Lighting Journal September 2020 by The ILP

Professional best practice from the Institution of Lighting Professionals

September 2020

DARK DESIGNS The argument, post lockdown, for incorporating darkness into public realm design YOUâ&#x20AC;&#x2122;RE WELCOME Why getting hotel lighting right is going to become even more important DISMANTLING THE DEFAULT How to ensure women can be better represented within lighting

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Contents

06 PEDAL POWER

As the government looks to transform UK attitudes to cycling in the battle against coronavirus, the ILP has published a new fast-track PLG on lighting cycling infrastructure, as Peter Harrison explains

10 DARK DESIGNS

The pandemic, and in particular the weeks of lockdown, has given lighting professionals an opportunity to rethink how we approach public realm lighting. As a virtual panel discussed, might there even be an argument for proactively incorporating darkness into the urban fabric?

PHASE OF 16 NEXT ILLUMINATED RIVER

As the UK has gradually reopened following lockdown, so projects have been able to get back underway, including the next phase of London’s Illuminated River public art project

18 SHADOW ECONOMY

The coronavirus pandemic has left Britain needing a massive social and economic rebuilding job. A recent ILP webinar asked whether a streetlight-based public art project could play even a small role in restoring a sense of wellbeing, even fun, within the nighttime urban environment

16 06

CALM AS 22 KEEP BUDGETS CRASH

The ILP’s GN22 asset management toolkit can enable lighting professionals to make better ‘routine’ maintenance decisions even if the budgetary environment is now anything but, shows Tony Parasram

INCREMENTAL 28 CHANGE

The updated standard BS5489 has introduced threshold increment to P class road lighting. As Nic Winter explains, while broadly a positive move, lighting designers need to be aware that it is not a panacea, especially when it comes to mitigating or reducing glare

YOU’RE WELCOME

We don’t yet know how, or even if, the UK hotel sector will bounce back from the effects of the coronavirus pandemic. But, Lauren Lever writes, with times so tough, it is going to be even more important that hoteliers get the lighting – and lighting experience – right

DISMANTLING 40 THE DEFAULT

The ILP, SLL and Women in Lighting brought together eight senior female lighting professionals over the summer to discuss how the ‘default’ of a male-dominated industry can begin to be dismantled and how women can be better represented within lighting. Jess Gallacher reports

HEALTHY 50 COMPETITION?

Two recent investigations have shown that the Competition and Markets Authority has the construction sector in its sights. Howard Crossman and George Elliman argue this makes it even more important lighting professionals keep their trading agreements and market practices under constant review

52 DIRECTORY

p COVER PICTURE

ILP AGM SET TO LIFT INDUSTRY

The ILP is holding a series of events during its annual general meeting this month designed to bring members together, and the industry, together as we head into the autumn. Here is what you need to know

The Queen Elizabeth Olympic Park in Stratford, east London, with a lighting scheme by Speirs + Major. The practice's Mark Major discusses from page 10 how its use of darkness and shade, in this case dappled light, could be a way forward for urban lighting at night. Photograph by James Newton

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Editor’s letter Volume 85 No 8 September 2020 President Anthony Smith IEng FILP Chief Executive Tracey White Editor Nic Paton BA (Hons) MA Email: nic@cormorantmedia.co.uk

Lighting Journal’s content is chosen and evaluated by volunteers on our reader panel, peer review group and a small representative group which holds focus meetings responsible for the strategic direction of the publication. If you would like to volunteer to be involved, please contact the editor. We also welcome reader letters to the editor.

Graphic Design Tolu Akinyemi B.Tech MSc Email: tolu@matrixprint.com Alex Morris BA (Hons) Email: alex@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

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or centuries the city at night, at least for ‘respectable’ folk, was something to be feared; a dark (literal and metaphorical) place of cutpurses, beggars and ungodly temptations, whether in reality or the imagination. Electric light, of course, changed all that; the city at night can still at times be unsavoury and even dangerous but, by and large, well-lit city centres are now welcoming places for people to gather, mingle, be entertained and relax, and lighting plays a massive part in achieving that. But the downside, as the recent ‘Saving the night’ webinar highlighted (page 10), is the risk our night-time urban environment ends up being over-lit, polluted with light. It is not so much well-designed, sensitive lighting schemes that are the issue here, more the almost unthinking light spill that can assail our senses from streets of harshly illuminated shopfronts and restaurants, or blazingly lit offices and tower blocks, or floodlit parks, squares or cultural landmarks. Mark Major of Speirs + Major, rightly, emphasised that the answer is not as simplistic as just turning everything off. Our night economy and our wellbeing at night is too important for that, as the ILP’s debate on the future of the night economy highlighted in July (‘Remaking the night?’, vol 85, no 7). Yet it is also true the experience of lockdown – with its temporarily shuttered streets and deserted urban centres – has potentially given us an unexpected opportunity to reconsider whether the track we’re on is the right one, for ourselves, for our communities, for wildlife, and for energy conservation and the environment generally. As Mark highlighted, at the very least there is an argument to be made that, when designing for both public realm and architectural lighting, designers should be considering the potential role and value of darkness as well as light within their schemes. One industry at risk of turning off rather more lights than it would wish post lockdown is hospitality. It is becoming clear that, even though our cities have gradually reopened, this is a sector facing huge challenges. Whether it is fear making people reluctant to travel or that, when there are guests to service, social distancing and infection control restrictions mean businesses get hammered by lower occupancy levels at one end and higher overheads at the other, the future is very uncertain. Clearly, getting bums back on seats is the long-term fix here but, as Lauren Lever writes this month (page 34), in such a challenging environment it is also going to be even more important hotels and restaurants absolutely nail the guest experience, which includes getting the lighting right. Good lighting is not by itself going to save the hospitality trade of course, but it can be part of what helps it stay afloat. Finally, please do check out Jess Gallacher’s article on ‘dismantling the default’ (page 40). This came about from a virtual event run by the ILP, SLL and Women in Lighting over the summer that brought together eight senior female lighting professionals to discuss how women can be better represented within lighting, within all disciplines and at all levels. Their stories are both inspiring – in terms of what they have all achieved – and troubling, in terms of the barriers and obstacles that still, very clearly, exist. Again, much as with hotels, there are no easy or quick-fix answers here. But it is a vitally important conversation we all need to be having for the future health and diversity of the industry. Nic Paton Editor

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.

SUBSCRIPTIONS

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

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PEDAL POWER The government is putting serious money behind updating the UKâ&#x20AC;&#x2122;s cycling infrastructure, in part to get the nation healthier and in part to help fight coronavirus. With effective lighting set to be a key part of this transformation, there is an opportunity for the industry, as well as help for councils in the shape of a new fast-track ILP PLG By Peter Harrison

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Lighting cycle ways

ack in late July, prime minister Boris Johnson announced plans to allow GPs to prescribe cycling as a way for patients to lose weight, all as part of a new government strategy to tackle the nation’s obesity crisis [1]. Downing Street argued the move was part of the biggest initiative yet to encourage more people to take more exercise, not just to tackle obesity generally but also because, ahead of a possible pandemic ‘second wave’ this autumn and winter, it is increasingly recognised obesity can be an important risk factor in terms of poorer outcomes/recovery for those who contract Covid-19 [2]. However, to get the nation cycling, and to make people feel safer on bikes in busy urban areas, better cycling infrastructure is likely to be key – and this is one area where lighting can help, meaning there is a potential opportunity here for the industry. The government accepts making this transition will mean spending huge sums on segregated cycle lanes and secure cycle parking as well as developing low-traffic neighbourhoods. To that end, in May, transport secretary Grant Shapps announced a £250m ‘emergency active travel fund’, the first stage of a proposed £2bn investment and part of a n overa ll £5bn of new f unding announced for cycling and buses originally unveiled back in February [3]. Irrespective of cycling’s benefits in terms of health and wellbeing (which are many) during the pandemic we have also seen an unprecedented take-up in walking and cycling across the UK, partly for exercise during the weeks of lockdown and partly because of people continuing to feel nervous about commuting on public transport and therefore looking for new ways of getting to and from work [4]. The new active travel fund is intended to encourage people to choose alternatives to public transport when they do need to travel; to make it easier to choose healthier commuting options. But it is also about enabling our road, bus and rail networks to be able to respond to future increases in demand at a time when their capacity has been greatly reduced because of the need for passengers to be maintaining social distancing. At the same time, fast-tracked statutory guidance, published and effective immediately, is helping councils to reallocate road space for significantly increased numbers of cyclists and pedestrians [5]. Under the government’s plan, some streets in towns and cities will become bike and bus-only while others will remain available for motorists. In addition, trials of hired electric scooters are to be

 P rime minister Boris Johnson has always been a keen cyclist. Here he is pictured back in 2013, when he was London mayor, at the launch of his ‘Boris bikes’ public cycling scheme

fast-tracked for specific areas and bicycle suppliers recorded unprecedented sales. Following the May announcement, and during our weekly Hi Lights online meetings arranged by ILP in mid-June, requests were made for our guidance in this area to be updated. Those working for local councils reminded us that now was the time for this to be made available to ensure that, where lighting is to be installed as part of these programmes, it will follow the latest thinking.

UPDATING TECHNICAL REPORT 23

The existing guidance for lighting of cycling facilities was Technical Report 23: Lighting of Cycle Tracks (TR23). However, this guidance was archived, as it had been produced all the way back in 1998 and anticipated the 2003 version of BS5489-1. Though the lighting requirements were therefore two iterations of the standard behind, it was felt some of the recommendations and methodology were

still valid, at least according to the views of those on our Hi Lights session. Taking these thoughts and comments on board, the matter was then discussed with Haydn Yeo, Vice President – Technical and at Technical Committee in early July. There was support from all for this document to be revised as a matter of urgency. There a re severa l mentions in BS5489-1 2020 of cycle tracks but not much detail about the thought processes for consideration of appropriate lighting issues in the standard. One of the key factors in TR23 was the creation of ‘Visibility Zones’, or the areas at the sides of cycle tracks that need to be kept clear of high vegetation and lit in a similar way as the surrounds in traffic route lighting design. The previous version suggested a 3m margin either side of the cycle track, with the track itself being up to 3m, meaning an overall width of up to 9m needing to be considered. www.theilp.org.uk

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Lighting cycle ways

 During the pandemic lockdown, some roads, like this one in Wallasey, were closed to cars and other traffic to accommodate increased levels of cycling

REVISING THE DOCUMENT

Initial revision work had started in midJune, the thought being at that time this would be a ‘light touch’ revision as part of a larger document. However, Technica l Committee expressed the urgency of the document, and that it should remain a standalone document. A stretch target was, therefore, set for it to be ready for publication by the end of July, a much faster turnaround than normal but recognising the time pressure that councils would be likely to be under. Having produced the first draft by midJuly, the consultation process began and contact was established with Sustrans. Sustrans is a UK walking and cycling charity and custodian of the National Cycle Network. It works with schools to encourage active travel and also works with employers and local authorities. The Sustrans traffic-free routes and greenways design guide provides guidance for the planning, design, construction and maintenance of new traffic-free routes and greenways [6]. It covers key principles relating to inclusivity, design, construction and maintenance and it addresses land and legal issues, planning and consents, and ecology.

THE COLLABORATION PROCESS

Sustrans’ input and comments has been invaluable to developing the revised

document. For example, its team expressed some concerns regarding the viability of the 3m visibility zone. These concerns centred around the introduction of lighting into areas away from the cycle track and the impact this could have on ecology. In many situations ornamental planting to facilitate keeping growth under the 1m height suggested in the previous document could add a maintenance liability. The compromise reached was to recommend a minimum 1m mown verge, something that is already recommended in Sustrans’ design guidance, supplemented by a further recommendation for it to be graded to full height at the margins of the 3m visibility zone. Design guidance was used from Transport for London regarding parking facilities, hire docking stations and improving security with regard to the extents for enhanced lighting and the locus of cycles entering and leaving the facilities, together with requirements for CCTV.

PLG23: LIGHTING FOR CYCLING INFRASTRUCTURE

So, PLG23 was born. This new document, PLG:23 Lighting for Cycling Infrastructure, is not a simple update of the old document; it is a comprehensive document that starts with determining the need for lighting and the lighting issues that need to be addressed.

