Lighting Journal July/ August 22 by The ILP

Professional best practice from the Institution of Lighting Professionals

July/ August 2022

KEEPING SNOWDONIA DARK How taking a holistic approach to dark skies has paid dividends WELL, AND BEING Understanding the links between lighting design, LED and wellbeing QUALITY OF NIGHT Why we need to rethink how we mitigate obtrusive light at night

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Contents KEEPING 06 SNOWDONIA DARK

Undoing light pollution requires a holistic vision, taking into consideration the site experience and character as well as refurbishing every existing light source, argues Kerem Asfuroglu, as a dark skies’ renovation project in Snowdonia has illustrated

12 CUMBRIAN PILOT

Cumbria County Council has been working with rural, seaside and urban communities in the Lake District to reduce light pollution and promote dark skies

14 QUALITY OF NIGHT

Untangling light quantity versus quality in the context of light pollution can be complex and, often, subjective. Dominic Meyrick argues that we need to rethink not just how we approach mitigating obtrusive light but the guidance associated with it

THE SHELTERING SKY

The Isle of Man is proud to be a dark sky destination. At the same time, however, its network of often-isolated rural bus stops risked becoming dangerous and inaccessible at night, especially for lone travellers and women. A solar lighting solution is helping to square this circle

24 PARK EXCHANGE

The new lighting scheme for Liverpool Street’s Exchange Square is designed to enhance the park’s character as dusk falls, in the process creating a haven of calm and tranquility within the bustle of the capital

26 WELL, AND BEING

It is vital all lighting professionals understand how light, especially LED, affects wellbeing and how, as an industry and individuals, we can all embrace more sustainable circular economy approaches, writes Lauren Lever

SLEEP HYGIENE

As a retired lighting designer and former editor of Lighting Journal, Carl Gardner thought he understood circadian science. But a short spell in hospital brought him up against the long-lasting, negative effects of disturbing the body clock – and forced him to ask some serious questions

38 SENSORY SENSITIVITY

Transitioning to LED is a key part of the NHS’s ambition to become the world’s first net zero health service. But an ill-considered dash to LED could do more harm than good for those who struggle with glare and flicker, especially neurodivergent people. A guide from social change organisation NDTi and Buro Happold is working to change this

44 RUSSIAN REVERBERATIONS

The full impact of Russia’s war in Ukraine is, as yet, unclear but, for lighting, the economic reverberations are loud in terms of raw materials’ shortages and price rises. Legally, the situation is complex, especially for lighting businesses that had, or still have, exposure to Russian markets. Howard Crossman and Connor McNicholl report

50 NET ZERO, NET GAIN

Against the backdrop of soaring energy and raw materials’ prices, it is imperative lighting professionals don’t lose sight of the net zero agenda. If anything, argues Tim Bowes, rising costs make it even more important to be focusing on carbon reduction and system resilience

52 MAXIMISING DAYLIGHT The UNESCO International Day of Light in May saw events taking place around the globe to celebrate light and lighting. It also coincided with the announcement of this year’s Daylight Awards for research and architecture

54 LONDON FIELDS

The ILP was a partner at the prestigious Clerkenwell Design Week in May, including holding a fascinating ‘How to be brilliant’ talk

MORE WHO JOIN, 56 ‘THE THE MORE WE LEARN OFF ONE ANOTHER’

COVER PICTURE

Continuing our profiles of inspirational women, lighting designer Lauren Lever outlines her route into the industry and why lighting matters

Bench with solar lanterns, looking across to Mount Snowdon, part of the dark skies renovation project at the Plas Y Brenin national outdoor centre in Snowdonia National Park. Turn to page six, where Kerem Asfuroglu of Dark Source discusses the scheme in depth. Image by Snowdonia dark skies officer Dani Robertson

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Editor’s letter Volume 87 No 7 July/August 2022 President Fiona Horgan Chief Executive Justin Blades Editor Nic Paton BA (Hons) MA Email: nic.cormorantmedia@outlook.com

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 & Layout Design George Eason Email: george@matrixprint.com Advertising Manager Andy Etherton Email: andy@matrixprint.com Published by Matrix Print Consultants Ltd on behalf of Institution of Lighting Professionals Regent House, Regent Place, Rugby CV21 2PN Telephone: 01788 576492 E-mail: info@theilp.org.uk Website: www.theilp.org.uk Produced by Matrix Print Consultants Ltd Unit C,Northfield Point, Cunliffe Drive, Kettering, Northants NN16 9QJ Tel: 01536 527297 Email: gary@matrixprint.com Website: www.matrixprint.com

ormer Lighting Journal editor Carl Gardner’s experience during his recent stay with the NHS (from page 32) chimes with and yet was different to my own week-long hospital sojourn back at the end of 2018. As Carl explains, while the care he received (the most important part of course) was excellent, when it came to access to good light, daylight and darkness at night, it left much to be desired. This had a knock-on effect, he felt, on his sleep patterns while in hospital and once home and, indeed, his overall recovery. In turn, this experience has led to, I feel, a very interesting discussion around the role of light, and daylight especially, within health and recovery — whether you’re being cared for within the NHS or another healthcare system — so do check out his article. My experience — in St Thomas’s Hospital in London – was similar in that much of the lighting (for very obvious task-based reasons) was super bright, cold and glary. It was at times hard, too, to differentiate night from day (often, again, for good clinical/care reasons) even though the excellent staff did their best. When it came to daylight, however, I recall the ward I was in did have massive picture windows at either end, which offered spectacular views over south London in one direction and (across the corridor) Westminster and the Houses of Parliament in the other. Maybe that was just luck of the draw, and specific to St Thomas’s location just off Westminster Bridge, but certainly, for me, access to daylight was never an issue in my recovery. I also couldn’t tell you with any certainty whether or not most of the lighting I experienced in hospital was LED, as most of the fixtures were covered, although I would hazard a guess it was at that point a bit of a mix across what is a massive complex. Clearly, LED has the potential to offer all healthcare systems significant benefits around energy usage and cost, reduced maintenance and greater ability to layer, adjust and control lighting levels and temperature. However, as Jill Corbyn from social change organisation NDTi and Alexia Gkika from lighting designer Buro Happold highlight from page 38, for healthcare providers therefore to see LED as some sort of panacea solution may be short-sighted and, potentially, costly. The NHS, laudably, is pushing hard to make significant progress to net zero. Yet there is a danger that, in making an over-hasty transition to LED to achieve this, it fails to take into account the impact of LED glare and flicker from a sensory perspective, especially for neurodivergent people with conditions such as Autism and Asperger’s. In my discussion with Jill and Alexia it was very evident that a) poorly designed LEDbased lighting schemes can be a real problem for this cohort of patients and b) there aren’t yet any clear, let alone easy, answers here. As Alexia points out, there is potentially a window of opportunity, as the guidance LG2: Lighting for healthcare premises is up for review shortly. Yet, at the same time, if the profession doesn’t step up and have a conversation about what ‘good’ design therefore needs to look like in this context, it may be a window that also closes fast. To my mind, this is an issue where, absolutely, the expertise and knowledge of ILP members may be able to help, which is one reason why I was keen to include this discussion within Lighting Journal. Jill Corbyn, too, has emphasised she is keen for input and dialogue from the profession. If ILP members are able to offer a lead on this conversation it could be something that has the potential to be hugely valuable to all hospitals and healthcare providers. After all, whether we’re neurotypical or neurodivergent, whether we’re being put back together by the NHS or another provider, it is clear that well-designed lighting has a vital role to play in care, recovery and recuperation.

The views or statements expressed in these pages do not necessarily accord with those of The Institution of Lighting Professionals

Nic Paton Editor

or the Lighting Journal’s editor. Photocopying of Lighting Journal items for private use is permitted, but not for commercial purposes or economic gain. Reprints of material published in these pages is available for a fee, on application to the editor.

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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. ARCSOURCE™

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Dark skies

KEEPING SNOWDONIA DARK Undoing light pollution requires a holistic vision, taking into consideration the site experience and character as well as refurbishing every existing light source, as a dark skies’ renovation project in Snowdonia has aptly illustrated

By Kerem Asfuroglu

ocated in the lush heart of Snowdonia, Plas Y Brenin is a vibrant national outdoor centre that attracts thousands of international visitors every year. The centre, which offers a gold standard in various outdoor sports, training and activities, is owned by Sports England and managed by Mountain Training Trust. Our dark skies renovation project came about after the site was identified by Dani Robertson, dark skies officer for Snowdonia National Park Authority and Prosiect Nos – The North Wales Dark Skies Partnership. The site has been suffering from a significant level of light pollution visible for miles, causing several issues for the centre and the surrounding biodiversity. Snowdonia National Park Authority, in www.theilp.org.uk

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Dark skies

Before (left) and after views across Lake Llynnau Mymbyr. Image by Dylan Parry Evans and Karl Midlane

collaboration with Prosiect Nos, commissioned us at Dark Source to develop a lighting design that can restore the dark skies and tackle the growing concern for the region, which has been known as a Dark Sky Reserve since 2015. The project was conceived with an environmental ethos, very much aiming to reduce energy waste and impact on biodiversity whilst exploring further opportuni-

ties to enhance the night-time experience. Warm-coloured, glare-free, low-intensity lighting was used in order to meet dark skyfriendly measures, along with high energy efficiency criteria to maximise the savings.

HOLISTIC APPROACH

One of the key challenges of the project was to make best use of the available budget and resources, which is a familiar theme in the

dark skies realm due to lack of funding in comparison to the private commercial developments. Light pollution, of course, does not happen as a result of an evil plan. It simply happens because we were not paying attention and then one thing leads to another. Conversely, undoing light pollution is something that has to be done with a holistic vision, one which takes the site experience and character into consideration as well as refurbishing every existing light source. Creating enjoyable spaces through carefully crafted light will support the dark skies movement through both social and environmental sustainability. We need lighting design precedents that prove safety and amenity can be provided environmentally. By allowing brightness to wash everything away, light pollution is not only depriving places of darkness but also character. At Plas Y Brenin specifically, the existing lighting mostly consisted of fluorescent bulkheads and LED floodlights, which reduced the site’s legibility due to glare and uncontrolled light distribution. The project also consisted of heritage architecture of varying grades, such as the Victorian stables, which meant that the lighting integration had to be sympathetic to the heritage architecture. The site had various over-lit areas, whilst some critical circulation areas, such as the stairs, were deprived of light. The project therefore sought to strike a balance between lit and unlit spaces to create a visually pleasant and consistent experience.

FOCUS ON HORIZONTAL PLANE

Bench with solar lanterns, looking across to Mount Snowdon. Image by Snowdonia National Park dark skies officer Dani Robertson

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The large majority of the lighting at Plas Y Brenin is achieved below the eye level, focusing the light on the horizontal plane. In areas where vertical illumination was essential for improving the legibility and wayfinding of the site, it was done in a fashion that is by-product of downlighting. All luminaires were made to face downwards to avoid upwards travelling light. All floodlights were removed from the scheme.

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Dark skies All entrance thresholds that were not a part of the main circulation utilised passive infrared sensors (PIR) to avoid unnecessary illumination of non-essential areas. This means when there is no activity, no light is wasted. In certain areas where supplying mains power proved to be challenging, solar PIR lanterns were used as a low-energy solution. These only come on after dark and when movement is detected. Existing bollard bodywork was refurbished and maintained. Only the light sources were replaced to reduce the material

and economic waste. Simple changes like these allowed the project team to find enough savings to cover the lighting improvement of all areas thanks to the large number of existing bollards. Luminaires with elliptical and forward throw were used to increase the reach and coverage whilst creating a textured visual character unique to the site. Another important point to emphasise is how Snowdonia National Park Authority and Prosiect Nos have worked together to develop unique ways to tackle light pollution within the dark sky reserve.

Their combined raised funds are carefully invested towards mitigating the most significant light polluters in the area, so enabling the residents to make the transition to environmentally friendly solutions whilst setting a great precedent one step at a time. The battle against light pollution, as most lighting professionals understand, is a continuous one. LEDs will only get brighter and cheaper in the foreseeable future, which will make them more desirable for global consumption. We therefore need to adapt and develop similar ways to work with the local

Before (left) and after images of the Plas Y Brenin project, with all images by Dylan Parry Evans. Top: the new entrance downlights with PIR sensors. Middle: the more consistent façade downlighting adjacent to the main road. Above: the low-level illumination to all the circulation routes

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Dark skies communities in order to tackle this problem before bright precedents become the norm. One of the key professional challenges we face with every new environmental lighting scheme is competing with the previous perception and the visual memory of badly illuminated sites.

‘LOCKDOWN LEGACY’ REDUCING LIGHT POLLUTION

COVERAGE ON BBC

Our visual system is well equipped for visual comparison but not great at detecting correct light levels in isolation. That’s why we often fail to spot the difference when our surroundings get brighter as a whole. Every light-polluted and over-lit scheme sets another precedent which more people will adapt and which will prove very difficult to undo. Therefore, to my mind, Plas Y Brenin is a great example of how progressive authorities and communities can come together to create a better night-time for all ‘earthlings’, not just humans. It was also very rewarding that the project was recently featured on BBC One’s Countryfile programme, so bringing attention to the important role of considerate lighting design within the dark skies movement. The overall transition to LEDs maximised the energy savings of the Plas Y Brenin scheme. Having closely worked with a wide range of exterior lighting manufacturers, we were able to reduce energy usage by 1.9 tonnes of CO2e (8000kW) annually. Most importantly, to my mind, the site’s night-time experience now meets the dark skies quality that represents Plas Y Brenin’s environmental ethos and brand. Let me, however, leave the final word to Dani Robertson. ‘The site has been totally transformed,’ she says. ‘It has really elevated the location aesthetically; the staff at Plas Y Brenin are all very grateful. Bats have already returned to the site to forage around the hedgerows that were too illuminated before. ‘A core area of the dark sky reserve is now further enhanced and protected, thanks to our collaboration with Dark Source,’ Dani adds. Kerem Asfuroglu is creative director at Dark Source

PROJECT CREDITS

Clients: Snowdonia National Park Authority, Prosiect Nos, Plas Y Brenin National Outdoor Centre Lighting design: Dark Source Contractor: Bebbington & Wilson Limited Manufacturers: Heper, Stoane Lighting, Atrium, Flos, Thorlux, Mesh Lighting, Luce & Light and Osram

The visibility of the Orion constellation was measured by CPRE

he chances of seeing a dark, starlit night sky are improving, the latest ‘Star Count’ survey by the countryside charity the CPRE has concluded, writes Nic Paton. The annual survey of the general public has suggested severe light pollution is continuing to fall since its 2020 peak. Part of this may be down to increased working from home as a result of the pandemic, CPRE has argued, with concerns about the cost-of-living crisis and rising energy bills also resulting in less obtrusive light in the public realm at night. This ‘lockdown legacy’, as CPRE has called it, is resulting in a clearer view of the stars at night. More than 2,500 members of the public took part in the annual star count between 26 February and 6 March, the country’s biggest citizen science project of its kind. People were asked to report the number of stars they could see in the Orion constellation (the one with three stars in a line).

