Lighting Journal – February 2020

Professional best practice from the Institution of Lighting Professionals

February 2020

IMMATERIAL GAINS Master artist James Turrell is bringing his passion for the ‘immateriality’ of light to London SOCIAL CONSTRUCTS Understanding ‘the social’ behind the lighting of urban spaces TRAINING DAZE The challenges of attracting young people into lighting, and then keeping them

The publication for all lighting professionals

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February 2020 Lighting Journal

Contents

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SOCIAL CONSTRUCTS

As lighting professionals, how well do we understand the urban spaces we’re lighting, how they’re used, why and by whom? Sociologist Dr Don Slater is working to improve how the industry thinks about ‘the social’ in lighting, as he explained at LuxLive in November

12BUILDING BLOCKS

Evidence-based design is a relatively new concept within lighting, but can potentially enable a lighting designer to better understand ‘softer’ design considerations, such as how people interact with the lit environment. Dr Navaz Davoodian outlines its thinking

BACK 14 TAKING CONTROLS

The development of intuitive apps is putting lighting control increasingly not just in the hands of the client but also the post-occupancy end user, as Dominic Meyrick explains

06 42 22

18 WEAR IT LIGHTLY

The weather may not have been great, but that did not stop the visitors from flocking to Lumiere Durham in November. LDC Durham ILP members reflect on its highlights

22 CLIMATE CHANGING

The ILP-supported LewesLight light festival returns this month, and will be exploring themes around the environment, moonlight and shadow, as Graham Festenstein outlines

COSMIC 24‘FROM TO ATOMIC’

A lucky group of ILP volunteers was given the chance in December to experience a solo exhibition of works

by Leo Villareal, the American artist behind the capital’s mammoth ‘Illuminated River’ art project

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IMMATERIAL GAINS

A major solo exhibition of the master artist James Turrell is on show in London from this month. His work with light, sense, space, colour and perception – the immateriality of light itself – has always fascinated lighting professionals. We look at what visitors can expect

30 SOLAR SYSTEMS

The UK’s long, grey winters have traditionally generated scepticism about the viability of solar as a credible power source for street lighting in this country.

But advances in technology mean solar can no longer be dismissed so easily, argues Tim Barker

34 VAULTING AMBITION

Layers of light are at the heart of a new LED scheme for Norwich Cathedral by Speirs + Major. The scheme needed to celebrate the cathedral’s soaring architecture, maximise its natural daylight and yet have minimal impact on its historic physical fabric

38 xTRAINING DAZE

A panel discussion at the ILP’s Lightscene CPD event in October attempted to unpick some of the challenges facing the profession when it comes to attracting and bringing young talent into lighting

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42 TUBE JOURNEY

There were two big lighting stories in 1940, reveals Simon Cornwell.

The first was the rapid specification and development of ‘Starlight’ street lighting in response to ‘the black out’. The second, and more profound long term for lighting, was the arrival of the fluorescent tube

p COVER PICTURE

Aquarius, Medium Circle Glass, 2019, by James Turrell, courtesy of the Pace Gallery. A new solo exhibition by the master artist, who plays with light, sense, space, colour and perception is coming to London’s Pace Gallery from this month.

Turn to page 27 for full details

50 DIARY www.theilp.org.uk

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February 2020 Lighting Journal

Editor’s letter

Volume 85 No 2 February 2020 President Anthony Smith IEng FILP Chief Executive Tracey White Editor Nic Paton BA (Hons) MA Email: nic@cormorantmedia.co.uk

Lighting Journal’s content is chosen and evaluated by volunteers on our reader panel, peer review group and a small representative group which holds focus meetings responsible for the strategic direction of the publication.

If you would like to volunteer to be involved, please contact the editor. We also welcome reader letters to the editor.

Graphic Design Tolu Akinyemi B.Tech MSc Email: tolu@matrixprint.com Alex Morris BA (Hons) Email: alex@matrixprint.com Advertising Manager Andy Etherton Email: andy@matrixprint.com Published by Matrix Print Consultants Ltd on behalf of Institution of Lighting Professionals Regent House, Regent Place, Rugby CV21 2PN Telephone: 01788 576492 E-mail: info@theilp.org.uk Website: www.theilp.org.uk

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

I

spent an enjoyable morning in December talking to ILP Vice President – Government & Policy Alistair Scott at his Designs for Lighting office in Winchester, which is just up the road from me.

One thing we discussed was a document from the National Engineering Policy Centre and Royal Academy of Engineering called Engineering priorities for our future economy and society.

It has been in the public domain since last summer but, if you haven’t already, I’d urge you to take the time to check it out.

The ILP was among those organisations and institutions that fed into its creation, and was one of the signatories on an open letter about it to newly re-elected prime minister Boris Johnson in December. You can find the report online at https://www.raeng.org.uk/priorities The document covers a range of areas, including skills, innovation, digital, infrastructure, and energy and climate change, and how engineering can be more at the heart of solutions to the defining challenges we face as a country.

For me, it is the section within it on skills that resonates most, in part from listening to the panel discussion that took place at Lightscene in October, and which we report on in this edition.

What came through to me clearly at Lightscene was just how laissez faire and unstructured career and education pathways into lighting remain. This isn’t new of course – in my experience, ‘oh, I just somehow fell into it’ is probably the most common answer to the question, ‘and how did you get into lighting?’. But, to my mind, it nevertheless beggars belief that an industry so important to our public realm, to our infrastructure, to our day-to-day living no less, nurtures, attracts and retains talented people in such an ad hoc way.

Yes of course there are good academic courses out there, especially on the design side (with The Bartlett’s Light and Lighting MSc and Professor Steve Fotios’ work at Sheffield University among those springing to mind). But, as ILP President Anthony Smith highlighted at Lightscene, the lack of defined vocational routes into the industry remains a serious issue.

For example, the fact there isn’t a bespoke lighting apprenticeship means that to access money from the apprenticeship levy employers often have to resort to supporting and then reskilling general engineering apprentices.

There are various electrical industry routes into the profession but, again, it is about initially entering one field and then swerving somehow into lighting, which can’t be a great long-term business development model.

The ILP, to be fair, through the work of VP – Education Kimberly Bartlett and others is striving hard to address this, including looking at how new pathways can be developed and how access can be widened to qualifications such as the Exterior Lighting Diploma.

That is all positive. But as we move into a potentially challenging postBrexit world, both economically and in terms of maintaining supplies of skills and talent, how lighting can compete more effectively to attract and retain the best people, and from where, is likely to become an ever-more pressing question that the industry will need to be addressing.

Nic Paton Editor

© ILP 2020

The views or statements expressed in these pages do not necessarily accord with those of The Institution of Lighting Professionals or the Lighting Journal’s editor. Photocopying of Lighting Journal items for private use is permitted, but not for commercial purposes or economic gain. Reprints of material published in these pages is available for a fee, on application to the editor.

SUBSCRIPTIONS

ILP members receive Lighting Journal every month as part of their membership.

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

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February 2020 Lighting Journal

Urban lighting

SOCIAL CONSTRUCTS As lighting professionals, how well do we understand the urban spaces we’re lighting, how they’re used, why and by whom? Crucially, do we know who isn’t using them and, again, why? Through his research group at the London School of Economics, sociologist Dr Don Slater is working to improve how the industry thinks about ‘the social’ in lighting, as he explained at LuxLive in November. This is an abridged version of his presentation

By Don Slater

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’m a sociologist, not a lighting designer, manufacturer or engineer, or even someone really entitled to speak about light. But I started working on lighting about six years ago, and at that time it was very difficult to find people to talk to who might be interested in what I was doing. And academic colleagues did not get why lighting was so important,

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complicated or problematic, and therefore worth studying.

But things have changed massively. We have moved away from a world in which lighting is seen as the preserve of engineers and technologists on the one hand, and people who design more theatrical and aesthetic atmospheres on the other.

It is now much more about the ways in

which lighting can engage with and support the things that people actually are trying to do in their social places.

The argument of my work is that actually understanding these places that you light as social places, as places where very diverse people are doing very different things and understanding how light might relate to that, is far more complex

February 2020 Lighting Journal

than we usually think. It requires, I dare to say, something like a sociologist’s head – and I am trying to convince you why that might be.

At LSE, we have a research group called Configuring Light, which is exactly what is claims to be. It is about looking at light as material; how it can be shaped as the backdrop and the stage, as it were, for social interactions, for the things that people do.

We’re interested in looking at how light – a material that is part of everyone’s life all the time – is shaped by professionals but also by people in everyday life.

Every time I walk through my house and turn on a light in the kitchen or bathroom, I am ‘configuring’ light, and I am interested in how that happens in different social worlds. We’re committed to looking at not just how generic ‘humans’ or ‘people’ engage with light, but all the different practices of light and lighting around the world.

We’re two sociologists, myself and Dr Jo Entwistle at King’s and a lighting designer extraordinaire, Dr Elettra Bordanaro, co-founder of Light Follows Behaviour.

We’re interested in how light is socially shaped and the complexity of that; how the light we know comes about. We’re also interested in how sociologists and other social researchers can help in configuring

light in more socially responsible ways, more socially informed ways, and how we can help lighting professionals better understand the spaces they are actually lighting.

‘SOCIAL UNDERSTANDING’ OF LIGHT

The first question to address – and this is I’m afraid a little academic – is what do we actually mean by ‘the social’ or ‘social understanding’ when it comes to light and lighting, because there is quite a lot of confusion about this.

For lighting professionals, to talk about ‘the social’ and lighting often means to talk about social problems. So when we’re talking about social lighting or social understanding of space everyone expects us to be talking about deprived communities or places with high incidences of crime, or where women feel afraid to walk.

For me, however, any space that is lit is a social space; I am just as interested in a shopping mall as I am in a seriously deprived sink estate. When we talk about the social and social understanding, we’re talking about any space in which I can investigate, ‘what are people doing?’ – so their practices in that space, their beliefs about it, their feelings. It is about getting a better understanding of what makes a ‘public space’ in Cartagena in Colombia as

opposed to, say, Kerala in India or Barking in London.

Therefore, whenever you are lighting a street or a park or a public square, what is the full complexity of what people are up to? And what kinds of patterns can we see in the type of life they are putting together in those spaces?

The final thing we’re interested in is difference and diversity. Often lighting professionals talk to me about ‘human-centred’ or ‘people-centred’ lighting, and I have real problems with that.

When I see a space such as a street or park – and I think this goes for a lot of lighting professionals too – I do not see humans. I see women, men, people walking dogs, mothers pushing prams, black people, white people, old, young and so on and so on and so on; there is an incredible diversity.

DIFFERENCE AND DIVERSITY

They are all people who might not only see that space differently, but also are seeing each other differently, and often don’t want to be in the same space. Teenagers, say, want deep, black shadow and older people want prison yard lighting with the highest possible lux that you can uniformly deliver!

As a sociologist, therefore, I am engaged

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February 2020 Lighting Journal

Urban lighting

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in looking at diverse ways of life, their difference in different places, and differences within the same place. And that is what I want light to respond to. How can lighting support that diversity? And how can it help diverse people co-exist in the same places, use it for their different purposes and even enjoy each other’s urban company?

When I’m working with lighting professionals, I’m therefore looking at understanding the diversity of what is going on in a space and delivering to them an understanding they can work with practically. Often my job starts with simply finding all the different kinds of people using the space and – crucially – discovering who are not there, who aren’t using it?

For example, older people who are not present in the space simply because the lighting is wrong. Or disabled people. Or young people who are perhaps frightened away by too much light. It is about identifying all the people who have a stake in that space, who have an interest in that place, who have a right to that place, at least in theory.

HOW PEOPLE ARE USING SPACES

And then it is about looking at practices.

What are people actually doing there?

This is not just what they are doing, but

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what do they want to do? Or maybe can’t do. How can lighting – in conjunction with all the other elements of the space – support the activities that they want to carry out?

I am also interested in place, in the sense of how do different people in a place understand it? We often talk about place making; in fact, we are usually making a multitude of places within the same space, and the lighting will always be central to how different people come to understand and interpret the same space in different ways.

Finally, one of the questions most often forgotten by lighting professionals but dear to my sociological heart, is ‘what are the connections between the space that we are commissioned to work on and all of the spaces around it?’.