[1] ‘“Fix your bike” vouchers launch, as cycling to be prescribed on NHS, BBC, July 2020, https://www.bbc.co.uk/news/business-53558629 [2] ‘New obesity strategy unveiled as country urged to lose weight to beat coronavirus (COVID-19) and protect the NHS’, Department of Health and Social Care, July 2020, https:// www.gov.uk/government/news/new-obesity-strategy-unveiled-as-country-urged-to-lose-weight-to-beat-coronavirus-covid-19-and-protect-the-nhs [3] ‘£2 billion package to create new era for cycling and walking’, Department for Transport, May 2020, https://www.gov.uk/government/news/2-billion-package-to-create-newera-for-cycling-and-walking [4] ‘More people are now cycling to work – and the health benefits are huge’, The Telegraph, June 2020, https://www.telegraph.co.uk/ health-fitness/body/people-now-cycling-work-health-benefits-huge/ [5] ‘Reallocating road space in response to COVID-19: statutory guidance for local authorities’, Department for Transport, May 2020, https://www.gov.uk/government/publications/reallocating-road-space-in-response-to-covid-19-statutory-guidance-for-localauthorities [6] Sustrans traffic-free routes and greenways design guide, https://www.sustrans.org.uk/for-professionals/infrastructure/sustrans-traffic-free-routes-andgreenways-design-guide

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The original TR23 principally covered the lighting of cycle tracks only. The recent funding announcements will provide facilities with existing highways, so there is much more information about the issues that need to be addressed where cycle lanes are to be formed, either shared with pedestrians of the footway or as part of the carriageway. Within PLG23 there is therefore comprehensive information on the forward visibility of cyclists, stopping distances, sight lines and the use of conflict areas for cycling infrastructure. The guidance also contains details pertaining to obstacles, obstacle avoidance and how to determine the visibility envelope at junctions. As you would expect, there is extensive information about the application of lighting standards, uniformity and glare. There is also amended methodology for the visibility zones and how the lighting levels should be calculated. Finally, the document includes information on cycling and the law and has details of electric bicycles and newly introduced electr ic scooter hire arrangements. Peter Harrison is the ILP’s Technical Director

PLG23: Lighting for Cycling Infrastructure is available to download from the ILP’s website, at https://theilp.org.uk/ resources/ under ‘Professional Lighting Guides’

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DARK DESIGNS The coronavirus pandemic has given all of us working in lighting an opportunity to step back, reset and rethink how we approach lighting the public realm at night. As a virtual panel discussed recently, might there even be an argument for lighting designers and architects to be proactively incorporating darkness into the urban fabric?

By Nic Paton

www.theilp.org.uk

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Coronavirus and the city at night

 The Queen Elizabeth Olympic Park in Stratford, east London. The lighting scheme by Speirs + Major uses 'dappled' light to create greater ambience at night. This photograph, and all photographs for this article, by James Newton

ack in the summer, the ILP, in conjunction with the International Nighttime Design Initiative, held a high-level panel debate to discuss the future of the night-time economy post pandemic, and the possible role of light and lighting within it, (‘Remaking the night?’, Lighting Journal, July/ August 2020, vol 85, no 7). How our night-time economy can survive coronavirus – let alone return to being the thriving, bustling, social, economic and cultural lifeforce it once was – has remained a subject of fierce debate since. Even now, as we head into the autumn, many tough, and worrying, questions remain about what our future ‘night’ is going to look and feel like. This is a particular issue within the capital, what with London being the heart of the UK’s hospitality, theatre, culture and music industries, and worth fully 40% (£26.3bn) of the sector’s £66bn economic contribution to UK PLC [1]. Questions around the role, purpose and extent of light and lighting at night in London of course predate the pandemic, not least how to balance the problems of over-lighting, light pollution and the ecological impact of artificial light against the social, community, economic and cultural benefits that come with maintaining a thriving urban night-time environment. But, like it has with so many aspects of our lives, coronavirus has amplified these pre-existing debates. The weeks of lockdown from March to June plunged many previously illuminated areas of London into darkness or, at the very least, much lower levels of illumination. Darkened shop windows and tourist attractions, all normally awash with light, gave the city a sense of pause or stasis. Much as the pandemic encouraged people to question long-held assumptions – for example, the need for a daily commute – is this crisis also potentially an opportunity for a reset, a re-evaluation, of public realm lighting at night within London? www.theilp.org.uk

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Coronavirus and the city at night OPPORTUNITY FOR A RESET?

This question was at the heart of a virtual panel discussion, ‘Saving the night’, held in June and led by Mark Major, ILP member and principal at Speirs + Major, along with Alex Lifschutz of Lifschutz Davidson Sandilands, Mathew Frith of The London Wildlife Trust, and Dr Don Slater of the ‘Configuring Light’ project at London School of Economics, who also took part in the ILP’s earlier panel debate. The event was chaired by design guru Stephen Bayley, and each participant made a short presentation, after which questions were taken. In this opening remarks, Mark Major highlighted how, ever since Edison, we seem to have done everything we can to extend the day and banish darkness as a result. ‘For me, in so doing, we’ve lost the qualities of the night. I’m not simply referring to starlight and moonlight when it’s available, but also some of the positive things that darkness can bring. By that I mean visual quietness, privacy; concealment, you know, isn’t always a bad thing', he said. ‘Darkness is not everybody’s cup of tea,’ he conceded. ‘Many people are afraid of

the dark, and sometimes with good reason. Issues with safety and crime, particularly in a large city like London, can be very real. ‘We absolutely don’t want people to fear using the streets at night; we need artificial light as a society to support our busy lives, particularly here in the UK and in the winter months. It is a place-making tool; it does not just enable us to see, it creates character and provides ambience; it makes us feel good. ‘More importantly, it brings us together and we have certainly learnt that in the last few months; how important it is to be together, and that’s just whether we’re using the streets for our activities, meeting up with family, meeting up with each other in bars or restaurants or cafes, going to the theatre or cinema, or simply enjoying the stunning experience of being in London, one of the great world cities, after dark. ‘Also importantly, lighting supports our night-time economy, and that is worth millions of pounds and to a city like London provides thousands and thousands of jobs. We have understood recently only too well what happens when that economy grinds to a halt, literally overnight, as

 T he iconic Gasholders development at King’s Cross in London, with a lighting scheme by Speirs + Major. Mark Major explained how he had tried to bring a softer, quieter, ‘less visually aggressive’ character to the lighting

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it suddenly did in March. ‘So light supports our social and economic activity after-dark. But using artificial light comes with consequences. Energy use, light pollution, over-illumination, light spill and, of course, ecological damage. We share this planet with other creatures and, as a highly visible form of energy use, electric light, I feel, should be used carefully. It is a precious commodity and it certainly shouldn’t be wasted,’ Mark added. To illustrate this approach and ethos he highlighted work Speirs + Major had done on a boulevard in the Queen Elizabeth Olympic Park in Stratford, east London, with landscape architect James Corner. ‘It has this what I feel is a wonderful ambience with dappled light. It uses darkness as well as light, light as well as shade, to create the atmosphere. I don’t know of any standard for dappled light. But, certainly, this feels as safe and as comfortable a place to be as you will find in any urban park anywhere, I hope, in the world,’ he said. Similarly, Mark highlighted the practice’s work on the iconic Gasholders development at King’s Cross in London.

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Coronavirus and the city at night Here, as Mark explained: ‘We tried to create a softer, quieter, less visually aggressive character to the lighting, where darkness has prevented the world from becoming overlit. For me, it is a place where the whole community can enjoy a very different experience of the city at night, where we have balanced light very carefully with darkness.’

THE CHANGED CITY DURING LOCKDOWN

When it came to thinking about the current pandemic, the weeks of lockdown had highlighted just how much light spill and light pollution there is in London, whether it was shuttered and dimmed shopfronts on Regent Street or the Southbank Centre almost disappearing (at least visually) at night because of being closed and so no longer being illuminated in the same way. ‘I’m not suggesting for a minute that we want to lose the vitality of our fantastic cultural centres in terms of their visibility after dark. But I just wonder, as we face the challenge of climate change, how long can we really continue to support lighting everything up quite so brightly, as we are?’ Mark questioned. ‘I have certainly been amazed in London, and particularly over the last decade, how the story has been about more and more light, more and more colour, more and more illuminated media. Very visually exciting and dynamic on one level – and a city like London needs diversity and richness after dark – but, again, the question comes up, is this sustainable in the long term? ‘It may seem odd for a lighting designer to answer that question with, “no”. After all, what I do is add light to cities. I am absolutely not suggesting we start turning lights off. But just that we begin to need to feel differently about things; we need to consider whether, sometimes, less can be more,’ Mark argued. ‘For me, saving the night is absolutely not about turning the lights off, and somehow plunging ourselves back to pre-electric civilisation. It is about using this wonderful gift we’ve got – electric light, and what an incredible invention it is – but just in a more considered way. To me, it is not about extending the day. It is about appreciating the qualities of the night,’ he added.

OUR DIFFERENT ‘NIGHTS’

Being a sociologist, Don Slater, naturally, came at this issue more from a people-centred perspective. ‘In order to think about the qualities of the night, as Mark asked us to do, we need to think www.theilp.org.uk

about how the very diverse people that make up the city experience the night in very, very different ways,’ he pointed out. This needed to include the different ‘nights’ people experience in a city like London, from the 1.6 million people working at night, through to those enjoying an intimately lit meal in a restaurant through to those partying at a club. ‘You can say there is no one night to be saved, at least from a sociological point of view. Rather there are many, many possible nights. Indeed, there are as many nights and possible nights as there are different kinds of people, interactions, activities and conflicts in our streets and public spaces,’ he said. ‘The question here is not how to save the night. It is how to create nights that manage diversity and how diverse people interact with and share public spaces. To go back to Mark’s point, it is not about how do you turn lights on and off. It is how do we discover the qualities of night, in my case the qualities of night for different kinds of people.’

EFFECT OF LIGHT ON URBAN WILDLIFE

Mathew Frith, director of conservation at the London Wildlife Trust, also took a different perspective, if again not surprising – what did ‘saving’ the night mean in the context of how animal behaviour was affected by night? The River Thames was an important migratory route, he pointed out, with fish

behaviour patterns often disrupted by light, along with insect behaviour. There were eight species of bats in London, with some drawn to the water and often swooping close to it for insects. Artificial light had an impact on birds’ migratory patterns, too, and birds were often disorientated by light from skyscrapers. Mathew cited the example of the city of Toronto where as many as a million birds are killed each year – just in that one city – from city centre lights [2]. ‘We know that this glow [from artificial lighting] has increased over the decades to the point where there are many parts of London where it never gets dark; we never see the stars and only occasionally when there is a full moon do we actually see anything above the atmosphere,’ he said. Alex Lifschutz, co-founder of Lifschutz Davidson Sandilands, highlighted the work the practice is doing on the Illuminated River project, including the massive luminance survey of the Thames undertaken by Jonathan Gittins and his team at Atelier 10. This is believed to have been the first such plotting of luminance levels undertaken for a broad stretch of the river, and was highlighted in Lighting Journal last year (‘Spanning the moment’, June 2019, vol 84, no 6). This, Alex explained, had shown just how much light there already was, and is, being cast on the river already. ‘It is clear there is just too much light around and it is on the wrong buildings. And it is not where people need it, which is

 N ew Street Square in London, pre pandemic. The weeks of lockdown changed London, and how it was lit, potentially giving lighting professionals an opportunity to rethink public realm lighting

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in the public realm, if it is required at all, and on important buildings,’ he said.

