Lighting Journal - January 2021

Professional best practice from the Institution of Lighting Professionals

January 2021

NORWEGIAN GOOD Balancing light and night to illuminate an unspoiled Norwegian island STAR BRIGHT MPs call for new standards to curb light pollution, in an ILP-backed report AFTER THE EXPLOSION How solar lighting is bringing life back to Beirut’s darkened streets

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Contents

06 STAR BRIGHT

In an ILP-backed report, MPs are urging the government to set legal limits for the amount of blue light luminaires can have in their spectrum as well as new standards for direction and density so as to mitigate light pollution. An ILP debate has also shown how best practice can make a real difference to obtrusive light

12

12 OWN GOAL?

Over the past two years, photographer Steve Geliot has been campaigning against the light spill from his local Amex football stadium, home to Brighton and Hove Albion. He explains how and why the campaign got started

16

HARD SELL

A research project in Helsinki, Finland, has concluded that glary advertising hoardings and badly lit commercial and domestic yards can be key contributors to urban light pollution and light spill. Good lighting design, delivery and maintenance needs to be an important answer, explains Annukka Larsen

20 CONTINUING EDUCATION

Despite the pandemic disrupting world economies, the important research work of CIE has been carrying on apace, as this update on activity by John O’Hagan shows

24

NORWEGIAN GOOD

Bringing light to the unspoiled Norwegian island of Jørpelandsholmen was both a challenge and an opportunity for the team at Light Bureau, especially how to create the right, sympathetic, balance between light and night

WAYS LIGHTING 30 SIX IS SET TO CHANGE

From luminous, embedded surfaces through to data-driven and interactive spaces, the next decade could be transformational for lighting and control. As our thoughts turn to a new year, Brad Koerner outlines his six upcoming ‘disruptive’ trends in architectural lighting

16

SQUARING THE 38 CIRCULAR

Lighting needs to make sure it doesn’t fall behind the curve in the ‘greening’ of the UK economy, especially as the regulatory landscape changes. Actively embracing the principles of the circular economy can be one part of this evolution, writes Peter Hunt

FOR 40 HEAD HEIGHTS

24

A stadium project in Oman involving heavily arrayed high masts led to one manufacturer rethinking its approach to designing, manufacturing and stress-testing high masts, as Albert Lim outlines

INTELLIGENCE 42 GATHERING

BIM (building information modelling) has totally changed the way designers, and lighting designers, design, model and adjust schemes prior to going on site, as a recent project for a new cyber security centre in the West Midlands has shown

THE 46 AFTER EXPLOSION

Last August, Beirut was devastated when a massive store of ammonium nitrate blew up in its docks. Manal Kahale explains how lighting designers are working to install low-cost solar lighting to bring life back to the city’s darkened, shattered streets

49 DIRECTORY ARCSOURCE™

p COVER PICTURE

46

The new lighting scheme by Light Bureau on the Norwegian island of Jørpelandsholmen. Turn to page 24 for the full story. Photograph by Kristofer Ryde and Fovea Studio

KEEP IT IN THE FAMILY www.theilp.org.uk

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2020 didn’t go as planned.

None of us got through the year without experiencing our share of frustration, setback or loss.

This new year might begin with us all feeling battle-scarred and tired, but hopefully we’re more resilient, adaptable and wiser too.

Because for lighting professionals, there’s still work to be done.

Across the country, people rely on us to help keep them safe at night and to light their way home.

Sometimes our work might not be the most glamorous, but it is essential.

We should all take honest pride in that.

This coming year, a Covid vaccine won’t be the only bit of good news.

With smart-city solutions and EV charging points heralding a new chapter in the street-scene revolution, the future begins to look brighter for us all.

Together, we can build back better.

So we’re wishing a happy, prosperous and healthy New Year to all the lighting industry from the Acrospire team.

We look forward to sharing a brighter future with you all.

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Editor’s letter Volume 86 No 1 January 2021 President Anthony Smith IEng FILP Chief Executive Tracey White Editor Nic Paton BA (Hons) MA Email: nic@cormorantmedia.co.uk

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

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

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M

any years ago (and all I’m going to admit to is that it was more than 30) I spent some months travelling around the outback in Australia. One night the bus broke down and we were left stranded some distance from Alice Springs.

It was a clear, still night and, as we waited in the scrub by the side of the road for assistance, I gazed up in awe at the Milky Way as it spiralled across the arc of the sky, with wave upon wave of stars and coloured cloud curling down to the horizon in both directions. It was a sight I’ve never forgotten.

The outback, of course, is an exceptional environment with a vast night horizon, so it is perhaps unfair to try to make a direct comparison to an average UK night.

Nevertheless, the amount of light pollution, skyglow and obtrusive light we experience even in many rural parts of the UK these days, let alone urban environments, means this sort of majestic night-time panorama is one that, sadly, few Britons get to witness.

That’s why, to my mind, the ILP’s engagement with the new All-Party Parliamentary Group (APPG) on Dark Skies is very much a good thing. Yet, as we highlight in this edition, there is, of course, a tension here for the lighting industry.

Lighting, by definition, is designed to illuminate darkness. The ILP discussion between Technical Director Peter Harrison, President Anthony Smith and South Downs National Park dark skies ranger Dan Oakley at LuxLive in November (and we report on from page six) highlighted that, yes, preserving dark skies is at one level about ensuring there is less artificial light being directed upwards. But it needs to be a much more nuanced debate than just ‘night good, light bad’. It is about ensuring that when things are lit, they are lit ‘right’; the right light and type of light, projected in the right place, for the right amount of time, and controlled in the right way.

Whether the APPG’s report will gain any traction within government, given the challenges of the wider post-pandemic (as hopefully we will be at some point later this year) and post-Brexit landscape (as of this month) very much remains to be seen. There is also probably a debate to be had within the industry as to whether its recommendations are realistic, especially its suggestion that extra regulation is the answer to limiting brightness, colour temperature, direction or density. I’d certainly be interested in hearing what ILP members think. Nevertheless, the very fact light pollution and dark skies is now an issue being engaged with within Parliament, and that the ILP is inputting into the discussion, is, I feel, hugely positive.

Somewhere, however, that definitely could do with more rather than less light at night right now is Beirut. As lighting designer Manal Kahale explains from page 46, the lighting industry, both globally and locally, is working hard to restore light – via low-cost solar lighting – to the Lebanese capital’s homes and streets, many of which remain shattered following the massive explosion last summer that devastated large swathes of what was once known as ‘the Paris of the east’.

It is an inspiring story, even if there is still a long way to go. And, to my mind, it actually illustrates something not that dissimilar to the discussions around lighting’s role in mitigating light pollution; that the expertise and collaboration of lighting professionals, along with effective community engagement, can be a positive force for change, however apparently intractable the challenges. Let’s keep that positive narrative going.

Nic Paton Editor

© ILP 2021

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

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LIGHT UP, DRIVE OVER www.theilp.org.uk

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STAR BRIGHT In an ILP-backed report, MPs are urging the government to set legal limits for the amount of blue light luminaires can have in their spectrum as well as new standards for direction and density so as to mitigate light pollution. An ILP debate has also shown how best practice can make a real difference when it comes to obtrusive light

By Nic Paton

www.theilp.org.uk

JANUARY 2021

LIGHTING JOURNAL

Light pollution and obtrusive light

B

ack in November, Peter Harrison, the ILP’s Technical Director, encapsulated the tension at the heart of the ILP’s advocacy for, and promotion of, the mitigation of obtrusive light and light spill.

‘The whole mantra of the ILP is about promoting excellence in lighting and, in particular, about having the right light, the right type of light, being projected in the right place, for the right time and controlled by the right lighting systems,’ Peter explained at last year’s virtual LuxLive 2020.

‘This might seem to be at odds with exterior lighting. But we want to support preserving the night sky; to make lighting appropriate; for it to be designed by professionals to support professionals going forward,’ he added.

Peter was leading an ILP panel discussion on light pollution and obtrusive light, a subject that became even more topical with the publication last month of ten recommendations for government by the new All-Party Parliamentary Group (APPG) on Dark Skies (and see later for more on this).

Its report, supported by the ILP and developed from a consultation exercise held over last summer, has made the case for the UK’s laws around light pollution to be tightened and our lighting regime to be ‘supercharged’, with new standards put in place for the direction, density, brightness and colour temperature of lighting, among other recommendations.

As Andrew Griffith, MP, founder and co-chair of the group, has put it: ‘Bad lighting, new development and “horizon light pollution” are a constant threat and this policy plan will provide a basis for the focus of our future campaigns in Parliament.’

Over the next nine pages, we’ll outline what the APPG report is proposing; look at some of the latest academic research in this area; see how one grassroots light pollution campaign has resonated at a local level; and, via Annukka Larsen at WSP, examine a light pollution research project that has taken place in Helsinki, Finland.

As a CPD journal, we don’t intend necessarily to come to any ‘right’ answers on what can be a complex subject; our aim is simply to add to the debate and help members to reflect on their practice and approach and how, or whether, they could be doing more within this area.

‘PRESERVING THE NIGHT SKY’

But, first, the ILP event at LuxLive 2020 brought together Peter Harrison, ILP President Anthony Smith and Dan

Oakley, lead ranger and dark skies officer for The South Downs National Park and International Dark Sky Reserve to discuss ‘Preserving the night sky’.

Dan opened the discussion, emphasising how effective light mitigation, and the preservation of the national park, has to be very much a collaborative approach.

‘Light itself is not subject to planning control. This makes it a bit difficult, because all national parks are planning authorities,’ he said.

‘So we have to make sure we engage with people, with architects and lighting engineers, to make sure our policies are right and that we are all doing the right thing to make sure we get the protection we need,’ he added.

He highlighted the South Downs National Park Dark Skies Technical Advice Note, created in April 2018 [1]. ‘It is an in-depth analysis of how development can do the right things with light pollution. It references all the relevant texts in there, including the ILP’s obtrusive light guidance, as well as a whole host of other things. Developers use that quite a lot,’ Dan said. The ILP’s latest guidance on this area is of course PLG01 Guidance note for the reduction of obtrusive light, published just last year [2].

The technical advice note had evolved into an ‘E-zone’ structure for the park, with the darkest core areas being E0, buffer, transition zones from dark skies to urban covered by E1 A and B, and finally E3 and E4 zones that have towns in their middle, Dan highlighted.