By this I mean not just connections, for example, to the next street (the one as the contractor we’re not lighting) or the next neighbourhood. But also things like, what is the historical connection of this space to stories that people tell about this bit of the city or their movement through it?

For example, we’ve recently been doing research on light and safety in Barking (and there is an image of the high street on page 10). Their perception of safety was not directly connected to brighter or

better placed lighting. Rather, they understood crime and security through a narrative of urban decline that involved migration and migrants, flight of older residents to other boroughs, and the arrival of young creatives.

We needed to understand some very wide connections in order to see that brighter lights would likely foreground all the evidence of decline that worried them; that lighting needed instead to create an atmosphere that countered their story about the state of Barking and Britain today.

LIGHTING THE LIVES PEOPLE LEAD

Another frustrating issue for a sociologist such as myself is the widespread view that, if we are interested in ‘people’ and lighting, we should be focused on the ‘impact’ of light on individual minds or bodies. The social, as I’ve been arguing, should focus us instead on how light is filtered through and interacts with people’s ways of life.

The popular slogans of ‘human-centric lighting’ or ‘people-centred lighting’, for example, point to the ways in which amounts of light shining on bodies will impact on things like circadian rhythms, or how too much light of the ‘wrong’ sort will cause cancer or sleeplessness or depression.

February 2020 Lighting Journal

What interests me, however, is not to say light always has x or y impact on bodies, but to try to understand how bodies might encounter very different kinds of light depending on what kind of life we lead. So, for example, a middle-class person in a city having a nice dinner in a candlelit restaurant is going to be impacted by a very kind of light than a night-worker working in an office building under cold fluorescent light every night.

This is not just about the impact of light on bodies; it is about how society is constructed so that different kinds of bodies receive different kinds of light. For me, this is a very important point. If you’re a lighting designer, what you need to know about are the kinds of lives that people lead that mean encountering different kinds of light; and about the reasons why different kinds of light are shone on different sorts of people.

This way of thinking produces a further very important problem: when lighting professionals or municipalities or developers seek ‘evidence-based’ lighting guidance, or engage social researchers like me, they like to be able to say ‘we know that light has this impact on people’, that light as such has an invariable impact on people as such. Moreover, they like to be able to say, ‘if you increase the light by x% you will

reduce crime by y %. We call this a ‘magic bullet’ approach: if you fire light into a certain social situation, it will directly have a certain kind of impact and measurably solve your social problems.

PERCEPTIONS OF LIGHT AND CRIME

A lot of the drivers behind evidence-based lighting – which Dr Navaz Davoodian will be explaining in more detail in the article following this one – respond to this kind of somewhat anti-social thinking; and issues of crime, security and safety are the prime example.

The public order and safety responsibilities of cities have shaped lighting since the 1680s in Europe, and the ambition to put these responsibilities (and their public cost) on a scientific basis is not new.

It would be convenient if we could say, scientifically, that a particular expenditure on a rationally specified lighting system would reliably secure the safety of citizens. The problem with this ambition is not simply that the available research on the direct relationship between lighting and safety or crime is extremely thin and extremely inconclusive (the best you can usually say is, ‘it all depends…’). The problem is precisely that it misses out the many complex social worlds in which light plays out, literally making them invisible in

order to look at light as an independent variable impacting ‘people’ as the dependent variable.

A great example of this is a recent study Configuring Light did of women in Kerala in southern India. It was a study of women and gender-based violence in two very low-income neighbourhoods, or ‘enclaves’. Again, the question (asked by an academic funding body in this case) of ‘how much will lighting impact crime or fear of crime?’ was the wrong question.

This image below shows the main street of one of the two enclaves we were working in. It had this huge, huge mast, which would not have been out of place in Wembley Stadium. And the women really loved this light; they thought it was great. Everyone involved thought they knew exactly why this was – because it made women feel safer by making everything, including threats, visible.

However, we were able not only to interview women in public spaces, but to build on six months’ worth of deeper research by the project, which explored what ‘safety’ and ‘danger’ actually meant to the women. And it was a much more complex story.

The bottom line was that all the women we talked to said, ‘we don’t actually feel unsafe here at all’ – in the public space. In

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February 2020 Lighting Journal

Urban lighting

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the home, yes, they were terrified. Outside the home, they were fine.

So, why did they like the light? For us, they would say, the main issue is not about our own personal safety on the street, it is about our husbands and sons, who are drinking a lot and taking a lot of drugs sold to them by people outside of the enclave.

Their men would meet under the tree and get into fights every night. But with the mast illuminating the space, they could easily identify them (and identify any strangers) and do something about it.

This was a very complex social situation; we had to understand what they meant by safety and security; and it also led to us taking a lot of time trying to work out what they meant by ‘light’. At first it seemed to be about brightness. But as we interviewed people with a researcher who was a native speaker, we found that the women’s words for ‘good light’ were not about brightness, it was about clarity.

Their overriding concern was what lighting professionals would call good facial recognition. Hence, their story was absolutely coherent: lighting will help us police our own community from intermale violence fuelled by outsiders. By contrast, on their own behalf women were very concerned about safety (as opposed to security from crime): they wanted lighting that shone on their most significant night-time pathways (to temple or shop) so that they wouldn’t fall into holes, mud or worse.

We couldn’t get at this story, or the role of different kinds of lighting, by being ‘human-centred’. We needed to know about this social world. It’s even more www.theilp.org.uk

complicated and ‘non-human’, however.

For example, in our other field site the story was entirely different, even opposite to the one I’ve just told.

Women there were terrified in the public spaces, for their own safety. It was an enclave divided by caste, ethnicity and social networks to the extent that self-policing was out of the question, so that lighting public spaces for facial recognition would have served no propose other than to empty them even more completely.

What women needed there was carefully zoned task-light lighting that would shine on and publicly acknowledge their convivial spaces (for example gathering outside their front doors) and places they needed to go such as water taps.

I’ve chosen a story from outside Europe simply to underline – as anthropologists often do – how different the places we work can be, and how much we need to know in order to understand them. And that what we need to know about is the social world we light.

What we are talking is getting lighting professionals out of their studios and offices to talk to people, observe them and treat each place they light as a complex and different world. It is about understanding and seeing how a space is actually used, assembled and put together. And then working to respond.

Dr Don Slater is associate professor of sociology at London School of Economics and one of the founders of the Configuring Light research project

CONFIGURING LIGHT

The Configuring Light research group generates collaborations between social researchers and lighting professionals to help us understand the role lighting plays in our everyday life.

Specialising in urban public spaces, the group’s aim is to build better social knowledge and better research methodologies for lighting design and urban planning.

You can find out more at www.configuringlight.org Alternatively, the ILP’s new ‘Lighting for Good’ portal is working to connect the lighting community more closely with academics and researchers, and vice versa, and so may be a good vehicle by which to begin generating discussions and ideas in this area.

To access Lighting for Good, log into your ‘MyILP’ portal at: www.ilpportal.zenzero.co.uk/ account/login This will take you to a screen where you can click on Lighting for Good.

February 2020 Lighting Journal

Evidence-based lighting design

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BUILDING BLOCKS Evidence-based design is a relatively new concept within lighting, but can potentially enable a lighting designer to better understand ‘softer’ design considerations, such how people interact with the lit environment or human perception and behaviour in particular settings. Building on a recent collection of essays, academic Dr Navaz Davoodian explained at LuxLive what it is and how it can be a valuable addition to the design process

By Nic Paton

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f you’ve ever had to go to see your GP or, heaven forbid, into hospital you’ll undoubtedly be grateful that the medical world has a long tradition (pretty much stretching all the way back to Hippocrates in fact) of an evidence-based approach to diagnosis and treatment.

Evidence-based medicine, as it sounds, is one where scientific, empirical research is used to support decisions about the most effective and efficient treatments. But can – and even should – such an approach be used within lighting and lighting design?

Dr Navaz Davoodian, honorary senior research associate at The Bartlett at UCL, strongly believes so. The value of

February 2020 Lighting Journal

designers embracing an evidence-based, research-based approach is a central tenet of a collection of essays, Urban Lighting for People: Evidence-Based Lighting Design for the Built Environment, edited by Dr Davoodian and published last spring. It was also the subject of a presentation she gave at LuxLive in November.

So, what is evidence-based lighting design and how does it work?

‘Evidence-based design is the process of the judicious and conscientious use of current best evidence from research and practice to make decisions about design for a project. In other words, it is a research-based approach that a designer uses to understand how people interact with the built environment and how the built environment interacts with behaviour,’ explained Dr Davoodian in her presentation.

COLLABORATIVE, INTEGRATED APPROACH

In more detail, as Dr Davoodian outlines in Urban Lighting for People: ‘EBD [evidence-based design] is the integration of practice design expertise, the client, the project, the user requirements and preferences, and the best research evidence into the design decision-making process.

‘An evidence-based approach simply means that we look beyond the limitations of our knowledge for reliable information upon which to base our design process. The aim of EBD is to create a bridge between research and design practice, augmenting the existing knowledge of organisations, communities, designers, their clients and end-users with available evidence about the ways in which people interact with the new and complex environments that we now occupy.’

This emphasis on evidence-based design being a collaborative approach is important, Dr Davoodian highlights. She was clear at LuxLive that evidence-based design is not simply about academics trying to tell practitioners how they should design, how they should go about their day job.

‘The practitioner’s experience is an essential part of the EBD process. At the same time, the context we are working within is also very important,’ she said.

There are, she explained, different forms of ‘evidence’, all of which can be drawn upon as part of the process and all of which may be valid in terms of feeding into an evidence-based approach. We

can, for example, have knowledge from research evidence, from professional experience, from clients and users, and from a design context and environment.

PROPOSITIONAL AND NON-PROPOSITIONAL EVIDENCE

Evidence, too, can be ‘propositional’, or formal, and ‘non-propositional’, or more personal.

As Dr Davoodian outlines in Urban Lighting for People: ‘Propositional evidence is usually more prominent because it is from academic research, and so it is relied on more frequently. But another important source of research is the personal. It is where a practitioner, using their experience, knows what’s worked and why it’s worked. They know from the previous projects that they have that what has happened and how the project worked for people, and why.’

Ju s t a s i m p o r t a n t l y, a n e v i dence-based approach is also definitely not a replacement or substitute for working within lighting guidelines and standards, far from it in fact.

She emphasises that standards come from academic research and therefore are an integral part of EBD process. ‘But they are made to be generalisable. When it comes to EBD, we bring in the context of design and evidence related to working in that context along with the standards and guidelines and make an informed decision regarding our design,’ she points out.

As Dr Davoodian argued at LuxLive: ‘ What is important is that evidence-based design is a process. It does not give you a ready-made solution for every problem, but it is an intellectual and creative process that every designer can use to get to a solution by themselves.’

But as she also articulates within Urban Lighting for People: ‘Evidence-based lighting design does not tell you the exact product to choose, or the illuminance and luminance and distribution of light. But the process of turning to credible research and experience may offer a pathway to answer these questions, which most certainly will not come out of a standard manual.

‘EBD is a process to assist designers to make decisions about design solutions based on the available knowledge about the impact of those decisions on people, costs and management, among other factors.’

URBAN LIGHTING FOR PEOPLE

To find out more about evidence-based lighting design and how to apply it to your practice, check out Urban Lighting for People: Evidence-Based Lighting Design for the Built Environment.

The book, edited by Dr Davoodian, brings together contributions from an eclectic range of academics and practitioners.

These include UCL’s Dr Jemima Unwin; LSE’s Dr Don Slater and his Configuring Light colleagues (as highlighted in his previous article) Dr Elettra Bordonaro and Dr Joanne Entwistle; Arup’s Dan Lister, Emily Dufner and Isabel Kelly; and Dr Karolina M Zielinska-Dabkowska, assistant professor at Gdansk University of Technology in Poland.

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Topics covered include: understanding the social aspects of urban lighting; understanding urban lighting masterplans; street lighting and older people; lighting for reassurance; wayfinding and the ‘hierarchy’ of urban elements at night; understanding the interaction of people, light and public spaces; and how to learn lessons from design projects.