RETHINKING THE PUBLIC REALM

With a wholesale rethink, monuments that are currently unlit at night, and therefore unloved or ignored, could be completely changed. ‘Our ability to navigate our city through its history and its heritage would be so much more enhanced if we could reduce the amount of light of unimportant things and improve the quality of the light in the public realm,’ Alex added. ‘We were very clear that, however we did it [the Illuminated River], that we were going to illuminate these bridges with art, but in a non-invasive way; in a way that was kind to nature and not spilling on to the water ‘What can we do as we emerge from Covid, and as we emerge from lockdown and as we have seen how darkness and calm has been one of the few benefits of the epidemic?’ he also asked. That led neatly on to the event’s Q&A session. In a discussion around whether more legislation was the answer to the environmental impact of urban lighting, Mathew Frith argued that, in his opinion, legislation had ‘to be a last resort’. But the role and greater involvement of ecologists within projects could make a difference. ‘We [ecologists] need perhaps to be engaging with lighting engineers, architects and designers. We know that some of that is happening, but it is not really happening across the board, and it is often very site-specific. So you have a planning issue, say, a consultant produces an impact on bats assessment and then a compromise emerges rather than, perhaps, those key messages for nocturnal wildlife being upfront so people know what they have to deal with. ‘We have been increasingly lighting our cities over the last two decades because we have the capacity to do so. There is, seemingly, a desire to have more and more light. How that is designed and what it looks like and how it can be best configured to meet the very many interests of the city, whether human or otherwise, requires a bit more work. I don’t think it requires legislation at this stage; it requires a greater ambition as to what the art of the possible is, and to work on understand how other species navigate our cities at night,’ Mathew added. The panel was asked, how should we be introducing darkness into cities without making spaces unsafe or unpleasant?

‘We’re not introducing darkness in cities; it is already there,’ emphasised Mark Major. ‘It is a question of what darkness to retain. The natural condition, if we don’t have any artificial light, is of course darkness. So, therefore what we have to decide is where to retain darkness and where it is safe to do so, but also practical to do so and desirable to do so.’

BRINGING DARKNESS INTO THE URBAN FABRIC

Just as architects in the seventeenth and eighteenth centuries had tried to incorporate more nature into the built environment, so incorporating darkness and night into the urban fabric could become the architectural focus for the 21st century, Mark suggested. ‘We can have different districts with different levels of darkness. So, there could be areas of district brightness – Piccadilly Circus or Leicester Square, say – but then areas around parks and along the river could perhaps be more sympathetic. ‘My biggest fear as a lighting designer is lighting design becoming over-regulated. I agree with Mathew in saying that legislation is not the answer. I think the answer is good practice and good design, and people like me saying turn this or that on or off,’ he added. London, too, could learn lessons from cities such as Lyon, Budapest and Paris, all of which had kept a lot of light off their main rivers at night. ‘At some point people will have to say this is enough,’ said Mark. As the discussion drew to a conclusion, the panellists were asked whether they felt more people should be going into schools and teaching younger generations about the importance of lighting?

LIGHT AS AN EDUCATOR, AND EDUCATION TOOL

Don Slater pointed out that the Configuring Light project team already carries out workshops with schools. ‘Lighting is an incredibly powerful way into a whole range of urban issues. Light is something people aren’t very aware of. In becoming aware of light, they then become very aware of a lot of other aspects of how space is organised and how they live in their space,’ he enthused. ‘Light is also something which you can manipulate, in a sense, quite cheaply and easily. If you shine some lights on a building with a bunch of schoolkids and get a really powerful sense of how you can transform space. So, yes, it is something that people should be educated about, but

it is also something that is a really powerful educational tool; we’ve certainly found that,’ he added. ‘I would like to see improved education; teaching more about light and lighting and the condition of the night in schools, I think, would be a starting point at all levels of education,’ agreed Mark Major. ‘But most of all I think it is to do with a dialogue between all the different stakeholders that relate to the night. The public realm is illuminated with a number of layers of illumination beyond occupancy – street lighting, illuminated advertising, architectural lighting, landscape lighting, different types of building owners. Everybody has got a finger on a switch or a dimmer. And the only way in which we can begin to bring things together is through dialogue,’ he added. ‘Education is the answer of course,’ echoed Alex Lifschutz. ‘From my own failed education – I started out life as a biochemist and then social sciences and then architecture – I just think in this country there is still a feeling that you have to be a specialist. And yet everything we have talked about here is about the connection of many different dots, many different disciplines. ‘We can call it sustainability, we can call it the environment, we can call it social sciences, or we can call it science. Yet somehow we have to. Maybe this green revolution can only be kicked off if we have “a green education”. Yet I find it hard to find out where that is happening,’ he said. For those interested, the full webinar discussion can be viewed at: https://vimeo.com/430701141

THE PANEL •

•

• •

Stephen Bayley, design consultant, critic and author (chair) Mathew Frith, director of conservation, The London Wildlife Trust Alex Lifschutz, co-founder, Lifschutz Davidson Sandilands Mark Major, principal at Speirs + Major Dr Don Slater, associate professor of sociology, London School of Economics and founder of the Configuring Light research project

[1] ‘London’s 24-hour economy’, London First, in association with EY, https://www.londonfirst.co.uk/sites/default/files/documents/2018-05/Londons-24-houreconomy.pdf [2] ‘US skyscrapers kill millions of birds a year, reports find’, www.dezeen.com, April 2019, https://www.dezeen.com/2019/04/08/skyscrapers-usabirds-death-studies/

www.theilp.org.uk

SEPTEMBER 2020

LIGHTING JOURNAL

Coronavirus and the city at night

NEXT PHASE OF ILLUMINATED RIVER As the UK, and London, has gradually reopened following the coronavirus lockdown, so projects have been able to get back underway, including the next installation phase of London’s Illuminated River public art project

By Nic Paton

espite the upheaval and restrictions of coronavirus, the next installation phase of the Illuminated River public art project was announced in July. The massive project, which intends eventually to illuminate up to 15 central London bridges stretching from Albert Bridge in the west of the capital through to Tower Bridge in the City, was first announced in December 2016. The project is being overseen by the Illuminated River Foundation, with the artwork delivered by American artist Leo Villareal and architects Lifschutz Davidson Sandilands. And, as Alex Lifschutz highlighted in the previous article, the project has been casting new light – figuratively and literally – on how the Thames is, and has been, illuminated over the years. ILP volunteers played a key part in phase one of the project, including attending project briefings and providing www.theilp.org.uk

SEPTEMBER 2020

LIGHTING JOURNAL

 A render of how Lambeth Bridge and (below, left) Waterloo Bridge will look once phase two of Illuminated River is completed. Underneath: how the whole river should eventually look. Copyright Leo Villareal

practical support to Villareal on digital sequencing work on and around the first four bridges to be illuminated ( Thames Crossing, February 2019, vol 84, no 2).

EXTENSION TO NINE BRIDGES

For phase two, which will run until spring next year, the site works for the project will be extended to include an additional five bridges, from Blackfriars in the east to Lambeth Bridge in the west, bringing the total of bridges illuminated to nine. According to the Illuminated River Foundation, for this phase of the project Westminster and Lambeth Bridges will be enhanced ‘with gentle washes of green and red light respectively – an allusion to the colour code of benches in the historic debating chambers of the Houses of Commons and Lords.’ It added: ‘The intricately vaulted undercroft of the 1862 Westminster Bridge – central London’s oldest bridge – will be celebrated for the first time in shifting cadences of soft green light, made possible with generous support from the Reuben Foundation. ‘At the heart of the South Bank the contemporary spans of the Golden Jubilee Footbridges will be lauded in subtly moving monochromatic lighting.’ By contrast, Waterloo Bridge, opened in 1942, is being conceived by Villareal ‘as a focal point for exploring colour palettes represented in paintings of the Thames by American artist James Abbott McNeill Whistler and Impressionist and English Romantic artists including Claude Monet,’ the foundation added. ‘Uniting the second phase of the

artwork with the adjacent first phase bridges, the wrought-iron arches of the 1869 Blackfriars Road Bridge will be lightly accented in a slowly evolving warm colour palette,’ it continued. The first phase artwork encompassed the river’s London, Cannon Street, Southwark and Millennium bridges and has been seen over 20 million times since launching last summer, the foundation added. Neil Mendoza, government commissioner for cultural recovery and renewal and chair of the Illuminated River Foundation’s

board of trustees, said: ‘This project is a combination of pioneering artistic endeavour and a beautiful, practical lighting contribution to the city’s public realm that will endure for many years. Despite the pandemic we remain on budget and on time.’ And Justine Simons, deputy mayor for culture and the creative industries, added: ‘It’s great news that work is now beginning on lighting up more bridges for everyone to enjoy.’ The whole project is due to be finished by 2022, subject to funding being secured. www.theilp.org.uk

SEPTEMBER 2020

LIGHTING JOURNAL

SHADOW ECONOMY SHADOW ECONOMY The coronavirus pandemic has left Britain needing a massive rebuilding job, social, psychological, economic and physical. A recent ILP webinar asked whether a streetlight-based public art project could play a role, even if only at a very small level, in rebuilding a sense of wellbeing, even fun, within the night-time urban environment By Nic Paton

rrespective of whether, or even if, a workable vaccine for Covid-19 comes along, we will be living with the effects of coronavirus for a long time to come yet, especially the economic effects. But picking up the pieces after the pandemic also potentially offers an opportunity to rethink and reset what has gone before – how and where we work, our economic models and infrastructure, how we use our urban spaces (both interior and exterior), emissions and global heating and so on. What role, if any, street lighting can have in this massive regeneration and rejuvenation agenda is, as yet, unclear. But an ILP webinar over the summer proposed the notion that street lighting could at least play a part in helping to restore the nation’s sense of wellbeing and fun.

RETHINKING OUR CITIES

Light artists Matthew Rosier and Jonathan Chomko’s ‘Shadowing’ public art project was featured in Lighting Journal back in 2017 (‘Shadow Catchers’, October 2017, vol 82, no 9) and works by recording the shadows of those who walk underneath and then playing them back to the next person. Back then it was being displayed as a temporary art installation at six sites around London but since that time it has toured to York, Tokyo, Tel Aviv, Paris and www.theilp.org.uk

Austin in Texas, among other places. The ILP webinar, ‘Lighting Public Spaces Post Pandemic’ was designed to spark discussion and reflection around the potential opportunity lighting professionals have to promote improvements in mental health and social mobility as we rethink post pandemic. Matt Rosier emphasised: ‘We’re not naïve enough to think that “Shadowing” is an answer to social problems. But what is true is that lighting and art and interaction in areas that would otherwise be under-utilised, where people wouldn’t linger, can actually play a role in changing the atmosphere of that space and making it feel like somewhere where people can spend a bit more time. ' Streets need a certain level of ‘presence’ – of occupancy, life, people coming and going – to feel safe and vibrant, he suggested. 'And "Shadowing", as a small intervention, does promote that,' Matt argued. So, how does it work? Jonathan Chomko outlined how an infrared (IR) light, projector, computer and camera are located within the lamp. ‘This allows us to capture the silhouette of people as they pass and then project it back on to the ground,’ he explained. The IR camera picks up and records movement (whether human or animal) through the light, which it then plays and projects back as ‘shadows’. If someone

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SEPTEMBER 2020

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Street lighting post pandemic stands beneath the lamp, it will play back the shadow of the previous person. At the same time, it will record your movements and then play that back, either when you are still under the light or when the next person comes by. There is also a ‘dream’ mode where, if no one has interacted with the light for a period of time, it cycles back through previous shadows. Since its early iterations, the Chomko & Rosier team has been looking at adapting the technology to use a low-resolution LED matrix and/or a DLP projector combined with an LED light source.

SENSE OF WELLBEING, EVEN FUN

Since the pandemic, the team has been inspired by the work of Dutch architect Aldo van Eyck, who created playgrounds out of the rubble of the post-war Netherlands where not only children could play but where adults could also gather, reflect and connect. It was, conceded Matt, a little intervention in the grand scheme of things but ‘elements of play infrastructure in the street became a place of neighbourhood and social infrastructure at a time where it was needed to build that sense of trust and community at street level’. Given the rebuilding job Britain now needs post pandemic – social, psychological, economic and physical – could an urban intervention such as ‘Shadowing’ have the potential to be a force for good? Even if, like van Eyck’s playgrounds, tiny in the scheme of things, could it nevertheless work to raise spirits and foster wellbeing and community cohesion, and which local authorities might therefore embrace, Matt asked. ‘One thing about

the last few awful months that we can I think agree has been a positive has been that new-found recognition of the role of identities, even in your local street. The trust in your neighbours or those you might meet or say hello to from time to time or wave to, and actually the necessity of having local resources of play, of interest, of recreation around you, that aren’t just in the centres of cities, but are accessible on your street,’ he pointed out. ‘We’re interested in thinking how it might be included as part of regeneration schemes and lighting upgrades, and which lives sort of a hybrid between a playground

and a piece of public art,’ agreed Jonathan. ‘If we can start thinking of it as something that can be integrated into a city and expected to live there for 10 years, in multiple locations, I think that would be a really interesting and exciting approach,’ he added. The primary role of street lighting, clearly, is to provide a safe route of passage for people within the city, emphasised Matt. But street lighting of course also has an important secondary role, that of creating the right environment for people to feel they can stop and linger and chat, play or see what is going on around them. ‘We want areas where “Shadowing” can work as an art installation, as a playful infrastructure, but can also still make sure the street works as it should,’ he said. ‘It speaks to a shared desire of what we hope a street could be, and how technology could be used in a street to create a more humane and playful urban environment for us to enjoy,’ he added.