DIMMING STREETLIGHTS

The results have suggested severe light pollution, defined as being able to see ten or fewer stars with the naked eye, has continued to fall, said CPRE. After peaking in 2020, when 61% of participants reported seeing ten stars or fewer, severe light pollution fell to 51% in 2021 and continued its slide this year, to 49%. Emma Marrington, CPRE’s dark skies campaigner, said of the findings: ‘Half of the people who took part in Star Count experienced severe light pollution that obscures their view of the night sky. This is bad for wildlife and human health – and the energy being needlessly wasted is bad financially and bad for our planet. ‘But the good news is that these results show small adaptations can make a big difference. If there is a silver lining from the legacy of lockdown and, now, the soaring cost of energy, it is that it has never been clearer how simple it is to cut carbon emissions and energy bills while improving our natural environment.’

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Cumbria County Council has been working with rural, seaside and urban communities in the Lake District to reduce light pollution and promote dark skies By Nic Paton

umbria County Council has recently teamed up with Thorn Lighting to install solutions that reduce light pollution in the Lake District. The Lake District is a UNESCO World Heritage Site. But it is also home to many rural villages, seaside communities and bustling towns, many of which share a desire to protect their dark skies. For example, community organisations such as Friends of the Lake District also work closely

with the council lighting team to mitigate obtrusive light. To try to take this dark skies agenda forward, the council lighting team worked to build on its existing relationship with Thorn, which has already installed road and street lighting, urban lighting for parks and architectural lighting for landmarks and other buildings across the county. This has led to restored cast-iron columns lining the pavement of the historic Cliff

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Dark skies Terrace in Kendal now being fitted with Thorn EP145 post-top lanterns. These have already had a significant dark skies impact, as one local resident, Lucy Bound, has observed. ‘The previous luminaires were lighting up our gardens and houses, but not the pathways. Now, the lighting is in the right place, leaving the garden dark for wildlife, and people no longer have light trespassing into their bedrooms, improving sleep quality,’ she says.

PILOT PROJECT

As part of a pilot project also being rolled out more widely across the county, the council has installed Thorn ‘Plurio’ post-top luminaires equipped with NightTune technology. This automatically adjusts light levels and colour temperature to suit the time of night and level of traffic. The luminaires have been installed in a small residential cul-de-sac in Glenridding, as well as a park in Workington. An installation project in Castle Park in Whitehaven has been supported by funding from the Home Office’s ‘Safer Streets’ initiative. Ian Harker, Cumbria County Council’s lighting manager, says: ‘Cumbria has some of the darkest skies in Great Britain, and we are custodians of both the night sky and the world class environment here. So, we realise that, in the work we do, we need to be careful and mindful that we don’t have a negative impact. ‘We’ve had a lot of positive feedback from residents, including reports of returning nocturnal wildlife, including larger bats feeding in Kendal’s Cliff Terrace. ‘For other councils or organisations looking to protect their dark skies and enhance their urban spaces through lighting, I’d say innovative technology is the key to unlocking a better service for our residents and visitors. ‘All of the luminaires which have been installed as part of this project have the International Dark-Skies Association “fixture seal of approval”, which is evidence of their ability to suit our dark-sky environment. The important thing is to get to know your communities and the people you are providing the service to. So, you need to talk and be able to listen, and importantly, be open to new ideas,’ he adds. Thorn Lighting’s key account manager Craig Lensky, who worked with Cumbria County Council’s lighting team throughout the project, says: ‘Our advice for others wanting to carry out a project like this, is to do the research. Speak to the people who are familiar to the nocturnal habitat in the place you want to light, and then tailor a solution that benefits everyone and everything,’ he adds.

The new Cumbrian lighting scheme. From top: Vulcan Park, Workington; Cliff Terrace, Kendall; and Barraclough Fold, Glenridding

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QUALITY OF NIGHT Untangling light quantity versus quality in the context of light pollution can be complex and, often, subjective. One leading lighting designer argues that we need to rethink not just how we approach mitigating obtrusive light but the guidance associated with it too By Dominic Meyrick

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Light pollution

ver the last few years there have been many conversations about light pollution. This publication has had some excellent articles that have tried to clarify the issues involved, highlighting the guidance (or sometimes the lack of it) on the various aspects of this complicated topic. I want to put in my pennies worth as well by discussing the ‘quality versus quantity’ issue. In doing so, I want to recognise, and thank, the many contributors from the past who have tried to tackle the wider light pollution topics than the one I want to discuss here, as their comments on the wider topic have influenced my own thoughts. As I go through my conversation I shall reference their work and would encourage you to read their articles as, I believe, as I know many of you will too, that one person’s opinion on this complex issue is never going

to get us to a place of collective agreement and therefore seeking other perspectives is critical. So, what makes my conversation on the above topic, worth reading about? If I may, I want to use my experience of being embedded in this issue for the last ten years or so as a way of reflecting back what I see as being the continually unanswered question on one of the key light pollution conundrums; that of the quality versus quantity conversation. On the latter (quantity), the aspects of a light impact assessment are well defined and well understood. If you follow guidance’s such as CIE 150, PLG04 and the ILP’s GN01/21, then ‘proving’ or ‘disproving’ the suitability of an exterior lighting schemes’ adherence to these guidance’s is pretty straightforward (if you know what you are doing!) [1]. On the former (quality) however, again

and again my colleagues and I have experienced the same ‘push back’ from the general public, objecting to many different types of developments and their associated lighting at night. These objections are not based on the numbers that are presented to them (in a variety of either complex or straightforward formats) but from what I consider a ‘quality’ perspective. In other words, it is the fact that they are going to ‘see’ the new lit environment at night which, in many cases, are areas presently unlit.

VISUAL IMPACT

The ‘No Eton new town’ poster image on page 16 is from a pressure group near me. It has popped up recently all over the town I live in and, I think, highlights the issue nicely. Those opposing the scheme may accept the quantitative aspects of the lighting at night, that it won’t create light spill, glare or www.theilp.org.uk

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Light pollution skyglow, but they don’t accept the visual ‘impact’ such a lighting scheme will have on the general, existing, lit impression. The term, introduced to the lighting world by Karl Jones in this magazine in February 2019 from the LVIA (landscape and visual impact assessment) realm, is that of ‘landscape value’ or, as some have described it, ‘the character of the night sky’ [2]. In his article, Karl helpfully emphasised the need to consider lighting in this ‘quality’ way and, in my view, really hammered out the need to ‘take back’ the night-time lit environment. As Karl explained: ‘The majority of populated areas have a night-time character that lies somewhere between the darkest of skies to the brightly lit city. This absence of dark skies removes a key component of our natural environment and part of a healthy, enjoyable uplifting landscape that forms our habitat. ‘It is a natural and cultural asset worthy of preservation where it is, and restoration where it is not (like other forms of pollution). So ahead lies the opportunity, through interdisciplinary working between planning professionals, landscape professionals and lighting professionals to work together to reverse adverse effects, restore darker night

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NEW TOWN

The light pollution campaign poster that has been running near where Dominic Meyrick lives. Below: the ILP’s PLG04 guidance

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skies and improving environmental quality.’ The italic additions are mine. Often, when talking about light pollution, one might believe that the issue is one of macro scale, for example the closeness of lighting to a dark skies park or AONB (area of outstanding natural beauty). But Karl helpfully points out that this is not just about the large-scale, wilder, landscapes but also those at the micro scale, not just our rural landscape but in our villages, towns and city conurbation. An example of taking the micro level fight to the source is Brighton resident Steve Geliot’s ‘Put that Light Out’ campaign to get his local football stadium lighting turned down. He challenged Brighton and Hove FC to consider this very issue, the character of the night sky from what he coined ‘a volcano of light’ from the stadium at night, just to be answered by a commercial justification for the lighting being on in the winter from the club, again something highlighted in Lighting Journal [3]. Steve’s frustration, and those of the thousands who signed his petition, is that they can clearly see the impact of this obtrusive light and light pollution on their enjoyment of their localised night sky. However, as it stands, as long as the quantitative numbers stack up, then the undoubted qualitative impact of such lighting on a local community can be ignored.

SUBJECTIVE COMPLEXITIES

This is obviously not how it should be. How can one organisation be allowed to ‘impact’ such a large, local, community without some sort of check and balance? How do we qualify this impact and judge its significance? If we can do it during the day (the LVIA process) why can’t we do it at night? Where is the official guidance which allows such lit impressions to be challenged and, if appropriate, switched off? Of course, the issue of opening the can of worms that is ‘qualitative assessments’ of light at night is that ‘beauty is in the eye of the beholder’ or, as I was told many years ago when I was young lighting designer, ‘one person’s glare is another person’s sparkle’! Quality and its definition may, it seems, be

just too hard to tackle as ‘subjectivity’ will play such a central role in any final guidance. But tackle it we must, just as it has been by the Landscape Institute’s guidance on LVIA’s, ‘Guidelines for Landscape and Visual Impact Assessment (GLVIA3)’ [4]. My team’s recent, photometrically accu rate, CGIs for the relighting of the Clifton Suspension Bridge in Bristol follows some of the principles from the LI’s guidance on photomontages, so it is possible. This project was discussed at the ILP Professional Light ing Summit last month and will be reported on within Lighting Journal in a future edition. In my view, light pollution, as both Karl and the All-Party Parliamentary Group for Dark Skies report allude to, should be considered in the same way that we might consider a polluted river [5].

BENCHMARKING LIGHTING AT NIGHT

The river will have had an existing baseline state prior to the pollution. There will be specific targets to ensure that pollutants are kept to a minimum and, if those pollutants are exceeded, there are consequences for those who have created the pollution and a raft of measures in order to ensure that the river is taken back to its pre polluted state. Just like with lighting, human consumption and ecological damage are common conversation in river conservation. But water clarity is also a measure; the poorer the ‘clarity’ the more likely the river is to be polluted. This is where my river analogy slightly breaks down. Whereas with rivers the amounts of pollutants can be clearly linked to pollution and adverse impacts on both humans and wildlife, light pollution continues to be a difficult impact to nail down, especially when it comes to the quality assessment. I would argue, however, that just as we instinctively understand when we see a clear running stream that this water must be intrinsically uncontaminated, although more difficult to define, a ‘volcano’ of light must, in some way that we perhaps cannot yet envisage, be contaminating both ourselves and the ecosystem.

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Light pollution Going back to rivers, we know what this clarity looks like for water. In the same way with a dark sky we know what this should look like. It’s now time to set this as the benchmark for what we should expect from lighting at night from both new and existing lighting schemes. Here, however, I must add a note of caution. In the last few years we have all heard of the terrible attacks on women that have happened at night and we know that good-quality lighting can help, in part at least, to make people feel secure in the night scene and therefore encourage ‘community surveillance’. This was discussed in some detail in last month’s edition of Lighting Journal and, of course, highlighted last autumn in Dr Jemima Unwin and Professor Peter Raynham’s article ‘Safe as streets?’. [6] The reason I bring this up now is the idea of quality of light should also apply to the micro level of our street lighting. I was recently shocked in an encounter with another lighting professional who I was challenging on the level of light required for a particular thoroughfare. I was arguing for a high level while he was arguing for a low one on energy grounds. I was more concerned that, if the thoroughfare was perceived as being ‘underlit’ by potential users, then it’s general use would decline; in time it might become a ‘no go’ area for some. I did get rather irritated as he told me that he had seen another thoroughfare in the local area lit to the lower lighting level that he was advocating; telling me that, in his opinion, it was adequately lit! As if his personal opinion (or mine for that matter!) was the thing to define such an issue – please believe me when I say I have limited understanding of what it feels like to feel vulnerable out at night. I do know, however, what science tells us, that everybody is intrinsically afraid of the dark, and therefore good-quality (to be defined) lighting must also intrinsically be a positive.

USE OF SATELLITE IMAGERY

Taking all these strands together, I believe it is now time for us to (perhaps even literally!) take a ‘snapshot’ of just how bad things are at the moment so that we can assess, from above, the poor nature of our current lighting so that the issue of quality can be pushed up the agenda. This is where the recent increase in high-quality, night-time satellite imagery is invaluable. For example, Veritas Imagery Services Limited (https://www.veritasimagery.co.uk/lightingstreetsfromspaceforless) provides innovative satellite data, including the Jilin-1 night-time imagery. Working with NOKTOsat and employing www.theilp.org.uk

Satellite images from Veritas Imagery Services showing (top) London at night and (above) a super resolution night-time image. Such imagery can allow for more accurate measurement of light spill/skyglow and therefore light pollution

specialist processing techniques, they can improve the resolution of the imagery from a native 1m to a 50cm pixel size. Additionally, the signal-to-noise ratio of the imagery can be improved, which allows more accurate measure of light spill/skyglow and therefore light pollution. With this technology they can even identify individual streetlamps and differentiate between LED and HPS lamps.

CONCLUSIONS

Quality is an aspiration that we all understand. When looking for a piece of handmade furniture, the feel of material, an architectural finish and light quality (a phrase I often use when I’m talking to my clients), ‘quality’ is intrinsically understood by those who have encountered it in the past in all manner of ways.