‘It is about communicating that we really want to protect those darker areas in the middle. It is giving the developers the tools they need to pick the right solutions for the job. We know with street lighting, for instance, they’re always going to put in really good lights into those E0 areas, if at all. So it is working,’ he said.

‘In our dark skies core areas we apply as much ILP guidance as we can, especially around landscape impact and we try and restrict the maximum amount of illuminance on surfaces. That continues down all the E1 categories, although we get a bit more relaxed with it in the E3/4 urban, because we would like to allow things like floodlighting in the town centres for the social and health agenda.

‘What we have tried to do is communicate that certain levels of lux and illuminance are just not appropriate in those E0 zones. We have tried to say that anything above about 10 or 20 lux, and anything over about 1,000 lumens isn’t appropriate in a dark sky area.

‘It is tricky because we have schools, we

have buildings, we have businesses that want to put lights up; but for the most part we want to try and avoid that kind of lighting, and we have some success, some we don’t. But we do try and allow those lighting developments to argue where they are efficient; it is not just about getting rid of it. It is just making sure it is appropriate.

But that is our benchmark for protected dark skies,’ Dan added.

CHALLENGE OF MITIGATING INTERNAL LIGHT

Mitigating internal lighting has been something of a challenge, Dan recognised. ‘This is turning out to be a bit of a bane of my life, really. But it is important, even though it is not something the International Dark Skies Association really considers.

‘We have tried, for example, to do something about internal glazing. We try to stop excessive glazed fronts, roof lights, big gable entrances and big sports facilities because they can be quite significant sources of light pollution. Unfortunately, they lie outside most of the external lighting guidance. So we have written some policies to try and help us to control lighting and, again, we’ve had some successes,’ Dan said.

‘I really want to be working with the ILP and anybody who has power over the development process. If we can develop better policies for dark skies, then I think we can be a real beacon of darkness for the rest of Europe. That is my hope and what we will be working on this year; that out of the darkness, something good can come.

‘What we have realised is the two – night and light – can live together; but it is effective policies and effective communication that really does it; it is not just saying “no” to all lights,’ Dan added.

The next speaker was ILP President and director of Stainton Lighting Design Services Anthony Smith. Anthony first highlighted the various relevant ILP documents within this area, including GN01 but also GN08, GN09, PLG04, and PLG08 [3].

‘Adaptive lighting is a really important tool when we’re talking about trying to minimise the impact of light. In lots of areas where the only option at the moment might be to switch off, we are now much more able to dim and adapt the lights,’ Anthony emphasised.

Anthony outlined different sorts of obtrusive light, including light trespass, presence and spill, sky aura and glare. He then highlighted a project Stainton’s had worked on with Mike Hawtin of North York Moors National Park, for its Forest Holidays Cropton Cabins and Rawcliffe House Farm. www.theilp.org.uk

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Light pollution and obtrusive light WHAT THE APPG IS CALLING FOR

The All-Party Parliamentary Group for Dark Skies report was produced following a consultation in which more than 170 academics, legal professionals, national park associations, professional and amateur astronomers, members of local and national government, lighting professionals, engineers and businesses participated [1].

The document outlines the major causes of light pollution in the UK and advocates policy solutions to mitigate or remedy them. In particular, it has recommended ten policies to be introduced or embraced by the government. These are: A. Update the existing legal framework. The existing legal framework regulating light pollution is derived from statute and therefore can only be amended by Parliament. The APPG is arguing new legislation is therefore likely to be necessary to truly protect the UK’s dark skies and nighttime landscape. This should include: 1. Strengthen the National Planning Policy Framework. For the first time ever, make extensive specific reference to the control of obtrusive light in the National Planning Policy Framework.

2. Expand the scope of the planning permission process. This should include introducing regulations for exterior lighting that are similar to those which currently cover advertisements.

3. Strengthen statutory nuisance provisions. This should include removing exemptions to give local authorities a more effective method of preventing nuisance lighting.

B. ‘Supercharge’ standards for lighting. The APPG document is arguing that the UK should follow the example of other countries, such as the France’s ‘Decree of 27 December 2018’, to overhaul the rules applicable to outdoor lighting installations and internal light spill to as to prevent, limit and reduce light pollution [2]. In particular, this should include: 4. Create a statutory Commission for Dark Skies. The idea here is to set up a statutory body to punish non-compliance and empower local authorities and councils to

enforce regulations.

5. Set standards for the brightness and colour temperature of lighting. The APPG is arguing for the establishment of legal limits to the amount of blue light that luminaires can have in their spectrum and encourage manufacturers, distributors and installers of lighting to adopt best practice in this area.

6. Set standards for the direction and density of lighting. Similarly, the APPG is calling for the introduction of a legal requirement that all lighting units are sold and distributed with instructions for the control of obtrusive light and dark skiesfriendly mounting instructions, with non-compliance penalties.

7. Create ‘best practice’ use for lighting.

Here, the APPG is calling for the design of a national programme of best practice ‘Dark Sky Hours’ in which categories of lighting can be either dimmed or turned off completely in consultation with the community, lighting professionals and local police.

C. Incentivise dark sky governance at the national, local and individual level. The APPG here is calling for new initiatives at every level of government that will educate about the effects of light pollution as part of wider climate change awareness and create clear incentives for dark sky preservation.

This should include: 8. Appoint a designated ‘minister for dark skies’. The APPG is arguing here to give the minister for housing at the Ministry of Housing, Communities & Local Government a clear remit for the control and prevention of light pollution.

9. Create a ‘Dark Sky Towns and Cities’ initiative. The aim here is to give local government the power to go further to reduce light pollution by creating a voluntary ‘Dark Sky Town/City’ classification.

10. Emphasise the role of education.

Here, the APPG is recommending more work be done with educational and cultural institutions and NGOs to achieve widespread public awareness of the issue of light pollution.

[1] ‘Ten Dark Sky policies for the government’, All-Party Parliamentary Group for Dark Skies, December 2020, www.appgdarkskies.co.uk/policy-plan [2] ‘Decree of 27 December 2018’, https://www.darksky.org/france-light-pollution-law-2018/; or (original in French) ‘Arrêté du 27 décembre 2018 relatif à la prévention, à la réduction et à la limitation des nuisances lumineuses’, https://www.legifrance.gouv.fr/jorf/id/JORFTEXT000037864346?r=1Ao30VogLj

www.theilp.org.uk

WHAT DO YOU THINK?

Are the APPG’s recommendations sensible or unrealistic? And how can, or even should, the lighting industry respond? If you have a view, please feel free to email the editor Nic Paton on nic@cormorantmedia.co.uk or go direct to the ILP through your LDC or by emailing info@theilp. org.uk. Letters may be edited for length and style purposes and publication is not guaranteed.

PROJECT FOR NORTH YORK MOORS NATIONAL PARK

Both schemes had only been completed in September and showed what can be achieved through a combination of dark skies-compliant lighting and a best practice approach.

For example, previously at the Cropton Forest Holidays site maintenance area there had been a significant amount of glare visible from the lights, with upward light spilling out on to the trees. The lights could even be seen from the cabins, so harming the tranquillity of the area.

Under the new scheme, using zero uplift lights, more appropriate levels and colour temperature, the tree illumination had been eliminated, glare reduced and a much more tranquil feel achieved.

Similarly, f loodlighting the overgarage and wall lights had produced a significant amount of glare and upward light. The replacement lights had, again, much more controlled distribution with no glare and zero upward light. The floodlights had been put on a proximity sensor and the wall packs on a timer until 10pm.

‘The yard is still really quite well-lit and there is a reasonable amount of light to allow you to do what you have to do. What we have to understand is that in areas like this, where things are intrinsically dark, a little bit of light goes an awful long way.

Educating the public and lighting professionals on this is really key to being successful,’ Anthony advised.

Similar changes had been implemented in the driver delivery area, with needless

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Light pollution and obtrusive light glare and the upward light that had been illuminating trees and vegetation all reduced or removed altogether. ‘The drivers have actually commented that it is much better than it was before,’ said Anthony.

At the nearby Rawcliffe House Farm holiday cottages, a floodlight at the end the building had been creating significant glare and upward/nuisance light. It was so poorly angled, in fact, that the light could be seen from the road over 750m away.

INDUSTRY ‘COULD DO BETTER’

The solution had, again, been the use of much more controlled light distribution, with no glare and zero upward light and the use of proximity sensors. The old, coach-style lamps in the courtyard had been replaced with similar ‘heritage’ units but with zero upward light ratio and, again, a 10pm timer.

‘Although we have made massive strides, I do strongly believe that, as an industry, we could be better. Highway lighting, particularly I think, is at the fore of trying to improve its technical offering, more than many other areas of exterior lighting,’ said Anthony.

‘As an industry, we are marching towards 3000K as a more typical colour temperature; we’re using much more controlled light; in the main, we’re understanding the needs of the night sky and trying to work that through.

‘As an Institution, we’re trying to develop guidance; we’re trying to educate people, not just our own members but planners and people around those areas.

We need light to operate; so there is a function there; there is a pay-off.

‘But it is about trying to make sure we have good, clear rules in place, which give really good guidance for developers, planners; lighting engineers, landscape architects; that there are really clear rules to follow that allow us to fill the needs that we have for lighting and to give that environment where we can stimulate the night-time economy. That we keep those elements going; but that we also do not in the process destroy areas of natural beauty and the night sky in general,’ Anthony added.

[1] South Downs National Park Dark Skies Technical Advice Note, April 2018, https://www.southdowns.gov.uk/wp-content/uploads/2018/04/TLL-10SDNPA-Dark-Skies-Technical-Advice-Note-2018.pdf [2] PLG01/20 Guidance note for the reduction of obtrusive light (2020), the ILP, https://theilp.org. uk/publication/guidance-note-1-for-the-reduction-of-obtrusive-light-2020/ [3] GN08/18 Guidance Note 8 Bats and artificial lighting (2018), the ILP, https://theilp.org.uk/publication/guidance-note-8-bats-and-artificial-lighting/; GN09/19 Guidance Note 9 Domestic exterior lighting: getting it right (2019), the ILP, https://theilp.org.uk/publication/guidance-note-9-domestic-exteriorlighting-getting-it-right/; PLG04 Guidance on undertaking environmental lighting impact assessments (2013), the ILP, https://theilp.org.uk/publication/plg04guidance-on-undertaking-environmental-lighting-impact-assessments/; PLG08 Guidance on the application of adaptive lighting within the public realm (2016), the ILP, https://theilp.org.uk/publication/plg08-guidance-on-the-application-ofadaptive-lighting-within-the-public-realm/

www.theilp.org.uk

 C ropton Cabins. By using zero uplift lights, more appropriate levels and colour temperature, tree illumination has been eliminated, glare reduced and a much more tranquil feel achieved

RESEARCH ROUND-UP

Light pollution, obtrusive light and its consequences have been focusing t he m i nd s of ac adem ic s a nd researchers around the globe in the past few months, as this snapshot round-up shows.