LISTEN TO THE WEBINAR YOURSELF

The full webinar, ‘Lighting Public Spaces Post-Pandemic’, can be viewed online at: https://theilp.org.uk/project/ ilp-cpd-webinar-lightingpublic-spaces-postpandemic/

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LIGHTING JOURNAL

KEEPING CALM AS

BUDGETS CRASH Asset management budgets were under pressure even before the coronavirus pandemic. As this case study shows, with purse strings now even tighter, the ILP’s GN22 asset management toolkit can enable lighting professionals to make better ‘routine’ maintenance decisions even if the environment is anything but By Tony Parasram

he fact that I am writing this article from the familiar surroundings of home will resonate with many readers. Our world, of late, is going through change that has given rise to new phrases. We’re now used to ‘the new normal’ as a way of saying life will probably not be the same as before the pandemic. One thing that is not new is facing the prospect of trying to manage lighting stock on dwindling budgets. The reality is we can be pretty sure routine maintenance budgets are likely to face downward pressure or disappear altogether as central and local government attempt to balance their books over the coming years. Capital schemes may also be rethought as funds, once available, dwindle. What remains unaffected is the legal duty on asset owners to maintain lighting assets in a safe and functional manner within the public realm. www.theilp.org.uk

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SEPTEMBER 2020

LIGHTING JOURNAL

Asset management: case study RISK-BASED APPROACH

Fortunately, there is a way to do just this: to manage lighting stock using a riskbased approach that documents transparently your decisions. The ILP’s GN22 Asset Management Toolkit: Minor Structures (ATOMS) provides direction for asset managers to utilise stock condition data through to lifecycle planning using asset management principles. The new tools within GN22, notably Column Condition Index (CCI) and Assumed Residual Life (ARL), are used to better understand lighting stock condition with decisions made against this backdrop. GN22 is completely aligned with the UK Roads Liaison Group’s Well-Managed Highway Infrastructure 2016 code of practice, insofar as the legal defence is supported by the ‘Recommendations’ advocating a detailed inventory, with condition data, to provide the evidence required leading to risk-based decisions. And here’s the key element, it’s all documented and transparent. At Free4m Lighting we have continued the journey with clients, using GN22, to convert our existing TR22 data into the GN22 format and obtain a stock level CCI. We used available test data to develop ARL profiles for the stock and then used both CCI and ARL to produce lifecycle plans; this all in a pre-pandemic world. However, as asset managers now face the likelihood of a reduction in routine, reactive and capital budgets as a casualty of the pandemic, the questions posed are ‘what are the implications?’ and, taking a risk-based approach, ‘how do I evidence my decision-making to ensure my scarce resources are targeted appropriately?’. These questions are best answered by looking at the next stage of the story we started within our article Running the Numbers published in April (Lighting Journal, vol 85, no 4), a case study showing the value of using CCI and ARL in assisting a proposed LED rollout. We showed the proposed rollout could be achieved within the desired timeframe but the asset owner would face a second wave of substantial spend as existing columns life expired. By making small shifts using targeted investment, a saving of circa £10m could be realised over the life of the assets.

POST-PANDEMIC CHALLENGES

The question posed now, in a post-pandemic world, is two-fold: how do we manage the asset with a reduced routine maintenance budget and how do we turn this into an annual works programme? The following case study assumes a 30% reduction in routine maintenance www.theilp.org.uk

budget but the approach is the same for making a decision for losing or suspending the routine maintenance budget altogether and using only adhoc/reactive budgets. Continuing from the previous case study and using the ‘Optimised’ investment programme that offered the £10m saving, we see the blue line on the graph in figure 1 below tracks the planned spend for the LED rollout using the client-derived programme of works with the ‘Optimised’ shown using the red line. Again this was all pre pandemic. Anticipating a reduction in routine maintenance budget, we worked with the client to decide acceptable levels of condition based on network hierarchy. This gave an immediate filter favouring the most trafficked parts of the network and by definition, in general, the highest consequence of failure, as shown in figure 2. To manage risk the client did not permit highly trafficked parts of the network, in other words ‘strategic’, ‘prestige’ and ‘special streets’, to sustain poor condition (CCI≤65). Running ‘Optimiser’ and using these condition parameters with the reduced routine maintenance budget we get the annual spend shown as a green line in figure 3 overleaf. As expected, in figure 5 we do not see any ‘poor/fair’ condition on assets within parts of the network whose highway inspection occurs monthly. Using a riskbased approach the client considered these areas worthy of frequent inspection and accordingly carrying the highest consequences of failure. Within figure 6, we see some ‘poor’ creeping in with the majority moving to ‘fair’ as a result of the available budget

Network Hierarchy

Condition Excellent

Good

Fair

Poor

A1,2

BCD

 Figure 2, illustrating network hierarchy-based priorities

used on the more sensitive parts of the network as intended. Figure 7, by comparison, shows a greater quantity of ‘poor’, which again is expected as these are parts of the network deemed to carry the lowest risk with the least consequences of failure. These are areas where the highway inspection occurs annually. These condition-based graphs can answer three fundamental questions in a post-pandemic, cash-strapped world. First, what does my year-on-year anticipated stock condition look like with a reduced routine maintenance budget? Second, if I decide to suspend or lose my routine maintenance budget altogether, what would be the year-on-year impact on stock condition? And, third, what workplan do I give my contractors to realise any of this? Strictly speaking, the answer to question three is not obvious but the data is there. By making one final step we distilled the year-on-year workplan from the

 F igure 1. An optimised LED rollout plan, saving £10m

Investment (x£1000) 4500 4000 3500 3000 2500 2000 1500 1000 500 0

Year

Nine columns. Nine inspections. Index Score - 96 Nine tests.

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SEPTEMBER 2020

LIGHTING JOURNAL

Asset management: case study Investment (x£1000)

 F igure 3. This shows maintenance investment with reduced (postpandemic) budget versus reactive and optimised

lifecycle to list out contractors' works using costed intervention from the client’s service contract. The net result is a workplan that meets the budget using agreed contract services. This is shown in figure 8. In this workplan, following the LED lantern replacement programme shown as LC1, LC2 and LNC, the programme distributes the budget against set actions based on the asset manager’s risk model.

5000 4000 3000 2000 1000 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 Year

CONCLUSION

The conclusion is the client was able to demonstrate a clear, documented pathway to investment decisions in the face of reduced financial resources. Risk is managed and evidenced using a combination of known current stock condition and network hierarchy. Again, this approach is applicable to asset managers who only have ad hoc budgets. Ultimately, the key message from both GN22 and Well-Managed Highway Infrastructure is that the decision-making process is documented step by step, with areas slipping into the ‘poor’ category dealt with on a case-by-case basis using ad hoc budgets.

9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

Tony Parasram is director at Free4m Lighting

CCI -60, Poor

CCI +90, Excellent

% 1

9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

Year

CCI -60, Poor

CCI +60, Fair

CCI +75, Good

CCI +90, Excellent

Optimised-BCD

9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

Year

 F igure 7. Showing condition profile with post-pandemic 30% reduced RM budget for streets inspected annually

CCI +75, Good

Optimised-A1,A2

GN22 Asset Management Toolkit: Minor Structures (ATOMS) is free to download from www.theilp.org.uk/atoms and an online training module is due to be launched this month (see page 54 for more details).

CCI +60, Fair

 F igure 6. Showing condition profile with post-pandemic 30% reduced RM budget for streets inspected quarterly/six-monthly

Reduced budget

Optimised-SR

Year

 F igure 5. Showing prestige and special street (local client designation) condition profile with postpandemic 30% reduced RM budget (streets inspected monthly)

Optimised

 F igure 4. Showing strategic network condition profile with post-pandemic 30% reduced RM budget (streets inspected monthly)

Reactive

CCI -60, Poor

CCI +60, Fair

CCI +75, Good

CCI +90, Excellent

Optimised-E

9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

Year

CCI -60, Poor

INS TST PNT AH-RP

 F igure 8. Showing a post-pandemic budget works programme

CCI +60, Fair

CCI +75, Good

Inspection Testing – electrical and structural Column painting and refurbishment Ad-hoc column replacement (max 10 columns)

CCI +90, Excellent

£20.00 Per column £50.00 Per column £150.00 Per column £10,000.00 Per column

NETWORK HIERARCHY

WARD/ BOROUGH

COUNT

BUDGET 10 YEARS

Terek Sandpiper Garden

Valentine

£240,917

INS

TST

Herring Gull Place

Sedgwick

£55,172

TST

PNT

LC2

TST

Candytuft Road

Southmoor

£69,482

TST

LC1

INS

TST

Queen of the Meadow Road

Tedgefield

£35,213

TST

LNC

INS

Ascension Frigatebird Square

Witham

£88,798

TST

LNC

INS

Grey Catbird Street

Sorrel

£52,054

TST

LNC

INS

Eskimo Curlew Square

Helman

£70,000

LNC

INS

TST

Shoveler Square

Abbey

£30,000

TST

PNT

LNC

INS

Gazania Road

Moorland

£12,000

TST

PNT

LC2 TST

STREET NAME

YEAR

Hellebore Road

Balfour

£15,310

LNC

INS

TST

Chionodoxa Place

Valentine

£32,247

TST

PNT

LC2

INS

Ancient Murrelet Place

Southmoor

£15,310

TST

LNC

INS

TST

www.theilp.org.uk

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Lighting

SEPTEMBER 2020

LIGHTING JOURNAL

INCREMENTAL

CHANGE www.theilp.org.uk

The updated standard BS5489 has introduced threshold increment (TI) to P class road lighting. While broadly a positive move, lighting designers need to be aware that it is not a panacea, especially when it comes to designing for, mitigating or reducing glare

By Nic Winter

SEPTEMBER 2020

LIGHTING JOURNAL

Understanding glare

hreshold increment (TI) has been introduced for P class road lighting in BS5489 2020, as was discussed in Lighting Journal in June (‘Update your journey’, vol 85 no 6) [1]. This gives us a new measure for the control of disability glare on residential roads where P classes are used. Previously there has been some use of G classes to control glare on P class roads, however this was not the intended use of G classes and there are occasions on which G class restrictions may either not effectively control glare or may be needlessly restrictive on designers without any benefit regarding glare reduction. Large scale lantern replacement programmes using LEDs in residential areas generally have the dual goals of meeting BS lighting standards and minimising energy consumption. This has created an incentive to produce lanterns with high outputs at high angles above the vertical, as high outputs at high angles (in the right direction) can increase lantern efficiency. The light distributions can be sharply cut off and LED optics make it possible to push right to the limits of G classes and just achieve compliance. This has led to

energy efficient lighting designs with no G class or using any of classes G1 to G3. In turn, this has led to no limits on intensity at 70 degs above the vertical, being subject to concerns regarding glare. The inclusion of TI for P class roads provides a tool within the BS to address these concerns, and this article intends to discuss some of the issues and challenges associated with this.