I wonder if those who experienced the night before the high levels of light pollution we are now so used to were around today would understand that a certain quality of the night had been lost, albeit at the justifiable and important desire to make our streets safer at night. Let’s forget the past however, as we are where we are, and push towards a set of guidances that don’t just cover new lighting schemes but also aim to sort out our poor, existing, exterior lighting stock. So that, just like a polluted river, we can get back to clarity and experience a quality, as well as quantity-appropriate, night-time lit environment.

Dominic Meyrick is director at Hoare Lea and founder of Hoare Lea’s Lighting Group

[1] CIE 150 ‘Guide on the Limitation of the Effects of Obtrusive Light’ (2017) https://standards.globalspec.com/std/10188897/cie-150; PLG04 (2013) Guidance on undertaking environmental lighting impact assessments, The ILP, https://theilp.org.uk/publication/plg04-guidance-on-undertaking-environmental-lighting-impact-assessments/; Guidance Note 01 The reduction of obtrusive light 2021, The ILP, https://theilp.org.uk/publication/guidance-note-1-for-the-reduction-of-obtrusive-light-2021/ [2] ‘Assessing nightscapes’, Lighting Journal, February 2019, vol 84 no 2 [3] ‘Own goal?’, Lighting Journal, January 2021, vol 86, no 1 [4] ‘Guidelines for Landscape and Visual Impact Assessment’, Landscape Institute, https://www. landscapeinstitute.org/blog/glvia-the-third/ [5] ‘Ten dark skies policies for the government’, All-Party Parliamentary Group for Dark Skies, https://appgdarkskies.co.uk/policy-plan [6] ‘Safe as streets?’, Lighting Journal, September 2021, vol 86, no 8

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he Isle of Man is home to 26 registered ‘Dark Sky Discovery’ sites. Indeed, the island’s star-gazing potential is heavily promoted as a tourist attraction by Visit Isle of Man, including, on a clear night, being able to see the Orion Nebula, the Milky Way, the Great Andromeda Galaxy and even (sometimes) the Northern Lights. Its stands to reason, therefore, that the last thing Isle of Man Public Transport would want is bright pools of artificial light dotting this unspoiled landscape as people wait for buses. Yet, at the same time, the island’s bus network is largely rural, with many stops very isolated, potentially creating issues around both visibility and safety for travellers at night. As Adrian Dennis, managing director of Marlec Engineering, explains: ‘The Isle of Man is a beautiful place but the majority of the island is very rural. There are multiple rural stops with no street lighting. One of the issues Isle of Man Public Transport was having was that people would be at a bus stop but then buses would be driving straight past because the driver simply couldn’t see them. ‘Then, obviously, there is a safety issue, especially around young women waiting at bus shelters at night. It is about passenger safety, it is about reliability, the service and making the community feel more comfortable,’ he tells Lighting Journal. ‘It’ in this context is the ongoing roll out by Marlec of solar-powered lighting for the island’s bus stops, in a project that began earlier this year and is due to be ongoing for the next 12 months. ‘We’re minimising the amount of light but at the same time generating a very comfortable environment for the traveller in the shelter,’ Adrian says.

PIR SENSOR AND CONTROL

A Spectra solar panel located on the top of the shelter generates a minimum of 100 lux, rising to 300 lux at the bench level, with lighting evenly spread. A plug-and-play install has meant no

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Dark skies and solar

The new solar-power illuminated Isle of Man bus stops

on-site wiring. The rest of the ‘kit’ then includes a vandal-proof LED light with PIR sensor, cables and connectors, battery box and AGM [absorbent glass mat] batteries. On top of this, and key to the whole scheme, is a fully programmable lighting controller, the Marlec LC101. ‘When someone walks into the shelter, it triggers the PIR and that brings the light on,’ explains Adrian Dennis. ‘The controller then allows the client to choose whether they want the light to go off when it senses no one is there or, alternatively, just to dim it. Isle of Man Public Transport has gone for the dimming option. So, once the customer has left, the light dims back down to about 20%. ‘We guarantee 365-day solar illumination. We have software that calculates the geographical position, the angle of the solar panel and can tell us exactly how much power will be generated which means, in turn, that we can create enough power from the system to guarantee that it will not fail in the winter. ‘The software uses algorithms that allow us to work out the amount of sunlight the system is going to get, according to where it is geographically. It also takes into account the angle of the solar panel, which obviously also affects the power. We know from designing the system exactly how much power you’re going to need in the geographical location that has been chosen; and then the lighting controller manages the batteries, makes sure there is no discharge; it tracks and records all the data,’ Adrian adds. www.theilp.org.uk

PACE OF CHANGE

Marlec has been around since 1978, making it one of the oldest renewable energy businesses in the UK, installing its first solar-powered bus shelter lighting scheme in Scotland in 2001. For Adrian Dennis, the speed of technological change in that time has been immense.

SOLAR FOR SELLAFIELD

eparate to Isle of Man – and in fact about as far removed from rural island bus stops as you can get – Marlec has recently installed solar-powered lighting in a scheme for Calder Hall Power Station, better known as Sellafield. Around half a dozen of the company’s ‘Green Column’ wind and solar lighting columns have been installed at the

‘The level of power we can generate and the level of light output we can achieve now is massively more than it was in the early 2000s. The reliability has improved, too, because the system is using less power in the first place,’ he says. ‘Isle of Man residents are, naturally, very precious about their dark sky-compliant status. When the lights are dimmed, you’re left with a very low ambient light, which will show the traveller that there is nobody lurking in the shelter when they approach it but which doesn’t compromise the dark skies of the island. ‘The feedback we have had so far, from the client, the installer and the users, has been absolutely glowing,’ Adrian adds. nuclear power plant. The columns include an FM910-4 wind turbine with a 140W solar panel charging two batteries and, again, the LC101 controller being used in the Isle of Man. ‘The reason why they did it is that, because it’s a nuclear power station, trenching and digging out soil really isn’t an option, because of the difficulty of disposing of it,’ explains Adrian Dennis. ‘In the winter, 70% of the power is generated by the wind turbine and in the summer 70% by the solar panel. That means it is absolutely reliable all year round. ‘The key message here for lighting professionals, we’d argue, is that, when you’re faced with the challenge of not having, or not being able to have, on-grid power at a location, do consider solar. ‘The advances we’ve seen in solar and wind technology and control in recent years means that locations that were previously considered impossible to illuminate may now be able to be so through solar-powered and wind-powered lighting,’ he adds.

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PARK EXCHANGE

et above the tracks of Liverpool Street Station, Exchange Square is a tranquil new ‘urban park’ located in the heart of central London. In designing the lighting scheme for the after-dark experience of the space, lighting design studio Speirs Major has created what the practice describes as ‘a warmly evocative’ blend of light and darkness. A range of multi-level topography and curved landscape elements are highlighted, all the while supporting wayfinding and ease of access for all demographics using the space. The intention is for the lighting design to enhance the park’s character as natural light fades each day, revealing texture, colour and movement in the foliage, stone, wood and water of the space. A key project from the Broadgate Public Realm Framework for British Land, the park is designed to be a haven of wellbeing and open access within an otherwise busy, bustling urban environment.

SOCIAL INTERACTION

Reflecting this, Speirs Major opted to keep much of the lighting at a low height, to encourage an intimate ambience that easier social interaction.

A balance of light and shadow reveals the unique topography and creates an inviting ambience after dark. Right: ripples and patterns created by the interaction of light and water. All photographs by Spiers Major and James Newton

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Public realm lighting

Top: both images showing tuneable white light shifts with the seasons in response to the changing natural palette. Above: lowheight, indirect lighting encourages people to dwell and chat

As the practice argues: ‘At the perimeter, light for circulation is provided from columns at a human scale while low-level bollards reveal the internal routes and low-level planting. ‘Across the multi-level site, light is beautifully integrated within landscape elements to improve legibility and contribute to a warm ambience. An even wash reveals the dark metal vertical face of the curving “ribbon” retaining wall that runs through the park, while the slatted timber benches that sit up above the wall are softly lit from beneath,’ it adds. Slots cut into the faces of the terrazzo step seating and water feature also contain hidden light sources, creating patterns and ever-changing ripples. Two rows of mature silver birch trees are also lit from within ‘to create shifting patterns of rustling foliage and branches on the ground’, says Speirs Major.

SEASONAL COLOUR CHANGE

The colour can be adjusted tonally with each season, with warmer white light enhancing the richer autumn colours and bare wooden branches in winter and then fresher cooler

white light celebrating the green buds and leaves of spring and summer. Speirs Major associate partner Benz Roos says of the scheme: ‘Our lighting design focuses on enhancing the sensory aspects of the park design, including the natural textures, and changing colours of the planting and the movement of wind and water. ‘By playing up these elements, we aimed to encourage people to slow down, take note of their beautiful surroundings, and enjoy a moment of serenity in the city,’ he adds.

PROJECT CREDITS

Client: British Land Architect, urban designer and landscape architect: DSDHA Public realm framework: DSDHA Horticulture: FFLO Project manager: Stace Project Management Structural engineer: Arup M&E engineer: Arup Lighting designer: Speirs Major Planning consultant: DP9 Cost consultant: Gardiner & Theobald Ecology consultant: Greengage www.theilp.org.uk

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Lighting and wellbeing It is vital all lighting professionals understand how light, especially LED, affects wellbeing and how, as an industry and individuals, we can all embrace more sustainable circular economy approaches By Lauren Lever

ight, we all know, is an intrinsic part of our lives and the exposure to natural and artificial lighting can affect this; impacting on our health and wellbeing. This includes the different environments we are subjected to daily; from our homes through to public areas and workplaces (and now our home-offices since the pandemic). Lighting can affect our sleep and productivity throughout the day as well as our emotions and feelings. Looking at our emotions and the role that lighting can play, bright light can help us feel more decisive, safe or comfortable. However, it is worth emphasising that this can also have a negative impact and cause anxiety. Here are some of the effects that are regularly reported because of poor lighting within the workplace:

• Eye strains, fatigue, headaches and reduced productivity. • Different wavelengths in the visible spectrum affecting us in different ways. Blue light, we know, can increase productivity but, as has also become clear (and been much discussed in the past decade) this can have a significant impact on our circadian rhythms. The initial lighting response is to tell us that it is time to wake up or when it is time for bed. Too much or too little will affect our wellbeing.

IMPACT ON WELLBEING

Through my research looking into lighting and wellbeing, I came across a recent campaign by NICEIC’s 2021 ‘Watt’s the Matter?’ report which, to me, included some shocking statistics [1]. These included that:

• 65% of Britons say that winter is negatively impacting their wellbeing • One in four feel depressed and moody • 52% say that poor lighting makes them feel more stressed and negatively impacts libido and concentration • 66% admit that their mental health has deteriorated during the pandemic • One in four say that their home-office lighting is either too dark or too light • 52% regularly suffer from headaches, migraines or eye strain when working • Almost half (47%) of homeworkers bought a new desk, laptop, screens or printers but only 9% upgraded their lighting Can lighting, therefore, improve a person’s wellbeing? The simple answer is very much ‘YES!’. Research from Lighting Europe has found evidence that LED lamps provide an array of health benefits, as LED light closely mirrors the spectral wave of natural daylight [2]. Fluorescent light, by comparison, emits spikes in colour that can be disorienting to the brain. Thankfully, as all lighting professionals known only too well, the lighting world has for some time now been steering to the prominent use of LEDs rather than more

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Lighting and wellbeing traditional (and slightly older) technology with fluorescents and halogens. Some of the reported health benefits using LED lamps are increased productivity, improved concentration and energy, lower stress and anxiety, increased motivation and ‘mood support’ in wellness and dining areas.

RETURN ON POSITIVITY

We have all experienced the relief of leaving a fluorescent or over-lit room and stepping outside, back out into the natural sunlight. The spectral output of fluorescent lights is to blame for this drastic physiological response. In winter months, many people are known to be diagnosed with seasonal affective disorder (SAD), while many more self-diagnose their yearly ‘winter blues’ [3]. LED lighting is used in the treatment of SAD and has also been shown to improve mood, decrease stress, and create a generally healthier and happier environment – all because the lighting spectrum mimics that of natural sunlight. Staples (the stationary office company) recently created a giant SAD lighting installation in London, named ‘The Light Station’, which took place at Southwark Bridge tunnel. The installation encouraged light-deprived commuters to stop and get their fix of mood-enhancing light during their working day. This will probably resonate with many of us, especially in the winter months when we get up in the dark to go to work and come home in the dark. A few more statistics, to throw out there: • 40% of office workers are struggling to work in poor lighting every day. • 32% said that better lighting would make them happier at work.

HUMAN-CENTRIC LIGHTING

We have all heard of ‘human-centric lighting’ (HCL) and how it centres on the relationship between light and levels of wellbeing, where the effects on circadian rhythms, mental, physical, and biological changes can be correlated to specific light conditions. To my mind as a lighting designer, there are five key ways in which HCL acts on and adjusts to our wellbeing: 1. Intensity. Like sunlight, HCL fades up gradually when we wake up and shines bright during the day, gradually less bright as we come into the evening. 2. Distribution. In other words, where is the light coming from? Is it the ceiling, the walls, elsewhere? We need to consider a comfortable environment without glare, dark areas or shadowing. 3. Colour. HCL changes in colour (‘spectrum content’) during the day; www.theilp.org.uk

Top: Staples’ ‘The Light Station’ SAD installation in London. Above: ‘The Living Lab’ by architect DaeWha Kang, which is testing the impact of biophilic design on wellness

generally delivering more blue light during the daytime and getting warmer in the evening. Tuneable white fittings can mimic this colour variation. 4. Timing. Light colour changes according to the time of day. Sensors can detect the lighting levels outside and adjust the indoor environment to match. 5. Duration. How long we are exposed to light has an impact on us. Light exposure at night-time can affect our sleep quality, which is why it is important our lighting levels should decrease into the evening.