This is, to caution, purely a superficial resumé of some recent r e s e a r c h , a nd mem b er s w ho therefore want to delve into these areas more deeply are advised to go back to the original academic papers.

References and online links are included at the end.

A study from a team of biologists at Exeter University has argued in the journal Nature Ecology and Evolution that human illumination of our planet is growing in range and intensity by about 2% a year, creating a problem comparable to climate change in terms of its impact on the natural world [1].

A physicist at the University of Tucson in Arizona has analysed the main sources of artificial light polluting the night sky in the city. The city dimmed 14,000 streetlights at precisely 01.30 every morning every

morning as part of the research by Dr Christopher Kyba.

His conclusion, in the journal Lighting Research & Technology, was that most of the artificial light being wasted upwards was not actually coming from the streetlights but from other sources [2].

Advertisements, f loodlights, lit buildings, façade lighting, parking lots and sports stadia were the types of installations responsible for most of these light emissions, Dr Kyba concluded.

Light pollution is a significant but often overlooked contributor to of the rapid decline of insect populations, according to review of scientific evidence led by Brett Seymoure, a behavioural ecologist at Washington University in St Louis.

The analysis, published in the journal Biological Conservation , argued that, while light has long been used deliberately by farmers to s uppr e s s i n s e c t s , a s hu m a n infrastructure has expanded and the cost of lighting has fallen, light pollution has come to affect a quarter of the world’s land surface [3].

[1] Sanders D et al (2020). ‘A meta-analysis of biological impacts of artificial light at night’. Mature Ecology & Evolution, 02 November 2020. Available online at: https://www.nature.com/articles/s41559-020-01322-x [2] Kyba CCM at al (2020). ‘Direct measurement of the contribution of street lighting to satellite observations of nighttime light emissions from urban areas’. Lighting Research & Technology, 28 October, 2020. Available online at: https://journals.sagepub.com/doi/10.1177/1477153520958463 [3] Avalon CS et al (2020). ‘Light pollution is a driver of insect declines’. Biological Conservation, vol 241, January 2020. Available online at: https://www.sciencedirect.com/science/article/pii/S0006320719307797

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Light pollution and obtrusive light

OWN GOAL? Over the past two years, Brighton photographer Steve Geliot has been campaigning against the light spill from his local Amex football stadium, home to Brighton and Hove Albion football club, including running a petition that has now gathered more than 12,000 signatures. He explains how and why the campaign got started

By Steve Geliot

T

he night of 20-21 January 2019 was a turning point, even though I did not know it at the time.

I walked up the steep path from Folkington Church to the top of the South Downs above the Long Man of Wilmington at around midnight. The air was cold and I had to stop several times to catch my breath as I carried my photography backpack and metal tripod up that chilly hillside.

I set the camera up ready to shoot a time-lapse of a lunar eclipse above the South Downs National Park. I was shooting ten-second exposures at 12-second intervals as the shadow began to fall across the moon.

As I was doing this, I began to look at the patches of light pollution across a

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landscape that is designated an International Dark Sky Reserve. I could see Eastbourne to my left, then Newhaven and the Rampion wind farm, followed by Brighton and Hove, and then just to the right of Brighton was a distinct patch of light shining more brightly and creating significantly more skyglow than the entire city.

I checked the alignment on maps, and identified the source as the Amex stadium at Falmer. I drove past in the early morning after completing the eclipse shoot, and the football stadium was basically what I term ‘a volcano of light’. In the coming week I grumbled to the club and got a courteous reply explaining these intense lights were there to help the grass grow.

Yet, this was a serious light spill – in an International Dark Skies Reserve.

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JANUARY 2021

LIGHTING JOURNAL

Light pollution and obtrusive light ‘PUT THAT LIGHT OUT’ PETITION

I began a petition – ‘Put that light out’ – calling on Brighton and Hove Albion to turn off its insanely bright lights. I thought about 200 people might sign it if I was lucky, and it would be a tap on the shoulder for the club.

I was wrong. It turned out thousands of people were as upset as me by this superspill of light. In a matter of days, the petition reached 5,000 people, and it began to get picked up first by local news media, and then by national media.

The numbers kept growing. I engaged with football fans on social media. The wider the public interest has become, the more signatures the petition has gained.

As I write, we now have 12,260 signatures.

I engaged with the local authority on why it had not done any enforcement through planning or environmental health. The planning agreement for the stadium, which went all the way to the secretary of state, had specific clauses that said no light could be emitted from above the roof line; yet this had been completely ignored.

The officers were extremely helpful, but the council still refuses to take any action, so I took it to the ombudsman. She agreed there is an issue to investigate, and that process is currently ongoing.

In the meantime, the Put That Light Out petition has continued to get a lot of attention. Astronomers all over the world have shared it, and it was picked up by Andrew Griffith who is the MP for Arundel and South Downs, and in fact it was one of the key drivers for him to set up the All-Party Parliamentary Group for Dark Skies with the Astronomer Royal Lord Rees.

In September, I was invited by Dr Christopher Kyba from the Federal Institute of Geosciences to author a paper on the super-spill from the Amex stadium.

I am currently working on this. Chris has taught me how to use his Lighttrends application to work with data from NASA’s Visible Infrared Imaging Radiometer suite. This satellite data enables us to take measurements and look at how light reflectance is changing month by month over a long timeframe.

This is allowing me to see exactly when the grow lights were installed at the Amex Stadium, and how much impact they have had on the South Downs National Park.

My conclusion is that this super-spill is growing in intensity at 30% a year, and is the fastest growing light pollution from any sports stadium in the UK. Wembley Stadium is the brightest, then the Etihad/Man City, while Brighton in third place, despite being located right in the middle of an International Dark Skies Reserve. The campaign will continue! www.theilp.org.uk

 H eat map showing light pollution from the Amex football stadium at Falmer

WHAT OTHERS SAY

The South Downs National Park Authority, speaking to the Brighton Argus newspaper, has said it intends to ‘seek informal ways to work with the club to see what is possible to reduce the effects of lighting’, writes Nic Paton.

Brighton and Hove Albion, meanwhile, has consistently argued it has done nothing wrong.

Speaking to The Argus as well early in 2020, a spokesperson said: ‘The football club must balance its concern for and responsibility to help protect the environment with our need to practically run our business as a Premier League football

club watched by tens of millions of people across the world.

‘In the winter months, whilst we may at times experience high rainfall and high winds, with little or no natural sunlight, a grass pitch misses a key element of its natural ability to regenerate and grow after use. We must therefore replicate that loss of light artificially.

Please be assured that we take our responsibilities for the environment very seriously indeed.’

Steve Geliot is creator of the ‘Put that light out’ petition and campaign

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16

JANUARY 2021

LIGHTING JOURNAL

A research project in Helsinki, Finland, has concluded that glary advertising hoardings and badly lit commercial and domestic yards can be key contributors to urban light pollution and light spill. Good lighting design, delivery and maintenance needs to be an important answer

By Annukka Larsen

www.theilp.org.uk

JANUARY 2021

LIGHTING JOURNAL

Light pollution

I

n Helsinki, the capital of Finland, we have very long and dark winters, while the summertime is filled with light. So, the role and extent of artificial light in the public realm is very important to us during our wintertime.

Yet, at the same time, light pollution can be – and is – a problem within and around the city. For example, the quality of light in commercial and private yards can often be a problem, sometimes even hilariously bad, with glare and light spill into the night.

The situation is compounded by the fact there is no written guidance or standards for yard lighting within the city, or at least none I have been able to find, as well as a lack of understanding of the need for, and value of, good lighting design.

It was this that prompted the municipal authorities in Helsinki to ask WSP to carry out a research project into light pollution and obtrusive light in the city.

As a lighting professional for more than 20 years with a strong interest in light pollution, and a former city of light co-ordinator for the city of Jyväskylä, this was something I was very happy to take on.

The intention of the project was to gauge the perception of light pollution within Helsinki versus the reality, and then to begin to look at some possible solutions.

The first thing we did was go out to speak to residents of Helsinki. We got 1,500 responses, which shows just how important a topic this is to members of the public too.

People, we found, were mostly annoyed about lighting from advertisements and billboards, followed by light spill from street lighting. Façade lighting was also highlighted by residents as an issue. For many residents one of the biggest problems was big LED screens, which were very visible from a distance and felt often to be really bright and annoying.

After we had evaluated this feedback, it was a case of getting in the car and driving around the city with a camera and light meter to do our own research. Intriguingly, our findings were a bit different to what the residents thought. Going in order from worst in terms of light pollution and obtrusive light to best, we concluded the running order went something like this:

Ț Ț Ț Ț Ț Ț

 A ccording to our questionnaire this was one of the LED screens that annoyed people. The shopping centre has now dimmed the screen because of the complaints from the people living nearby. It also now switches off totally at 10pm

GLARY ADVERTISING HOARDINGS

being that it had a broken cable and so the amount of light being emitted could no longer be controlled.

When it comes to luminance values, according to regulations, city centre screens are allowed up to 1,000 candelas per sq m, but in Helsinki we’d like to see much lower numbers. There are also regulations about the amount of light you’re allowed to be projected on to the surfaces of properties, regulations that I am pretty sure some façades opposite the brightest advertisements did not meet.

Our conclusion in terms of advertising lighting is that it is not only about the amount of light; it is about the location of the screen; how high it is or how far away

 T his screen's control cable was broken, and unfortunately it can't be dimmed until it gets fixed.

The energy consumption cost of these two screens in this building is annually more than €10,000

 We found most of the LED screens were too bright during darkness, even though they were equipped with sensors to make them dim after sunset. A lack of technical knowledge or care for the environment creates nuisance to people as well as energy waste

What sort of bad practice did we find? For example, we identified one advertising hoarding that had been highlighted by residents and carried out measurements on it, in candelas per sq m, to gauge the average amount of luminance coming from the LED screen.