QUESTIONS RAISED BY THE CHANGE TO BS5489

Change always raises lots of questions. What really is TI? What is good about it? Are there any difficulties or issues related to applying it in P class lighting scenarios? What limitations does it have? How can you reduce TI in designs? Are there aspects of glare that TI does not cover? In any discussion in this area it is therefore essential, first, to understand that TI is a measure of disability glare. To illustrate what disability glare is imagine the following scenario: You are driving at night on an unlit road; you can see functionally well with the illumination provided by your car’s

headlights. There is some mist on your windscreen but you are unaware of it and it is not noticeably impairing your vision. You then enter a lit section of road and the mist on your windscreen is illuminated by the streetlights; it becomes harder to see beyond the misty windscreen and your ability to see the road ahead is significantly reduced. When we refer to disability glare we are not of course referring to the mist on your windscreen but the analogous scattering of light in the eye – forming a veil of luminance that inhibits your ability to see. If the luminance of light scattered in the eye is greater than the luminance of the scene being observed, then the visibility of that scene is reduced. Note: disability glare is not necessarily a cause of discomfort; but a little more on that later. Threshold increment (TI) is a particular measure of disability glare and is commonly defined as: the percentage increase in contrast needed for an object that is at the limit of visibility (that is cannot be seen) to become visible when in the presence of a glaring light source. This means the luminance of the road

www.theilp.org.uk

SEPTEMBER 2020

LIGHTING JOURNAL

Understanding glare n

T.I. = 65

En qn

-2

L0.8

For the n* light source

E = Illuminance of the observer’s

GR = 24 + 27lg (LVL / LVE 0.9 ) Where:

E (eye)

i=1

(qi )2

LVL = 10 ∑

eye from the n* source

q = The angle between line of sight

and the n* source L = Average road surface luminance

LVE = 0.035*

Ehor,av * p

( π * Ω0 )

 F igure 1. The formula for calculating threshold increment (TI)  F igure 2. The formula for calculating glare rating (GR)

has to be bright enough to overcome the veil of luminance in the eye (caused by light directly coming from the lantern to the eye) to allow an object to be seen in contrast against the road surface. Less is best. Thus, a lower TI percentage (TI%) in a lighting design directly corresponds to lower disability glare levels within the lit application.

Even though P classes are not luminance-based and we do not consider objects and people on residential roads to be visible in negative contrast against a luminous road background, TI does provide a good method for comparing the disability glare caused by different lanterns and in different scenarios.

UNDERSTANDING THRESHOLD INCREMENT

So, considering the variables outlined above, TI can be reduced in a number of ways. You can make the lantern less bright in the direction of the viewer (requiring appropriate photometry). You can move the potentially glaring source (aka the lantern) out of the line of sight, most effectively by putting it on higher columns. And you can increase the brightness of the visual field (aka luminance of the road) by having lanterns with a higher proportion of their output being closer to directly down with columns closer together (or diffuse pale roads…). Increasing column heights on residential roads is very unpopular with residents and decreasing column spacings is very unpopular with budget holders. Therefore, there could be a problem meeting the TI limits in BS5489 2020 if available lanterns cannot provide photometry that appropriately balance downward light (to provide increased road surface luminance) with the illuminance falling on observers’ eyes. However, it turns out there are a good many lanterns currently available that can provide this balance when installed at existing standard column heights (5m and 6m in residential areas) and at common existing spacings (30-40m). Certainly some lanterns, including some currently considered high performing, will fall foul of TI restrictions. But having tried a reasonable number, I am reassured there are plenty of options available to designers that do not.

To understand what we are calculating when looking at TI we need to examine the formula used. This looks reasonably complicated but it is only the variables that we really need concern ourselves with. So, from BS EN 13201-3, TI can be calculated as shown in figure 1 [2]. In more accessible English this can be explained as: for a given lantern the TI depends on how brightly that lantern is illuminating the observer’s eye, how directly it is in the observer’s line of sight and how bright the visual field (in other words, the road) is. This makes sense if you consider how blinding a torch being shone at you is depends on whether it is being shone straight in your eyes or at an angle from significantly above you. Equally, it will depend on how bright the torch is and if you are in a darkened or reasonably well-lit room. The rest of the numbers and symbols are just mathematical functions and constants to produce a result in the desired range and format, in this case the percent change in road surface luminance needed to balance the veiling luminance on the eye caused by the light directly coming from the lantern. The variables accounted for are logical and make TI a good measure of glare, certainly preferable to G classes, which do not account for variables such as lantern flux, brightness of the field of vision or the position of lantern relative to observer. www.theilp.org.uk

DESIGNING TO REDUCE TI

A WARNING FROM THE PAST

In achieving the new TI requirements we should not lose sight of a significant aim of P class lighting, namely the need to provide suitable levels of vertical illumination of pedestrians to allow for facial recognition. Vertical illumination to provide for facial recognition is effectively shining light on to people’s faces – aka ‘illuminance of the observer’s eye’ – and therefore increases TI. There is a potential conflict between providing for facial recognition and meeting TI requirements. Designers have the task of balancing these needs through lantern and optic selection. This conflict leads to the possibility that meeting TI requirements in the absence of vertical illuminance requirements risks increasing the probability of schemes being produced with poor vertical illuminance. A similar situation developed in the past in interior lighting when glare restrictions and the luminaire categorisation system in LG3 1996 led to cave-like offices and the standard had to be subsequently revised. We should heed the lessons learned by our colleagues in other lighting disciplines and keep a watchful eye on ensuring our designs provide for facial recognition.

TI DOES NOT WORK EVERYWHERE

TI does not work at junctions, as the formula is based on both a 60m straight line viewing distance and with the position and orientation of the lanterns under consideration, relative to the observer, being evenly distributed along the observer’s line of sight. At a junction, there is seldom a 60m straight line of sight for traffic travelling in all directions and the relative positions of lanterns to observer are varied. Hence, we resort to what I would argue is the flawed use of G classes. Albeit G4 is recommended, which does remove the risk of glare, but can also make achieving compliance to standards for uniformity problematic in some scenarios. There is potentially a workable alternative, however – glare rating, more commonly abbreviated to GR. Like TI, GR is a measure of disability glare. GR is used in sports lighting and for some exterior lighting standards, including those for workplaces. In these situations, even more than at road junctions, there are multiple directions of travel and varied orientations of observer relative to lantern. GR allows for this, and for any observer location GR can be calculated looking in multiple directions. Figure 2 above illustrates the formula for GR (taken from CIE 112-1994) [3].

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Understanding glare Looking at the variables rather than the mathematical functions and constants, E (eye) in the formula is illumination at the observer’s eye ( just as with TI) and is dependent on the brightness, photometric distribution and location relative to the observer of the lantern under evaluation. qI is the angle between the observer’s line of sight and the incident light. E (hor,av) is the illuminance of the field of view with the other factors converting this to the luminance of the field of view as seen by the observer. In short, just as with TI, GR expresses the relationship between light from a lantern falling directly on an observer’s eye and the reflected light from the field of view (the luminance of the field of view) falling on the observer’s eye. The same variables are taken into account in GR as in TI but with the flexibility to allow for multiple directions of view. Because of this, my personal view is that, just as TI is an appropriate measure of glare on residential roads, so GR is an appropriate measure of glare not only where it is currently used for outdoor places of work (as covered by BS EN 12464-2) and sports pitches, but also (and most importantly) road junctions [4]. Figure 3 opposite shows an illustration of the differing GR values for an observer looking in different directions at a junction, with all lanterns being of the same type.

UNDERSTANDING DISCOMFORT GLARE

As mentioned near the start of this article, not all scenarios causing disability glare cause discomfort. The converse is also true: not all scenarios causing discomfort glare cause disability. There is a high correlation but it is not absolute, and so a metric for discomfort glare is also needed, although this has proved difficult to establish. The experience of any physical discomfort caused by over-stimulation of receptors, be they for light in the eye or heat on the skin, is subjective and therefore difficult to quantify in a formula. We are used to working with assumptions in lighting design; the world is flat, there are no shadows, if the horizontal plane is lit to an appropriate level the associated vertical illuminance will also be suitable, and light comes from a single point representing a lantern regardless of source (whether this is a large fluorescent

195º . GR of 41

210º . GR of 44

 F igure 3. This illustrates the differing GR values for an observer looking in different directions at a junction, assuming all lanterns being of the same type

tube or a small single high-power LED). This last assumption is proving particularly problematic in the consideration of discomfort glare with LEDs. For interior lighting, CIE 232: 2019 gives a calculation for discomfort glare, UGR, which effectively considers source size as it accounts for average luminance of a source [5]. The same amount of flux coming from a small source (so with a higher average luminance) is perceived as causing more discomfort glare than that same flux coming from a larger source that has a lower average luminance. Some local authorities have recognised and addressed this by specifying requirements for numbers of LEDs and maximum running currents as a proxy for source average luminance. However, there is no standard applied in exterior lighting to rate discomfort glare, and TI does not address this. TI also does not address discomfort glare or compromise of vision (though not strictly disability glare) caused by changes in illuminance falling on the eye of an observer as they move through a lighting scheme. We generally evaluate lighting designs as static calculations, even though that is not how we experience them. The very sharply controlled distributions that LEDs can produce when they have been optimised for horizontal illuminance at

[1] BS 5489-1:2020: ‘Design of road lighting. Lighting of roads and public amenity areas. Code of practice’, available from https://www.bsigroup.com/en-GB/ standards/how-to-access-and-buy-ISO-standards/ [2] BS EN 13201-3:2015: ‘Road lighting. Calculation of performance’, available from https://shop.bsigroup.com/ ProductDetail/?pid=000000000030266811 [3] CIE 112-1994: ‘Glare evaluation system for use within outdoor sport and area lighting’, available from http:// cie.co.at/publications/glare-evaluation-system-use-within-outdoor-sport-and-area-lighting [4] BS EN 12464-2:2014: ‘Light and lighting. Lighting of work places. Outdoor work places’, available from https://shop.bsigroup.com/ProductDetail?pid=000000000030281364 [5] CIE 232:2019, ‘Discomfort Caused by Glare from Luminaires with a Non-Uniform Source Luminance’, available from http://cie.co.at/publications/discomfort-caused-glare-luminaires-non-uniform-source-luminance [6] To access the ILP’s Lighting for Good, log into the ‘MyILP’ portal at https://ilpportal.zenzero.co.uk/Account/Login and this will take you to a screen where you can click on the ‘Lighting for Good’ tab

www.theilp.org.uk

330º . GR of 28

ground level can result in significant and abrupt changes in vertical illuminance on the eye as the observer moves between columns from very low levels of vertical illuminance quickly into peak beam and relatively high vertical illuminance. There is effectively flashing on the eye. For example, in a fully compliant M4 solution, if you were to move through the area represented by a spacing calculation at 60mph, I found a 17 lux variation in vertical illuminance every 1.56 seconds. This could be enough to cause some discomfort and also to tire the eyes as they have to repeatedly react to these changes in illumination. It may also be enough to interfere with the adaptation of the eye to the lower average illuminance levels.

CONCLUSION

So in conclusion, my personal view is that the introduction of TI limits to P class lighting parameters is a good thing, as long as consideration of adequate vertical illumination is maintained. We have more work to do beyond TI on the classification of discomfort glare in exterior lighting – and in my view we should consider lighting junctions as though they are cricket pitches! If you want to join in the debate around glare, and I appreciate it is quite a subjective topic, there is an ongoing thread on the ‘Lighting for Good’ section of the ILP website [6]. And the pages of Lighting Journal are also, of course, a great place to discuss these important topics. Nic Winter is road lighting sales manager at TRT Lighting

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YOU’RE WELCOME We don’t yet know how, or even if, the UK hotel sector will come back from the effects of the coronavirus pandemic, and how demand will look as we go into the autumn. But, arguably, with times so tough, it is going to be even more important that hoteliers get the lighting – and lighting experience – right

By Lauren Lever

www.theilp.org.uk

SEPTEMBER 2020

LIGHTING JOURNAL

Hotel lighting

e all know the UK hotels and hospitality sector has been completely turned upside down since March and the beginning of the coronavirus pandemic. Even now that lockdown has begun to ease, and as we look to the autumn, it is unclear what hotel occupancy is going to be going forward and what the hotel ‘experience’ is going to look and feel like. Given that the sector is also a massively important one for lighting, and innovative lighting design, this could of course have long-term ramifications and consequences for the lighting industry. However, we are still only at an early stage of this crisis and it is probably too early to say just what the economic and financial impact of a sustained hotel and hospitality sector downturn will be. There is also an argument that, especially when times are tough, it is going to be even more important for hotels to be focusing on the customer experience and making their hotels an attractive, welcoming ‘destination’ (within obvious social distancing and infection control constraints). And lighting, and lighting control, will remain an integral part of that. You probably won’t be surprised to hear that the most common customer complaints when it comes to hotel lighting are that things are too dim or lighting is not in the correct location for its purpose. This can especially be the case in areas such as bathrooms, where you need to put your make-up on or actually do tasks. Lighting is a vitally important area for any hotelier to get right but, sometimes, is not given the importance – or thought – that it could have early enough in the design process. Having said that, it is also true that more hoteliers have in the past few years become more aware of the value, and contribution, of good lighting. A number have even put quite a lot of research into what makes for poor or good hotel lighting. There are so many different ways of doing hotel lighting design well and, of course, every project is going to be different. But here are my six ‘rules’ for good hotel and hospitality lighting.