CIRCADIAN RHYTHMS AND COLOUR TEMPERATURE

Looking further into circadian rhythms and the importance of colour temperature, I recently discovered a workplace project called ‘The Living Lab’ designed by architect DaeWha Kang, who wanted to test the impact of biophilic design on employee wellness. Working with guidance from Dr Marcella Ucci, the director of the University College of London MSc in Health, Wellbeing and

Sustainable buildings, DaeWha Kang Design undertook an intensive eight-week pilot study of employees. A cohort of eight employees spent four weeks in the Living Lab and four weeks in a control area. They recorded their emotions, physical comfort and feelings of productivity through a series of daily, weekly and monthly surveys/interviews. The space designed was an immersive bamboo workspace where everything was designed in detail, from the lighting, down to all the interior surfaces. They created circadian lighting that followed the body’s natural desire for cooler light in the day and warmer light in the evening, as well as incorporated living plants and nature into the desks themselves. A few key findings showed that the employees in the workspace felt: • 38% felt more calm, relaxed, laid-back and at ease. • 10-20% experienced higher levels of perceived productivity, based on concentration, problem-solving, quantity, and quality of work.

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Lighting and wellbeing • 81% felt more satisfied with their overall indoor environment than the ordinary office space designed by others.

THE PLANET’S WELLBEING

I was recently astonished to find out that 83% of the world’s population is living under light-polluted skies. The International Dark-Sky Association defines light pollution as: ‘The inappropriate or excessive use of artificial light’ [4]. Though it may not be as immediately toxic as a chemical spill, light pollution is now among the most chronic environmental perturbations on Earth. In some extremely light-polluted places, such as tiny countries like Singapore, Kuwait and San Marino, the sky is so filled with light that 99.5% of all stars that people can see are completely invisible without optic aid. By comparison, the inhabitants of Chad, the Central African Republic and Madagascar are the least affected by light pollution and the band of our home galaxy ‘The Milky Way’ is clearly visible at night. The city of Las Vegas, again, dumps an enormous amount of light into its environment, turning the night sky above into a seemingly blank canvas. Traces of artificial light pollution in the sky can persist from the city centre out to over 40 miles away. For me, statistics like that leave me speechless. Much of the conversation around the switch to new LED lamps has been – and still is – all about energy savings. Whilst we do see significantly reduced

energy costs, all these inexpensive white LEDs (often found in streetlights) emit wavelengths of blue light that bounce around the atmosphere, potentially increasing skyglow. These wavelengths are also known to affect animals and humans – more dramatically than lights emitting in other parts of the spectrum, hence the value of the ILP’s guidance on lighting and bats and mitigating obtrusive light [5]. We all should be looking to move (at pace) towards dimmer, warmer and shielded LEDs as standard, and especially within public realm lighting. This, I firmly believe, could be hugely beneficial for both dark skies as well as energy budgets. After all, as John Barentine from the International Dark-Sky Association has put it: ‘Done well, LEDs could save the planet, in the sense of reining in light pollution. Done carelessly, it could be devastating.’

LIGHTING AND THE CIRCULAR ECONOMY

With the latest guidance from CIBSE that was released the end of 2021 on ‘creating a circular economy in the lighting industry’ TM66:2021, as lighting professionals we now have three key aspects that can help us create a better lighting future [6]. 1)

REDUCE: • Use the fewest and most energy-efficient fittings for your project. • Use best-quality fittings to match the

clients budget; long lamp life and therefore do not need to be replaced as frequently. • Maximise lighting control. Dimming reduces the energy output and with automatic sensors to reduce the buildings overall energy consumption. • Reduce the environmental footprint of products. Specifying locally sourced manufacturers reducing carbon footprint due to less transportation. • Use fittings with a minimum plastic content. 2)

REUSE: • Use an LED light source or the driver might fail. Ensure original components are replaceable or able to be upgraded in the future. • Reuse old fittings. Companies such as Skinflint provide product circularity.

RECYCLE: • Consider a product’s whole lifecycle, especially end of life. Recycling all the original materials as much as possible instead of throwing away. • Understand the UK WEEE Regulations (The Waste Electronic, Electrical, Equipment recycling scheme).

Finally, there are many manufacturers and suppliers out there that are leading the way with the importance of circular economy, such as Orluna, Lucent, Mike Stoane Lighting, Signify and The Green Light Alliance (to name but a few). Hopefully many more will follow in their lighting footsteps. Indeed, for the future of our health and wellbeing and the future of our planet, it is imperative they do.

Lauren Lever is founder of Minoux Lighting Design

FIND OUT MORE

Turn to page 56 to find out more about Lauren Lever’s ‘journey’ in lighting, and how light and the industry continues to inspire her. Light pollution over Las Vegas can sometimes be seen as far as 40 miles away [1] ‘Watts the matter? – stark new research shows brits mental wellbeing “all-time low” on blue monday amid national lockdown’, NICEIC, https://www.niceic.com/media/watts-the-matter [2] ‘Innovations in lighting technology impact more than efficiency’, AIA, https://www.aia.org/ articles/20866-innovations-in-lighting-technology-impact-mo [3] ‘Overview - Seasonal affective disorder (SAD)’, NHS, https://www.nhs.uk/mental-health/conditions/seasonal-affective-disorder-sad/overview/ [4] ‘Light pollution’, The International Dark-Sky Association, https://www. darksky.org/light-pollution/ [5] ‘GN08 Bats and artificial lighting in the UK: bats and the built environment’, (2008), The ILP with The Bat Conservation Trust, https://theilp.org.uk/publication/guidance-note-8-bats-and-artificial-lighting/ [6] ‘TM66 – Creating a circular economy in the lighting industry’, Cibse, November 2021, https://www.cibse.org/news-and-policy/november-2021/tm66-creating-a-circular-economy-in-the-lighting

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As a retired lighting designer and former editor of Lighting Journal, Carl Gardner thought he understood circadian science. But a short spell in hospital brought him up against the longlasting, negative effects of disturbing the body clock – and forced him to ask some serious questions By Carl Gardner

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Lighting and wellbeing

recently spent four days and nights in hospital, following an operation on my knee. Considering our challenging times and current pressure on the NHS, the staff were wonderful and my treatment excellent. I even had a separate en suite hospital room all to myself. But other aspects of my stay – especially the lighting aspects – were less beneficial. The first thing to say is that daylight ingress into the room was minimal: the original space had two tall windows looking onto a built-over courtyard. However, in typically pragmatic fashion the services engineers had unthinkingly located the plumbing services along the outside wall of the room. So the occasionally used bathroom was located on the outside wall, blocking off one of the two precious windows. Tucked round the corner in the widest rear part of the room, the bedbound patient could only see a narrow sliver of the remaining window. We have long known that hospital patients recover more quickly if they have an exterior view from their bed and access to daylight. An additional benefit is that direct sunlight is an excellent bacteria-killing agent. Even Florence Nightingale intrinsically understood these principles, as did the creators of the TB sanatoria built in the nineteenth century, pioneered by the brilliant Nobel prize-winner Niels Finsen, who also discovered light-based treatments for smallpox and lupus. However, the accepted wisdom that natural lighting and subsequent good sleep is essential for optimum health and recovery had clearly been forgotten in my hospital, and the NHS in general, it would seem. My first night was spent in a post-anaesthetic haze. But on the second day I sat in bed reading for most of the time, eschewing the three bright, ‘cool’ prismatic LED panels in the ceiling in favour of a small pull-down LED spotlight over the bed. On the second night I slept very badly, spending much of the night awake; getting to sleep initially was difficult and the period from midnight until 3am was a no-sleep zone… at the end of night, in the dawn hours, I probably snatched 2.5 hours sleep. This night-time period was also constantly interrupted at four-hourly intervals by nurses checking on my blood pressure… and the room was not entirely dark, with light ingress from the courtyard and the door observation window.

the missing daylight, I switched them on from 7am until 3pm. This was a regime I continued for the next three days. Unfortunately, due to my leg being strapped rigidly straight, it was impossible for me to approach the one daylit window. However, there was little or no improvement in my sleep patterns over the next two nights; getting to sleep was difficult, despite yawning continually for many minutes beforehand; I found it impossible to sleep more than 90 minutes at a time and spent long periods awake. Again, the worst period was midnight to 3am. Whatever the ceiling lights were doing, they weren’t having any perceptible effect on my circadian system. Perhaps the cold LED lighting had the wrong spectrum, I speculated… or perhaps it simply put out too few lux to be effective, despite its apparently glary quality. On the fourth day after my surgery I arrived back in my comfortable home environment in the late afternoon. Our bedroom has excellent, full-length light-excluding curtains to maintain a virtually dark sleeping environment… and there would be no disturbances during the night. Surely things would swiftly improve? Wisely, it turns out, my wife still decided to sleep in the second bedroom in case my restlessness kept her awake too. There was in fact no significant improvement in my sleep patterns that night – again it took a long time to get to sleep and I couldn’t sleep for longer than 90 minutes, with long periods of wakefulness in between.

BACK TO SUNLIGHT

One of the main features of our apartment is that the three bedrooms have large south-facing windows. So the following day I took advantage of these – and the mainly clement weather -- to sit in full sun, or with a wide view of the bright daytime sky, for three or four hours… mainly in the morning. My desk in the second bedroom is

fortuitously located in front of the window. Once again, however, there was little immediate improvement in my sleep. How long would the ‘reset’ process take I asked myself? The following day I decided that perhaps I should open the window and access the daylight and sunlight without any intervening glass, which I did… again for three or four hours. In the immediate term however, my sleep still didn’t improve. Fortunately, the warm, sunny weather was in my favour in the coming week, so I followed the same morning regime for the next three days. Things started to improve seven days after the surgery, when I managed to get a couple of hours sleep before midnight; and another two to three hours after 3am. As ever, the big problem was getting back to sleep after any type of interruption (for example a toilet visit). Two nights later and my sleep started to normalise – I fell asleep immediately at around 10pm and even on waking during the night, I was able to get back to sleep in a relatively short period of time. For the first time in nine nights, I slept for some seven-plus hours. I was almost back to a healthy sleep pattern, but it had taken more than a week.

QUESTIONS, QUESTIONS

This unexpectedly tortuous experience raised several fundamental questions. Firstly, over and above patients in most UK hospitals, I reflected on how poorly older people in care homes are served by their lit environment, where they are generally housed under low level artificial lighting 24/7. Even in the summer months many homes don’t allow them outside into daylight for fear of them falling. Could such regimes be contributing to the deteriorating mental and physical health of residents? You don’t need to be old or sick, either. What about office (and other indoor) workers in the winter months? They often travel

SUBSTITUTE DAYLIGHT?

At this point my prior knowledge of the physiological effects of lighting kicked in; I was obviously not getting enough light during the day to reset my body-clock. Thinking perhaps that the ugly prismatic LED ceiling panels might be intended as substitutes for www.theilp.org.uk

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Lighting and wellbeing

to their workplace in the dark; they work under poor quality fluorescent /LED lighting during the day; many don’t leave the office at lunchtime (paradoxically, smokers may be at an advantage here!) and they travel home in the dark after work. How does their inevitable poor sleep affect their health and working efficiency? And why aren’t these crucial issues, many of which were covered in the pages of Lighting Journal both recently and a decade or more ago still not more widely understood or acted on? Paradoxically, we have long known intuitively that substantial exposure to daylight is a crucial determinant of sound sleep at night and optimum bodily health – and can also aid faster recovery from illness and injury. There have been various effective applications of this broad knowledge over the last two centuries, from Florence Nightingale’s hospital wards through to Victorian daylight sanitoria. However, a reliable scientific framework for this ‘common sense’ is required in order to systematically design a range of interior environments (offices, workplaces, homes, hospitals, schools and so on) and their associated lighting systems, which precisely mimic the naturally lit environment of the external world and consistently maintain good sleep and user health.

SEEKING ENLIGHTENMENT

For some insight and clarification on the latest state of our knowledge of circadian science – and how it can contribute to healthier interior spaces – I turned to my friend and former lighting design colleague, Karen van Creveld, who is currently undertaking her doctorate at the Bartlett School of Architecture, UCL. I asked her about her research. ‘I am attempting to understand the impact of various architectural design solutions on the amount of daylight people are www.theilp.org.uk

exposed to within working environments. We know that to support good health we need regular daily exposure to high levels of (day)light as well as complete darkness at the correct times, to entrain our endogenous circadian system to the solar day,’ Karen explained to me. ‘Alongside this, we also know that modern society spends around 90% of daytime hours indoors, where the quantity and quality of daylight is not assured. In many ways, our indoor built environments have become the moderators of our daylight exposure, influencing the quality and quantity of daylight received. ‘To date, very few studies have measured our actual daylight “dose”’, Karen continued, ‘and not in terms of the impact on our health and wellbeing. This is partly due to the difficulties associated with measuring daylight in the field, namely the paucity of reliable wearable sensors that can record actual daylight received at the eye within real environments as opposed to laboratory studies. ‘To address this issue, I hope to be using a novel wearable sensor recently developed by a team at Lucerne School of Engineering and Architecture, University of Applied Sciences and Arts (Hochschule Luzern) in the field,’ she added.