It is available from booksellers, online retailers or via RIBA Publishing (price £40, ISBN 9781859468210), at www.architecture.com/riba-books/books/ construction-engineering-and-surveying/construction/product/ urban-lighting-for-people-evidence-based-lighting-design-forthe-built-environment.html

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February 2020 Lighting Journal

Lighting controls

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TAKING BACK CONTROLS

The development of intuitive, easy-to-use apps and Cloud-based modelling tools means lighting control can increasingly be put in the hands not just of the client but the post-occupancy end user. And lighting design will be the better for it, argues one designer whose practice has created its own lighting controls commissioning app

By Dominic Meyrick

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ou have spent months, sometimes years, agreeing the range of lighting products going into a project. The intricacies of each group of lights, their distribution and light pattern are known, and the subtle interplay of their interaction, both collectively and in variable intensities, was shown in drawings, sketches and renderings to the client body; it was this interplay that sold the scheme‌ and its cost.

A couple of days after the contractor has left the building you enter the space and turn, with great expectation, to the lighting control panel, expecting to see the stunning interplay of light. But, horror of horrors, as you push each of the four buttons on the control plate there is no interplay, only a slow descent of all luminaires, sinking from 100%, to 70%, to 50%, to off.

The commissioning of the lighting controls is often done in a hurry, satisfying neither the lighting designer nor the client or end user. At Hoare Lea, we have therefore taken the innovative step of developing our own digital product to act as a commissioning tool, as well as a design aid, to help clients visualise how the space will appear.

We recently demonstrated the Hoare Lea LightSIM Controls App (and we have copyrighted the name) to potential customers and received much interest and positive feedback. But what is it, how did we go about creating it and, more importantly, how are bespoke, selfcreated digital tools such as these set to change how lighting schemes are commissioned and designed.

February 2020 Lighting Journal

 Image from Hoare Lea’s first LightSIM created back in 2010 and (below) a more recent image showing how it has evolved

 How the LightSIM Controls App works

DEVELOPMENT OF THE PROTOTYPE

Put simply, the LightSIM Controls App uses coding intelligence to enable a scene, once it has been created, to be sent to a webbased lighting controls system. From here, it can be imported direct into the enabled light fittings installed in the space. This allows stakeholders to agree lighting scenes before a building is complete.

Critically, however, it also allows easy and quick (in as little as five minutes) reformatting of lighting scenes by the user post-occupancy, again through the LightSIM Controls App. As my colleague at Hoare Lea, associate Karam Bhamra, explains: ‘Lighting design had always been difficult to communicate – it is a challenge for clients and the project team to envisage the design intent.

Therefore, from the outset, we were keen advocates of 3D visualisation as a tool to demonstrate lighting design concepts.’

As technical hardware and software capabilities have developed, so has the ability of our visualisation team to represent photometrically accurate lighting in a range of 3D formats, everything from still images through to animations, VR and interactive applications.

But, of course, not every client or design team member can ‘see’, in their mind’s eye, in 3D. Add to this the complexity of how light interacts with surfaces and finishes, and there is the potential that the visual impression delivered by the lighting scheme might not be how others envisaged it.

Images of light pattern, whether precedent photos, photoshopped graphic

images or full-blown photometrically accurate CGIs can all help to give clarity to the lighting design approach.

However, these are ‘static’ images that do not always convey how the interplay of light can change the visual impression of a space. Developing techniques and tools that can ‘show and tell’ how the visual perception of a space can change over time through the use of a well-commissioned lighting controls system is a key component of lighting design delivery.

At Hoare Lea, we therefore came up with the idea of creating a simple application for demonstrating lighting interactively several years ago.

Around 2010, lighting design options were becoming more complex. The abundance of small profiles, easy-toinstall-and-maintain LED strips and concealed lighting all incorporated different treatments to architectural elements which, in turn, began to add to the complexity of elements required to be controlled.

We, naturally, wanted to communicate all this clearly to clients – to show what the lighting treatments would be, why they were part of the design, and how clients would be able to control them in the final installation.

After experimenting in-house using 3D visualisations, we developed an interactive tool that a client could run on any Windows platform.

This allowed them to view photometrically accurate 3D visualisations of the proposed space and, from there, explore the lighting proposals

15 by way of sliders and buttons they could press to dim or switch individual lighting treatments on or off. The view is a static one, not a model, and the lighting shown is the final (photometrically accurate) lighting that will be used in the final space.

The sliders allow you to set up the exact lighting scenes an end user wants in the space through the app.

Looking back, our first LightSIM seems quite basic, but it was important because it enabled the client to visually understand what each lighting treatment contributed to the space and how different lighting scenes could be created.

As a decision-making tool we realised how powerful this could be and as soon as we began showing LightSIM to clients their reaction confirmed that we were right.

UNDERSTANDING THE RANGE OF LIT IMPRESSIONS

For the first time, clients were able to understand the range of lit impressions possible from the soon-to-be installed lighting scheme in a format that was easy to use and which conveyed intent in a visually understandable way.

A common comment after installation and completion has been that it is ‘just like your LightSIM’, which is, of course, the best result possible. www.theilp.org.uk

February 2020 Lighting Journal

Lighting controls

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 Examples of scenes created with the LightSIM Controls App

WIDER APPLICATION

Since we developed the first LightSIM, the tool has gone through a few iterations. We have overhauled the user interface and layout, and added features such as: • Energy usage figures. Because all the lighting you see in the visuals is technically informed we can include an energy indicator that allows clients to see the effects of adding or removing different lighting elements • Lighting presets menu. Suggested lighting scenes are displayed for typical user scenarios relevant to the space • More flexibility. We have incorporated the ability to explore and tweak lighting scenes and save the resulting visual representations for sharing As I touched on earlier, traditionally, lighting scenes have tended to be commissioned by a subcontractor at a late stage in the development, when timescales and budgets are often under pressure. This can result in a loss in translation between the expectations of the client and what is delivered in the final lit scenes.

We have now used the LightSIM on www.theilp.org.uk

many different project types and across a wide range of sectors. I believe, and we are already finding, that being able to offer clients access to a tool such as LightSIM Controls App can help by offering a range of benefits.

For example, for an office/workplace lighting scheme having this added functionality can potentially enable clients to make decisions on lighting scene options before the fit-out process begins or before it progresses to a stage where change could be problematic or expensive.

Or for a heritage lighting scheme, say, this sort of tool can allow stakeholders to explore the lighting options more fully, and therefore make decisions regarding lighting scenes for sensitive building refurbishment projects for spaces that are often protected or listed.

But the fact a tool such as this can also be used post-occupancy to my mind opens up a whole range of further possibilities.

For example, it could enable patients coming into hospital to create their own lighting scenes as they arrive. Or guests in a hotel could create a bespoke lighting scene or scenes upon check-in that is then activated upon arrival in the room. Or in a

school environment, teachers could use the app to create lighting scenarios beneficial to their students. Or, in a retail setting, this sort of intuitive control could enable the creation of bespoke scenes for events or seasonal celebrations across a chain of stores/restaurants. The scope, to our mind, is almost limitless.

CONCLUSION

So, where is this all taking us? Typically, manufacturers charge a high price for dimmable drivers, as if dimming (and by that we mean user control) was a luxury, not a necessity.

This is partly because of the history of commercial dimming kit and the money made by the legacy controls industry – from the cost of the hardwired controls systems themselves, through to the day rate of a commissioning engineer on site for, say, three days.

I believe, in time, this will be eroded as we see more and more Cloud-based platforms being developed and coming to market, all with user-friendly interfaces that enable dimmable drivers to be configured easily.

The LightSIM Controls App working

February 2020 Lighting Journal

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 Examples of scenes uploaded to the real world

prototype came about as a result of close collaboration with Silvair’s Bluetooth platform. It works on a standard DALI driver but can be configured to be used with any Cloud-based lighting control system. It is now installed and working in Optelma’s London showroom. For those who are interested in delving deeper, the demonstration video can be seen here: https://vimeo.com/359743296 And don’t just take my word for it.

Robin Phillips, director at Conibere Phillips Architects, says: ‘LightSIM is potentially a great step forwards in the commissioning of lighting systems. It will place control in the hands of end users without the need for specialists.

Ultimately, who sets up scenes will vary from project to project; flexibility that most current systems lack.

‘Linking the set-up to a 3D visualisation of the spaces is a very clever way of helping those with less expertise to immediately see what the resulting configuration will be like. In projects where a change needs to be rolled out without disrupting the functioning of the space, this could be vital,’ he adds.

Just as importantly, with the lit

impression in a space becoming increasingly controlled by apps, we are increasingly allowing the end user to change and save whatever scene they want to create.

And herein, I would argue, lies the crux of the issue for the industry. Lighting control is no longer a ‘nice to have’; it is an essential, an increasingly expected part of a modern lighting scheme.

Within this there is the question of us as an industry responding to the growing climate emergency. Being able to dim the lights (and by this I mean setting a lighting scene that enhances the visual impression of an architectural or interior design space while minimising energy use) through easy-to-understand, user-centric, lighting control must be a given in this context.

As controls become easier to understand, get ready for an explosion in the way that spaces – from retail environments to schools – transform their lit impression to better suit a use, emotion or activity.

The possibilities are endless, everything from the simple – for example, changing scenes between winter and summer – to the complex, such as changing a lit retail scene between Black

Friday and Valentine’s Day. When we were developing the LightSIM app, I remember asking, ‘how many scenes can I have?’, to which the answer was ‘thousands’. My next question was: ‘why, then, do clients not have thousands?’ The answer was that no one had the time to programme that many and, anyway, there were only four buttons on the wall.

But that scenario is changing completely and, to my mind, lighting design will be the better for it.

Never again will ‘let me set the scene for you’ be said without the ability to create it, there and then. This will be not only to the benefit of our dealings with clients and to the lighting design process as a whole, it has the potential to be of benefit to both the planet and to users, as controlling the environment is vital for health and wellbeing.

Dominic Meyrick is a partner at Hoare Lea

www.theilp.org.uk

February 2020 Lighting Journal

Lumiere Durham 10th anniversary

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WEAR IT LIGHTLY

The weather may not have been great, but that did not stop visitors from flocking to the Lumiere Durham light festival in November. LDC Durham ILP members reflect on their highlights from the 2019 event, and what they learned from the LDC’s accompanying CPD event

By LDC Durham members

www.theilp.org.uk

L

DC Durham (and previously the North East region) has been attending Lumiere Durham since its beginning, since it first came to Durham all the way back in 2009; luckily the festival opening night always tied in nicely with our technical events.

Lumiere Durham is the largest light festival in the UK and has seen hundreds of dynamic art pieces installed throughout the city over the years. The 2019 festival, which ran from 14-17 November, was no exception, with 37 theatrical installations and projections utilised, portraying the originality and imagination of both local and international artists working with the form of light.

Durham County Council has long commissioned Artichoke, the UK’s leading producer of art festivals in the public realm, to deliver Lumiere Durham. The festival has interactive elements and installations on such a vast scale, offering up an array of optical and corporeal experiences to be enjoyed. 2019 was the festival’s 10th anniversary and saw the return of some much-loved favourites as well as new and exciting commissions.

February 2020 Lighting Journal

Of course, the north east weather has always been temperamental, which is the chance you take with the time of year and, although not perfect, the elements did manage to hold off slightly for the Thursday evening itself. Regardless, our membership is a hardy bunch and have always braved the elements to take in as much of the festival as possible.

For 2019, as well as enjoying Lumiere Durham itself, LDC Durham held a very enlightening CPD presentation from Graham Festenstein, the ILP’s Vice President – Architectural.

His talk focused on his role as director of the LewesLight festival in his hometown of Lewes, East Sussex. This is due to be taking place later this month, and a preview by Graham of what visitors can expect this year follows this article, on page 22.

Images from Artichoke’s 2019 Lumiere Durham, with all photographs by Matthew Andrews.

Main image opposite: ‘I love Durham’ by Jacques Rival and supported by CBRE Below: ‘Stones’ by Tigrelab Art

EXPRESSING COMMUNITY VISION

Graham’s presentation outlined how he became involved with LewesLight and what light festivals can entail, covering installations from the ‘Festival of light’ in Lyon through to LewesLight itself. He emphasised how LewesLight has always been about loving the people of Lewes and expressing the vision they want to portray to others through light and shadow.