1. THINK COLOUR TEMPERATURE

Great hotel lighting and lighting design is much more than about task or function (although that is important). It is about the spark, the mood, the atmosphere you’re trying to create in these spaces; it is the ‘story’ and leading the customer in and around the hotel and actually guiding them (something that is even more important at the moment of course in terms of maintaining social and physical distancing). It is more than just

having a ‘right’ number of light fittings in different areas. Within this, getting the colour temperature right within the specific areas or zones of the hotel is crucial. It is about balancing and finding out what is the right colour temperature you need to be using for the right space.

2. DON’T GET TOO HUNG UP ON LUX LEVELS

In our increasingly technology-dependent sector nowadays, everyone is constantly evaluating and looking at different types of light levels and, quite rightly, we are very heavy on regulations and hitting those right targets. Don’t get me wrong, meeting the standards is important, whether we’re talking industry standards or the individual standards or guidelines of the particular hotel operator. But at the same time it is important to recognise that hotel lighting design is artistic. It comes back, again, to that mood, feel and ambience. So, yes, recognise that you need to meet and work within specific parameters and targets, but don’t be a slave to them. For example, you could have 100 lux in your entrance hall and 200 lux for the restaurant area. But if you then have a bar area where you want to create a moodier, darker atmosphere, perhaps with dramatic table lighting, you probably won’t want to be going up as far as 200 lux. So it really does depend on your space as to what light levels you need to create.

3. FOCUS ON BEAM ANGLES

One downlight might look like any other but, actually, the beam angle can dramatically change a space. If you have a grid of downlights and they are all wide beam but you suddenly change them all to a narrow beam, that space will look completely different. So, to my mind, it is about taking care to make sure you are using the right beam angle for the space. For example, if the hotel has artwork to create drama, it probably won’t be necessary to flood each canvas with light; you might want more of a scallop effect. Or where you have table lighting, you may want to create lovely pools of light on the tops of your tables; you don’t necessarily need to have wide flooding light.

4. INVEST IN QUALITY

There are so many different light manufacturers out there, all competing for your business, so many different downlights to choose from, and so on. You have to take into consideration CRI values, colour temperature, tone, if your product www.theilp.org.uk

SEPTEMBER 2020

LIGHTING JOURNAL

Hotel lighting needs to have an IP rating for an exterior so that it is waterproof and so on. All these different things need to be taken into consideration. But the more complex and sophisticated lighting schemes become, the more important they are to creating the look and feel a client is looking for, day in and day out. To that end I would always argue it is important to go for quality whenever you can. Someone, for example, might recommend a fitting that appears suitable for your application and is half the price of someone else’s and so, superficially, will appear more attractive. But will it last as long? Or what about the binning? The colour of an LED strip might change to different colours, so you might have one section that is slightly warmer and one section that is slightly cooler? So, often, when specifying it is about focusing on quality.

5. UNDERSTAND THE VALUE OF CONTROL SYSTEMS

Not every hotel, of course, will have a control system. At Foundry, we’ve designed a few schemes relatively recently where the lighting has just gone to old-fashioned rotary dimmers and switches. But even in this scenario simplicity is very much the key. As a customer, you don’t want to be stumbling around your hotel room trying to figure out which light switch controls things. So, whatever control system you’re using, it is about trying to make everything as seamless as possible, to have as seamless a switch as possible between scenes, to have the lighting – wherever it is in the hotel – just fade to the right scene for the right time of day.

6. DON’T OVER-COMPLICATE THINGS

Sometimes when you’ve got lots of layers of light, they can overpower each other. I always find that having just a few key really good lighting effects can makes the whole space sing. So it could be dramatic pools of light with a really lovely light fitting or pendant above. Or one dramatic light within a space whereas the rest of the scheme is very simple. In essence, don’t overthink it. Sometimes if you do that, the risk is everything starts to overpower everything else. Take your average hotel guestroom. Where we talk about layers of light, there are going to be downlights, decorative pendants, reading lights and so on. But what is important is how you approach lighting the whole space and the general ambient light. So, yes, add some recessed downlights to pick out a few key areas, such as the www.theilp.org.uk

tables. Yes, light the bed area so a customer will actually have enough light to read by. But also look at what the next layer is going to be. So perhaps think about adding some perimeter lighting, or lighting that is integrated within the joinery, or lighting details down near the bed, or pockets of light from your reading lights. It is just adding to the sum of the total. Then your decorative finishes can add that zing and ping to the space, or extra glamour, or whatever the feel is you’re aiming to create. Extra lighting layers can add a lot to the space but, as I say, don’t overthink it.

On a couple of practical notes, and this first one should be self-evident, but with renders try and make them look as realistic as possible. When we put a render to a client we want to make sure it is as true a representation as possible so there are no surprises down the line. Also, consider doing a glow plan. This allows you to indicate the pools of light created by your downlights and how you are going to lead people through the space, or the shadow gaps that will give you that lovely glow down side/back walls; it is all about ensuring people – your clients – can understand precisely what it is you’re trying to portray.

 T his page and the previous page (page 34), showing the Prince Akatori Hotel in London, with a lighting scheme by Foundry. All photographs for this article by James Newton

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Hotel lighting THE PRINCE AKATOKI HOTEL, MARBLE ARCH

 The Hyatt ANdaZ Hotel, Liverpool Street, London  The Fitzwilliam Hotel, Dublin

Looking briefly at a few of our recent projects (all pre pandemic, however), in the Prince Akatoki Hotel in Marble Arch in London, it was all about trying to add Japanese influences into the space and keeping things striking but simplistic. In the main entrance/reception backdrop there is an integrated linear LED to the feature wall that just gently fades in and out and is tuneable from daytime to evening. Depending on whether you arrive in the space in the morning or evening, it looks and feels very different. In the restaurant space, our focus was very much perimeter lighting; so the lighting is all hidden within the side walls, along with small, deep recessed lights in the ceiling. We were trying to avoid a ‘ceiling acne’ of downlights and wanted to create a space where, as a diner, you see the lighting effect but not the light fittings themselves. Again, the lighting of course changes throughout the evening to warmer colour tones for a more relaxing atmosphere. In the guest rooms there are just three lights in the whole space – again, it is about not over-complicating things. Each room is lit predominantly by a headboard light, a linear tuneable LED that grazes up the feature artwork. The same fittings are used in the bedside lights – so, again, that consistency.

HYATT ANDAZ, LIVERPOOL STREET

Our work on the Hyatt ANdaZ on Liverpool Street, again in London, was to light its refurbished reception, lounge, and bar area, so it was about trying to make sure each area had its own identity. The scheme is also quite quirky, and we wanted to allow the beautiful architectural finishes to really speak for themselves while adding touches of glamour. It was also about integrating the lighting within the architecture to keep it as discreet and hidden as possible, to make it a lovely backdrop that helps the space feel both brighter and more welcoming.

FITZWILLIAM HOTEL, DUBLIN

For this project, for the hotel’s Michelin-starred restaurant, we had the opportunity to design everything, including all the decorative lighting, and make sure all the colours completely matched. So, the lighting in the shadow gaps is exactly the same as that in the pendant, the wall lights and in downlights; the key throughout, again, is creating that sense of colour consistency. Lauren Lever is principal designer at Foundry

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DISMANTLING

THE DEFAULT

The ILP, SLL and Women in Lighting brought together eight senior female lighting professionals over the summer to discuss how the ‘default’ of a male-dominated industry can begin to be dismantled; how women can be better represented within lighting, within all disciplines and at all levels

By Jess Gallacher

www.theilp.org.uk

SEPTEMBER 2020

LIGHTING JOURNAL

Representation in the industry: women in lighting

lthough the lighting design profession is fairly well gender balanced when it comes to the engineering side of lighting, the industry is much more male dominated. The default, more often than not, is men around the table, men in the meetings, men doing the talking, and men on site. To try to shift this narrative, the ILP, the Society of Light and Lighting and the Women in Lighting in May group held a webinar to, as it was titled, ‘dismantle the default’. The online event was based around the idea of ‘oubaitori’, or the notion that people, like flowers, can bloom in their own time and their own individual ways. Within it, eight senior women from within the industry talked about their experiences within lighting and their thoughts on how to effect change. Here, we hear their stories and some of the debate and discussion that followed.

‘MY DEFAULT SETTING IS TO BE CRITICAL OF MYSELF. WITH THE PASSING OF TIME AND AGE I AM GETTING BETTER AT RECOGNISING THIS WITHIN MYSELF’

Dr Ruth Kelly Waskett is a specialist daylight designer at Hoare Lea, Vice President at The Society of Light and Lighting, and part-time lecturer at The Bartlett, UCL

ne definition of the word ‘default’ is ‘something that is usual or standard’. In many areas of life it is useful to have defaults, and it makes sense to have them. But I think what I’ve realised is there are many situations where having a default can actually hold us back, if we link to it too tightly. I think dismantling the default is what we need to do in order to innovate. This includes dismantling our own defaults, and that can include prejudices, preconceptions and biases we all have; men and women. I came into lighting through engineering. I started as a building services engineer, and came to the UK from Ireland, to Amec, in 1999. I actually have [the designer] Florence Lam to thank for my change of direction. I was beginning to feel a little bit restless in my role as a building services engineer; I felt like something was missing. One day I was browsing online and I came across a piece by Florence on the Arup website, where she talked about lighting and how she attained the MSc in Light and Lighting at UCL. I guess something lit up – literally and figuratively – inside me, where I felt ‘wow there is a course about lighting specifically’. I started to look into it, then enrolled and graduated in 2005. When I was doing the MSc I just began to feel really at home, and I really knew I had made the right decision to go into lighting. I then worked for several years as a lighting specialist at a large M+E consultancy on quite big infrastructure projects, including Birmingham New Street and the refurbishment of several London Underground stations as part of the Metronet project. But my life was changing. I had two children who were both very small, and we had moved out of London. So it was becoming quite difficult to see how I could continue my career whilst balancing everything at home. It was at that time I found out, quite by chance, that there was an opening for a PhD studentship at De Montfort University in daylighting. De Montfort is in Leicester, which was not that far from where I lived. It was dream come true when I was accepted, and I graduated in 2016. The main thing I learned from my PhD is that, the more you learn the less you know. There are so many new things, new discoveries and new science, constantly emerging in this field; it is just fascinating. Daylight can be on majestic scale, but it can also be everyday, ordinary, magical. My default setting is to be critical of myself. With the passing of time and age I am getting better at recognising this default within myself. And also recognising that, while it may be the default, it doesn’t mean it is the truth.

‘I HAVE ALWAYS BEEN DETERMINED TO BREAK THE NORM. I HAVE NOT TRIED TO BE THE DEFAULT; I HAVE TRIED TO BE THE EXCEPTION’

Elizabeth Thomas, CEng FILP MCMI, is public lighting manager at Walsall Council and a former ILP President

’ve been in lighting for more than 30 years. I’m an electrical engineer, graduating from Kerala University in 1976. I started as a planning and scheduling officer then as a sales engineer, procurement manager, and technical support. Later, I trained as a lighting designer. In 2002, I got an opportunity to become a public lighting PFI manager. The default, for me, is what’s considered the norm; it is what we’re taught; it is the standard created by a group – politicians, technicians and so on. The question is, how can we dismantle the norm, how can we create a new, improved way of thinking? When I started, engineering was for men; that was the default in the 1970s. In my class of 1976 there were 48 men and 12 women. It was hard; women in engineering were the exception. But we are much more becoming the norm now. I was the first woman chair of the ILP’s Midlands region and, in 2015, after having been membership officer, Vice President – Highways and Senior Vice President, became the first elected female President. www.theilp.org.uk

SEPTEMBER 2020

LIGHTING JOURNAL

Representation in the industry: women in lighting I was also the first female to be honoured with the title of Fellow of the Institution. So, can we dismantle the default? Yes, we can. I have always been determined to break the norm. I have not tried to be the default; I have tried to be the exception, whether it has been going on site in PPE (when, as a woman, it was rare to do so) or regularly attending CPD events. I have always tried to show there are other ways to do things, as well as other cultures to learn from. Early in 2016, it was discovered I had a massive brain tumour and needed an urgent operation. I thought I would go away and come out as good as new in a couple of weeks. But that was not the case; I was in hospital for four months and paralysed down the left-hand side. I spent time in a wheelchair but am now able to be mobile with use of a walker. As someone recovering from a brain tumour, the ‘default’ position offered to me was simply to retire. But I am still working full time, with my walker, and relearning things every day. Everything is a challenge but, for me, positivity is the key.