ASPECTS OF LIGHT

And then, which aspects of light are we actually measuring? Are some parts of the spectrum more important than others, I asked Karen? ‘Traditional photometry describes the impact of light on our visual system only – photopic and scotopic — involving the well-understood cones and rods in the retina,’ Karen explained. ‘However, we now know that our nonvisual system responds to light in a different way. In order to sustain a regular, healthy

sleep-wake pattern in tune with the day/ night cycle, the human circadian system is primarily dependant on light entering the eye and being absorbed by a different class of photoreceptors, called intrinsically-photosensitive retinal ganglion cells (ipRGCs) which were only discovered some 20 years ago,’ she elaborated. ‘These receptors contain melanopsin and exhibit peak sensitivity to electromagnetic radiation within the blue portion of the spectrum at around 480nm. This sensitivity is distinct from the peak sensitivity of the three cones and rods that enable vision. Our current understanding is that signals from rods and cones also contribute to non-visual functioning, but these contributions will differ depending on factors such as “exposure duration, light intensity, and perhaps time of day and/or prior light exposure”,’ Karen added [1]. But, I asked, how do we quantify the necessary (minimum) exposure to this part of the spectrum to successfully entrain the sleep-wake cycle across 24 hours? ‘Despite ongoing scientific exploration, there is no simple answer to this question yet, as numerous other lifestyle and/or intrinsic aspects (such as exercise, food intake, age and so on) that also influence circadian entrainment,’ Karen pointed out. Acknowledging the role of light in impacting human wellbeing, health and functioning beyond vision, the CIE in 2018 published the international standard CIE S 026/E:2018 [2]. To support the use of this standard, it also provided an interactive toolbox and user guide S026 that enables the user to define the response of each of the five known retinal photoreceptors to a given light source based on its spectral content [3]. As described, the melanopic content is relevant when considering circadian functioning. One of the metrics included in this toolbox is ‘Melanopic Equivalent Daylight (D65) Illuminance’ (M-EDI), which defines how many lux of daylight are required to obtain the same melanopic response as the given test source. This metric has been adopted by the WELL Building Standard V2 together with threshold light levels understood to provide

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Lighting and wellbeing A LONE SUCCESS?

an environment that promotes ‘visual, mental and biological health’. So a start has been made on a framework of measurement for ‘circadian friendly’ workplace interior lighting. However, the science informing these threshold lighting levels is ongoing and much work still needs to be done [4].

RECOVERY TIME?

One other issue raised by my own experience is the question of what is the precise length of time required in good daylight conditions to reset a disrupted circadian system? Is there any correlation between the disruption period and the ‘recovery’ period, for example? The rule of thumb for an associated problem, ‘jet-lag’ after long-haul flights, is that it takes approximately one full day of recovery for every time-zone travelled… but it is not yet known if there is any equivalent rule for daylight-deprived disruption. There have been some false starts. In recent years, the lighting industry has developed and marketed many ‘tuneable white lighting products’ suggesting that they support our health and wellbeing because they claim to provide ‘circadian’ lighting or ‘human-centric’ lighting. ‘This thinking has, in many cases, been based on very oversimplified understanding of the science… and took into account only the well-understood visual system and its associated spectrum using metrics such as CCT,’ Karen van Creveld explained to me. As I myself found, the cold white luminaires in hospital did not seem to rectify my disrupted circadian system. ‘The circadian system is an exquisitely and finely tuned process — and artificial light delivered in “roughly” the blue area of the spectrum may not be providing the actual wavelengths that are needed to support our biological needs,’ Karen warned. In recent years too, we have seen a drive towards cooler-temperature artificial light in a number in several contexts – street lighting, floodlighting and in daytime workplaces. Partly this has been installed on energy efficiency grounds, as cooler LEDs are certainly more energy efficient than warmer LED sources. In interiors, however, this adoption of cool lighting has, misguidedly, often been adopted by some managers and building owners to maintain ‘staff alertness’ and to address our circadian needs... an intention that may be flawed, as we have already explained. ‘However, the use of this type of artificial lighting at night (and after mid-afternoon sunset in winter) has absolutely no rationale… and is detrimental to our circadian health, as well as, in the case of street lighting, our fauna and flora [5]. The impact of www.theilp.org.uk

“blue” streetlights polluting residential bedrooms and hence disrupting sleep ought to be a topic for greater investigation and concern,’ Karen pointed out. It should be added that there are also many confounding variables that can affect the circadian system. These can include, for example, age (younger people are less liable to circadian disruption that older subjects). Age-related deterioration in the eye and the yellowing of the lens can also reduce the effect the uptake of light in the blue area of the spectrum. Then there is the quantity, spectrum, distribution, timing, prior history and duration of light; and issues such as exercise and diet can also play a part. Scientific explorations of these impacts are difficult to undertake for obvious reasons.

UNDERSTANDING THE EFFECTS OF POOR SLEEP

he evidence for the crucial importance of good sleep for mental and physical health is mounting all the time, Carl Gardner writes. The Guardian newspaper carried an interesting report in April this year on astudy by the University of Cambridge’s psychiatry department of 500,000 subjects aged 38 to 73 [6]. This research concluded that too much and too little sleep was linked with worse cognitive performance and mental health, including anxiety and depression. A consistent amount of sleep (around seven hours) appeared to be most beneficial. Professor Barbara Sahakian said: ‘For every hour that you moved away from seven hours you got worse.’

There is, however, one artificial lighting application for mental and physical health, which has undoubtedly demonstrated some success… and that is the ‘daylight therapy lamp’ to treat SAD (seasonal affective disorder) due to lack of winter daylight. Research tells us that these lamps do help with symptoms of SAD… something that has been tested over many years. Whether the same lighting products can have similar impact on our circadian health is not yet fully established – no doubt because of the difficulty in measuring this parameter. Certainly for myself, (not a normal SAD sufferer) I have been testing one such product on grey, overcast days to achieve precisely this but, for me, the jury is still out. ‘Theoretically, the same products may help with circadian disruption, due to high output and possibly wavelength (although commercially available examples do not provide verifiable spectral information),’ Karen van Creveld admitted. ‘But this has not undergone the same rigorous testing yet,’ she concluded. Carl Gardner is a retired lighting designer and former editor of Lighting Journal

Getting a good night’s sleep was important at all stages of life, but particularly as people aged. ‘I think it is as important as getting exercise,’ Professor Sahakian added. A few days later the same newspaper reported on a randomised trial by the University of Copenhagen for the European Congress on Obesity, which seemed to demonstrate that poor sleep patterns could make it harder for people to lose weight and keep that weight gain off for good [7]. A group of 195 obese adults followed a low-calorie diet for eight weeks and lost 12% of their body weight. Their weight and sleep patterns were then monitored for a year… and it was discovered that those who slept for less than six hours a night increased their BMI by 1.3 points, compared with those who had slept for more than six hours.

[1] Brown T M, Brainard G C, Cajochen C, Czeisler C A, Hanifin JP, Lockley SW et al (2022). ‘Recommendations for daytime, evening, and nighttime indoor light exposure to best support physiology, sleep, and wakefulness in healthy adults’. PLoS Biol 20(3): e3001571. 2022. https://doi.org/10.1371/journal.pbio.3001571 [2] CIE System for Metrology of Optical Radiation for ipRGC-Influenced Responses to Light. CIE S 026/E:2018. Commission Internationale de L’Eclairage (CIE). (2020), https://cie.co.at/publications/cie-system-metrology-optical-radiationiprgc-influenced-responses-light-0 [3] CIE. User Guide to the α-opic Toolbox for implementing CIE S 026. Commission Internationale de L’Eclairage (CIE). 2020, https://cie.co.at/news/ launch-cie-s-026-toolbox-and-user-guide [4] WELL Building Standard version 2 (WELL v2). International WELL Building Institute (IWBI). 2022, https://v2.wellcertified.com/en/wellv2/ light [5] ‘I hope our study will help open a dialogue’; ‘Let’s use this as an opportunity’; ‘Moths to the flame?’ Lighting Journal, November-December 2021, vol 86 no 10; GN08-18 ‘Bats and artificial lighting in the UK’, the ILP, https://theilp.org.uk/publication/guidance-note-8-bats-and-artificial-lighting/ [6] ‘Seven hours’ sleep is ideal amount in middle to old age, study finds’, The Guardian, April 2022, https://www.theguardian.com/science/2022/apr/28/seven-hours-sleep-is-ideal-amount-in-middle-to-old-age-study-finds [7] ‘Poor sleep may hinder attempts to maintain weight loss, study finds’, The Guardian, May 2022, https://www.theguardian.com/society/2022/may/04/poor-sleep-may-hinder-attempts-to-maintain-weight-loss-study-finds

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Healthcare lighting Transitioning to LED is a key part of the NHS’s ambition to become the world’s first net zero health service. But an ill-considered dash to LED could do more harm than good for those who struggle with glare and flicker, especially neurodivergent people. A guide from social change organisation NDTi and Buro Happold is working to change this, but there is still much to be done By Nic Paton

How neurodivergent people can experience hospital lighting, from the Sensory Friendly LED Lighting for Healthcare Environments guide. Cartoon by Sam Chown-Ahern

ike most big organisations (and there are not many bigger), the NHS has ambitious targets to hit net zero in terms of its carbon footprint and CO2 emissions. NHS England has modelled a plan to become the world’s first net zero health service, including reducing its carbon footprint by 80% by 2032 at the latest and 100% by 2040. It also has aspirations to reach net zero in terms of CO2 emissions by 2045, hitting an 80% reduction by 2039 at the latest. The NHS in Wales and Scotland have similar aspirations. Indeed, in its report Delivering a

‘Net Zero’ National Health Service, NHS England has outlined how its built estate and supporting facilities services make up 15% of its total carbon emissions profile [1]. There are, of course, many different strands of activity to this, but transitioning to LED lighting is an important part of this net zero ‘journey’. As the document says: ‘For the existing estate a wide range of interventions including air conditioning and cooling, building fabric, LED lighting, space heating, ventilation and hot water could all be rolled out to further reduce carbon emissions.’

SENSORY IMPACT OF LED

We all, of course, know the energy saving and maintenance benefits LED can bring to the table. For an organisation such as the NHS, then, switching to LED means job done, right? Better, more adaptive and flexible lighting for patients and staff alike, lots of energy and money savings. Box ticked. Well, not quite. Exploration of these issues carried out by www.theilp.org.uk

JULY/ AUGUST 2022 LIGHTING JOURNAL

Healthcare lighting the disability social change organisation National Development Team for Inclusion (NDTi) has highlighted that LED can pose serious sensory issues for people who are neurodiverse or, maybe more accurately, neurodivergent. This is, in other words, autistic, dyslexic or dyspraxic people, those with Asperger’s and ADHD (attention-deficit hyperactivity disorder), among others. In fact, it is estimated that some 70% of neuro-divergent people experience hypersensitivity to all or some elements of the built environment, the most common being lighting and noise. Working with NTDi, the lighting design team at Buro Happold has created guidance on technical considerations when designing and installing lighting for healthcare environments, in particular how to achieve a sensory friendly environment for autistic/neurodivergent people. We’ll examine this in more detail shortly but what’s becoming clear, as Jill Corbyn, associate at NDTi explains, is that LED (or at least a blunt approach to LED) may not necessarily always be the best lighting answer for such environments, unless thoughtfully designed. The worry is that, by rushing to transition to LED for laudable net zero reasons – but without thinking it through from a sensory/ neurodiversity perspective – the NHS could be risking throwing good money after bad and creating environments inferior to those they replace. ‘I’m autistic and we’ve for some time been running a project reviewing the treatment of people who are in hospital, so both autistic people and people with learning disabilities,’ she says. Initially, we were pretty excited about LED being installed – because we assumed it would be better than the old fluorescent lighting (which many autistic people find painful, as they can detect a strobe-like flicker. However, that was until we visited a hospital where they had installed some LEDs. The colleague I was with became non-verbal in under two hours. It had a really, really profound impact on him. ‘In May, as well, I visited a hospital, again somewhere where we had been to before and they had made a lot of changes to the physical environment based on what we had told them. They had in fact generally done a really good job; but they had also changed the lighting to LEDs. ‘I was there for about three-and-a-half hours and at the end of the visit I felt really sick. I didn’t know if I would be able to get myself home. I would describe myself as not usually impacted by lighting but it was very noticeable to me that it was the lights, and the glare especially. ‘It was hard to tell why, but I think it was www.theilp.org.uk

JULY/ AUGUST 2022 LIGHTING JOURNAL

Healthcare lighting that they weren’t diffused; they were very bright overhead spotlights. There was nowhere to get away from the glare. A lot of the lights were on automatic and for a lot of them they couldn’t find the switches. Some needed to be on for clinical or safety reasons. ‘It was that bright intensity that I couldn’t escape. By comparison, I visited another hospital the other day where they had a mix of LEDs and fluorescents and it wasn’t as challenging, though it was still difficult. They had some LEDs that were slightly diffused and under an opaque cover, but others were bright, intense spotlights – and it felt kind of sickening, very intense,’ Jill recalls. ‘Consistently, environments within the NHS are overlit. There are also issues with flicker, with light quality, with colour looking unrealistic (low colour rendering index) , and with colour temperature (too much harsher blue-white). Hospitals are, of course, typically clinical environments. So there is often a deliberate move towards the white end of the spectrum. But, for in-patients especially who may be in there for months, if not years, they can really be adversely affected by harsher lighting.’

NEW GUIDELINES

This is where the new guide, ‘Sensory Friendly LED Lighting for Healthcare Environments’, which was published last November, is working to make a difference (and see opposite for more on this). ‘We were brought in and started having collaborative workshops, talking about these aspects and seeing what could we do to help, essentially,’ explains Alexia Gkika, senior lighting designer at Buro Happold. ‘The guide has not gone through any peer review process; it is not a standard. It is just a high-level guideline that, we feel, may be useful to whoever is doing lighting design in this sort of environment to raise their

UNDERSTANDING THE GUIDE

lthough very much still a work in progress, the NTDi/Buro Happold guide, Technical Note: Sensory Friendly LED Lighting for Healthcare Environments , advises on a range of areas, including the fact that current lighting provision within NHS healthcare settings rarely meets the requirements of photosensitive or photophobic individuals. This, as it points out, ‘can create a sensory environment that runs counter to the wellbeing of autistic patients (and staff): potentially hindering and slowing down recovery times.’ For lighting professionals working in healthcare settings, it is imperative to refer to BS EN 12464-1, 2021 Light and lighting, Lighting for Work Places, particularly Part 1 Indoor working places, it recommends, as well as LG2 [3]. ‘Based on current research and surveys on spatial experience, it is understood that people with sensory processing differences often have a lower threshold of comfort to light and lighting, as well as being visually sensitive to contrast, vivid colours, some patterns. This can be coupled with hypersensitivity to other senses too, such as sound, touch, proprioception, balance and smell,’ it says. British Standards Institute (BSI) PAS 6463 Design for the Mind – Neurodiversity and the Built Environment [4] sets out guidance standards covering many aspects of sensory processing differences and will be published later this year. While the NDTi’s guide makes multiple recommendations (so do check out the whole document to get the full overview), it suggests a number of best-practice lighting design considerations, including:

• • •

• •

•

• •

•

sources that are well integrated in the architectural/interior design of the space. Make use of surrounding surfaces to bounce light indirectly towards the surface to be illuminated. Use focused, glare-free lighting near the bed or seating area to provide better acuity for detailed visual tasks. Provide night light of a warmer colour temperature (<2700K) for ward/patients’ rooms through low level/ indirect source to allow comfortable navigation at night without high light intensity exposure. Where directly visible, use luminaires with deep set light sources (UGR <19). Where adjustable luminaires are used, light sources should be aimed at angles no greater than 25 degrees from the vertical axis. Consider parabolic ‘dark-light’ louvres, special lenses, honeycomb inserts, cowls or full/half-moon snood accessories on light fittings to shield luminaire and minimise visual discomfort. Avoid highly specular surface finishes which may reflect bright light sources. As a preference, use luminaires that prevent a direct view of the light source, either through diffusing covers, deep-set LEDs or via their concealed integration in architectural details. For overhead wall lighting in patients’ rooms, use dual direct/ indirect emission to provide both a reading mode and/or an ambient mode, maintaining individual user control of upward/downward emission.