One advert, we found, was fully white for a long time and the maximum light amount exceeded the recommended luminance by ten times.

Another annoying LED screen was identified a few kilometres from the city centre, on the façade of of a shopping centre. The light spill from this was illuminating a whole crossing, with the reason

Yard lighting Advertisement lighting (billboards and hoardings) Public realm or area lighting Street lighting Façade lighting Lighting for construction sites www.theilp.org.uk

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JANUARY 2021

LIGHTING JOURNAL

Light pollution

 W hen illuminating a large area, such as this outdoor storage area, the owner should take care the floodlight doesn't spill outside needlessly. Glare makes an area uncomfortable and might affect traffic safety

you can see it. The contrast and the movement of the adverts shown on the screen can also be an issue.

On a more positive note, advertising companies have said they are willing to work with the city to fix the problem, so a dialogue has begun.

BADLY DESIGNED AREA LIGHTING

We found a lot of bad area lighting in public areas, although this is likely to improve as lights are renewed and transitioned to LED in the coming years. Properly regulated and enforced nightly switch off times can also help.

What about private area lighting? We found a wild range of implementation styles, mostly very economic, cheap and glary, and not dark skies-friendly at all.

Once again, the reason is often a lack of design but also a lack of knowledge or

instruction as to how to do things better.

We got one tip-off from a resident, for example, about an outdoor storage area of a rental store. When we visited it, the light spill and obtrusive light was truly terrible.

On a more positive note, the street lighting we assessed was by and large well done; but we did see examples of façade and accent lighting that were not so successful. When it came to construction sites, again there were often issues and, while such sites are often only temporary they can often be in situ for quite a long time and, if the lighting is poor, confuse or annoy users of an area.

We gauged a range of other light pollution contributors, too: traffic lights, spherical and opal surface luminaires, aircraft warning lights and so on. But it was not all bad; we did find a lot of good lighting, too.

 S ome private yards and parking areas were still illuminated with mercury lamps. These lamps don't switch off or fade and can be very dim. Residents complained about the bad lighting and the housing manager, as a result, ordered more light. But these were glary LED floodlights installed on to the old poles

 Large areas are difficult to illuminate cost-efficiently.

Aiming and optics are also very important. The fewer bright, glary points, the lower the light level can be.

Dimming and presence-detection systems can also be used

NEXT STEPS

Finally, what happens next? The next phase of the project is to make maps of different types of locations where we feel more darkness is needed, and we will develop these with the city authorities.

We will work to create a series of underlying lighting design principles that should be followed, and we will set out a series of recommendations around urban area illumination.

Ultimately, we want lighting that does not spill into the sky or outside of its target area; lighting that doesn’t dazzle passers-by or users of a space, and lighting that is well-maintained.

We would like to see a better harmony of the dark and light with the night-time urban environment, one with more even contrasts on the vertical and horizontal surfaces of the space.

To sum up, this project is not about removing light pollution or obtrusive lighting. It is about raising awareness, opening eyes, and, hopefully, sparking a discussion. When we get our design principles ready, we hope to promote and talk about this topic with the private sector.

The future looks, not brighter, but better; where there is a will, there is a way.

Annukka Larsen is head of WSP Lighting in Finland

www.theilp.org.uk

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JANUARY 2021

LIGHTING JOURNAL

CONTINUING EDUCATION Despite the pandemic disrupting world economies, the important research work of CIE has been carrying on apace, as this update on activity shows

By John O’Hagan

www.theilp.org.uk

JANUARY 2021

LIGHTING JOURNAL

Lighting research

A

s most lighting professionals, and ILP members, will almost certainly be aware, CIE-UK is the UK national committee of the International Commission on Illumination or CIE (from the French – Commission Internationale de l’Éclairage).

Although CIE and CIE-UK were both founded in 1913, each evolved from earlier organisations. This article intends to outline some of the latest developments and CIE publications that may be of interest, and value, to ILP members.

CIE-UK is a charity, with five trustees, supported by an executive secretary (WSP’s Allan Howard, who is also wellknown within these pages and the ILP more widely).

All roles are carried out by volunteers.

CIE-UK is supported by organisations interested in or concerned with the design, development and use of light.

These include representatives of the lighting industry as well as universities, independent consultants and architects representing professional bodies.

The ILP is one of the sponsor members, which means its UK members can benefit from CIE-UK publication and event discounts (and see overleaf for more on this).

CIE is devoted to the worldwide cooperation and the exchange of information on all matters relating to the science and art of light and lighting, colour and vision, photobiology and image technology.

It publishes international standards, technical reports, technical notes and position statements. These documents are prepared by experts from around the world. A total of 25 experts from the UK are currently contributing to the development of new publications.

In addition, CIE-UK has three members on the Board of Administration of the CIE. The technical work of CIE is carried out within its six Divisions, usually within one Division, but occasionally across one or more. The Divisions are as follows: Ț Ț Ț Ț Ț Ț

Division 1: vision and colour Division 2: physical measurement of light and radiation Division 3: interior environment and lighting design Division 4: transportation and exterior applications Division 6: photobiology and photochemistry Division 8: image technology

The CIE is recognized by the International Committee for Weights and Measures (CIPM), the International Organization for Standardization (ISO) and the

 L ljubljana, capital of Slovenia. The next Quadrennial Session of the CIE will be held in Slovenia in September 2023

International Electrotechnical Commission (IEC) as an international standardisation body.

Several work items are carried out jointly with ISO and IEC, resulting in joint logo standards and technical reports.

CIE holds its main conference every four years – the Quadrennial Session. The 8th, 18th and 28th (in 2015) were hosted

by CIE-UK in Cambridge, London and Manchester respectively.

The next session will be in Slovenia in September 2023. In between the sessions, there are mid-term meetings. Because of the pandemic restrictions the next one is now planned for September/October 2021, and is scheduled to be held on Kuala Lumpur in Malaysia (main image opposite), although there may also now be a remote-attendance element.

These events are a fantastic opportunity to hear from world experts across the whole range of disciplines encompassed

by CIE. They also provide an opportunity for PhD students and early-career professions to present their work. CIE-UK has a small number of bursaries each year to support attendance for these individuals.

TWO NEW TECHNICAL COMMITTEES

Two new technical and joint technical committees (TCs and JTCs) have been formed. If you are interested in contributing to either of them, please contact Allan Howard (details overleaf). These are: Ț

TC 1-98: A Roadmap Toward Basing CIE Colorimetry on Cone Fundamentals. This TC is working to create a roadmap for the development of a new, complete, self-consistent

Ț

system of CIE colorimetry measures based directly on cone fundamentals. It will take into account explicit consideration of the impacts of normal variations of the cone fundamentals due to age, field of view, and individual diversity.

JTC 19 (D6/D2): Terms and Definitions for Horticultural Lighting.

This committee is preparing an international standard for terms and definitions in the field of horticultural lighting. It will be taking into account terms from existing national or regional publications.

SOLAR SPECTRA PUBLICATION

The latest publication from CIE is Recommended Reference Solar Spectra for Industrial Applications, or Technical Report CIE 241:2020.

Reference solar spectra are needed for many applications, including the assessment of solar radiation on materials.

This document contains a large selection of simulation benchmarks for total, direct and diffuse components of solar spectra under various atmospheric conditions and solar geometries (defined by the air mass).

To generate these, a freely available solar spectral irradiance model has been used to generate tables and figures of solar spectral irradiance under several different atmospheric conditions, in the form of explicit meteorological input parameters.

The data, as provided in this document, are to a large extent comparable to those in the earlier publication, CIE 085-1989, but they are presented with a higher spectral sampling. www.theilp.org.uk

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JANUARY 2021

LIGHTING JOURNAL

Lighting research

 Hydroponics. The CIE's JTC19 is preparing a new international standard for horticultural lighting

The respective solar spectra are the basis for national and international standard reference spectra for various applications. They have been extensively validated against measured spectra.

For those interested, a short video about the new publication is available at https://vimeo.com/468892809. This is presented by the chair of the CIE TC that produced the document, Dr Shigeo Suga from Japan.

GUIDANCE FOR COLOUR-DEFICIENT OBSERVERS

About one in 20 of the male population is what is termed not a ‘colour normal observer’. This means they sometimes cannot distinguish colours that the rest of us take for granted.

Often, it is the inability to pick out red – a colour that we often of course use to highlight our presentations, including the red laser beam from laser pointers.

Technical Report CIE 240:2020 Enhancement of Images for Colour-Deficient Observers summarises the methods used to enhance images in order to be easily recognised by colour-deficient observers.

The methods are classified into three major categories: recolouring, edge enhancement and pattern superposition. The pros and cons of each method are discussed.

The document provides recommendations on how to choose an enhancement method for a specific application, with the proviso that there is no unique

technique covering all cases. It also describes some evaluation methods of the enhancement techniques to be proposed in the future. Three types of test images (a natural scene, a scientific visualisation and an office document) are provided for the evaluations.

Once again, a short video about the new publication has been made available at https://youtu.be/NZyrzSxkDUo. This is presented by Po-Chieh Hung, who chaired the TC that prepared the report.

INTRINSICALLY PHOTOSENSITIVE RETINAL GANGLION CELLINFLUENCED RESPONSES

CIE TN011:2020 What to document and report in studies of ipRGC-influenced responses to light is a new free publication from CIE. Interest in studying the intrinsically photosensitive retinal ganglion cell (ipRGC)-influenced responses to light is strong and continues to increase.

The research teams who work in this domain come from many disciplines, each with their own research perspectives.

Perhaps as a consequence reviewers and readers of papers in this field are often frustrated by missing details in the reports, particularly in relation to the stimulus conditions – the light conditions to which people and animals are exposed.

For example, 100 lux from an incandescent lamp, a fluorescent lamp or a range of LEDs could have completely different influences on the ipRGC system. This lack of

consistent information impedes attempts to conduct systematic reviews that link stimulus and response and slows progress towards recommendations and standards.

What this latest document therefore does is provide a concise template for reporting investigations of ipRGC-influenced responses. This, in turn, is intended to provide guidance to research teams from all fields.

It builds upon the guidance for describing stimulus conditions described in publication CIE 213:2014 Guide to Protocols for Describing Lighting. However, it is specifically tailored for research in this aspect of applied lighting and for applying the CIE system of metrolog y for ipRGC-influenced responses to light described, as outlined in CIE S 026:2018.