‘I HAVE BEEN THE ONLY NON-WHITE PERSON IN A CONFERENCE ROOM WITH HUNDREDS OF PEOPLE; THE ONLY WOMAN AROUND A TABLE’

Sara Kassam is sustainability lead at the Victoria & Albert Museum but at the time of the debate was head of sustainability at CIBSE

www.theilp.org.uk

was working in a facilities team at a London university and noticed that in project meetings I could easily count 12 white men in blue shirts as participants, and most of the time they were called Dave. So that is my default; that is what I have observed. It creates an interesting dynamic when you are in a room full of Daves in blue shirts; it got me thinking about how I was treated in these spaces. I was much younger, I was not white, and I was female; I wasn’t an engineer and I was 10 years younger than everybody else. I would speak up anyway, but it did not feel right; often I didn’t think I was being taken seriously. I’m quite a confident person, but you do need to be supported by the people around you, especially when you are in large groups and working on large projects. A lot of the time I have been the only nonwhite person in the room, in a conference room with hundreds of people; or the only woman around a table. I have tried not to make a massive deal of it; but I have felt it has, cumulatively, made a difference. It is about having the courage not to underestimate how the patriarchy can put you on the back foot, and to try to do something about it. But it is also about having the courage to be honest and not make it about man-bashing. Inclusivity is about bringing everyone together, and it is just about being confident saying, ‘well, as a woman, this is how I feel’. It is essential to recognise all those prejudices, those micro aggressions, that are engrained. For example, people making derogatory wife jokes in meetings or talking about the ‘chairman’ regularly – how do we call those out? But also micro-affirmations; the gratitude and the thanks when people do recognise what you’ve done. For me, a big one is, ‘you can’t be what you can’t see’. Often there was no one I could see who I could necessarily relate to when I was growing up and coming into my career – and now, thankfully, that is changing. So, how can we dismantle the default? You can call out things in meetings. You don’t, however, want to be ‘the angry woman in the room’. I try to use my position to lift other women up. It is about endorsing other women, retweeting what they’re saying, encouraging people to join committees or nominating them for awards. It is so easy for women to be like, ‘I don’t think I’m quite good enough, I don’t meet the criteria for that’. So it is about trying to lift everyone around you, as well as yourself. One top tip for meetings is saying, ‘she said’. If a woman has made a contribution and it is overlooked, please do go back – men and women – and say, ‘actually, she said x, y and z’ and reiterate the point that was made and the idea that was had. And, finally, join and be a part of networks.

‘WHAT MATTERS TO ME IS NOT THAT I AM THE FIRST WOMAN TO BE MD OF AN EXTERIOR LIGHTING MANUFACTURER. WHAT MATTERS IS THAT I DO MY JOB’

Rebecca Hatch, MBA IEng MILP is managing director INDO Lighting and the ILP’s Vice President – Infrastructure

started out in lighting at age 16, in 2004, and my 16 years in the industry have been predominantly in the quite narrow section of street lighting, although at INDO we have recently expanded into horticultural lighting, which is a completely new area, and even more recently into making respirators for the NHS [1]. I joined Atkins as a junior technician; I was very often the only girl in the room. I went on to study for an electrical HNC whilst working at Atkins; again, I was the only girl in a class of 25. For the first year in fact one of the other students even used to refer to me as ‘the girl’. So it wasn’t always easy. It was a male-dominated industry and sector. At the time I often questioned – there must be more of ‘me’ out there; not just female but young, new to the industry? That was why, with my colleague Scott Pengelly, we founded the Young Lighting Professionals (YLP) within the ILP in 2009, for those under the age of 35 or who are new to the

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LIGHTING JOURNAL

Representation in the industry: women in lighting industry. That supportive network is one the things that helped me in an industry that wasn’t really seeing a young female as the default. I took every opportunity to attend every event, whether networking, technical or social. That’s what really helped me to stick it out and keep going, and to believe in myself that I could do it. The ILP helped me to achieve professiona l recognition and status, so EngTech through to IEng. For me, it was imperative to be able to demonstrate that I was good enough; that I was an engineer; that I could do it. You don’t have to have credentials to prove that of course but, for me, it gave me that grounding, that back-up, if I ever did feel challenged. In 2015 I joined FM Conway, a highways contractor, in a business development role for the lighting team. This was my first move into a more commercial role and outside of the more structured engineering route. I also started an MBA course at London Southbank University and then joined INDO in 2016, becoming managing director in 2019. Over the course of my career I have always kept an eye on how many women there were around the table; how many women were at events. In the early days at the ILP I think there were probably two other women, besides myself, at most events. In the construction industry, the contracting side, it is very, very low, about a 12% female to male ratio. In manufacturing it is actually better, though still not great; it is about 20%, I believe, across the UK. In my team at INDO we actually have a 50/50 split men to women. And that is across all roles – sales and marketing, operations and production, which is great. I know ‘glass ceiling’ is a cliché term. But I really don’t think there is one; we set our own limits. As a personal goal what I think we all truly aiming for is independence – whatever that means to you – and that is what you should focus on. And do not let titles or salaries or expectations cloud that; strive for what you want. What matters to me is not that I am the first woman to be MD of an exterior lighting manufacturer. What matters is that I do my job, I help my team to do their jobs and to be the best that they can be. Finally, we shouldn’t be striving to be like men; we should simply be striving to be the best we can be. Let’s work like women, not try to work like men; let’s support each other, keep improving ourselves and supporting others around us. www.theilp.org.uk

‘EVERYONE HAS UNIQUE LIFE EXPERIENCES; EVERYONE BRINGS SOMETHING DIFFERENT TO THE TABLE. SO, GET INVOLVED’

Sonia Pepperell BA Hons MSLL is lighting design project engineer at Thorlux Lighting

’ve been in the industry for more than 13 years. W hen I was at school I think, like most people, I didn’t have a clue what to be when I grew up; I enjoyed most of my subjects. When I went to college my main focus was art and design. But I also liked the academic side. Looking back at my university projects, I notice I actually did two lighting projects, or projects with lighting elements in them – so, obviously, I had an interest in lighting without really knowing it. When it came to looking for a job, I ended up getting a lighting design job in London, at a lighting design consultancy. I didn’t know what lighting design even was until I went to the interview. But I found it really interesting. After a couple of years I moved back to Birmingham, where I am from, to Thorlux. At the time I had thought of it as a stopgap to get me back to the area but I am still there! In 2015 I took a team of engineers down to the Ready, Steady, Light competition and I’m very proud to say that we won the technical award that year. It was actually

an all-female team, although that wasn’t intentional. In 2017 I achieved my LET (Lighting Education Trust) diploma in lighting design, doing it in my own time. It was an achievement to go back into education, back to basics. In 2018, I was honoured to win the Society of Light and Lighting regional award and I have been an SLL regional representative for the West Midlands for about five years now. It has really inspired me to do more in the region. What I would say is that it is OK to fall into things; it’s good to have variety. Everyone has unique life experiences; everyone brings something different to the table. So, get involved. Lastly, look around; look up. You can get inspired by anything. You can tell a lighting designer or a building services engineer because, when they walk into a space, they look up and around. Most of us will probably look up and look at the lighting. So, look around and take inspiration from anything and everyone.

‘THINKING “I’M NOT GOOD ENOUGH”, OR “THEY MADE A MISTAKE HIRING ME” – THAT’S IMPOSTER SYNDROME. MOST OF US HAVE THAT, ME INCLUDED’

Kimberly Bartlett EngTech AMILP MIET is principal engineer, south team lead, Lighting & Energy Solutions, at WSP, and the ILP’s Vice President – Education

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LIGHTING JOURNAL

Representation in the industry: women in lighting

or me, we need to go all the way back to look at the genderised etymology of our language. If you look at the Oxford English Dictionary for examples of the verb ‘engineer’, it has ‘the men who engineered the tunnel’ and ‘she engineered another meeting with him’. We have a societally engrained ethos that the men ‘do’ and the women ‘facilitate’. It is possible that is one reason why there is such a low take-up of women in engineering. For every nine men in engineering there is one woman, so roughly 10%, and that was certainly mirrored in my education. When I did my ONC (ordinary national certificate) I was the only woman out of 30 people. On my HNC I was the only woman out of 20. And on my HND I was very lucky because I was one of two women among 15! We became fast friends and are still friends now. Very early in my career I genuinely heard a male colleague, very angrily, exclaim, ‘the decline of engineering is entirely down to the inclusion of women in the workforce’. It’s poppycock, obviously, but when you overhear something like that in an office it makes it very hard for a lot of women to disconnect rhetoric from the truth. We tend to feel we need to work harder anyway, and stuff like that doesn’t help. The thinking of ‘I’m not good enough’, or ‘they made a mistake hiring me’ – that’s imposter syndrome and most of us have that, me included. It is unnecessary but is something that seems to be so engrained inside of us. I’m the first ‘out’ national post holder at the ILP. On the LGBT+ side, there are even fewer of us in engineering; it’s between 2% and 6%, depending on where you’re getting your information from. If you are LGBT+ at work and you have to stay in the closet, you can’t talk about your life and that is exhausting – and, actually, it affects your performance. Try explaining to someone about the weekend you’ve just had, but you can’t use any pronouns that give away the gender of your partner or children. It is really upsetting. We have an engineering skills gap in this country. We are going to need so many more people in the coming years and, as an employer, if you’re alienating a group then you’re just not going to get them applying for roles. Being diverse and inclusive fixes that. If you don’t treat people well, they won’t stay; it’s as simple as that. Customers in your supply chain may also look for that diversity and inclusion in your business. And, if they see it, you’re more likely to get that business. www.theilp.org.uk

‘WITHOUT AFFORDABLE EDUCATION, SOCIAL MOBILITY AND FREEDOM OF MOVEMENT, I WOULD NOT BE ABLE TO BE WHERE I AM RIGHT NOW’

Dr Eleanora Brembilla is a research associate focusing on daylight simulation and solar radiation modelling at Loughborough University

was not one of those kids who had everything figured out or knew what I wanted to become as a grown-up. I grew up in a small Italian village where the only professional role models I had around me were quite narrow. My parents ran a newsagents and the default for me – if you had spoken to anyone in my village – would have been eventually to take over their shop. Luckily, they never forced that vision on me! But having all the books and magazines in the shop at my disposal opened up the world to me. It also encouraged my passion for graphic design, and perhaps for my love of maths when I was doing the change for customers. I tried to combine all these interests in my degree – and I chose building engineering and architecture. At the end of my degree I still had no clue what kind of career I wanted to pursue. It was just after the 2008 crisis and so the jobs’ climate wasn’t good. Everything changed when I was offered a PhD position in climate-based daylight modelling that I just found online and applied to. After getting accepted I didn’t think twice and moved from Italy to the UK. It was then I realised how daylight was

combining all my interests – everything from physics to engineering, architecture and photography. I also discovered a passion for programming and that I enjoyed presenting my work publicly at events. Picking an academic over an industrial career was not something I had planned; I had thought I would become a consultant lighting designer or engineer. And I have now accepted a position of an assistant professor at a very good university overseas. So I am packing up again! This event has come along at just the right time to allow me to reflect about what led me here but also how, without affordable education and social mobility and freedom of movement, I would probably not be able to be where I am right now. For me, these elements are essential to dismantle the default.