The full guide can be downloaded here:

• Use multiple layers of lighting that can be controlled separately. • Complement the lighting scheme using indirect light sources or light awareness of considerations that should be taken into account. And some of it is simply good practice irrespective of someone’s neurocognitive profile. ‘However, one of the issues we have is that the research on flicker and glare within LEDs is still very immature, very lacking, especially in terms of its impact on neurodivergent, neurodegenerative and neurotypical users. We would love to hear from anyone

who is working on this,’ she adds. Further to the guide, Buro Happold and NDTi are working with UCL and also CIBSE, in particular Nicholas Bukorovic, chair of the Society of Light and Lighting’s LG2 Task Group, who oversees the LG2: Lighting for healthcare premises guidance [2]. NDTi is also working with NHS England, in particular its National Autism team, to get its concerns recognised as part of the net www.theilp.org.uk

JULY/ AUGUST 2022 LIGHTING JOURNAL

Healthcare lighting

NHS NET ZERO AND LED

zero conversation. ‘The NHS already advises in quite minute and very specific detail when it comes to mental health inpatient services: locks, door handles, showers and so on,’ says Jill Corbyn. ‘We know that lighting affects many people, we know it’s particularly intrusive for people with hyposensitivity, we also know that it’s pervasive. We’re hopeful NHS England and LG2 are going to take this on. For example, in its guidance on creating more sensory friendly wards – guidance we actually developed for them – one of the points of advice is “install LED lights”. That shows why we really need further guidance around this. We need to provide some guidance so that teams can get it right when making this change,’ she emphasises. There is potentially a window of opportunity in that LG2 is due to be being updated in 2024. However, as Alexia Gkika points out, it may be one that closes fast if the profession isn’t ready soon. ‘They have already started looking at the content of the next issue, even if it is not going to be published for another two years. But if we don’t have anything solid to input until the end of this year, then the window for inclusion may be missed. So it is challenging because it might not get covered even in the next iteration of LG2,’ she says.

LOOKING FOR ANSWERS

What, then, is the answer here in terms of making LED more sensory friendly? Is there even an answer? ‘I’m not a lighting professional so, in that respect, it is hard for me to say what the solution should be,’ says Jill Corbyn. ‘But that hospital I went into that was really harmful. As far as I know, the team that installed those lights had done its best, followed the guidance, and ticked every box that needed to be ticked. ‘What we’re trying to do, therefore, is increase the profile of conversations and understanding of autism as a sensory processing difference. With regards to lighting, my hope with it is to get some guidance developed around what we think good looks like. So, particularly in relation to what should facilities teams be fitting? We would welcome connections from other people who can help us answer this question, www.theilp.org.uk

whether lighting professionals or the wider building, engineering or facilities management community. ‘The NHS is going to be making these changes. Fluorescent lighting is going out and, so, what should they be putting in? What are the things they ought to be thinking about in terms of bulb, driver quality, fixtures and fittings, diffusion, colour temperature and tone? Control, too, is a really big one. So many lights are on automatic and do not have any switches, or people don’t know where the switches are and don’t know how to use them?’ Jill adds. What’s more, just installing dimming control is not the answer, she cautions. ‘Dimming can actually be really harmful to people who are photosensitive because, often, where there is dimming there is increased flicker,’ Jill says. ‘So, for me, there is something around highlighting the quality standards that need to be in place. Dimming lights is seen often as a real easy, quick fix. But, actually, generally that can be very harmful in the context of neurodiversity,’ she adds. ‘The easier way to achieve lux levels, obviously, is with downward light,’ agrees Alexia Gkika. ‘But downlighting produces a very direct visual contact with the light source overhead. When you are using diffusers or indirect ways of lighting a space, it is less efficient but it is far less likely to cause visual overload, it’s more sensory friendly. ‘Ultimately, it is about finding a balance between sustainability targets and sensory comfort; it is about designing schemes that do not result in uncomfortable and distressing overload of sensory input. What’s more, if we design for neurodivergent people who experience this sensitivity, everyone benefits, including neurotypical people. Even for people who don’t have any sensitivity, whether they are neurodivergent, neurodegenerative or neurotypical, these are approaches that improve wellbeing on a daily basis,’ she adds in conclusion.

NHS England’s document Delivering a net zero National Health Service makes it very clear that switching to LED is a key component of its green transition. As the document states: ‘By completing a £50 million LED lighting replacement programme, which, expanded across the entire NHS, would improve patient comfort and save over £3 billion during the coming three decades.’ The intention is to use the £50m NHS Energy Efficiency Fund to upgrade lighting across the NHS estate, with it ‘acting as a pilot for future work and saving £14.3 million and 34 ktCO2e per year’. In all, delivering 100% LED lighting could be achieved with an additional non-recurrent investment of £492m, which would be paid back over a 3.7year period, providing an estimated net saving of more than £3bn during the next three decades, the document calculates. This could be supplemented by a wide range of interventions focused on air conditioning and cooling, building fabric, space heating, ventilation and hot water, saving some £250m per year. For older primary care buildings, better building insulation, lighting and heating could save 59 ktCO2e annually, although additional resourcing would likely be required, it points out. The full document can be viewed at: https://www.england.nhs.uk/ greenernhs/publication/ delivering-a-net-zero-national-health-service/

HOW YOU CAN HELP

Jill Corbyn and the team at NTDi are keen to hear from lighting professionals on this issue. You can contact her on Jill.corbyn@ndti.org.uk

[1] Delivering a net zero NHS, https://www.england.nhs.uk/greenernhs/a-net-zero-nhs/ [2] LG02: Lighting for healthcare premises guidance (2019), https://www.cibse.org/knowledge/ knowledge-items/detail?id=a0q3Y00000GzaAJQAZ [3] BS EN 12464-1, 2021 Light and lighting, Lighting for Work Places, https://www.en-standard.eu/bs-en-12464-1-2021-light-andlighting-lighting-of-work-places-indoor-work-places/ [4] PAS 6463 Design for the Mind – Neurodiversity and the Built Environment (Draft 2021) https://standardsdevelopment.bsigroup.com/projects/2020-00234#/section

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RUSSIAN REVERBERATIONS The full impact of Russia’s war in Ukraine is, as yet, unclear but, for lighting, the economic reverberations are already loud in terms of raw materials’ shortages and price rises. Legally, however, the situation is complex, especially for lighting businesses that had, or still have, exposure to Russian markets By Howard Crossman and Connor McNicholl

he twin effects of sanctions on key exporter Russia and the destructive nature of the war between Russia and Ukraine has (as has been reported around the world) led to intense strain on global supply networks, pressure acutely felt within the construction and thereby lighting industries. Russia and Ukraine are both expected to

see severe contractions in economic output according to the World Bank, as resources are concentrated into the war effort, with the co-ordinated sanctions imposed on Russia hamstringing any attempt by it to export available resources. The package of sanctions against Russia by the United States, the European Union and the UK represents some of the most

JULY/ AUGUST 2022 LIGHTING JOURNAL

Legal issues severe ever and constitute the largest co-ordinated economic sanctions ever imposed on a country. They target broad areas of the Russian economy as well as high-profile political, regime and military leaders in Russia and Belarus. What, however, does or may this all mean for lighting professionals? For many, the effects are most likely to be secondary: the knock-on impact of rising prices and supply chain shortages. Yet it is also important, particularly from a legal perspective, with how, where or if your business may be directly affected by sanctions and their impact.

APPLICABILITY OF SANCTIONS

The UK and EU sanctions apply to overseas citizens as well as domestic citizens/nationals of member states, incorporated/constituted entities, and any relevant conduct by any persons that takes place wholly or partly in the UK or in UK territorial seas/within the EU. Under the Ireland/Northern Ireland Protocol, EU sanctions also apply to trade in goods between Northern Ireland and Russia.

WHAT IS BEING SANCTIONED?

While the sanctions’ process remains fluid, with new sanctions still being agreed and

EMINERE™

added to, by and large sanctions have been brought against goods, services and finance in Russia. Some apply generally and others apply against targeted individuals, companies with connections to Russian leader Vladimir Putin. Alongside this, we have seen suspension of Russia’s ‘most favoured nation’ (MFN) clause in the World Trade Organization, which prevents countries from discriminating between their trading partners [1]. In addition, Russian ships and airplanes are banned from UK ports and airspace and may be subject to detention. There are specific export/import sanction-related services applicable to a range of business activities, many of them applicable to lighting. Let’s look at a number in turn. 1. Iron and steel imports. This, naturally, is of particular interest to the lighting sector. The EU and UK have prohibited, directly or indirectly, the import of certain iron and steel products, or the purchase or transport of them, if they originate in, are located in, and/or have been exported from Russia. 2. ‘SWIFT’ banking messaging system. Several banks have been cut off from the ‘SWIFT’ messaging system, meaning that they cannot use the financial

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Legal issues messaging system to facilitate cross-border transfers of funds. There are alternatives to SWIFT, but none are as efficient. 3. Payment terms. There is a need to consider the applicable payment terms. The European Commission has advised that delayed payment terms are not a form of loan or credit unless misused. However, it is less clear if that remains the case with respect to some of the new financing restrictions. Letters of credit can also be problematic. The safest course is to require payment in advance or immediately on invoicing. 4. Technology generally. This applies to dual-use goods, military goods (unsurprisingly), aviation and space goods, oil refining goods, quantum computing and advanced materials goods and ‘critical industry goods’. 5. ‘Luxury’ goods. This is something of a misnomer in that it applies to a variety of ‘luxury’ goods, from alcoholic spirits through to sporting equipment, from handbags to clothes, all of which exceed €300 (EU) and £250 (UK) in value per item, with higher thresholds for some other categories such as motorcars.

OTHER POINTS TO THINK ABOUT:

As well as UK, US and EU sanctions, lighting businesses should seek to follow the sanctions of other jurisdictions. Careful consideration should be given to contractual clauses covering sanctions. For example, choice of law and jurisdiction, change of law, and force majeure clauses.

Contractual issues should be taken into consideration alongside reputational risks, such as that inflicted on Renault following its decision not to de-invest from Russia [2]. Additionally, commercial risks need to be thrown into the equation. These can include consideration of payment risk (as touched on already above), whether banks, insurers and essential suppliers will support any proposed transaction, and whether a supplier may seek to accept payment in Roubles rather than the agreed or usual currency. Where a transaction is assessed to be unlawful or practically too difficult, consideration needs to be given to contractual notices and termination provisions.

IMPACT ON CURRENT CONTRACTS

The possible impact of the Ukrainian conflict on existing projects will, naturally, vary. However, impacts may include delay and disruption caused by services, materials and goods shortages; cost overruns; variations in the scope or nature of the works; and, possibly, arguments around the triggering of suspension or even termination rights. Any contractual requirements relating to giving notice of termination must be followed to the extent presently possible. Failure to do so could lead to future damages claims for wrongful termination. Understanding the contractual position and the position under the governing law of the contract is therefore essential. Parties involved in lighting services, goods, materials and contracting must consider how time and cost issues are dealt with under the standard form contracts under English law as well as assessing general ways that non-performance risk is allocated – including force majeure and frustration. You are obliged, at law, to mitigate losses where possible, including the obligation, for example, to source materials/services from elsewhere.

CAN I JUST TERMINATE WITHOUT FACING ANY DAMAGES?

The answer to this question will depend on a number of factors. These include: whether there is a right of termination for breach or at will within the contract, whether there can be ‘frustration’ of contract, or whether a force majeure event has occurred that allows for termination. Generally, whether the Ukrainian conflict and/or any resulting unavailability or restriction of particular goods, services or materials constitutes a force majeure event will need to be assessed on the particular www.theilp.org.uk

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Legal issues facts in each case against the relevant contractual wording. However, the fact that a contract’s performance has simply become more onerous or expensive is unlikely on its own be sufficient. This means that force majeure (that entirely prevents performance) is harder to argue in situations where it is simply that materials have become more challenging to source or prices have increased. More generally, it is probably sensible for termination rights under the standard form contracts for force majeure to be reviewed in light of the changing situation globally. It’s also worth noting here that, over the course of the Covid-19 pandemic, parties have often agreed to temper these strict obligations in recognition of the difficulties that have been widely experienced. Similar negotiations may occur as a result of difficulties stemming from the war in Ukraine.

ADDRESSING FUTURE CONTRACTS

In order to mitigate against future uncertainties, contracts may be drafted in a way to widen the definition of works’ specifications. This could potentially give those in the lighting sector more flexibility when procuring materials. This could include, for example, shifting the supply strategy for certain goods or materials from just-in-time delivery to stockpiling (likely resulting in increased up-front payment) and the rereviewing of pricing mechanisms. This ensures validity and appropriateness of prices and/or work programmes included in bids for projects currently being tendered. However, it is important to consider the inclusion of cost fluctuation provisions to safeguard against cost increases of materials

flowing from the conflict or sanctions being imposed.