The comparisons between LewesLight and Lumiere Durham were noticeable, although on a vaster scale. It was intriguing to find out about the ‘behind the scenes’ work involved in making a light festival a reality, something that gave us all a new sense of appreciation for the installations being ‘brought to life’ through light.

Lumiere Durham contains diverse and interesting lighting installations, offering patrons a unique experience at every turn.

These pieces of art give the city a new lease of life for the four nights it runs. Many familiar buildings are illuminated, such as Durham Cathedral and public spaces like Durham Market Place, all the while shifting our perception and experience of our day-to-day urban surroundings.

As well as some installations being interactive, many are also informative and educational. For example, ‘Celestial Brainstorm’ (below) by Amelia Kosminsky gave an insight into photosensitive epilepsy. The title of the piece reclaims the

 ’Celestial Brainstorm’ by Amelia Kosminsky and supported by Dyer Engineering and Unusual

term ‘brainstorm’, which is used to describe a seizure, but which has historically been used to mean a period of intense thought or creativity.

Another installation, Mike Donaghy’s ‘A different view’ was a playful alteration of two sets of traffic lights. It provided a fun filter to an otherwise functional light source, simply but effectively adapting the red ‘stop’ to a heart, the amber to a smiley face and green to an earth. As a result, it drew a smile to anyone’s face.

A further notable installation for 2019 was the long-awaited return of Jaques Rival’s giant neon ‘I Love Durham’ snow globe in Durham’s Market Place. Durham Cathedral was transformed from both within its interior – through the candlelit installation ‘Spirit’ – and from its exterior, with the public being able to manipulate the sound and light installation ‘Stones’.

All in all, it was a very popular and enjoyable event, regardless of the unpredictable elements and hopefully will keep going for years to come. According to Artichoke, it was estimated as many as 165,000 people visited Lumiere Durham for 2019, meaning the festival has attracted more than a million people in the decade it has now been running.

ILP Durham members are thankful for the variety and experience an event such as Lumiere Durham offers, both as an addition to the technical session and as a pleasant opening to the run-up to Christmas.

Overleaf are some perspectives from LDC Durham members who attended 2019 Lumiere Durham. www.theilp.org.uk

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Lumiere Durham 10th anniversary

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 ’End Over End’ by Lucy McDonnell

 ‘Geometrical Traces’ by Javier Riera, supported by Spain Arts and Culture and the Spanish Embassy in London

‘IT HAD THE FEEL OF AN EVENT MUCH MORE MATURE IN YEARS’

and our first glimpse of “Mysticète”, a more than life-like, water screen, 3D projection of a Baleen whale.

‘Having taken in “End Over End”, a giant illuminated slinky using shipping containers for steps, we arrived at the Radission Blu for Graham Festenstein’s paper. Making our way to the Market Place we had the opportunity to admire “The Stars Come Out at Night” as it cast a starry universe upon the ground.

‘We approached the Market Place and our first view of the iconic “I Love Durham”. The gigantic snow globe completely enveloping Durham’s affectionately known “man on a horse” statue, colour change and whirling snow adding to the effect.

“On then to the centrepiece, the cathedral, “Stone”, whose external façade was illuminated by its dynamic shape-shifting, video-mapped projections, accompanied by a generative soundtrack that could be manipulated using a stone controller.

‘A short queue took us into the cathedral and “Spirit”, a health and safety professional’s worst nightmare! Designed by fire alchemists, “Spirit” was all about cascading candles and smouldering sculptures, inside dozens of suspended vests internally illuminated by candles, outside flaming sculptures and arches.

The drama was offset by subtler pieces, such as illuminated automata and “Hope”, which was a quiet space, simply illuminated, for reflection and prayer.

‘Finally, we wound our way down on to

‘They tell you to expect the unexpected. My first visit to Lumiere Durham was a tale of the unexpected. I didn’t quite know what to expect, but I wasn’t prepared for the magnitude and quality of the event, which was superbly well attended. It’s hard to believe Lumiere Durham has only been going for 10 years as it had the look and feel of an event much more mature in years.

‘The evening started with a stroll over the River Wear across Penny Ferry Bridge

 ‘Spirit’ by Compagnie Carbosse

www.theilp.org.uk

Framwellgate Bridge, which was the perfect viewing platform for “Fool’s Paradise”, a fairy-tale village projected on to Durham Castle’s historic walls.’

Ian Harker, lighting manager, Cumbria County Council

‘THE ILLUSION OF LABYRINTHS AND PATTERNS’

‘Having weathered a few Lumiere Durham’s over the years, there is no denying there is always something new and exciting to behold. Luckily the weather held off, but only just. My personal favourites were “Geometrical Traces”, which was mesmerising, projecting vast geometric shapes on to the trees across the River Wear, giving the illusion of labyrinths and patterns.

“The Fire Garden” was stunning, offering a welcoming, medieval experience to walk through after the albeit beautiful but eerie “Spirit” installation within the cathedral.

Finally, to add a bit of fun to the festival there was “End Over End”, a giant rainbow-coloured slinky. All in all, a pleasant and worthwhile experience.’

Elizabeth Harrison, lighting designer, Stainton Lighting Design Services and LDC chair

‘IT REALLY DID HAVE THE WOW FACTOR’

‘Our evening started with Graham Festenstein’s presentation, which showed how involvement and

February 2020 Lighting Journal

also encouraged footfall to extended parts of the city, prompting all present to see more of the features.

‘The one criticism I had was the queuing to get into the cathedral, which forced people over a 30m stretch of grass, which was like a bog; this created unsafe walking conditions, with everyone then trailing “clarts” into the cathedral itself – organisers, please take note for next time!

‘I have seen lots of positive feedback on social media so overall the event seemed to prove very popular again. I would have preferred a stroll in drier conditions however we retired early due to the weather, taking in “The Half Moon”, “The Tin of Sardines” and finally “The Spice Lounge”, proving that Lumiere Durham is good for the local economy.’  ‘Light Tunnel’ by Dan Shorten and supported by Silverwood Cars

Andy Kay, contracts manager, CU Phosco Lighting

‘IT WAS ENJOYABLE TO SEE SOME OF THE INSTALLATIONS RETURNING’ interaction with the local community can really bring people together and highlight the culture and history of an area. We then headed out to the festival and, with so many different types of installation this year, there was definitely something for everyone.

‘My favourite was the “I Love Durham” snow globe which, with its vast scale, was an impressive sight on the approach to the Market Place. With its warming glow and flurry of snow and being built around one of Durham’s most iconic monuments, it really did have the wow factor.’

Mandy Pettit, lighting engineer/designer, Stainton Lighting Design Services

same event two years ago but not as good as the first such event.’

Tony Lord, retired

‘WITHOUT A DOUBT VERY GOOD FOR BOTH THE CITY AND COUNTY OF DURHAM’

‘Without a doubt the Lumiere Durham event is very good for both the city and county of Durham. The weather could have been more favourable, but it was November after all. From my experience, the organisers had improved the pedestrian flow this time around by engaging a better one-way system, which

‘This was my fifth Lumiere event and it was really enjoyable to see some of the installations returning, although it was a shame we never had the elephant back, as this was my personal favourite from the past events.

‘Graham Festenstein kicked the evening off with an excellent and insightful paper on lighting festivals and it was great to meander round such an exceptional lighting event with a load of other lighting bores (sorry ILP members!).’

Anthony Smith, director, Stainton Lighting Design Services and ILP President

‘AN IMPROVEMENT ON THE SAME EVENT TWO YEARS AGO’

‘For me, the most impressive item was the “Mysticète” whale in the river close to the hotel, at which we commenced our evening. There were some nice features as we walked towards the cathedral; the external laser show on the building was interesting, even if not quite as impressive as four years ago.

‘The internal illuminations were striking, together with the flame effects in the quadrangle and exit. But due to the one-way walking system, we saw little else of what was on offer; everything after that seemed to be there to get one out of the area as soon as possible!

Overall, it was an improvement on the

 ‘Mysticète’, Top’là Design by Catherine Garret and supported by Milburngate

www.theilp.org.uk

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February 2020 Lighting Journal

The 2020 LewesLight festival

CLIMATE 22

E

ast Sussex’s LewesLight festival was created in response to the UNESCO International Year of Light in 2015 and has become an increasingly popular fixture in my hometown of Lewes ever since.

The 2020 festival will take place from 28 February to 01 March and, having last time focused on historical stories associated with the end of the First World, this year we will be exploring themes around the environment and climate change.

There will be installations in light, sound and space, addressing concepts such as the beauty of moonlight and shadow through to the play of light on water.

The ILP-supported LewesLight light festival returns later this month, and this year will be exploring themes around the environment, moonlight and shadow

By Graham Festenstein

www.theilp.org.uk

EXCITING AND DRAMATIC ILLUMINATIONS

Our artists and designers will also investigate some of the more troubling climate issues of our time, including the impact human civilisation is having on our planet, the growing climate emergency, rising sea levels, plastic, the impact we have on wildlife and biodiversity and what this means for the future.

February 2020 Lighting Journal

Installations from the last LewesLight festival. All photographs by James McCauley

The festival will welcome back some of our previous contributors and some new.

Visitors – and I hope many ILP members will make the time to come and experience LewesLight – can therefore expect an eclectic mix of exciting, dramatic and thoughtful illuminations.

The festival is very much a community event and takes place because of the hard work of both our professional and community volunteers and support by our partners.

This year, for example, we are working with the Lewes Railway Land Wildlife Trust RATS Group and the Environment Agency to involve secondary school children in the event, especially in the context of raising awareness of sea level rise because of global warming.

We are working with the community organisation ‘Making Lewes’ to develop a community workshop and with Manor Green College in nearby Crawley to involve children with learning difficulties in the production of one of our installations.

FOCUS ON EDUCATION

Our focus on education and community involvements is one of the things that sets LewesLight apart from many other light festivals, and this year will be no exception.

Education will, once again, be at the heart of the festival. As well our work

with schoolchildren we aim to promote S T E M ( s c i e n c e , t e c h n o l o g y, engineering and maths) showing how these subjects are inseparable from creativity, art and design.

Our professional team will also be working with undergraduate and postgraduate students from Brighton University School of Art, University College London (UCL), Rose Bruford College in Sidcup and Northbrook Metropolitan College in Worthing.

Through these links and collaborations, we hope to be providing opportunities for mentoring and experience right through the creative process through to delivering the final event.

At the time of writing, contributors confirmed include designers from: BDP, Nulty+, Studio Fractal and Studio 29, plus designers and artists Michelle Dufaur, Maggie Lambert, Carl Robertshaw,

WHAT YOU NEED TO KNOW

What: LewesLight 2020 Where: around the town of Lewes,

East Sussex When: 28 February-01 March More details: www.leweslight.uk

Shadow Cabinet, Galit Shaltiel, Eleni Shiarlis and Tim Minter, among others.

The festival’s other partners for this year’s events are: Lewes Town Council, Lewes District Council, The Depot Cinema, Trinity South Malling and Sussex Events. We’re also very grateful for the financial support we receive from Lewes Town Council, The Arts Council of England, the Rowland Family Foundation and the Sussex Community Foundation.

LewesLight is also supported by Commercial Lighting, iGuzzini, Architainment, Light Projects, Rosco, Mode Lighting, The Society of Light and Lighting and, of course, the ILP. And long may that continue!

So this, I hope, gives you just a flavour of what you can expect at this year’s LewesLight – and we are really excited about the installations and experience we have planned.

I very much hope ILP members will be able to join us in Lewes for what will be a visually stunning and memorable experience. And if you can’t make it yourselves, please do pass on the word to friends or colleagues.

Find out more about LewesLight at www.leweslight.uk Graham Festenstein CEng MILP MSLL IALD is festival director of LewesLight, the ILP’s Vice President – Architectural and owner of Graham Festenstein Lighting Design

www.theilp.org.uk

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February 2020 Lighting Journal

Light art

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‘FROM THE COSMIC TO THE ATOMIC’ A lucky group of ILP volunteers was given the chance in December to experience a solo exhibition of works by Leo Villareal, the American artist behind the capital’s mammoth ‘Illuminated River’ art project. But if you didn’t manage to catch it, never fear, there is an upcoming important exhibition by seminal light artist James Turrell to look forward to as well

By Nic Paton

‘M

esmerising ’, ‘breath-taking ’, ‘you could get lost in the twirls and motions of the lights’.