This TN has been made freely available to encourage researchers, journal reviewers and journal editors to follow the guidance, with the aim of enhancing the usefulness of this research for knowledge mobilisation and application.

Once again, a short video has also been produced, this time by Jennifer Veitch, one of the authors of the TN. It is available at https://vimeo.com/477244493.

John O’Hagan is chair of CIE-UK. Away from CIE, he is also visiting professor in laser and optical radiation safety at Loughborough University as well as head of the Laser and Optical Radiation Dosimetry Group at Public Health England’s Centre for Radiation, Chemical and Environmental Hazards

ILP DISCOUNT ON CIE PUBLICATIONS

UK members of the ILP are eligible for the CIE-UK members’ discount for CIE publications, which represents a two-thirds reduction on the list price. A discount is also available for some CIE events.

To find out more about how to access this, please email ILP Chief E xecut ive Tracey W h ite on tracey@theilp.org.uk for more deta ils. P ublications ca n be purchased via the relevant link on the CIE website, http://cie.co.at Free technical notes can be downloaded at http://cie.co.at/ publications/technical-notes while the CIE’s online shop can be found at http://cie.co.at/publications If you are interested in joining CIE-UK, please contact Allan Howard on allan.howard@wspgroup.com

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JANUARY 2021

LIGHTING JOURNAL

Bringing light to the unspoiled Norwegian island of Jørpelandsholmen was both a challenge and an opportunity for the team at Light Bureau, especially how to create the right, sympathetic, balance between light and night

By Nic Paton

‘WE DESCRIBED IT AS, IN EFFECT, TORCHES; AS PLACING TORCHES IN THE FOREST RATHER THAN LIGHTS’

www.theilp.org.uk

JANUARY 2021

LIGHTING JOURNAL

Lighting natural environments

T

he island of Jørpelandsholmen, situated just outside Jørpeland in the municipality of Strand in Norway, is something of an unspoiled natural wilderness.

Up until 2017, it was only accessible by boat, but is now linked to the mainland by a pedestrian bridge, which brings tourists and visitors to enjoy the flora and fauna, stunning views across the fjord to Stavanger, kayaking, boating and the 2km nature trail that runs around the island.

‘It is a super cool place,’ recalls Arve Olsen, design director at Light Bureau.

‘Just going there, you get into a very different mindset because it is such a calm area. It helped that every time I went there it was sunny and lovely – at some points I was even thinking, “OK, maybe I should move out of the city”.’

The reason Arve was visiting the island from 2018 onwards was that Light Bureau has designed an innovative, sympathetic lighting scheme for the nature path around the island.

As Arve explains: ‘Designing lighting for an island that had previously been unlit was a rare opportunity to explore how little light one needs to see and to make the experience of the walk a truly magical experience after dark.

‘We approached the scheme very consciously as being about light and dark; making sure we maintained the darkness as much as possible, just because it is so rare that you get to work on a project where there is a real darkness currently.

You usually get to work on projects in cities where it is already really bright.’

MAINTAINING NIGHT VISION

As well as achieving a sensitive balance between light and night, the scheme needed to ensure views out across the fjord were maintained, that all glare was avoided, and that light levels were kept low enough to ensure the night vision of those using the nature walk remained intact.

On top of this, being an island exposed to the elements, the luminaires needed to be able to withstand the harsh saltwater environment, frequent rainfall, grazing sheep – ‘four-legged lawnmowers’, as Arve puts it – and the attentions of any visitors, especially children, to the island.

The result has been the development of bespoke fixtures suitable for low light areas, with a reduced light output and very well-shielded light sources, with Light Bureau working with local mechnical workshop Tau Mekaniske and electrical contractors Ryfylke Elektriske as well as Mike Stoane Lighting.

Yet, arriving at such a sympathetic lighting scheme was not initially guaranteed, as Arve explains. ‘We were engaged initially by the electrical engineers to help them evaluate proposals they had got from various manufacturers in terms of how to light the island based on a typical post lighting scheme, with 5m posts at 30m distance between the luminaires.

‘We talked a lot about, “what do we want this thing to be?”. Did we want it to be an urban, pedestrian walkway with its P4 or P5 class or whatever it would be?

That is what they had based their designs on. The brief to the manufacturers had been, “we’re building a pathway, it’s going to be this wide and this long, how do we light it?",' says Arve.

www.theilp.org.uk

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JANUARY 2021

LIGHTING JOURNAL

Lighting natural environments Arve continues: 'So we had discussions with the municipality about that, and tried to make them understand that doing it in such a typical way was just not going to feel like you were in nature anymore; it was just going to feel like you’ve moved the city centre into this island. It took a while to convince them, but they started recognising it after the first meeting. It was only after we had done light tests and shown the level of comfort that they were quite happy with it.

‘It was basically trying to keep luminaires below head height. As soon as you started getting your fixings above eye level, it started to ruin the effect of the more subtle lighting that we added to the landscape around the path and the views out across the fjord,’ he says.

‘Another principle was not spacing them according to achieving any kind of uniformity, but basically using each bollard as a wayfinder. So before it disappeared around a corner we would place something there so that you could follow that path,’ agrees Light Bureau principal director Paul Traynor.

‘We described it as, in effect, torches; as placing torches in the forest rather than lights. And that was true for the final result. The thing that we realised was the importance of lighting some key trees and rock faces as well. If you only had lighting down where the path was, you just couldn’t read the space overall,’ says Arve.

‘So in terms of actually understanding where you’re walking and what it looks like; that was probably the most important element, to light some of the surroundings.

It is turned off as well after a certain time of night. We did think about the bats!’

‘We even thought about the sheep, because they have sheep there to keep the landscape down. So, in terms of luminaires and cabling and everything, it is all very robust,’ adds Paul.

BESPOKE BOLLARDS AND LUMINAIRES

A combination of taller and smaller bollards have been used, with the taller bollards lighting along the pathway. These require no more than 4.2 watts of power in total and give light to the path itself but also illuminate the areas surrounding the path.

‘The body of the bollard was built by a local metalworking firm that was just 15 minutes’ drive away. I thought it was really great for a project as public as this.

And then the electrician who put it all together was also local. The municipality invests in local businesses to make projects work,’ enthuses Arve.

‘One reason we couldn’t use standard bollards was, before we added the lighting, the municipality had already installed really thick 20mm-diameter aluminium cables, which they couldn’t get into normal bollards. So we had to design new ones with a bigger body.

Everything in terms of fuses and so on is

 B espoke bollards have been used, with the taller lighting the pathway and the smaller (above) trees and rocks.

All photographs by Kristofer Ryde and Fovea Studio

already integrated into the body; so, they basically work like a lighting column.

‘From there we were able to feed to the small bollards, which were lighting trees and rocks, the cliffs and so on. The bollards also have an interesting spring system so that, within the heads of the bollard we recessed two fittings one on the front, one on the back. The two plates had springs so we could adjust what the angle for each fitting was. That meant, where a bollard was on an incline, we could change how the light distribution worked,’ Arve adds.

Another innovative feature was the two adjustable light sources (both with antiglare optical accessories, meaning each light source required 2 watts of power). As Paul Traynor explains: ‘The electricals in the back of the bollard are really important.

It is a bit counter-intuitive but actually having lighting that is on a pathway is vital, you get that contrast, it is isolated; you’re not having the connection with the landscape.

Having a little bit of light spilling backwards on to the landscape connects that.’

Arve adds: ‘You can always see the last bollard placed on the cur ve. This was super important, too. We tried it with a few standard bollards, but they were so overly bright and the cut-off between the paths and the landscape beyond was really, really strong. That just didn’t work.

It was an interesting learning process.’

CONFIDENCE TO BREAK THE CODE (WITHIN REASON)

On that point – the key learning from the project – there have been important, multiple lessons to take away, Arve and Paul suggest.

Arve says: ‘The thing, for me, about these bollards having the functionality of www.theilp.org.uk

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LIGHTING JOURNAL

Lighting natural environments a post or column is, I think, pretty brilliant. It means if you’re doing other projects where you have to have really long cable runs just because of voltage drops, then you can actually go for something like this without any technical challenges with voltage drops.

‘There have been a few people who have seen the project and come to us to see if they can buy the fittings,’ he adds.

‘It is a bit of a cliché to say you should not always be a slave to code but, for me, it still an important thing to spell out,’ says Paul. ‘If you are [a slave to the code], then you can end up with a solution that is maybe inappropriate for the installation. Designers therefore need to have confidence that they can break with the code when there is a good reason to do so.

And then have the confidence to persuade the client that this is going to be better for them than lighting it in a traditional sense.’

‘The other thing, for me, is that this was pretty much all done hands-on, on site,’ says Arve. ‘We had one plan drawing, which basically showed the geometry of the island. But that does not help much when you are trying to light, say, a specific rock on site. So it was about us and the project manager walking around on site and knocking sticks into the ground where we were going to place all the bollards, and then the electrical contractors installing the bollards exactly where we had knocked sticks into the ground.

‘We were relying on our detailed drawings, but the plan drawing was basically on

site with a bit of guidance for spacing of the pathway. But I think that is also a valuable thing. The reason why the manufacturers initially got it wrong, and why other people could do so too, is if they didn’t actually get out of their office and spend time with the client, properly try to understand the site and what they want from the project and how we can help them. You can’t solve everything in CAD,’ he adds.

Finally, how has the project gone down with both the municipality and visitors?

‘They’re just really proud of it, and I think one reason why is because everything was done locally,’ says Arve.

‘They keep on expanding it. The last time I was there they had added an

outdoor chess table, seating for groups, a BBQ area and so on. They keep on really improving it. It used to be the island was somewhere tourists passed by on their way to the nearby Pulpit Rock, which was made famous by one of the Mission Impossible films, but now it is becoming a destination in its own right. A local group has also volunteered to keep the island clear of trash and properly maintained,’ he adds.

‘For me, the key thing was that this was a crafted approach,’ concludes Paul.

‘Light is craft, as far as we are concerned.

This project is a really good embodiment of that; the fact we spent more time going there and really seeing where things needed to be; driving stakes into the ground and putting paint markers down.

‘That, I think, is a really good illustration of how we work, and how we will take something and produce something that is better, the best quality it can be and the best effect that it can, because we’re only using as many as we need. It is one of those projects that really embodies some of our core values,’ he adds.