WIDER IMPACT ON LIGHTING INDUSTRY

The problems encountered with two key raw materials’ exporters are developing into serious issues for the construction industry including lighting. Global supply chains, which were on a slow road to recovery after 18 months of the pandemic, now face further punishment. Russia and Ukraine are critical suppliers of metals, raw materials, chemical products and machinery. Russia controls around 10% of global copper reserves, an essential property in electrical wiring systems, and is a major producer of nickel and platinum. A joint statement published by the Construction Leadership Council’s (CLC) product availability working group recently illustrated the acute risk from these shortages to the construction and electrotechnical sectors [3]. John Newcomb, chief executive of the Builders Merchants Federation, and Peter Caplehorn, chief executive of the Construction Products Association, highlighted the danger to the construction and electrotechnical sectors, including reports of prices of nickel, supplied in large quantities by Russia and a key component of stainless steel, doubling since the conflict began. The CLC further highlighted that rising metal prices, together with a shortage of supply from neon producers in Odessa and Mariupol, and bottlenecks for microchips and semiconductors from Asia, meant the electrotechnical sector is experiencing inflation on products above 20%. These warnings echo concerns raised earlier this year by the Highways Electrical

Association (HEA), which warned of ‘unprecedented’ supply chain issues for the industry, ‘the combination of which has not been seen in a lifetime, and the effects of which could be with us for months and potentially years to come’ [4]. It highlighted the industry will be affected through energy and fuel prices, labour shortages, inflation and rising costs, increases in container and transport costs, shortages of raw materials (especially aluminium, steel, copper, plastics, galvanizing, wood and cardboard), longer lead times, scarcity of electronics goods, shortages of components including passives, discrete semiconductors, specialist semiconductors and LEDs control components and lighting, and shortages of coatings. The impact of all this is expected to be felt most by small and medium-sized enterprises (SME), which account for most of the industry’s businesses. Without price continuity, it is harder for trades to quote for projects on fixed price contracts, and then seek to pass on to their customers any price increases for materials that would otherwise erode their profit margin. The CLC, HEA and others have identified price inflation and the scarcity of materials necessary in the lighting (and wider construction) industry as serious cause for concern, with discussions taking place within the CLC to identify ways and means to manage and mitigate price inflation.

WHERE NEXT?

The sanctions imposed by the UK, US and EU (and other countries such as Canada and Switzerland) are extremely complex. Given that breaching sanctions exposes businesses and their employees to the risk of committing a criminal offence, there is a need to proceed with care by checking each proposed transaction related to Russia on a transaction-by-transaction basis. There is a myriad of contractual issues to consider, as well as political, reputational and commercial. As ever, if in doubt, please seek professional legal advice to help you navigate the best path through.

HOW YOU CAN HELP

[1] ‘Factbox: What revoking Russia’s ‘most favoured nation’ status means’, Reuters, March 2022, https://www.reuters.com/world/what-revoking-russias-most-favoured-nation-statusmeans-2022-03-11/ [2] ‘Under pressure Renault suspends its activities in Russia and considers withdrawal’, Business & Human Rights Resource Centre, March 2022, https://www. business-humanrights.org/en/latest-news/sous-pression-renault-suspend-ses-activit%C3%A9s-en-russie-et-envisage-un-retrait/ [3] ‘Construction Product Availability Statement’, Construction Leadership Council, March 2022, https://www.constructionleadershipcouncil.co.uk/news/construction-product-availability-statement-11/ [4] ‘Managing the Supply Chain Together: A revised Statement from the HEA looking at the impact on the Industry of the Global Materials Shortages and Supply Chain Issues’, Highway Electrical Association, April 2022, https://thehea.org.uk/ hea-content/uploads/2022/04/HEA_Statement-SupplyChainIssues-2022April.pdf

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Howard Crossman (hcrossman@ greenwoodsgrm.co.uk) is head of construction and Connor McNicholl 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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NET ZERO,

NET GAIN

Against the backdrop of soaring energy and raw materials’ prices, it is imperative lighting professionals don’t lose sight of the net zero agenda. If anything, rising costs make it even more important to be focusing on carbon reduction and system resilience By Tim Bowes

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Lighting and sustainability

he factors influencing building sustainability are evolving quickly, and issues such as the rising cost of energy and increased focus on embodied carbon are making clients reassess lighting specification. Whitecroft Lighting recently published a report ‘Shining a Light on Net Zero’ that breaks down the five key considerations we feel will deliver a more robust, long-term approach to lighting, and balance carbon reduction with other important outcomes such as wellbeing and ongoing cost.

OPERATIONAL CARBON

Lighting has done tremendous things to lower operational energy consumption and the related carbon over the last decade, and the move from conventional source lighting technology (such as florescent lamps to LEDs), has helped reduce domestic and commercial lighting consumption by 60%. In 2019, the BBC posted an article suggesting that, at that point in time, energy efficiency was beating renewable generation in the race to decarbonisation [1]. It said: ‘Studies show making products more efficient has – along with other factors – already been slightly more effective than renewable energy in cutting CO2 emissions.’ Such was the level of success in this area that the UK government was quick to back operational efficiency targets as the fastest method of delivering results. But there are risks that government-set operationally driven carbon reduction standards could engender two-dimensional decision-making around lighting specification, or even limit the possibilities of more ambitious carbon reduction. Specifiers and decision-makers my seek out the easiest, most cost-effective ways to hit these targets, rather than considering operational efficiency alongside other important factors such as welfare. In the process, they also miss out on further carbon reductions due to advancements in technology.

PRIMARY TARGETS

A typical example of this can be found in primary school lighting specification. The Department for Education has set the primary school lighting energy reduction benchmark at 8kWh per-meter squared per-annum, reduced from 12KwH [2]. But I know from experience that, with a good LED product with a quality light control system combined with an audit system to measure the efficiency of the whole system, a typical primary school can comfortably hit 5.5kWh per-meter squared pa, or

even 4.6KwH with the highest quality LEDs, controls and emergency system. Achieving an extra 3.4kWh per-meter squared pa beyond the government’s benchmark will not only further reduce carbon but save the school significant amounts of money as energy costs rise rapidly.

FIVE MESSAGES

For me, the five key messages or takeaways for lighting professions from our report are:

EMBODIED CARBON

At least the market can currently agree on how to identify and measure reductions in operational carbon – and so far the Department for Education has only used this as its carbon yardstick. But this will definitely change with the factoring in of embodied carbon, which is less clearly defined than operational, so harder to measure. Why? Because to fully quantify and reduce embodied carbon, you must first find it all – which means proactively seeking out new problems to solve. At the moment, it’s as much about understanding measurement as it is about reduction, because we can’t be sure of the impact we’re having until we’ve accounted for all the various elements of embodied carbon.

1. Be people first. There’s no point securing a 50% energy saving if you create an environment nobody wants to work in. 2. Think about the system. You need to understand all the different impacts of lighting design – control system and emergency lighting, and impact on architectural decisions such as wall and ceiling colours. 3. You need to know your impact. Focus on better carbon measurement through the likes of EPDs (environmental product declarations). 4. Circular economy. It is vital to start linking lighting circularity with reducing the whole-life carbon, and the benefits that can bring. 5. Prioritise monitoring. There’s little point having an energy efficient lighting system on paper; you need to be able to prove it each year.

MAXIMISE PRODUCT PERFORMANCE

It’s this changing landscape that motivated us to produce our net zero report. Sustainability, energy and lighting have proven to be far from static. Those faced with balancing quality lighting with carbon and cost reduction should be raising the bar, so that whatever systems they install are resilient to changes in cost, standards and technology. For example, who could have foreseen the impact of recent international developments on energy costs, efficiency and self-sufficiency now becoming a national security as well as a sustainability issue? [3]

Tim Bowes is head of lighting application at Whitecroft Lighting

FIND OUT MORE

For those interested in investigating further, ‘Shining a light on net zero’ is available as a free download at www. whitecroftlighting.com/net-zero/

[1] ‘Climate change: LED lights making dent in UK energy demand’, BBC News, January 2019, https://www.bbc.co.uk/news/science-environment-46741346 [2] ‘Buying for schools’, Department for Education, April 2022, https://www.gov.uk/guidance/buying-for-schools/electricity [3] ‘British energy security strategy’, Department for Business, Energy, and Industrial Strategy, April 2022, https://www.gov.uk/government/publications/british-energy-security-strategy

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MAXIMISING DAYLIGHT The UNESCO International Day of Light in May saw events taking place around the globe to celebrate light and lighting. It also coincided with the announcement of this year’s Daylight Awards for research and architecture By Nic Paton

he Daylight Award, run by Danish notfor-profit organisation The Velux Foundations, is designed to honour and support daylight research and the application of daylight in architecture. The award is split into two categories. First, The Daylight Award for Research is awarded to individuals or smaller groups of scientists who have distinguished themselves as outstanding contributors to inter-

nationally recognised daylight research. It acknowledges highly original and influential advances in the areas of natural science, human science or social science, with special emphasis on the effects of daylight on human health, wellbeing and performance. Then, second, The Daylight Award for Architecture is awarded to one or more architects or other professionals who have distinguished themselves by realising

architecture or creating urban environments that showcase unique use of daylight. Special emphasis is put on architecture that considers the overall quality of life, its impact on human health, wellbeing and performance, and its value to society. The award winner in each category is rewarded with a prize of €100,000. This year’s Daylight Award ‘laureates’ were announced on the UNESCO International Day of Light on 16 May.

DAYLIGHT AWARD FOR ARCHITECTURE

This year’s Daylight Award for Architecture winners are Irish architects Yvonne Farrell and Shelley McNamara, who co-founded Grafton Architects in 1978. They are fellows of the RIAI (Royal Institute of the Architects of Ireland),

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Daylighting

Two Grafton Architects’ projects. Main image: Universita Luigi Bocconi in Milan. Above: Kingston University in London

international honorary fellows of the RIBA (Royal Institute of British Architects) and elected members of Aosdána, the eminent Irish Art organisation. Known for buildings such as the Institut Mines-Télécom in Paris-Saclay, Kingston University in London, Universita Luigi Bocconi in Milan and University Campus UTEC in Lima, Peru, among others, according to the judging panel Grafton Architects have mastered the ‘use natural light to differentiate and articulate spaces of different importance, functional purpose and experiential atmosphere.’ Daylight, they argued, ‘is employed in their design process as an integrated and irreplaceable quality, along with the spatial arrangement, structural frame and technical systems.’ Farrell and McNamara’s skill to direct daylight both vertically and horizontally into often thick and layered building volumes was ‘remarkable’, they argued. ‘Natural illumination heightens the working conditions and sensory qualities of the spaces, instead of being merely an element of composition or aestheticisation. Daylight emphasises and celebrates the main spaces in their buildings. Natural light in Grafton Architects’ projects has a relaxed, generous, and calm presence,’ the judges concluded. ‘We think it is wonderful that there is an award related to daylight,’ said Shelley McNamara in response. ‘This award reminds us that light is one of the key materials in architecture. What is amazing about natural light is that is so varying across the world. And it is kind of amazing because you learn each time.’

Yvonne Farrell (left) and Shelley McNamara of Grafton Architects, winners of The Daylight Award for Architecture

professor of psychiatric neurobiology at the University of Basel, and former head of the centre for chronobiology at the Psychiatric University Clinic in Basel. The author of more than 450 research papers and review articles, Wirz-Justice’s main focus has been on the role of light therapy for tackling winter depression and sleep disorders. Professor Wirz-Justice, the judges argued, had ‘undertaken pioneering research on how human circadian rhythms and sleep are regulated by light’. They added: ‘Defining the key parameters of how light acts as a biological stimulus, including the importance of when we see light, the length of exposure, and the influence of colour. Furthermore, Anna has always considered individual variation, embracing rather than ignoring variables such as age, disease status and light history.’ She introduced the use of light therapy to Europe and studied its use on seasonal affective disorder (SAD), non-seasonal

depression, borderline personality disorder and dementia. ‘The Daylight Award for Daylight Research is a great surprise and a great honour, for which I am extremely grateful, since it highlights our field of chronobiology, and the growing knowledge of how crucial daylight is for our health and wellbeing,’ said Professor Wirz-Justice. ‘Research on light’s widespread effects on humans, independent of vision, has changed architecture in the last decade. It has initiated new lighting standards to incorporate non-visual effects of light as necessary for health. It has re-awakened interest in the huge potential of daylight to complement artificial light,’ she added

FIND OUT MORE

To find out more about The Daylight Award, you can go to: https://thedaylightaward.com/award/

Professor Anna Wirz-Justice, winner of The Daylight Award for Research

DAYLIGHT AWARD FOR RESEARCH

The winner of the Daylight Award for Research is Anna Wirz-Justice, emeritus www.theilp.org.uk

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LONDON FIELDS The ILP was a partner at the prestigious Clerkenwell Design Week in May, including holding a fascinating ‘How to be brilliant’ talk By Nic Paton

fter a two-year, pandemic-related absence the design festival Clerkenwell Design Week returned to London’s EC1 from 24-26 May, with the ILP as a partner for this prestigious design event, where more than 140 worldclass design showrooms provided an array of talks, events and workshops. The highlight of the ILP’s partnership was a fascinating ‘How to be brilliant’ presentation led by Iain Ruxton, associate partner at Speirs Major on the pitfalls – but also the opportunities – of media façades. ‘How to be brilliant’, sponsored once again this year by BEGA, is the ILP’s free, informal talks, presentations and lectures designed to allow successful, senior lighting designers to share their time and expertise with students, juniors and new entrants to the profession. Iain will be discussing his views on media façades in detail in an upcoming edition of Lighting Journal. However, and hopefully without revealing too many spoilers, his

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The ILP at Clerkenwell Design Week

presentation, ‘The revolution will not be televised’, encompassed a brief history of illuminated façades and the importance of considering relevance and sustainability. ‘Why are you doing it? Why are you basically putting a big telly on the side of your building?’ he questioned. Iain, for example, highlighted the façade on the front of Manchester’s School of Digital Arts, as profiled in Lighting Journal in May (‘Digital canvas’, vol 87 no 5). ‘The students can use it, will use it; they will create “stuff” that gets shown on it. It has got a purpose,’ he said.

going to show, what’s the content going to be, where is it going to come from, who is going to make it? ‘Make it relevant. Don’t just stick a telly on it because you haven’t got a better idea. Question the sustainability, too. We think about sustainability for everything else we do in lighting, all the time. ‘Finally, make good art. This is art, of a sort. You might not call yourself an artist. In the same way that architecture is essentially an art, then lighting it is as well. Whatever you do, do something you can be proud of,’ Iain said.