These were just some of the comments from ILP members who were given the opportunity in December to visit the Pace Gallery in Mayfair, London – totally for free, as guests of the gallery – and experience its first solo exhibition of works by the American light artist Leo Villareal.

The trip was a ‘thank you’ by the ILP to members who had volunteered their time www.theilp.org.uk

and expertise last year, including some of those who have been working with Villareal on ‘Illuminated River’, the ambitious project with Lifschutz Davidson Sandilands and The Illuminated River Foundation to create the world’s largest free public art project by illuminating up to 15 London bridges.

As Lighting Journal reported back in September (‘London Pride’, vol 84 no 8) , the first four bridges – London, Cannon Street, Southwark and Millennium – have now been unveiled to the public, and the ILP’s team of volunteers played an important role

in working with Villareal to make it a reality.

The exhibition at the Pace Gallery ran from November until the middle of January and is due to be followed – from 11 February through to 27 March – by a major exhibition of new works by seminal light artist James Turrell.

Turn to page 27 for more details on this, as it is an exhibition not to be missed.

‘UNDULATING FIELDS OF PATTERNED LUMINESCENCE’

At the centre of Villareal’s exhibition was Detector (2019), (main image pictured above)

February 2020 Lighting Journal

Leo Villareal’s Detector, 2019. All images on this page and overleaf courtesy of Damian Griffiths

a monumental work spanning more than 10m and featuring, as Pace described it, ‘undulating fields of patterned luminescence, suggesting the sifting of stars, galaxies, and other astral phenomena. Signals penetrate through fields of noise as clusters of particles expand and collide, conjuring antipodal forms from the cosmic to the atomic.’

Two works then flanked Detector, titled Optical Machine I & II. These, the gallery explained, served ‘as portals into the visual manifestation of Villareal’s rule-based software, which engages chance through the concepts and computational techniques of artificial life and emergent behaviour.

‘Employing a highly synthetic process, Villareal’s works nevertheless echo the ubiquitous systems that produce organic behaviours found throughout nature’, the gallery added.

The exhibition also included six pieces from Villareal’s Instance series, which function both as individual artworks and as part of an orchestrated whole.

For the Pace exhibition, Villareal networked together two groups of three works from the series, so ‘allowing the individual panels to act alone while at times performing in synchronicity with interconnected works’, the gallery explained.

It added: ‘Existing simultaneously as both standalone objects and nodes in a larger system, the works convey the interdependence between their digital and physical forms while incorporating new levels of complexity in their visual behaviour.

‘Linked together, they produce

malleable synchronies wherein the possibility of order, however fleeting and subtle, flashes briefly into existence before gradually dissipating into a state of entropy. ‘ Villareal’s use of the triptych underscores the importance of arthistorical precedent in his work, alluding to a format originally associated with Renaissance altarpieces, but which recurs throughout the history of painting,’ the gallery said.

So, what did our volunteers make of it?

‘LEO’S WORK HAS AWOKEN SOMETHING IN ME’

Guus Ketelings, lighting design technician at CU Phosco Lighting and one of the Illuminated River volunteers was left speechless. ‘How do you put it into words?!

The artwork he has created is a big LED mesh; he’s very good at creating mesmerising, all-absorbing patterns that completely transform and transport you into a different world; they absorb you,’ he told Lighting Journal.

‘What lots of people were comparing it to was space and how elements move through space, such as stars and galaxies. I was taken aback, to be fair. It was utterly beautiful, truly.

‘It was something that appeared so simple but once you sat down and you looked at it for give or take five minutes you just started appreciating, “my god, this is absolutely phenomenal”. That’s the thing, that is what he’s trying to evoke – it is something you could look at for an hour and just meditate while you are looking at it.

‘Along with Illuminated River, Leo’s work has awoken something in me; I am starting to appreciate the architectural/ artistic side of lighting far more than I did when I started in the industry. It is making me reflect as to what I want to aspire to further my life in terms of career possibilities. The opportunities the ILP provides, it has been just fantastic,’ Guus added.

‘The wall [for Detector] was alive, almost pulsating away from the middle of the screen. This was by far my favourite piece; you could quite literally stand there and get lost in the twirls and motions of the lights pulsating and fading on and off the piece,’ agreed Perry Hazell, business manager, asset management services, at London Borough of Southwark.

‘The exhibition also had smaller pieces that, when sited in a triptych, looked like the paintings were talking to you. It was a very surreal and peaceful place to be.

‘As part of my role within the London Borough of Southwark, we have our day-today responsibilities for ensuring the highway is lit and maintained to a standard, but rarely do we get the chance to take a step back and think about how can we improve the public realm in a way that will impact the end user and create a safe and inviting place to come.

‘So I think these new and exciting concepts are where engineers like myself and others can start to gather ideas,’ Perry added.

‘The show was absolutely breath-taking, each composition through LED and coding bringing the magic of light to life,’ enthused April Dorrian, studio manager at Zumtobel.

‘Within minutes of entering the space, I was transported into a calm, quiet, cosmic world. It was a really beautiful show. Huge thanks to Jess [Gallacher, ILP engagement and communications manager] and the ILP “How to be brilliant” team [Zumtobel was the 2019 sponsor] for organising this experience,’ she added.

‘WHERE ART LEADS, DESIGN FOLLOWS’

Villareal’s Detector also stood out for Mark Ridler, lighting director at BDP. ‘It was a really nice exhibition, and it was fantastic of the ILP to give back to the volunteers in that way. It was fascinating to see the work that www.theilp.org.uk

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February 2020 Lighting Journal

Light art

Above: Instance 17, 18, 19, 2019, by Leo Villareal Left: Leo Villareal in front of Detector, 2019, all © Leo Villareal

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is going on behind Illuminated River, by an artist who is doing such a significant piece of work in the centre of London.

‘It was very different in nature, obviously in terms of scale, but also in terms of colour and the kind of patternations there were.

There were synergies as well in terms of the way in which we are using LED light as the medium and algorithms as the authoring tool,’ said `Mark.

‘What was really interesting to me was that you could just stare at the pieces for ages and ages in a very contemplative fashion. It was beautiful, really lovely.

‘It was an ongoing demonstration that data and artificial intelligence is going to be an ever-increasing piece of what we do, if not necessarily as explicitly rendered in this way. I don’t think all of our lighting will be as kinetic as Villareal showed in this exhibition but where art leads, design often follows. The way in which we control our lights and, perhaps even indeed, author them is going to be an everincreasingly influenced by these types of techniques,’ Mark added.

As well as Illuminated River, a further solo exhibition of Villareal’s work is due to be held at the Pace Gallery in Palo Alto, California from 02 April.

www.theilp.org.uk

February 2020 Lighting Journal

James Turrell’s Kermandec 2014, courtesy of the Pace Gallery. This image was taken from a 2014 exhibition by the master artist

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IMMATERIAL GAINS A major solo exhibition of the master artist James Turrell is on show in London from this month. His work with light, sense, space, colour and perception – the immateriality of light itself – has always fascinated lighting professionals. Nic Paton looks at what visitors can expect

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major exhibition of renowned light artist James Turrell is coming to London and will coincide with the gallery’s 60th anniversary year.

The Pace Gallery in London’s Mayfair will be presenting its second solo exhibition of works by the influential American artist from 11 February to 27 March.

The exhibition will feature new works from Turrell’s Constellation series staged in site-designed chambers.

The works feature elliptical and circular shapes with a frosted and curved glass surface animated by an array of technically

advanced LED lights, all of which are mounted to a wall and generated by a computer program.

Visitors to the exhibition, which is free to enter, will be able to experience light changes that are subtle and hypnotic, with one colour morphing into the next.

The program runs on a loop imperceptible to the viewer, prompting what has been described as ‘a transcendental experience’. Through these new works, Turrell is continuing his exploration of technological possibilities combined with sensory practices and gradient colours.

www.theilp.org.uk

February 2020 Lighting Journal

Light art

A selection of James Turrell images, all copyright James Turrell and (unless stated otherwise) courtesy of Pace Gallery. Top row, from left: Pelée, 2014; Kermandec, 2014; and VARDA (03), 2017 (courtesy Kayne Griffin Corcoran). Middle row, from left: all Pelée, 2014. Bottom row, from left: MORS-SOMNUS (07), 2019; Pelée, 2014; Aquarius, Medium Circle Glass, 2019

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As Turrell himself has commented: ‘To some degree, to control light I have to have a way to form it, so I use form almost like the stretcher bar of a canvas… When I prepare walls, I make them so perfect that you actually don’t pay attention to them.

This is true of the architecture of form I use: I am interested in the form of the space and the form of territory, of how we consciously inhabit space.’

SENSE, SPACE, COLOUR AND PERCEPTION

Turrell is recognised as being among the most influential artists of the past 50 years, and his work with light, sense, space, colour and perception – the immateriality of light itself – has long made him popular with lighting professionals. www.theilp.org.uk

Since his earliest Projection Pieces (1966-69), Turrell’s seminal works have included Skyspaces (1974-), Ganzfelds (1976-) and, perhaps most notably, his Roden Crater project (1977-) located near Flagstaff, Arizona.

Representing the culmination of the artist’s lifelong research in the field of human visual and psychological perception, Roden Crater is a controlled environment for the experiencing and contemplation of light and stars.

For lighting professionals unable to make it to London for this specific exhibition, it is worth recognising that there are a number of Turrell artworks on display around the country.

Seldom Seen can be viewed at Houghton

Hall in Norfolk, while Aqua Obscura (part of the Camera Obscura series) and Twelwolow Kernow (part of the Skyspace series) can be seen at Tremenheere Sculpture Gardens, near Penzance.

Yorkshire Sculpture Park in York is host to Deer Shelter (again part of the Skyspace series), while Cat Cairn (also part of Skyspace) is on display at Kielder Water and Forest Park. Albeit part of a private collection, another work in the Skyspace series, Craiganour Skyspace, is located on the Craiganour Estate in Perthshire.

The Pace Gallery is located at 6 Burlington Gardens in Mayfair, London, and the nearest tube stations are Piccadilly Circus and Green Park.

asd.lighting/enso

February 2020 Lighting Journal

Solar-powered lighting

SOLAR SYSTEMS

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The UK’s long, grey winters have traditionally generated scepticism about the viability of solar as credible power source for street lighting in this country. But advances in solar panel and battery technology, plus its much lower installation costs, mean solar can no longer be dismissed so easily as a solution

By Tim Barker

www.theilp.org.uk

February 2020 Lighting Journal

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n 1954, tucked away in a laboratory in New Jersey, the modern solar cell was invented. From this moment, the promise of carbon-neutral, free-to-generate electricity that requires no mains connection has proved to be incredibly alluring.

Unfortunately, here in the UK we’re subject to long, grey and dreary winters. For many years, this has led lighting professionals to view solar street lighting with scepticism and doubt.

Understandably, they question solar lighting ’s ability to harvest and store enough electricity during the dark winter months.

This scepticism has, in many cases, been healthy and well warranted. Most of the early solar lighting products on the market featured low-quality components. These lights would have struggled to generate sufficient electricity in the middle of summer, let alone on a cold, wet Tuesday night in Stoke.

Fortunately, solar cell and battery technology have made rapid advances in recent years, helping to make solar lighting a viable option in the UK. Not only can this help lighting engineers

save on running costs and reduce the carbon footprint of their schemes, it can also help them to achieve drastic savings on the cost of installation.

CHANGING SOLAR PANEL TECHNOLOGY

In a single hour, more power strikes the earth from the sun than the world consumes in an entire year. This means that, if we could harvest just 1/8000th of the solar energy we have available to us, we would have all of the energy that we need.

The challenge with solar power, however, is not the amount of energy available but the difficulty in harvesting it.

Historically, solar panels have been expensive and relatively inefficient.

This has often meant that any potential cost savings lighting engineers might have achieved with effective solar products are far outweighed by increased unit costs.

From the outside, solar panels do not appear to have changed much in recent years. They still consist of crystalline silicon covered in glass and bolted to a frame. Beneath this unchanged exterior, however, many technological advances have taken place. This now allows solar lighting to be an effective solution, even in the UK. At this stage, it’s worth a brief refresher on how photovoltaic solar cells work.

