527297 or email andy@matrixprint.com

www.lumisphere.co.uk saleslj@lumisphere.co.uk 01245 329 999

for more details

Nov/Dec 2018 Lighting Journal

Kiwa CMT Testing Meter Administrator Inspection and Non-destructive Testing of Lighting Columns on vulnerable areas including the root, base and swaged joint connection. Techniques used include the Relative Loss of Section Meter and Swaged Joint Analyser supported by Ultrasonics where appropriate.

Other services include full visual inspection of concrete columns, data capture of highway assets with GPS capability and structural calculations for the installation of column attachments.

All test data is recorded and reported electronically with recommendations on each column tested in accordance with guidance given by TR22.

Kiwa CMT Testing are UKAS accredited (ISO 17025) for the Structural Testing of Lighting Columns

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

T: E: W:

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

DE1 3QB

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

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

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

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

assuring you of

01525 601201 a cost effective

info@PowerDataAssociates.com www.PowerDataAssociates.com Wrest Park, Silsoe, Beds MK45 4HR

quality service.

Offering independent consultancy advice to ensure correct inventory coding, unmetered energy forecasting and impact of market development

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

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

01525 601201

info@PowerDataAssociates.com

www.PowerDataAssociates.com Wrest Park, Silsoe, Beds MK45 5HR

Specialist UK manufacturer of industrial and commercial LED lighting Exclusive UK distributor for Sammode; precision designed for use in intense environments. Robust, resilient and durable lighting solutions.  Explosive and hazardous environments  Food industry process, HACCP certified  High and Low temperature resistant

15 Carnarvon Street Manchester M3 1HJ

 0161 274 3626  sales@hilclare.com

www.hilclare.com Hilclare a

company

49

Nov/Dec 2018 Lighting Journal

Diary

THE DIARY 19-23 November

Exterior Lighting Diploma module C Venue: The Draycote Hotel, Rugby

28 November

How to be brilliant, with Magdalena Gomez of Elektra Lighting Design Venue: Body & Soul, Rosebery Avenue, London

29 November

50

p

The Park Lane Hyatt, St Kitts, with lighting by Elektra Lighting Design. Elektra’s Magdalena Gomez will be presenting the next ‘How to be brilliant…’ ILP lecture on 28 November

07 November

YLP AGM and joint technical event with LSE Region Venue: The City Centre, 80 Basinghall Street, London

Fundamental Lighting course Venue: ILP, Regent House, Rugby

2019

14-15 November

05-07 February

LuxLive Venue: ExCeL, London

15 November

North East Region technical meeting Venue: Thorn, Spennymoor

Light School at the Surface Design Show Venue: The Business Design Centre, Islington, London For full details of all events, go to: www.theilp.org.uk/events

IN THE JANUARY ISSUE P-CLASS LIGHTING

Why understanding what is ‘appropriate’ when lighting subsidiary roads can be more complex than you might think

www.theilp.org.uk

URBAN FUTURES

Lighting design must always evolve, but never forget it is ultimately for and about people

BUMPS IN THE ROAD

Understanding, managing – and resolving – commercial disputes as painlessly as possible

5000K

HUMAN-CENTRIC STREET LIGHTING

Human centric lighting that mimics natural day time and evening tones to synchronise with human circadian rhythm.

Create your own colour temperature scheme.

The luminaire works autonomously from a pre-programmed scheme or if you want controlled by an external control management system.

Find our more at

www.orangetek.co.uk/lighting-journal

3000K

Experts in exterior LED lighting