‘FOR ME, THE MAIN THING IS TO RECOGNISE THERE ARE NO LIMITS TO WHAT WE, AS WOMEN, CAN ACCOMPLISH’

Fiona Horgan BA (Hons) MBA is senior engineer and lighting design team manager at Doncaster Metropolitan Borough Council and the ILP’s Junior Vice President

ismantling the default, to me, is the difference between the ordinary and the extraordinary. It is that little extra; the more of that little extra that we can all do the more it helps to dismantle the default. My background wasn’t engineering. I went to university but, before then, I had my first child when I was 19. So I was a teen mum. I was written off, told ‘well

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LIGHTING JOURNAL

Representation in the industry: women in lighting that’s it, you’ve ruined your life’, ‘how are you going to do anything now?’. But I went back to complete my degree at the Sheffield University in planning and landscape architecture and design. I was on a path of going into a planning department but I realised I wanted to be more hands-on, more at the forefront of making some elements of change. And that led me more into engineering and, when an assistant engineer role came up in local government, that started me on the path of change. From there, I have worked very hard to educate myself and progress. Last year, for example, I graduated with an MBA from the University of Cumbria. When I went into this engineering role – and I had to go back and retrain – I was the only female, the only young person in this environment. I got my electrical engineering HNC, learnt the basics and worked my way up. I had some very, very good male leaders who were very ‘feminist’ in their views, who helped to promote me and push me forward and, actually, to see the wider world. Although I wasn’t surrounded by women to look up to, there were men who had a very strong view that women could also ‘do’ in this environment. I then progressed to senior engineer, and it made me realise how lighting can really change a project. Lighting used to be seen as something of a sideline or an after-thought but, actually, it can really make something go ‘wow’, particularly at night; it invigorates and changes an environment. That recognition changed the whole role for me. Then, as an industry, lighting is functional, technical, artistic but also such a niche community world-wide. It is our experiences, life skills, education – all of our differences – that bring us together and can help us to learn, to dismantle that default, to do that little bit extra, and really get what we can out of the industry that we are in. I became chair of the YLP in 2014, which started me on the path to becoming involved more with the ILP. Through that, and with people like Elizabeth, Rebecca and Kimberly and the fact we now have a female CEO (Tracey White), as an Institution we’re leading from the inside out. In 2014 I became Assistant Honorary Treasurer and last year I became Junior Vice President. I am really trying to be that voice and that encouragement for people. For me, the main thing is to recognise there are no limits to what we, as women, can accomplish. And I really think that little bit extra that we can do, and bring, is what will help us all to dismantle the default. Jess Gallacher is the ILP’s Engagement and Communications Manager

www.theilp.org.uk

‘YOU DESERVE TO BE PAID FOR WHAT YOU’RE DOING’ A Q&A discussion following the individual stories. This covered a range of areas, including people’s ambitions and biggest challenges to date, who had inspired them and the value of volunteering. Sara Kassam spoke about the importance of finding, having and being a mentor during your career, especially as a woman in a male-dominated industry. ‘What I have always found is that, even if I don’t have formal mentors, there are so many women around me who I have learned so much from,’ she said. ‘Even if you don’t have a formal mentor as such, just use everyone around you. I would never have done all I have done without those people – and they are men and women and people who look like me and people who don’t, and at all levels too,’ she added. The issue of gender pay gaps was also put firmly in the spotlight. Kimberly Bartlett explained that, by and large in her career, she had been relatively lucky in terms of her experiences in this area. ‘At the beginning of my career there was no gender pay gap at all; it was just everybody who came in at a certain level got paid the same regardless,’ she said. ‘From the middle to two-thirds, I actually went the other way and I was fortunate enough to be paid more than my male counterparts, based purely on my experience and what I could give to the business – which is the way it should be. It should meritorious; if you are better at something, you should be paid appropriately. ‘I have found, though, as I have gone higher up the chain it has started to switch back the other way again. I would be interested to see how that extends throughout the rest of my life; it is one of these things where you have a similar set of skills to the man sitting next to you, perhaps even better, and you’re paid either the same or less. So yes I have experienced that, but it is not the overall experience I’ve had,’ Kimberly added. Rebecca Hatch recalled a conversation early on in her career that, while not specifically about money, had stayed with her because of what it potentially said about attitudes to

gender and age within the industry. ‘I remember having a conversation, more about promotion and progression, with a director and he said, “I can’t believe I’m having this conversation with a 23-year-old”. I didn’t really think about it much at the time, but afterwards I realised what he should have been recognising is that, at 23, unlike most of my colleagues I already had seven years of experience because I had come into the industry so early. ‘If I had taken the default route and gone to university I would have been at least four, if not five years, older. And would he have said that about a 27, 28 or 30-year-old? So I realised from there you always have to state your value, regardless of age, gender, position, company. ‘As long as we have the confidence to say, “this is what I bring to the table, this is what I deserve”, we should never really be hesitant or nervous about talking about money. Because it is just representative of what we’re contributing. We shouldn’t just be expecting pay rises or promotion year on year. If you’re doing a good job, regardless of who you are or how you got there, you deserve to be paid for what you’re doing,’ Rebecca added. Sara Kassam pointed to a recent Royal Academy of Engineering/ Women in Science and Engineering (WISE) report on gender pay gaps in the industry that set out a range of recommendations around how to narrow the gap [2]. ‘If people are feeling a bit wary of bringing it up, or they feel their companies aren’t on board, have a read of that and look at the recommendations and use that as a back-up when you have your conversations within your organisations,’ she said. Fiona Horgan concluded the discussion by adding: ‘By us talking about it, such as here, that really helps too. Forums like this can help to open up the conversation. ‘If we can’t discuss it in the workplace then it is outside the workplace, in a forum like this, where people can start to ask those questions that they might be too nervous to raise in the workplace. So, it really good to bring up this topic in forums like this and to ask those questions,’ she said.

[1] ‘Quality care commission’, Lighting Journal, June 2020, vol 85 no 6 [2] ‘Closing the Engineering Pay Gap’, January 2020, Royal Academy of Engineering/WISE, https://www.raeng.org.uk/publications/reports/closing-the-engineering-gender-pay-gap

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SEPTEMBER 2020

LIGHTING JOURNAL

Legal issues

HEALTHY COMPETITION? Two recent investigations have shown that the Competition and Markets Authority has the construction sector in its sights. This makes it even more important that lighting professionals keep their trading agreements and market practices under constant review, and ensure they have visible, robust compliance policies in place By Howard Crossman and George Elliman

he Covid-19 pandemic may be dominating both the news agenda and commercial thinking right now and, as we highlighted in Lighting Journal in July, potentially causing a range of legal headaches around things such as contracts (‘Contract tracing’, vol 85 no 7). But while coronavirus has upended a lot of things, important legal changes have carried on, all of which could affect professionals working within the lighting industry. One of these is the fact that for the past 12 months the Competition and Markets Authority (CMA) has been carrying out various investigations into the construction industry. These are part of a general focus by the CMA on construction and the supply chain, which could very well encompass the lighting industry. They include: • a concluded investigation where fines totalling more than £36m were given to three construction firms (specialising in concrete drainage products) for offences under the Competition Act 1998; and www.theilp.org.uk

• an ongoing investigation announced by the CMA in March 2017 looking into three construction companies involved in the provision of groundworks products and/or services. A ‘statement of objection’ was issued in April 2019 to the three firms and gathering of evidence is continuing.

STIFF FINES, BUT ALSO A LENIENCY POLICY

In both of the above cases, the firms are guilty of, or accused of, creating an artificial market in which they fixed/coordinated prices, allocated customers and exchanged competitively sensitive information with senior executive consent. The scale of the total fines issued is a potent reminder of the power that the CMA has to enforce Competition Act 1998 offences. In calculating financial penalties, the CMA will take into account: (a) (b) (c) (d)

seriousness; duration of the offence; the offender’s turnover; and any mitigating and/or aggravating factors.

The CMA’s leniency policy means firms that self-report and assist with investigations can be granted significant reductions in penalties or even complete immunity. The fines in the first case, once broken down by each recipient, are a great example of how this works in practice and how much bearing the leniency policy can affect the final penalty. In this case, (a) proactive reporting and (b) admission of the offence saw two firms receive fines of between £4m and £7.5m. The third company, however, received a fine of £25.5m – a significant percentage of the total fines. In the second, ongoing, case, one party has co-operated with the investigation and will not be fined provided that co-operation continues. The CMA investigates and enforces breaches of the Competition Act 1998 including, in particular (i) price-fixing; (ii) market sharing; and (iii) bid-rigging/ collusive tendering.

REPUTATIONAL, AS WELL AS FINANCIAL, DAMAGE

As the concluded case makes clear, the fines for breaches can be huge (up to 10% of a business’s turnover for the year before the infringement). But the non-financial costs can also be severe: a business can suffer significant damage to its professional reputation and its customer trust. Individuals may also be prosecuted under the Enterprise Act 2002 and face unlimited fines, prison sentences of up to five years and up to 15 years disqualification as a company director. The structure of the lighting industry means it may be at a risk of these anti-competitive arrangements being formed, sometimes unintentionally. Construction is under the CMA’s microscope, and that brings in all construction sector participants, including lighting professionals. Bear in mind, too, the CMA is just as likely to investigate breaches of the Competition Act even where it does not fall within this loosely defined investigation. Therefore, the lesson here is this: keep your trading agreements and market practices under constant review, and create/ maintain visible, robust compliance policies moving forward. And that needs to remain the case even in the challenging times we are all facing from the pandemic. Howard Crossman (hcrossman@greenwoodsgrm.co.uk) is head of construction and George Elliman is a trainee solicitor at Greenwoods GRM. With offices in London, Cambridge and Peterborough, Greenwoods GRM is a UK commercial law firm providing legal advice and pragmatic solutions to local, national and international clients.

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Consultants

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

Herbie Barnieh

Stephen Halliday

Anthony Smith

Project Centre

WSP

Stainton Lighting Design Services Ltd

BEng IEng MILP

London WC1X 9HD

EngTech AMILP

Manchester M50 3SP

T: 0330 135 8950, 077954 75570 Herbie.Barnieh@projectcentre.co.uk

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

Efficient, innovative, and bespoke lighting design services from an award winning consultancy. Experienced in delivering exterior lighting projects from feasibility studies to post construction. Whether it’s highway, street, or public realm lighting, let us assist you to realise your project goals.

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.

www.projectcentre.co.uk

www.wspgroup.com

Steven Biggs

Allan Howard

Skanska Infrastructure Services

WSP

IEng MILP

Peterborough PE1 5XG

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

www.skanska.co.uk

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

BEng(Hons) CEng FILP FSLL London WC2A 1AF

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

www.wspgroup.com

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

Simon Bushell

Alan Jaques

SSE Enterprise Lighting

Atkins

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.

Lorraine Calcott

IEng MILP IALD MSLL ILA BSS

it does Lighting Ltd

The Cube, 13 Stone Hill, Two Mile Ash, Milton Keynes, Buckinghamshire, MK8 8DN

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

Mark Chandler EngTech AMILP

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.

IEng FILP MIES

Nick Smith Associates Limited Chesterfield, S40 3JR

T: 01246 229444 E: training@nicksmithassociates.com

www.nicksmithassociates.co.uk 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

IEng FILP FSLL

Winchester, SO22 4DS

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

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

Michael Walker

Vanguardia Consulting

McCann Ltd

BSc (Hons) CEng MILP MSLL

IEng MILP CMS.

Oxted RH8 9EE

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

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.

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.

www.vanguardia.co.uk

Patrick Redmond

M: + 353 (0)86 2356356 | E: patrick@redmondams.ie

www.redmondams.ie Independent expert lighting design services for all exterior and interior lighting applications. We provide sustainable lighting solutions and associated electrical designs. Our services include PSDP for lighting projects, network contractor auditing, and GPS site surveys for existing installations.

Alistair Scott

4way Consulting Ltd

Designs for Lighting Ltd

BSc (Hons) CEng FILP MHEA Winchester SO23 7TA

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

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

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

www.4wayconsulting.com

Nick Smith

Tony Price

John Conquest Stockport, SK4 1AS

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.

Alan Tulla Lighting

Redmond Analytical Management Services Ltd.

MA BEng(Hons) CEng MIET MILP

www.staintonlds.co.uk

Nottingham, NG9 2HF

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

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

Alan Tulla

HDip Bus, EngTech AMILP, AMSLL, Tech IEI

www.mma-consultancy.co.uk

Stockton on Tees TS23 1PX

IEng FILP

MMA Lighting Consultancy Ltd Reading RG10 9QN

IEng FILP

www.designsforlighting.co.uk

www.mccann-ltd.co.uk

Peter Williams EngTech AMILP

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

www.wlclighting.co.uk

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.

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

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

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