In order for solar cells to generate electricity, photons in light must collide with electrons in the solar cell. By

increasing the likelihood of photon electron collisions, panel manufacturers can increase the efficiency of a cell.

Recent advances in material technology are helping to increase cell efficiency. Top-of-the-range solar lighting units now feature monocrystalline solar cells instead of more commonly used polycrystalline cells. Monocrystalline silicon cells are identifiable by their dark, uniform colour, which stands in contrast to the blue, speckled appearance of polycrystalline cells. As suggested by the darker colour, monocrystalline cells are able to absorb more available light. This results in a greater number of electron/photon collisions and increased cell efficiency.

Engineering advances are also being used to improve cell efficiency. Manufacturers are now adding anti-reflective coating to the front of solar cells. This coating prevents useful light from being reflected before it has the chance to meet with an electron and be converted into electricity. Similarly, putting a reflector on to the back of a solar cell means that any unabsorbed light is reflected back through the cell, further increasing the likelihood of photon electron collisions.

Panel manufacturers often talk in terms of cost per watt. Manufacturing costs have fallen from over $20/W (£15/W) in the 1970s to less than $2/W (£1.50/W) today. Silicon still accounts for as much as 18% of the cost of a solar panel. Improvements in bulk silicon

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February 2020 Lighting Journal

Solar-powered lighting

production techniques have reduced the cost per kg from highs of $400/kg (£300/kg) to $10/kg (£7.50/kg) today.

This reduction in panel cost has allowed solar lighting manufacturers to mount large, high-quality units on top of their products whilst still achieving an effective price point. For UK lighting professionals, this means modern solar products are able to harvest enough energy, even on overcast days.

CHANGING BATTERY TECHNOLOGY

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Energy gathering is just one part of the technological problem that needs to be solved. With the UK suffering from long periods without any sunlight, effective battery technology is crucial for UK-viable solar street lighting.

Modern solar streetlights use lithium-ion batteries. This is the same technology as you’ll find in your laptop, phone and even possibly your electric car.

Lithium-ion batteries were first commercialised by Sony in 1991, heralding a revolution in electronics. It was now possible to safely and reliably store and discharge energy portably or in remote locations.

Lithium-ion batteries offer a number of advantages for use in street lighting.

Firstly, they have no memory effect,

meaning there is no reduction in the longevity of the battery’s charge because of incomplete discharge in previous uses.

Lithium-ion batteries also benefit from a flat voltage discharge curve. This helps to ensure a constant and reliable light output.

Thanks in large part to the dramatic increase in battery production needed to power consumer electronics, lithium-ion battery prices have fallen drastically in recent years. In 1995, these batteries cost over $3,000/kWh (£2,259/ kWh) to manufacture. By 2018, this price has fallen to $176/kWh (£132/kWh).

This reduction in cost allows for higher capacity batteries to be installed in solar street lighting. Combined with large panels to collect as much energy as possible on bright days, these highcapacity batteries ensure constant light output, even with many consecutive overcast days.

MAKING THE BUSINESS CASE

Whilst these benefits are highly desirable, the key point of difference for end users when considering solar street lighting is found in the dramatic installation cost savings that solar permits.

As solar streetlights gather all of their energy from the sun, there is no need for

external power. This immediately removes the need for costly UK mains network connection as well as time-consuming and often highly disruptive groundworks.

With these installation costs often running into multiple thousands of pounds per lantern, the business case for deploying solar street lighting is immediately made clear.

Unfortunately, too many lighting projects get shelved or cancelled altogether because of high installation costs.

Thankfully, the recent advances we have seen in solar lighting technology will allow lighting professionals to engage with these projects once more.

Parklands, paths, alleyways, car parks and remote transport stops are now able to benefit from quick, easy and cost-effective solar lighting.

CHOOSING THE RIGHT PRODUCT

When purchasing solar units, lighting engineers are faced with additional decisions and trade-offs when compared with traditional wired units.

Therefore, it is important to pay close attention to the product panel power and battery size. These will give you the best indication as to the quality of your chosen product.

Especially given the challenges of the UK’s weather and lack of sunshine, it is important to over-compensate when calculating the ratio between panel size and luminaire power output.

You also need to be interrogating your potential supplier closely in terms of questions such as how many days can you expect the product to continue to work without exposure to sunlight, at what point will power then become intermittent and how that is mitigated, and where the batteries are located on the pole and how they will be maintained/replaced.

Because of the sometimes challenging UK weather, this over-speccing approach is the key to a successful solar deployment. Fortunately, the large cost-savings achieved by avoiding trenching and groundworks can more than offset the additional costs of high-quality solar units.

Tim Barker is managing director of Acrospire Products, which distributes Green Frog Systems solar lighting

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February 2020 Lighting Journal

RAPIDLY DEPLOY LIGHTING AVOID COSTLY TRENCHING ZERO RUNNING COSTS

Welcome a Greener Future 33

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E: info@AcrospireProducts.com T: 01256 308 467 www.theilp.org.uk W: www.AcrospireProducts.com

February 2020 Lighting Journal

Heritage lighting

VAULTING 34

Detail of the Nave ceiling. The lighting equipment is positioned within the fluted profiles of the columns

www.theilp.org.uk

February 2020 Lighting Journal

AMBITION Layers of light are at the heart of a new LED scheme for Norwich Cathedral by Speirs + Major. Both sympathetic and nuanced, the scheme needed to celebrate the cathedral’s soaring architecture, maximise its natural daylight and yet have minimal impact on its historic physical fabric

By Nic Paton

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or more than 900 years Norwich Cathedral has dominated the skyline of Norfolk’s main city. Famous for its stunning architecture, the building is an important seat of worship and a much-loved part of the East Anglian community, housing an outstanding collection of art and objects. The fine Norman and perpendicular interior is renowned for its ribbed vaulting and ornately painted bosses.

Appointed as lighting designers in 2012, Speirs + Major has created a sensitive, sustainable and innovative interior new LED lighting scheme for this massively important place of worship, which was completed this time last year (February 2019).

The cathedral offers over 30 services a week as well as hosts numerous activities and events and welcomes thousands of tourists every year. The new scheme has encompassed re-lighting all of the interior areas of the cathedral, including its six chapels, two ancillary rooms and its historic library.

As Speirs + Major principal Mark Major says: ‘Our primary focus for lighting a

place of worship is always in support of the liturgical and spiritual aspects of the building. We are mindful that for centuries these glorious buildings were lit by daylight and candlelight alone.

‘Our aim for Norwich was to develop an “unself-conscious” response. The emphasis is on celebrating objects of liturgical significance while also delivering infrastructure to enable the community events, concerts, and tourist visits that are vital to the successful running of a modern-day cathedral. Revealing the key architectural features is included as an essential part of our interpretation.’

LAYERS OF LIGHT

To that end, the lighting is built up in layers.

The foundation is low-level ‘general light’ designed to facilitate everyday activities such as circulation, cleaning and reading.

The next layer is formed by highlights that draw attention to the liturgical elements, such as altars, pulpits, sedilla (specialist seating positions), lecterns, fonts, the Quire and significant objects such as the Bishop’s Chair.

Next, consideration was given to each entrance and change of level to ensure easy access and improved safety for people of all abilities. A further layer details the infrastructure required for concerts and community events.

Norwich Cathedral is largely Romanesque in design. Its soaring volumes are revealed through natural light penetrating at every level to define the experience of the building. The final layer of electric light therefore was conceived to express these volumes, from the triple-height vaulting above the Nave, Crossing and Presbytery, to the unique first-floor level Triforium Gallery and upper-level Clerestory, and the single-storey vaulting to the Aisles and Ambulatory.

Each of the lighting effects is individually controlled and dimmable from 0% to 100% brightness. The ability to finely control the lit effect enables the cathedral’s dean and chapter to shift the focus of worship t Different lighting scenes enable the focus of worship to be shifted, helping to adapt the spaces of the cathedral to meet the needs of the church and community All Norwich Cathedral photographs by James Newton

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February 2020 Lighting Journal

Heritage lighting

The Quire Stalls

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St Saviour’s Chapel

The view to the West End

around the building, creating different atmospheres that suit the many uses of the church.

One of the challenges of the project lay in delivering these layers of light with minimal impact to the building fabric. To achieve this at the same time as maintaining its clean aesthetic, Speirs + Major designed a series of multi-purpose details, honed through multiple tests and mock-ups.

Speirs + Major senior associate and group leader Philip Rose explains: ‘It was essential to restrict the number of places we had to drill into the fabric of the building – yet it was also crucial to have the flexibility to locate and direct light where it was needed. www.theilp.org.uk

‘We determined that within the fluted profile of the thick Romanesque columns we could locate a simple bespoke modular track system running down the columns, connected only at top and bottom. From these tracks, we have positioned up to six spotlights, up, down and back, that reveal the volumes, highlight liturgical elements, light circulation spaces and provide enhanced lighting levels for small concerts.

‘We also mounted them on the eastern face of the columns, hiding them from view when standing in the primary viewing position at the west end of the cathedral,’ he says.

BESPOKE STALL-MOUNTED LUMINAIRES

Uplighting from the tracks highlights the springing joints of the ceiling, accentuating

the cathedral’s impressive height while drawing attention to the historically significant ornate carved bosses at the intersections of the ribs.

At high level, linear lights express the volume of the Clerestory, while further concealed spotlights provide functional light to the North and South Transepts and Crossing. At ground level, indirect light concealed on the column capitals of the aisles and Ambulatory crosses into the vaults to reveal their form.

The lighting for the Quire required the development of bespoke stall-mounted luminaires. A modern interpretation of a candle, this fixture is designed to improve conditions for reading music while creating a soft sparkle reminiscent of a flame.

February 2020 Lighting Journal

The Bauchan Chapel

The Nave viewed in elevation, showing the Triforium and Clerestory

Project Credits Client: Dean and chapter, Norwich Cathedral Surveyor of the fabric: Henry Freeland Cathedral archaeologist: Dr Roland Harris Systems integration and contract administration: Light Perceptions Electrical engineer: ENG Main contractor: EV Bullen Major lighting suppliers: Viabizzuno, Mike Stoane Lighting, ACDC, LUTRON (Fagerhult and illuma)

DESIGN HONOUR FOR MARK MAJOR

Speirs + Major principal, and ILP member, Mark Major was elected Master of the Faculty of Royal Designers in November.

The accolade follows the honour of Mark being made an RDI (Royal Designer for Industry) in 2012 for his ‘innovative use

The canopy of the historic timber screen glows to create a warm backdrop.

A further important aspect of the project involved rationalising and removing existing cabling to make way for a new, improved electrical infrastructure.

As with all other aspects of the project, this was undertaken with close attention to detail, with all exposed cabling hand-painted in a trompe l’oeil effect so it would blend seamlessly back into the building fabric.

Mark Major adds: ‘Re-lighting the interior of one of the finest cathedrals in the country was both a privilege and an enormous responsibility. Our close working relationship with a supportive and imaginative client enabled us to deliver a new lighting scheme that is not only sympathetic to the architecture but provides an extremely flexible low-energy solution that supports worship and benefits the local community.’

of light to create public space’.

Only a maximum of 200 designers can hold the distinction of RDI at any time and it is regarded as the highest design honour to be obtained in the UK. Mark said he intended to use his new role to highlight the importance of the recognition of his profession and to emphasise the role of social and environmental responsibility in lighting design.

He said: ‘I am hugely honoured to have been elected to the role of Master, not least because it allows me to act as an ambassador for what can still be considered a nascent design

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The form of the side aisles is revealed by fixtures concealed on the column capitals

profession – architectural lighting.

‘In this sense, my appointment recognises the widening and evolving scope of design professions that have both aesthetic value and are of benefit to society. Lighting impacts everyone, and it has always been a major focus of my work to improve the quality of light for people within the urban environment.