PROJECT CREDITS

Client: Strand Municipality Lighting design: Light Bureau Landscape architect: Anita Ellefsen Hus Electrical engineer: Ekrheim Elconsult Electrical contractor: Ryfylke Elektriske Metalwork: Tau Mekaniske Distributors/manufacturers: Rebel Light/Mike Stoane Lighting, Louis Poulsen

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SIX WAYS LIGHTING IS SET TO CHANGE From luminous, embedded surfaces through to data-driven spaces and increasingly interactive spaces, the next decade could be transformational for lighting and lighting control. As our thoughts turn to a new year, Brad Koerner outlines what he argues will be six upcoming ‘disruptive’ trends in architectural lighting

By Brad Koerner

T

he past decade saw incredible transformation in architectural lighting.

LEDs and digital controls completely disrupted decades-old technology paradigms.

Yet the transformation to LED technology was so drastic, most manufacturers could barely keep up. Playing it safe, the lighting industry spent the past decade merely ‘LEDifying’ tired old commodity fixture styles. In the end, ironically, the LED revolution led to little actual application-level innovation on commercial projects.

Now that we are in a new decade, I’d argue another disruptive wave of innovation awaits, this time building upon mature LED and digital communications technologies. Here, then, are what I believe will be six ‘disruptive’ trends that will change how we conceive of architectural lighting.

1) LUMINOUS SURFACES

LED technology now allows us to integrate lighting directly into a wall or ceiling surface, with little energy consumption, heat, or maintenance to worry about.

This fusion of light + material, of embedding lighting elements directly into www.theilp.org.uk

architectural surfaces, opens fresh new approaches to creating eye-catching spatial experiences.

Fusing the best properties of luminosity, optical effects, material richness and graphic design, embedded lighting in this way opens tremendous creative opportunities. Luminous surfaces will change the way people perceive, occupy and enjoy architectural spaces, particularly in hospitality, retail, and public applications.

Custom integration of embedded lighting has been difficult to specify and costly to install on construction projects, limiting broader adoption. Manufacturers therefore need to develop flexible and customised product systems that accommodate a wide range of creative styles, along with new digital technologies.

Within this, as architecture becomes fully digitally controllable, with every point of light addressable as a sort of pixel, custom-tailored dynamic animations ranging from the subtle flicker of a candle to sparkling effects to vivid ripples of movement will become common.

Finally, digital signage is already becoming pervasive in architectural environments with widespread adoption

in out-of-home marketing, wayfinding, menu systems, and retail branding. The steadily dropping cost of digital screens and Cloud-based content distribution makes digital signage highly appealing to brands and organisations looking to quickly inject more ‘digital’ into their physical locations.

There is, however, a challenge here.

Even though digital signage is starting to be widely integrated into our built environments, people are already overloaded and desensitised to ever more screen time. No matter how gorgeous the imagery, how elaborate the video editing, how slick the motion graphics, if it all just becomes visual ‘noise’ people tune out.

Across the next decade, therefore, design professionals will need to become savvy on integrating both luminous surfaces and digital signage into comprehensive environmental experience.

In terms of the impact of all this on design, I’d argue the inclusion of luminous surfaces begs for a more comprehensive design process so as to create a unified experience for the occupants of a space.

This will, in turn, drive architects, interior and lighting designers to embrace a

s

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Background: Stratford-upon-Avon, a medieval market town in England’s West Midlands, is the 16th-century birthplace of William Shakespeare. As you might expect from a town steeped in history, Stratford-upon-Avon has a large number of Heritage lanterns. Whilst much of Warwickshire County Council’s residential and traffic routes have already been upgraded to LED, the Heritage lanterns had not been.

Fast Facts: Customer: Warwickshire County Council Location: Stratford-upon-Avon Product: Philips TrueForce lamps Partners: Marwood Electrical and Balfour Beatty

The main concern in upgrading was maintaining the structural integrity of the lanterns. Whilst replacing the lanterns was considered, the cost was deemed prohibitive.

A small trial of Philips TrueForce LED road lamps was installed.

The solution: Philips TrueForce LED road lamps were selected, as the product offered a like for like replacement into the existing lantern using the existing optic to photometrically replace the SON-T & CDO-TT lamps.

Philips TrueForce LED Road lamps offer an easy and short payback LED solution to replace High Intensity Discharge (HID) lamps. The products bring the energy-efficiency and long lifetime benefits of LED to HID replacement, while providing instant savings with a low initial investment.

With the right lamp size and light distribution, you can easily retrofit TrueForce LED road lamps into the existing systems without changing the luminaire’s ballast or reflector while enhancing the lighting quality.

Following trials, Warwickshire County Council took the decision to replace all Heritage & Beta 5 lanterns with Philips TrueForce. The upgrade means that energy usage will be more than halved.

With the improved energy efficiency, the payback period on the installation will be less than two years.

All technical information can be found at www.philips.co.uk/lighting Errors and omissions excepted, only the technical data sheets apply.

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We were confident using a Philips lamp that we were getting a top product but TrueForce has exceeded our expectations.”

Mike Cunningham, Street lighting Manager, Warwickshire County Council

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Architectural lighting raft of new digital tools, such as using live-rendered photo-realistic game engines, VR experiences, video editing, motion graphics and so on throughout their design development process.

Designers will need to visualise, simulate and craft not only simple luminous surfaces, but dynamic surfaces that interconnect the digital world with the occupants of the space.

2) DATA-DRIVEN EXPERIENCES

We are entering a future where architectural design and its associated technology systems are more than ever focused on experience management as the primary end goal of many projects.

Architectural technology systems, such as digital lighting, digital media, and IoT-based communications systems are driving this digital transformation of physical space.

No longer can traditional architectural technology systems remain as discrete, speciality trades. This is especially true for architectural lighting, where outdated preset scene control systems must transform into comprehensive experience management systems.

What we presently call lighting controls will be subsumed into two primary styles of technical solutions: mediadriven branded experiences, and datadriven environmental optimisation.

Such a transformation will, I believe, have profound influences on how bricks and mortar spaces are conceived and designed by architects, interior designers, brand designers and so on. Let’s look at each in turn.

Media-driven branded experiences.

For decades, traditional preset-scene lighting control systems have dominated the options available for architectural projects. Dimmers or relay switches controlling ‘dumb’ lamps were set at certain levels and recorded as stagnant scenes.

End users were left with clusters of anonymous little buttons programmed with scenes that never seem to do what anybody actual wants.

Now, the intention of many built environments (for example retail, hospitality, corporate lobbies and so on) is first and foremost to create a branded experience.

Architectural spaces are becoming portals to the virtual world. The technical challenge in these spaces is to control a range of digital media – ‘pixels’ of various sorts, from 4K screens to projection mapping to simple digitally-controlled light fixtures.

Traditional architectural lighting controls are wholly unsuited for distributing, www.theilp.org.uk

playing and managing modern digital media. Therefore, the digital signage world has filled the gap with Cloud-connected, low-cost systems expressly for distributing and playing media files on an range of equipment.

Data-driven environmental optimisation. For environments that are not primarily branded experiences (for example commercial offices, institutional facilities, industrial sites and so on) environmental optimisation based on live data becomes the imperative.

Stagnant, pre-configured scenes are simply not precise enough to satisfy modern demands for climate control, energy efficiency, and creating functionally efficient spaces for the occupants. We now have networks of IoT-connected sensors generating massive live data streams.

Plus, numerous other live data streams, such as weather, operational conditions, stock market fluctuations, social media engagement, and so on, can provide live input to our environments.

We need systems that take these live data streams and logically translate them across a range of environmental parameters. Such translation must be smooth, continuous, and employ learning loops (for example through the use of AI) to ensure that, as a building ages, the live systems remain optimised.

What this will all mean is that spaces will need to be conceived from the very initial sketches as ‘live’, responsive environments, not lumps of steel, concrete and glass bathed in some stagnant conception of light.

Architects and interior designers will need to understand the powerful potential of these new systems for branded experience control or optimised environmental control and start conceiving of new programmatic goals that fully exploit their potential.

3) INTERACTIVE SPACES

The concept of interactive lighting – where dynamic lighting or A/V gear responds to a user’s touch, proximity or

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Architectural lighting other activity – has held the promise of creating highly personal and dynamic architectural experiences for several decades. But adoption has been mostly limited to singular art installations.

One of the biggest challenges with interactive lighting is overcoming the most simplistic yet common interactive setup that we can call the ‘me and my shadow’ scenario. Many interactive installations do nothing more than mirror someone’s presence, expressed such as through live shadow outlines of the person’s form, or glowing light blobs, or more decorative effects like sparkles or waves that track along with someone.

Whatever style, it is still fundamentally the same thing, a one-to-one reflection of your presence. The effect doesn’t do anything to re-inform or alter the person’s activities in the space. After the first razzle-dazzle experience, it is easily ignored.

So, what modalities of interaction will actually enrich an architectural space? I’d argue there are at least three possibilities: Ț

Ț

Ț

Deliver function. The correct type of light, at the correct place, at the correct moment in time.

Deliver delight. Enriching human interactions and creating distinct, memorable moments.

Deliver content. Architecture can act as a portal to the digital world, providing either ambient or detailed layers of information.

These three interactions can then be mapped across applications, such as hospitality, retail, office, healthcare, education, public spaces and so on. Within each application, multiple physical interactions can be explored to deliver the three primary modalities, including: Ț Ț Ț Ț Ț

Touch. Poking, grabbing, twisting, touching and so on.

Occupancy. Passive detection of movement in a space.

Proximity. Distance from an object/ sensor point.

Tracking. Tracking multiple people in a space, gaze detection, gesturing, Identity. Bluetooth beacons, RFID chips, NFC.

What this means in practical design terms is that designers must move beyond document-based design and specification workflows.

Architectural designers will increasingly adopt the tools, techniques and language of

UX (user experience) design professionals.

In the early stages of concept design, storyboarding must be routinely included to sketch out key dynamic scenarios in spaces.

As interactive concepts become more commonplace and grow to large-scale installations, live-rendered, fully functional virtual models integrated into BIM workflows will be required to visualise, simulate and develop the functionality of the final space programming.

4) DIGITAL TWIN COMMISSIONING

So, the commissioning costs alone of doing all this are going to be inconceivable, right? Especially in our at the moment very budget-conscious environment?

Wrong. Project teams can’t keep ‘sandbagging’ digital systems in architectural construction projects as outlandish non-essential budget line-items. It needs to be recognised that digital technologies in the built environment drive very real end-customer value.