NEED FOR ‘RESPONSIBLE’ FAÇADES

‘HOUSE OF DETENTION’

Too often media façades end up being just about advertising content or even just test sequences or short, repetitive boring loops, Iain argued. ‘What I find really weird about this is that when you think about it, at that point designers, whether they be architects or lighting designers, you’ve sort of abdicated responsibility for the design of the building. You’ve just given it up to someone else. Would an architect let someone else design the finish on a building? Would they hell,’ Iain pointed out. There is also a massive sustainability question, both in terms of energy and materials used for such façades but also in the context of light pollution and obtrusive light. As Iain concluded: ‘Don’t abdicate design responsibility. If you’re going to have a dynamic façade, you need to think about what it is actually going to look like. What is it

After the event, ILP members and others who attended the presentation dodged the thunder, lightning and showers to attend an informal drinks reception at the nearby Optelma showroom on Bowling Green Lane, which was also supporting the event. ILP Engagement and Communications Manager Jess Gallacher said of the event: ‘It was such a privilege to be able to partner with this year’s Clerkenwell Design Week, and Iain’s presentation was thoughtprovoking and inspiring. ‘I was really pleased to see how many lighting designers attended the week, and engaged with the ILP team. Being a partner for the week has further cemented the ILP’s reputation as the go-to organisation for serious lighting designers.’ Beyond Iain Ruxton’s presentation, there was lighting aplenty across the week. In fact, for 2022, lighting was the focus of one of the

ten key curated exhibitions. The subterranean ‘House of Detention’, previously a prison in the mid-nineteenth century showcased ‘Light + Rising Stars’, where a host of new and upcoming designers exhibited alongside leading lighting brands. These included Artemide, Anna Hayman Designs, houseofdotcom, Kinkatou Studio London, Pour, and Rankin Rugs, among others. ‘POP’, a former cold store turned nightclub hosted pop-up brand activations and immersive experiences. These included contemporary sculptural lighting by Square in Circle Studio and innovative lighting solutions by LEDS C4. Fritz Fryer Lighting also participated for the first time at Clerkenwell Design Week 2022, showcasing its products in a brandnew showroom.

FIND OUT MORE

To find out more about this year’s ILP ‘How to be brilliant’ programme, sponsored by BEGA, go to https:// theilp.org.uk/events/ how-to-be-brilliant/ www.theilp.org.uk

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Continuing our profiles of inspirational women working in lighting, lighting designer Lauren Lever outlines her route into the industry and why lighting matters By Lauren Lever

TELL US ABOUT YOURSELF

I’m Lauren Lever, founder and design director of Minoux in the UK. I always had a passion for design at school, even though I was one of the only girls in the class and was told that it was normally categorised as a ‘boy’s subject’. This still didn’t stop me as I loved the subject and wanted to learn more. This led me to study product and furniture design at De Montford University. During my time there I found I was intrigued by lighting and decided that one of my work pieces would be to design and build a light fixture. When it was time to graduate from university and see which career path I wanted to go down, I found out that lighting design was an actual job and I jumped at the opportunity. The rest is history, as they say. I have now been in the industry for over 15 years and love what I do.

IS THERE A PROJECT YOU ARE MOST PROUD OF AND WHY?

Ooh, that’s hard! There are so many projects I have loved working on and, each one being so diverse, it is hard to choose just one. However, here are a few of my favourites: Hakkasan Jakarta, Beau Rivage Palace in Lausanne, Paradise City in Seoul and SKP Shopping Centre in Beijing. Lighting is a wonderful medium that can enhance a space and create a variety of atmospheres, each project having its own identity.

WHAT DO YOU FEEL IS THE BIGGEST CHALLENGE THAT YOU HAVE OVERCOME IN YOUR CAREER?

My biggest challenge, I think, was setting up my own lighting design studio back in 2021, right in the middle of the pandemic. It was something I always wanted to do and knew it would happen when the time was right. I decided to take the leap and I haven’t looked back. There is never a right time to start a new business; you just need to jump right in. Starting Minoux has given me the opportunity to share my undiluted vision of lighting design with clients new and old.

IS THERE A SPECIFIC TYPE OF PROJECT OR WORK YOU SPECIALISE IN?

I have worked on a number of diverse areas during my career as a lighting designer, but found my focus is prominently in the hospitality, residential and commercial sectors. I do not have a ‘house style’ and believe that each project deserves to be designed and tailored to suit the client’s needs. I particularly enjoy working on hotel projects, where varied atmospheres and ambiences can be created for each space; ranging from dark and moody bars, to sensual spa experiences or bright and welcoming receptions.

Lauren Lever presenting at Light School at the Surface Design Show in February

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Women in lighting

HOW HAS THE ILP HELPED YOU IN YOUR LIGHTING ‘JOURNEY’?

The ILP has been a massive part of my lighting family and have been that supportive arm through my career. I have developed great friendships with other ILP members and love the passion we all share for lighting, so I would encourage others to join the ILP.

Above: the Beau Rivage Palace in Lausanne and, below, Hakkasan, Jakarta

HOW DOES LIGHT INSPIRE YOU?

Lighting surprises me every day and the effect it can have on a space is astounding. From the effect of natural daylight in a room, to the use of artificial lighting at night. With new technology comes new ideas and I am always excited to see how this evolves over time.

WHAT WOULD BE YOUR MESSAGE TO OTHER WOMEN IN, OR WANTING TO GET INTO, LIGHTING?

WHO OR WHAT DO YOU CONSIDER TO BE YOUR BIGGEST SUPPORT IN GETTING INTO WHAT IS/WAS CONSIDERED A MALE PROFESSION?

I believe I fought the male profession barrier late at school by doing a subject that I loved and enjoyed whist being the only girl in the classroom. I continued to push past this stereotype at university, therefore I don’t think it felt so abnormal to me when I started my professional career in the lighting world. I must say that the gender split was quite a bit different 15 years ago to what it is today. There are so many women supporters I have personally experienced in our close-knit industry that it is now our lighting ‘family’ and it is great to see this split become more 50/50.

WHAT DO YOU CONSIDER IS STILL A BARRIER, IF ANYTHING, FOR WOMEN IN LIGHTING?

I have seen this ‘barrier’ lift over time and that there is an inclusion from all now in our lighting industry. However, I would love to see more women in top-ranking jobs; this is where I believe the balance isn’t quite there yet.

WHAT WOULD BE YOUR MESSAGE TO YOUR YOUNGER SELF ABOUT WHAT IT’S POSSIBLE ACHIEVE IN LIGHTING? To keep pushing yourself for what you believe in and your career aspirations will come to life.

HAVE YOU HAD ANY GREAT MENTORS, MALE OR FEMALE, WHO HAVE SUPPORTED AND INFLUENCED YOU?

I believe that my past experiences have shaped me into the designer that I am today. Each lighting consultancy had their own particular specialism, which has helped me learn all aspects of lighting design and improve my skillset. I have had the pleasure of working for some of the top women in the industry, such as Sally Storey and I am grateful to have been given the opportunity to learn from each of them.

I have always been a big advocate for doing something that you are passionate about and love; lighting is just that for me and I wouldn’t change it. I would also say that I am one of the ‘old school designers’ in our industry where we come from different backgrounds, whether that’s architecture, product design or engineering. This is one of the reasons why I love our industry; as we have such a rich mix of backgrounds and knowledge and the more people who join, the more we can learn off one another. Lauren Lever is founder and design director of Minoux in the UK

WANT TO BE PROFILED?

Don’t forget, if you are a woman working within lighting and would like to have your story told, please do get in touch, either via Jess Gallacher on jess@theilp.org.uk or to Nic Paton on nic.cormorantmedia@outlook.com. We’ll send you a Q&A form to fill in and return, with a photograph. Simple!

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LIGHTING CONSULTANTS

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

HERBIE BARNIEH BEng IEng MILP

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PROJECT CENTRE

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WWW.MARSTONHOLDINGS.CO.UK/PROJECTCENTRE 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.

SDS offer a range of lighting design services, combining creativity, technical and practical knowledge to deliver quality lighting designs and impact assessments. From feasibility, planning, through to post-construction, we are passionate about creating exceptional environments for living, work and wildlife.

BEng (Hons), CEng, MILP, MIET, MHEA -Managing Director WINCHESTER SO23 7TA T: +44 (0)1962 855080 M: +44 (0)7779 327413 E: ANDREW@DFL-UK.COM 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.

STEVEN BIGGS

STEPHEN HALLIDAY

ANTHONY SMITH

MILESTONE INFRASTRUCTURE

WSP

STAINTON LIGHTING DESIGN SERVICES LTD

EngTech AMILP

IEng MILP

MANCHESTER M50 3SP T: 0161 886 2532 E: STEPHEN.HALLIDAY@WSPGROUP.COM

PETERBOROUGH PE1 5XG T: 07834 506705 STEVEN.BIGGS@MILESTONEINFRA.CO.UK

MILESTONEINFRA.CO.UK

WWW.WSPGROUP.COM

Award winning lighting design specialists, delivering innovative design, installation and maintenance solutions in highways, public realm, commercial and architectural environments. Our HERS registered team provide design strategies, impact assessment, technical & certifier support.

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.

BONNIE BROOKS

BA(Hons) BEng (Hons) MSc CEng MSLL MCIBSE MILP

STOCKTON ON TEES TS23 1PX T: 01642 565533, E: ENQUIRIES@STAINTONLDS.CO.UK

WWW.STAINTONLDS.CO.UK

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. Registered personnel.

STEPHEN HIGHAM

NICK SMITH

SHD LIGHTING CONSULTANCY LTD

NICK SMITH ASSOCIATES LIMITED

IEng MILP

ILLUME DESIGN LTD

IEng FILP

IEng FILP MIES

CHESTERFIELD, S40 3JR T: 01246 229444 E: MAIL@NICKSMITHASSOCIATES.COM

EXETER EX4 1NF T: 07840 054601, E: INFO@ILLUME-DESIGN.CO.UK

BOLTON BL2 6SE M: 07834 490 192 E: STEVE@SHDLIGHTING.CO.UK

WWW.ILLUME-DESIGN.CO.UK

WWW.SHDLIGHTING.CO.UK

WWW.NICKSMITHASSOCIATES.CO.UK

SIMON BUSHELL

ALLAN HOWARD

ALAN TULLA

ENERVEO

WSP

ALAN TULLA LIGHTING

Professional independent lighting design consultancy providing designs for all exterior applications, including street lighting. Specialists in assisting at the planning application stage with designs, strategies, lighting impact assessments, and expert witness, with a focus on mitigating ecological and environmental impacts.

Outdoor lighting consultancy specialising in adoptable highway and private lighting designs. Our services include Section 38, Section 278, Car Park lighting designs, Commercial floodlighting schemes and environmental impact lighting assessment reporting. Qualified design team with 24 years’ experience in exterior lighting.

MBA DMS IEng MILP

BEng(Hons) CEng FILP FSLL

PORTSMOUTH PO6 1UJ M: +44 (0)7584 313990 T: +44 (0)121 387 9892 E: SIMON.BUSHELL@ENERVEO.COM

LONDON WC2A 1AF T: 07827 306483 E: ALLAN.HOWARD@WSPGROUP.COM

WWW.ENERVEO.COM

WWW.WSPGROUP.COM

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

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. registered personnel.

WWW.ALANTULLALIGHTING.COM

LORRAINE CALCOTT

ALAN JAQUES

MICHAEL WALKER

IT DOES LIGHTING LTD

ATKINS

MCCANN LTD

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

IEng FILP IALD MSLL ILA BSS

IEng FILP

THE CUBE, 13 STONE HILL, TWO MILE ASH, MILTON KEYNES, BUCKINGHAMSHIRE, MK8 8DN T: 01908 560110 E: INFORMATION@ITDOES.CO.UK

NOTTINGHAM, NG9 2HF T: +44 (0)115 9574900 M: 07834 507070 E: ALAN.JAQUES@ATKINSGLOBAL.COM

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

IEng MILP CMS

NOTTINGHAM NG9 6DQ M: 07939 896887 E: M.WALKER@JMCCANN.CO.UK

WWW.ITDOES.CO.UK

WWW.ATKINSGLOBAL.COM

WWW.MCCANN-LTD.CO.UK

MARK CHANDLER

PATRICK REDMOND

PETER WILLIAMS

Award winning lighting design practice specialising in interior, exterior, flood and architectural lighting. Emphasis on section 278/38, public realm, ecology receptor mitigation and supporting Councils with planning approvals, CDM2015 and SBD accredited. Specialists in circadian spectrally specific lighting design.

EngTech AMILP

MMA LIGHTING CONSULTANCY LTD

READING RG10 9QN T: 0118 3215636 E: MARK@MMA-CONSULTANCY.CO.UK

WWW.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

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.

HDip Bus, EngTech AMILP, AMSLL, Tech IEI

REDMOND ANALYTICAL MANAGEMENT SERVICES LTD.

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.

EngTech AMILP

WILLIAMS LIGHTING CONSULTANTS LTD.

M: + 353 (0)86 2356356 E: PATRICK@REDMONDAMS.IE

BEDFORD, MK41 6AG T: 0 16 0 8 6 4 2 5 3 0 E: PETER.WILLIAMS@WLCLIGHTING.CO.UK

WWW.REDMONDAMS.IE

WWW.WLCLIGHTING.CO.UK

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.

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.

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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