‘I am excited to have the opportunity to continue my work with the Royal Society of Arts to promote the importance of socially and environmentally responsible design and design education.’ www.theilp.org.uk

February 2020 Lighting Journal

The ILP’s Lightscene CPD event

T R A INING 38

DAZE A panel discussion at the ILP’s Lightscene CPD event in October attempted to unpick some of the challenges facing the profession when it comes to attracting and bringing young talent into lighting, and then keeping them once in

By Nic Paton

www.theilp.org.uk

February 2020 Lighting Journal

 The Lightscene speaker panel (minus ILP President Anthony Smith, who was using a roving microphone). From left: Michala Medcalf, Liz Hudson, Richard Hayes, and Ian Jones

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s we highlighted in last month’s Lighting Journal (‘Fighting fit for the future?’, vol 85, no 1, January 2020), October’s ILP Lightscene CPD event had as its title ‘Can we save lighting engineers from extinction?’.

Part of the day’s discussion looked at the challenges faced by the current population of local authority lighting engineers, and how to maintain and retain – and even enhance – the skills and expertise of the lighting professional within the current cash-strapped local authority environment.

But preventing extinction is of course not just about protecting current ‘assets’.

It is also about how to attract and bring in new talent, how to build up a pipeline of expertise for the future. And, crucially, it is then about both building and maintaining competence and keeping and retaining that young, up-and-coming talent once they’ve come into the industry.

These pressing questions for the industry were the focus of a panel discussion in the afternoon chaired by ILP technical director Peter Harrison but also, in part, led by ILP President Anthony Smith.

The other panellists were Richard Hayes, chief executive of the Institute of Highway Engineers (IHE); Liz Hudson, head of marketing at The Yorkshire Marketing Machine and author of last summer’s National Lighting Survey; Ian Jones, ILP Vice President – Local Authority and area street lighting and signal control engineer at Cheshire West and Chester Council; and Michala Medcalf, highways senior asset management technician at Derby City Council and chair of LDC Birmingham,

which was hosting the CPD event at Uttoxeter Racecourse.

Peter opened the discussion by setting the somewhat challenging scene facing many local authorities at the moment when it comes to attracting, recruiting and retaining both experienced and new talent. ‘At a time when highway and lighting budgets have reduced so dramatically over recent years, one of those strategies was to let go of the more senior, the more competent, the more experienced staff,’ he said.

‘They are now being replaced by more junior and less experienced people generally; quite often not coming from that side of the industry, maybe from associated parts of highways to look after lighting and other assets. And at a time when we are spending less and less on maintaining the asset, then by default it is becoming much worse. The condition is getting worse, the issues are getting worse, and we are storing up a real problem.

‘So it seems rather bizarre that, at a time when the risk is increasing in managing these assets, we seem to be putting less and less money into enabling the people to manage that risk properly or, indeed, to be able to assess what risk they’re actually taking on board now,’ Peter added.

Turning first to Michala, Peter asked her what her experience of these issues was in Derby.

‘In Derby we have a mixed service delivering asset management; we have highways maintenance and we have street lighting. I am working with our highways inspectors and asset management team over a number of core competency areas to deliver a competent team – skills,

knowledge and so on – and the educational side for the overall remit we need to cover the risk-based approach to our service,’ said Michaela.

‘But what I’m finding is that lighting is void of that approach. We don’t seem to have the same structured approach to competency as the IHE is delivering through its UK Roads Liaison Group publications.

‘For me, it is really easy when I am sitting down with the highways inspectors because we go through our appraisals and I can link their objectives to the corporate objectives, to the business plan and to the service plan. But I feel in our industry – street lighting – we are struggling; we are without a structure. OK yes, we do the [Exterior Lighting Diploma, ELD] modules 1, 2 and 3, but I just don’t think it is enough to deliver competency,’ she worried.

NEW TRAINING PATHWAYS

Anthony Smith highlighted that this was something the ILP’s new education committee was working on, as well as how better to accommodate and bring different competencies into the profession, perhaps through new training pathways or more lateral thinking.

‘For instance, I might have a higher degree of competency in electrical engineering or electrical design, but not in asset management. You might have someone else who has a high degree of competency in environmental or architectural design but not electrical engineering. But it does not necessarily mean that that person cannot do certain roles,’ he said.

‘So we are trying to develop it in a way that isn’t the old shoe-horned, “you come into lighting through an electrical background and that’s what you have to have”. We’re trying to build it in a much more structured way that allows somebody who comes into the industry from a more unusual background from having just to do the ELD. The routes into our industry now www.theilp.org.uk

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February 2020 Lighting Journal

The ILP’s Lightscene CPD event

THE PANELLISTS

 ILP technical director Peter Harrison (right) takes a question for the panel

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are getting so diverse; they are changing massively, and our competency has to fit and reflect that.

‘What my company has done is take somebody through a diploma at a local college, even though it is not specifically lighting. But they also do their NVQ in business management. The college runs the diploma and NVQ and we make them do them as part of their apprenticeship contract. It isn’t quite what you’re after, but it is a mechanism for getting a chunk of money funded for your apprentice,’ Anthony added.

Richard Hayes highlighted, however, that these sorts of systemic changes may not happen overnight. ‘It has taken us 10 years to get where we currently are with inspector training, for example. It was a very slow start – two or three individuals who felt there was a need for something, a competency standard, a rationalisation of what was going on.

‘We did get funding from the UK Roads Board, as it was at the time, to put the competency scheme in place, and there are now something like 4,000 UK inspectors on the scheme at the moment. We couldn’t wait for the pull, we had to push it ourselves.

‘We also took the bold decision a year or two back to set aside a development fund so we can draw in and bring in the right resource to write the documents we need.

We do recover some of that from the training we provide further down the line, but we couldn’t just and wait, that was the problem. It takes a bit of courage sometimes to put your head above the parapet and say I’m going to do something. And you get respect for that.’ www.theilp.org.uk

DECLINING INFLUENCE

The decline in numbers of the local authority lighting engineer did hamper the visibility and influence of the profession within the corridors of local government, suggested Ian Jones.

‘In a lot of local authorities, if you have a strong lighting engineer in post, they’re able to promote that through the senior management. But there are lots of local authorities, unfortunately – and this is the whole thing this Lightscene is about – who don’t have lighting engineers and as a result they ’ve governed by other departments or people, such as civil engineers, and lighting is just a bolt-on.

And it is really difficult for lots of local authorities to cope with that unless they have got a strong lighting engineer who has been around for a long time.’

This waning presence and influence came through clearly within the National Lighting Survey, agreed Liz Hudson. ‘We had a few [local authorities] that came back and indicated they perhaps did not have an engineer but had some dedicated lighting staff. In some cases, they didn’t have an engineer but did have some dedicated lighting staff who might have even purchased ILP membership. There definitely was evidence to support the idea that there are lots of councils out there without much in the way of lighting staff,’ she said.

‘I’m a consultant now but I grew up in local authority; all my training and background was in local authority,’ added Anthony Smith. ‘When I worked for a local authority, I had a patch I looked after, and I had ownership of it. You had pride in it. However,

• P eter Harrison, ILP technical director (chair) • R ichard Hayes, chief executive of the Institute of Highway Engineers • L iz Hudson, head of marketing, The Yorkshire Marketing Machine • I an Jones, ILP Vice President – Local Authority and area street lighting and signal control engineer at Cheshire West and Chester Council • M i c h a l a Medcalf, highways senior asset management technician, Derby City Council, and chair LDC Birmingham • Anthony Smith, President of the ILP and director of Stainton Lighting Design Services

as good as any consultant is, it is difficult to achieve the same levels of local pride when you are on a short-term contract.

‘One of the problems a lot of people have is they get a consultant in, and the person who comes in to see them is the top person.

But the person who does the work has been in the job for two minutes, and the client then has to develop a member of staff who is not their own. The training I got from my local authority was second to none. That is the shame, that is what has gone from local authorities,’ he added.

‘As an industry, we have people who do want to enter our industry. But from a local authority perspective we’re just not offering the money,’ highlighted Michaela Medcalf.

‘So the will is there, but the financial package just isn’t. For example, I can’t recruit a clerk of works at the moment. I know there are people out there who would do it, but not for £25,000 when the private sector is offering £30,000.

‘I also have a person spec that is as long as your arm because that person when we get them has got to hit the ground running. There is no opportunity to sit with someone to train them because local authorities are just too lean nowadays.

‘When we recruit, they have got to know their stuff, and the size of the industry at the moment we just haven’t got the skill-set out there,’ she added.

February 2020 Lighting Journal

Light on the past

TUBE JOURNEY There were two big lighting stories in 1940. The first was the rapid specification and development of ‘Starlight’ street lighting as an urgent response to the knee-jerk blackout. The second, and with more profound long-term consequences for lighting, was the arrival of the fluorescent tube

By Simon Cornwell

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T

he April 1940 issue of Public Lighting was notable for two reasons.

The first was the showcasing of the new ‘Starlight’ fittings, produced by a variety of manufacturers, in very quick response to BS/ARP 37, which specified the conditions under which street lighting could be adapted for war-time conditions. This development was discussed in Lighting Journal last year (‘Starry Night’, May 2019, vol 84, no 5).

The second development was a short quarter-page filler article, written from a manufacturer’s marketing release, announcing the availability of the new fluorescent tube.

The appearance of the fluorescent tube had been expected, as experimental work in laboratories had been progressing since the early 1930s. J N Aldington of Siemens Electric Lamps and Supplies wrote in 1938 that ‘the most striking use of fluorescence is that in which various powders are coated on the inside of low pressure mercury discharge tubes ie fluorescent tubes. Of very low power consumption, these tubes are being produced experimentally for interior illumination.’

Aldington went on to elaborate, stating that the experimental tubes produced ultra-violet light which would excite fluorescent materials on the interior of the glass which could be selected and mixed to produce a wide range of colours including white or ‘daylight’.

Research into durable materials and reliable manufacturing techniques then occupied firms for the rest of the decade.

The onset of the Second World War should www.theilp.org.uk

have temporarily halted research into its production, but the promise of this lowp o w e r , high-efficacy lighting source and its potential use for efficient factory lighting ensured its continued development.

Therefore, whilst many manufacturers changed production for the war effort, the main lamp manufacturers continued feverish work on the new fluorescent tube.

FIRST COMMERCIAL FLUORESCENT TUBE

The Siemens Research Department finally u Siemens Electric Lamps was quick to recognise the importance of the fluorescent tube and the new discharge lamp shared advertising space with its range of tungsten filament lamps, which were the mainstay of general-purpose lighting.

The bayonet endcaps, perhaps a result of war-time development restrictions, can clearly be seen terminating the tube

Structural Testing & Analysis of Lighting Columns

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February 2020 Lighting Journal

Light on the past

t W A Smith and Co Ltd, manufacturer of Bolenium overalls, installed 127 Ediswan ‘Industria’ trough reflector fittings throughout the factory and another 50 units in the canteens. Installed in late 1940, it was the largest installation of the newly introduced fluorescent tube by Ediswan. W A Smith reported that, since the new lighting was installed, ‘there has been a noticeable rise in output from operatives, upon who the moral effect of brighter working conditions has been very pronounced.’

q All applications for the new light source were quickly explored. Therefore, it wasn’t surprising that a portable version appeared at the same time. The ‘Portalux’ by Ediswan housed an 80W 5ft tube in a wheeled metal frame, which allowed the trough reflector to be positioned either horizontally or vertically near the work being undertaken

44

unveiled its commercial fluorescent tube in July 1940. Physically, it was a 5ft glass tube, one-and-half inches in diameter, terminated with bayonet endcaps.

Rated at 80W, it produced 2,800 lumens of light, and had a rated life of 2,000 hours – all metrics that compared very favourably against the tungsten filament lamps it was destined to replace.

Other virtues were its lack of glare and the softening and reduction of shadows, which were both outcomes of its somewhat unwieldy long length.

Along with the tubes themselves came the luminaires. Firms produced both seagull and trough reflectors to support the tubes and direct the light. These long fittings could also accommodate the required control gear: a choke to regulate the current through the tube, a power-correction capacitor and, new for the www.theilp.org.uk

fluorescent tube, a bi-metal starter switch (a novel design to pre-heat the electrodes and aid starting) and a radio-frequency suppression condenser.

Early models housed all these extra components in ungainly boxes mounted to the top of the luminaires; a necessary appendage given the large bulky nature of early magnetic chokes and condensers.