But yes, for sure, construction sites are the absolute most expensive place imaginable to attempt flaky digital R&D projects with unknown risk factors, exotic consultants and expensive systems integrators. So how do we overcome this mess?

To satisfy clients’ endless appetites for integrating digital sophistication into construction projects, project teams will need to focus on using simulation and Cloudbased commissioning tools, which will greatly reduce the costs associated with commissioning lighting or media systems.

Cloud-based lighting systems will increasingly integrate directly into architects’ BIM-based design, simulation and specification workflow. Architectural design and MEP workflows already use highly detailed BIM models that live in the Cloud. Connected lighting systems are also fundamentally connected to the Cloud.

Lighting companies focusing on system integration should therefore develop BIM plug-ins that allow specifiers to set up proper BIM-based virtual models of the total lighting system (fixtures + controls + functionality), eliminating the need to translate the ‘design intent’ of the lighting control system via traditional paper documentation and field commissioning.

On top of this, the virtual simulations made easy by BIM will evolve and directly correlate to the actual performance of the building, which will prove critical for meeting ever more stringent ‘green’ building codes.

Implicit in this future is the fact that the process of commissioning largely

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transfers from systems’ integrators to design consultants. Overall, the process becomes more efficient, but this still represents a large transfer of project budgets from the construction team to the design team. Designers will therefore need to properly understand this new revenue opportunity and find ways to convince clients of the value.

5) THE CIRCULAR ECONOMY

The ‘circular economy’ is the movement to stop the industrialised world’s bad habit of ‘take-make-waste’ and instead to create endless circular flows of materials.

The circular economy is effectively a very sophisticated strategy for recycling but, beyond this, circular economy strategists are trying to create real, extensive, and highly profitable flows of products, parts, and materials in endless loops.

To achieve this vision, it takes coordinated effort to rethink product design, business models, and market processes.

So how will the lighting industry need to adapt to such a future?

First, lighting fixtures have long been durable goods; lighting sources, on the other hand, have inherently been constructed as expendable, disposable items. The current and extremely lazy trend in the lighting industry for producing ‘disposable fixtures’ simply cannot be sustained.

Second, we all know IP-connected lighting systems greatly expand the range of data available. ‘Smart’ controls and lighting fixtures broadcast their component serial numbers, feature sets, on-board sensors, run-time counters, and even real-time photometric light measurement. A lighting manufacturer can now remotely check in on their systems anytime, anywhere.

Providing a Cloud connection for lighting systems is therefore what we might term a ‘gateway drug’ to opening up numerous opportunities for maintenance, upgrades, or circular economy opportunities. The lighting industry has the opportunity to offer much higher levels of customer service at lower costs than ever before. But who in the industry captures this value?

Third, LED systems pushing 200 lm/w efficacy effectively eliminate the problem of excess heat and fire hazard in most fixture types. DC power can also simplify fixture design: if the fixture has only lowpower, low-voltage, current-controlled connections, the safety requirements stemming around high voltage and high

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Architectural lighting power can be reduced to the SELV (safety extra low voltage) standard.

To that end, a new world of low power and non-existent thermal issues opens up opportunities for the radical redesign of traditional fixture paradigms and material selections. Manufacturers will be able to use innovative bio-based materials to dramatically reduce the embodied energy, reduce toxicity and reduce both production and end-of-life disassembly costs to create a fixture that is ready for the circular economy.

Fourth, and finally, more sustainable factories. Would you live next to an openpit mine with its toxic tailing ponds or a forest? A smelting plant with its belching smokestacks or a sawmill? An anodization plant with all its toxic chemicals or a woodshop?

If the answer is ‘no’ (as it probably is), why would you as a lighting designer keep specifying such toxic, energy intensive materials in your products? Why are you accepting products that have no hope of even basic maintenance, much more reusability in the future?

Designers, as we all know, specify the future. But which future? The lighting industry needs to take responsibility for the future it is sowing today. Does it do any good to have, say, amazing biofriendly light fixtures that are drawing their power downwind of a coal-based power plant? Project teams must take full responsibility for the inputs and outputs of their individual buildings.

6) DC POWER AND NET-ZERO ENERGY

Do you know why you must lug around all those chargers for your smartphones, tablets and laptops? Why every 'smart' device in your home or office requires some big, obnoxious power brick? Why the solar panels on your roof require some giant inverter box in your garage?

It’s because every digital device in our modern world runs on DC (direct-current) electricity, while our ancient electric utility grids and the wiring infrastructure in our buildings remain stuck using AC (alternating-current). Every time you plug a power converter into those ancient AC-grids, you are wasting electricity.

Almost every device in a modern building or home uses DC, including LED lighting, sensors, computers, IT networking and even large motors (variable-speed heat pumps and air conditioners). Literally thousands of devices in even modest sized commercial or multi-unit residential buildings require these wasteful power converters.

To compound this huge disconnect between our AC electrical grids and our www.theilp.org.uk

DC building infrastructures, we are now adding huge quantities of DC-generating solar panels and DC-based battery storage to make our buildings net-zero energy consumers.

But this, thankfully, is beginning to change. Modern buildings going forward will only need extra power from the Grid for small durations of the year, such as during the coldest, darkest part of the winter in northern climates. The rest of the year, buildings will run almost entirely on internal flows of DC power.

We are at the inflection point of a new revolution: DC-power ‘nanogrids’ are set to replace the AC-infrastructure in many, if not most, commercial buildings, resulting in massive energy savings while reducing hardware and providing advanced digital control of power.

With DC power, we can reduce power waste substantially, reduce electronic hardware and associated maintenance and e-waste issues, and open the door to advanced energy management in buildings. Advanced DC-based technologies, such as solid-state switching and solid-state fault interruption, promise to channel, manage and measure power with more precision than ever before.

What this means in terms of design is that, as we move towards greater numbers of net-zero energy buildings and demand more localised energy resiliency in ever more turbulent times, an interesting revolution is poised to transform our electrical infrastructure.

DC power systems will increasingly reduce the costs associated of ever-more advanced architectural systems. From the earliest stages of conceiving a building, solar power must therefore fundamentally be included with as much capacity as possible.

Digital twin simulations in the energy performance of a building, starting at even the earliest schematic design stages, will predict long-term energy performance of those systems and directly lead to highly tailored electrical infrastructures.

CONCLUSIONS – THE YEAR 2030

So where is all this going? I’d argue that, by the year 2030, what we call ‘architectural lighting’ will increasingly consist of embedded luminous surfaces, rich with digital content, smartly driven by data streams and responsive to our physical actions and biological needs in a space.

Designers (architects, interior designers, lighting designers and so on) will increasingly need to become experience designers, using scripting, storyboarding and digital-twin simulations to craft live, responsive new experiential concepts for guests, shoppers, patients, employees, and so forth.

Despite growing system complexity, project coordination and on-site installation costs will be reduced via digital-twin, Cloud-connected commissioning and sophisticated integration of BIM processes.

And these projects will use DC-power systems to reduce the consumption and cost of all these digital systems while making our buildings net-zero energy consumers.

Ultimately, the physical hardware of lighting systems will be designed to maximise new revenue streams opened by circular economy strategies, while simultaneously reducing our environmental impact.

Despite the current challenges we all face, I am optimistic ‘the roaring ‘20s’ could indeed become a brilliant decade for innovation in architectural lighting systems.

Brad Koerner is founder of Amsterdam-based Koerner Design and specialises in the application of advanced technologies in architectural systems

Turn to page 38 for a more in-depth discussion about lighting’s potential role within the circular economy

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SQUARING THE CIRCULAR

I

t is very clear that, for the sake of our planet, we cannot continue to consume valuable resources and manufacture products that only last for a short service life, cannot be repaired, upgraded, reused or be fully recycled at the end of their life.

If lighting is going to play its part in the war on climate change, then, regulations or not, we have to adopt business practices that support the circular economy.

There is no doubt that lighting has contributed a great deal in the drive for energy saving, with a reduction in consumption of more than 50% in only three decades, more than just about any other sector.

This success, however, appears to be rewarded by regulators with yet more stringent rules where energy efficiency seems to be the prime, if not only, objective. Discussions now turn to the effect of this efficiency drive on the quality of the lit environment.

Rather than keep pushing for more lumens per watt, the lighting industry has a few more benefits to offer in the form of smart lighting controls, health and wellbeing and products that adopt a circular economy business model.

The first two are well documented and regularly discussed, but I would like to consider the third – the circular economy – in more detail as both an important tool in the fight against climate change and a significant business opportunity. Figure 1 shows a handy visualisation of how the circular economy works.

LUMICOM WEEE COMPLIANCE SCHEME

Lighting needs to make sure it doesn’t fall behind the curve in the ‘greening’ of the UK economy, especially as the regulatory landscape changes.

Actively embracing the principles of the circular economy can be one part of this evolution

By Peter Hunt

www.theilp.org.uk

At the Lighting Industry Association (LIA) we run a WEEE producer compliance scheme called Lumicom, a not-forprofit organisation that collects lighting waste of all types and arranges its recycling [1]. We see, first-hand, what is being disposed of every day of the week and most of it is fully functional when it is removed.

Recent changes in the law have resulted in much of the lighting waste being classified as hazardous, owing largely to certain chemicals used in plastics being prohibited from disposal by any other means than incineration. This has had an enormous impact on the cost of treating lighting waste.

Proposals are being drafted for a wholesale review of the WEEE system and one of the options under consideration is the reduction or removal of WEEE charges for producers that adopt circularity in the design and use of their products.

An example of what is meant by this is a product designed to use minimum materia l a nd energ y resources in its

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The circular economy NEW METRIC FOR PROCUREMENT?

MINING/MATERIALS MANUFACTURING TECHNICAL NUTRIENTS

PARTS MANUFACTURER PRODUCT MANUFACTURER

RECYCLE REFURBISH/ REMANUFACTURE

SERVICE PROVIDER

REUSE/ REDISTRIBUTE MAINTENANCE USER

COLLECTION

ď ° Figure 1. How the circular economy works

manufacturing stage including reduced shipping distances. This does not mean value engineering where costs are driven down at the expense of quality or longevity. On the contrary, this is resource engineering where the product consumes as little as possible while retaining the ability to give good service for many years.

The efficiency of a product during its service life is clearly an important issue and one that is largely driven by current and future regulations along with rising energy prices.