Commercial factories, government facilities and underground storage locations were quick to start installing this new lighting. Examples of factories lit with rows of fluorescent tube fittings started to become common, with accompanying press releases emphasising the daylight colours, the comfort of the new lighting, the increased workforce productivity and the decreased running costs over tungsten filament. It was a win-win situation.

RATE

BO COLLA

ATE INNOV RE PREPA ER

DELIV

WORKING WITH YOU

February 2020 Lighting Journal

Light on the past

46

Left. The first fluorescent street lighting was installed in Church Square, Pretoria, South Africa by the British General Electric Company Limited (GEC) of Johannesburg in late 1940/ early 1941. It was the result of a competitive tender to light this important civic space and the use of two discharge light sources – namely a high-pressure mercury vapour lamp housed in a top-mounted sphere, and 12 80W fluorescent tubes housed in a gallery beneath – was one of the reasons it was chosen Right. Using these light sources with a carefully chosen mounting height produced an even illumination over a relatively large area. Despite its quirky appearance, this installation of 60 units perfectly illuminated the surrounding municipal buildings and open spaces of the square. It also heralded the development of similar vertically orientated fluorescent lanterns in the UK during the 1950s and 1960s

CONSIDERATIONS FOR STREET LIGHTING

There were even early questions about flourescent’s suitability for street lighting.

The length of the tube was considered a major disadvantage (given that only glass and metal were available as potential construction materials for luminaires), but the shadow-free light and its uniformity www.theilp.org.uk

were considered advantages. Further debate and conjecture was immediately shut down by the world’s first fluorescent street lighting installation, which promptly appeared in South Africa that same year.

Designed by the British General Electric Company (GEC), the new installation was in response to a tender to light Church Square in Pretoria, an important civic square and gardens in the centre of the city.

GEC’s novel proposals won, as they demonstrated an ability to efficiently light the square using two discharge lighting sources: the still relatively new high-pressure mercury vapour lamp (MB) – which had only been introduced fewer than 10 years before – and the new fluorescent tube.

There was no attempt to blend the two lighting sources within the luminaire itself.

The MB lamp was housed in a 20-inch diffusing sphere at the top of the assembly, whilst a gallery below held 12 fluorescent tubes in a circular arrangement.

The total wattage of the whole unit was 440W, and 60 of these lanterns were installed at a spacing of 70ft around the square.

The Pretoria installation showed that fluorescent street lighting was possible.

But it would be many years before the first experimental installations would start appearing on the UK’s streets.

Until that time, the fluorescent tube became the poster-child of the war effort.

It allowed war-time production to become more efficient and economical. By the end of the year, every manufacturer was offering the new light source, pushing for its adoption in factories, war-time installations, underground storage facilities, offices and anywhere where cheap, efficient light was required.

Indeed, as the grim, dark war years continued and further restrictions in paper and publication sizes started to bite, periodicals such as Public Lighting started to fill their limited print space with pictures of factories lit by the new futuristic fluorescent tube. Given the challenges facing Britain in those years, its arrival, clearly, could not have come at a more opportune moment.

Simon Cornwell BSc (Hons) is an R&D development senior manager at Dassault Systems

New AcRo Mini Sealed Photocell Engineered for use in any Luminaire regardless of IP rating Westire Technology, continuing our 37 years history of supplying innovation and quality to the lighting market. Our past experience allows us to boast long standard product warranties and life expectancies far beyond.

For further details visit westire.com

Fully Encapsulated

Specifications

The AcRo Mini Sealed series Photocell is unique and brings innovation to the lighting industry. It now features fully encapsulated Electronic Circuitry and Light Sensor using a UV stabilised, high temperature long life potting material.

• • •

Available with Industry Standard wire to wire connectors.

Enhanced light level switching accuracy with additional custom configurations available.

12V, 24V, 36V and 48V DC variants available.

UK & International Sales

North & South America

Irish Sales

HQ & Manufacturing

James Wright E: jwright@westire.com T: +44 7713 958962

Michael J Duffy E: mduffy@westire.com T: +1 847-274-6756

Fiona Gallagher E: fgallagher@westire.com T: +353 97 81209

Westire Technology Ltd, Ind. Estate, Belmullet, Co. Mayo, Ireland.

E: info@westire.com T: +353 97 81200 F: +353 97 81400

Lighting

Consultants

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

Herbie Barnieh

Stephen Halliday

Anthony Smith

Project Centre

WSP

Stainton Lighting Design Services Ltd

BEng IEng MILP

London WC1X 9HD

EngTech AMILP

Manchester M50 3SP

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

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

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

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

www.projectcentre.co.uk

www.wspgroup.com

Steven Biggs

Allan Howard

Skanska Infrastructure Services

WSP

IEng MILP

Peterborough PE1 5XG

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

www.skanska.co.uk

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

BEng(Hons) CEng FILP FSLL London WC2A 1AF

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

www.wspgroup.com

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

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

Simon Bushell

Alan Jaques

SSE Enterprise Lighting

Atkins

MBA DMS IEng MILP

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

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

Lorraine Calcott

IEng MILP IALD MSLL ILA BSS

it does Lighting Ltd

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

T: 01908 560110

E: Information@itdoes.co.uk

www.itdoes.co.uk

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

Mark Chandler EngTech AMILP

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

www.atkinsglobal.com

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

IEng FILP MIES

Nick Smith Associates Limited Chesterfield, S40 3JR

T: 01246 229444 E: training@nicksmithassociates.com

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

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

IEng FILP FSLL

Winchester, SO22 4DS

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

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

Michael Walker

Vanguardia Consulting

McCann Ltd

BSc (Hons) CEng MILP MSLL

IEng MILP CMS.

Oxted RH8 9EE

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

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

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

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

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

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

www.vanguardia.co.uk

Patrick Redmond

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

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

Alistair Scott

4way Consulting Ltd

Designs for Lighting Ltd

BSc (Hons) CEng FILP MHEA Winchester SO23 7TA

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

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

Providing exterior lighting and ITS consultancy and design services and specialising in the urban and inter-urban environment. Our services span the complete project life cycle for both the public and private sector.

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

www.4wayconsulting.com

Nick Smith

Tony Price

John Conquest Stockport, SK4 1AS

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

Alan Tulla Lighting

Redmond Analytical Management Services Ltd.

MA BEng(Hons) CEng MIET MILP

www.staintonlds.co.uk

Nottingham, NG9 2HF

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

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

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

Alan Tulla

HDip Bus, EngTech AMILP, AMSLL, Tech IEI

www.mma-consultancy.co.uk

Stockton on Tees TS23 1PX

IEng FILP

MMA Lighting Consultancy Ltd Reading RG10 9QN

IEng FILP

www.designsforlighting.co.uk

www.mccann-ltd.co.uk

Peter Williams EngTech AMILP

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

www.wlclighting.co.uk

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

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

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

Lighting

Directory

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

CPD Accredited Training • AutoCAD (basic or advanced) • Lighting Reality • Lighting Standards

• Lighting Design Techniques • Light Pollution • Tailored Courses please contact

Venues by arrangement Contact Nick Smith

Nick Smith Associates Ltd 36 Foxbrook Drive, Chesterfield, S40 3JR

t: 01246 229 444 f: 01246 588 604 e: mail@nicksmithassociates.com w: www.nicksmithassociates.co.uk

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

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

49

01525 601201

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

Meter Administrator

Power Associates Ltd are the leading Power DataData Associates Ltd are themeter leadingadministrator meter administratorin Great Britain. We achieve in Great Britain. We achieve accurate energy calculations assuring you of a accurate energy calculations cost effective assuring you of a costquality effective service. Offering independent quality service. Offering consultancy advice to ensure correct inventory independent consultancy advice unmetered energy forecasting and impact to coding, ensure correct inventory coding, of market development unmetered energy forecasting and impact of market developments.

01525 601201

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

Midlands Lighting Solutions From Concept to Construction in One Simple Step

• Providing Lighting and Electrical Consultancy • Full Design Services Including On-site Presence • Feasibility Studies and Obtrusive Light Assessments • Visual Surveys and Electrical Testing • Light Performance Tests including for Televised Events t: 07757 830436 e: enquiries@midlandslightingsolutions.co.uk w: www.midlandslightingsolutions.co.uk

Delivering Decorative Lighting Festoons for over 25 years

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

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

Contact us to discuss your lighting project. www.lumisphere.co.uk saleslj@lumisphere.co.uk 01245 329 999

Patented Raised Lamppost Banner System that significantly reduces loading on columns and prevents banners twisting and tearing.

Column testing and guarantee service available.

The most approved system by Highways Engineers

0208 343 2525 baymedia.co.uk

February 2020 Lighting Journal

Diary

DIARY

GENERAL EVENTS AND TRAINING

LDC EVENTS

10-14 FEBRUARY

06 FEBRUARY

ILP exterior lighting diploma, Module A The Draycote Hotel, Thurlaston, Near Rugby, Warwickshire

11-13 FEBRUARY

Light School, part of The Surface Design Show 2020

Business Design Centre, 52 Upper Street, Islington, London www.surfacedesignshow.com/light-school

05 MARCH

ILP Fundamental Lighting course ILP, Regent House, Rugby

08-13 MARCH

Light + Building

Frankfurt am Main, Germany https://light-building.messefrankfurt.com/ frankfurt/en.html

50

19 MARCH

YLP technical event (TRT Lighting) Redditch

Smart motorways – LDC Durham technical event

Durham County Council, County Hall, Durham

07 FEBRUARY

LDC Scotland dinner dance Airth Castle, Airth, Stirlingshire

19 FEBRUARY

Smart city – the Holy Grail?

LDC London technical event

Southwark Cathedral, London Bridge, London

12 MARCH

LDC Durham technical meeting, including YLP mini papers Thorn, House of Light, Spennymoor

23 APRIL

LDC Durham technical meeting, including a presentation on surge protection devices Durham County Council, County Hall, Durham

23-27 MARCH

ILP exterior lighting diploma, Module B

The Draycote Hotel, Thurlaston, Near Rugby, Warwickshire

27-01 MAY

ILP exterior lighting diploma, Module C

The Draycote Hotel, Thurlaston, Near Rugby, Warwickshire

LDC London will be holding a technical meeting entitled ‘Smart city – the Holy Grail?’ at Southwark Cathedral on 19 February

12 MAY

ILP Practical Street Lighting course ILP, Regent House, Rugby

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

IN THE MARCH ISSUE HISTORICALLY SAFE

Understanding, and maximising, emergency lighting in heritage buildings

www.theilp.org.uk

BLUE IS THE COLOUR? Elektra Lighting’s Neil Knowles on circadian lighting

ELEPHANT IN THE ROOM?

Why as an industry we need to be talking more about LED and flicker

Outdoor Lighting ONROADLED

ONROADLED Inductive Powered LED Road Markers Increased road user safety with less disruption

By combining revolutionary Inductive Power Transfer (IPT) technology with tough and intelligent LED markers, ONROADLED enables smart road and tunnel traffic guidance.

Benefits of Inductive Power Transfer (IPT) technology

Application areas

• Road markers draw power wirelessly from a recessed cable

• SMART Motorways, tunnels and bridges

• Eliminates the need for electrical connections

• Cycle paths and pedestrian guidance

• Accelerates installation, reducing traffic disruption

• Roundabouts

• Enables high ingress protection rating of IP69K

• Bus lanes

• Facilitates simpler maintenance

• Tidal flow applications

• Permits longer networks of up to 2.5km

• Distribution centres

• Remote control functionality – On, Off, Dim, Flash, Cycle & Colour Change

• Retail parks

• Switchable uni and bi-directional

• Accident hotspots and dangerous bends

• Air and sea ports • Car Parks

Department for Transport Type Approved.

To book your demonstration, call us on 01483

446070 Or email lighting.sales.outdoor@signify.com

DESIGN | MANUFACTURE | INSTALL | MAINTAIN February 2020 Lighting Journal

xxxxx

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FL810 FL810 LED FLOODLIGHTING SYSTEM provides an innovative solution for Area Lighting.

The FL810 is a high output LED floodlight, suitable for Area lighting, and may be used as a replacement for existing 1kW or 2kW floodlight systems.

It is available as a single or twin module with CSP (Chip Scale Package) LEDs.

www.theilp.org.uk

+44 1920 860600 | www.cuphosco.co.uk | enquiries@cuphosco.co.uk