NEED TO MOVE AWAY FROM BUILT-IN OBSOLESENCE

Beyond this, though, is the need to maintain a product in service for as long as possible, which can mean designing in repairability should it fail for any reason. This may seem obvious but look around the market and you will find plenty of products where this is clearly not possible, and an early failure would be the end of its life.

Obsolescence is another trait that we have seen in our industry as technologies improve. Fully functional luminaires are being replaced because new features in new products, along with improved energy efficiency, support the case for their replacement.

However, by designing upgradability into a product we can provide it with interfaces for future advances, such as sensors and improved LED chips or optics. The work of Zhaga, a global consortium of interested parties, in standardising such interfaces is helping to enable a number of off-the-shelf solutions [2].

Written into the WEEE regulations is the need to consider reuse of a product rather than dispose of it.

This may sound obvious but there are currently very few opportunities to repurpose older luminaires without making material changes to the structure or electrical parts, which then calls into question who takes on the product liability should anything go wrong.

Manufacturers could, however, provide a service to refinish and reuse certain parts of a luminaire, such as a metal housing, and repurpose it as a new luminaire, perhaps even in a different application.

The final resort should be recycling.

Once all other avenues have been explored to repair, upgrade or reuse a product, we must ensure that a product is capable of being recycled or indeed harvested for useful parts before the rest of it is recycled. Ultimately this must mean zero to landfill.

All very idealistic you might think, and most of the above presents some major challenges. But with that come business opportunities for those who can bring this to fruition. We only have to look around us to see that plastic bags are being discouraged in supermarkets, packaging must be recyclable, gas guzzling vehicles are being driven out of our cities and no industry will be immune from the drive for a greener economy.

Another challenge is how to measure the circular attributes of a product. The LIA, through its work with LightingEurope is keen to develop a metric that would enable a scoring system which could ultimately be used for procurement contracts and by regulators when applying WEEE regulations.

However, this might not be enough in itself to provide the security of knowing a product will fulfil its promises. Once a product has left the manufacturer, how can it be tracked and monitored for its ability to be upgraded, repaired, reused and recycled?

One solution is a business model in which the manufacturer or supplier retains ownership of the lighting system for the duration of its life, offering a leasetype model with incentives, possibly linked to energy savings, for ongoing maintenance and upgrading.

When a contract ends or the product is no longer required in its current form, then the reuse phase can be applied and when, finally, it serves no useful purpose, the owner can arrange its parts’ harvesting and recycling.

The benefits of such a model are the business opportunities the additional services can provide. A manufacturer traditionally supplies a product and that is the end of the matter, but this model offers added value in such areas as installation, maintenance, upgrading, repairing and replacement in addition to the reuse of components and materials at end of life.

However this pans out in the coming decade or so, lighting will need to play its part in the circular economy and it is almost certain that regulations will make some of this a requirement.

Public opinion and corporate green credentials make a strong case for early adoption of these principles. Any lighting manufacturer or supplier that does not take credence of this in their business planning risks being left behind the pack.

Peter Hunt is chief policy officer for the Lighting Industry Association

[1] Lumicom, https://lumicom.co.uk/ [2] The Zhaga Consortium, https://www.zhagastandard.org/

www.theilp.org.uk

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HEAD FOR HEIGHTS

A stadium project in Oman involving heavily arrayed high masts led to one manufacturer rethinking its approach to designing, manufacturing and stress-testing high masts

By Albert Lim

www.theilp.org.uk

JANUARY 2021

LIGHTING JOURNAL

High mast lighting

R

ising more than 55m above the Omani desert, four of the sultanate’s largest floodlighting masts were erected back in early August 2014 at the military parade ground at Hisn Al Sumood in Halban.

The works were commissioned by the Sultan of Oman’s Special (Military Operations) Force and required lighting a special events arena of 200m x 180m to a horizontal illuminance of 1,500 lux. The project required 160 floodlights per mast, a huge number, with each floodlight 2,000W, making the masts the largest in Oman to date.

Alupole was tasked to design and manufacture the massive hot-dip galvanised steel masts to carry these floodlights on a headframe to a maximum cyclonic basic wind speed of up to 160km/h gusts.

Because of the unique topography and climatic extremes in this flat coastal region of Oman, cyclonic wind speeds were used in the design inputs, for the masts’ specifications, a deliberate over-design to the usual continental European parameters.

This more exacting specification from this project resulted in us designing a mast with a 10.2m width by 9.7m high headframe, with a work platform located at 45m up the mast and accessed via a portable man-lift system.

The base of the mast shaft measured 1,822mm in diameter and had a 2m x 2m base flange anchored to the concrete foundation via holding-down bolts.

This article intends to outline some of Alupole’s experience in regards to transmission line poles, including the manufacture of such masts and, crucially, around the risk and asset management and stress-testing of high masts.

THE DESIGN APPROACH

The mast design was at the time based on ILE TR7, which at that point, was the prevailing guidance available (although now superseded by PLG07 2013), along with the core design competencies existing in our power transmission line pole division [1].

In the transmission line industry, steel poles as high as 80m are not uncommon to be full-scale type-tested up to design loads and beyond, until destruction, to verify the design calculations.

Using the experience from past tests, our engineers were able to implement lessons they had learned from the transmission line industry and apply them to these very large lighting masts.

Our design calculations extended beyond those specified within ILE TR7 and the PLG07. In fact, we found ourselves in the world of advanced 3D non-linear finite element analysis, whereby real-life simulation allows us to accurately predict structural behaviour and stresses so as to ensure the optimised performance of our masts. We will shortly look in more detail at the novel approaches this required, and which had to be backed up by full-scale tested poles.

NON-TRADITIONAL BOLT ARRANGEMENT

As the project unfolded, our engineers noticed the similarity in the critical loading directions between the stadium masts and transmission line poles. When you have large array floodlights on a stadium-style mast like the ones for Oman, one of the key challenges to be aware of is the wind direction against the mast and, in turn, the risk of overturning. This is especially so when the wind direction is orthogonal to the front face of the headlights or the headframe.

Similarly, transmission line poles are predominantly governed by the wind acting orthogonally along the wires; all other loading directions are secondary.

The classic approach to lighting such high masts is to fix the holding-down bolts on to the base flange at regular spacing on a PCD (pitch circle diameter). Our research, however, had shown that predominant-directional loading yielded optimum results when the bolts were placed away from the axis of bending.

This is because bolts placed near or on the axis of moment in the bolt group will simply become redundant. Therefore, by shifting these bolts as far as possible from the bending axis, we were able to use fewer bolts, yet without losing any resistant capacity. Instead of having an annular ring base flange, we designed the base flange as a square, with the bolts concentrated in the vicinity of the square corners.

Our design focus was on the base flange, as it would be expected to be the most stressed part of the mast. Most typical designs in the high mast and column market have a base flange with welded stiffeners at the interface between flange and column surfaces.

Lighting masts typically are lighter structures than building support columns but because of them acting as long cantilevers, they bear tremendous bending moment, especially at the base.

The critical loading comes from wind action, which results in g reater

structurally stressful over-turning moments on the base flange and surrounding column structure. The use of welded stiffeners therefore actually results in high and cyclic tension-compression stresses, which when inadequately designed can lead to fatigue cracks at the weld joint near the tip where the thick triangular stiffener meets with the thinner mast wall.

One way to eliminate this failure risk is by eliminating the presence of these stiffeners, thus removing a key fatigue failure mode of the masts. To ensure structural integrity at a mast base without stiffeners, we use advanced 3-D Finite Element Analysis with the flange supports only by the nuts.

SWEATING THE MICRO STUFF

The next level of design criticality for this project was in the design of the holding-down bolts using premium-grade high-strength steel (grade 10.9).

This material provides a yield strength of 740 MPa (or megapascal), with an ultimate tensile strength exceeding 930 MPa. However, we were very cognisant of the special manufacturing processes needed for these bolts, including an understanding of their microstructure. The arid and corrosive coastal environment of Oman also meant the masts needed an excellent galvanised finish to sustain a long service life, for which the accessories have to match.

HIGH PROSPECTS, HIGH EXPECTATIONS

When it comes to windage in particular, a high mast with a concentrated mass (such as a light array and headframe) on one end can be likened to a pendulum. When a gust of wind acts as an initiating action, it will behave and oscillate like a pendulum.

Because of its low natural frequency, the high mast pendular effect is very susceptible to an aerodynamic phenomenon known as the ‘Von Karman vortex shedding effect’ [2].

The cyclic shedding of the vortices causes stresses on the body of the high mast and this phenomenon has led to the spectacular fatigue failure of many civil structures over the years.

Thankfully, as we found with this project in Oman, it is possible to model such effects computationally and incorporate additional design features on the high mast itself to minimise such wind-generated vortices.

Albert Lim is founder and chief executive officer of the Alupole (Australia) group of companies

[1] PLG07 High masts for lighting and CCTV (2013 edition), https://theilp.org.uk/publication/plg07-high-masts-for-lighting-and-cctv-2013-edition [2] ‘Vortex shedding’, Science Direct, https://www.sciencedirect.com/topics/engineering/vortex-shedding; EN 1991-1-4:2005:+A!:2010 Actions on Structures, annex E, ‘Vortex Shedding and aeroelastic instabilities’, https://shop.bsigroup.com/en/ProductDetail/?pid=000000000030206733

www.theilp.org.uk

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INTELLIGENCE

GATHERING BIM (building information modelling) has totally changed the way designers, and lighting designers, design, model and adjust schemes prior to going on site, as a recent project for a new cyber security centre in the West Midlands has shown

By Nic Paton

www.theilp.org.uk

JANUARY 2021

LIGHTING JOURNAL

Design technology

O

ver the past few years, BIM (building information modelling) has transformed how lighting designers, architects and others are able to plan, model and adjust building designs and lighting schemes before getting to site.

The potential and flexibility of this still relatively new technology was recently illustrated in the construction of a stateof-the-art cyber security centre at the University of Wolverhampton.

The three-storey Hereford Centre for Cyber Security, a joint venture between the University and Hereford Council, provides training to students as well as tenanted office space for up to 20 local cyber security businesses.

The building, located on the Skylon Park within the Hereford Enterprise Zone, has been made out of cross-laminated timber (CLT) material manufactured off site and then rapidly pieced together on site, in a matter of weeks.

Construction company Speller Metcalfe was supported on the M+E side by electrical contractors Barrie Beard, with a wireless lighting scheme designed and manufactured by Flick Lighting.

‘This project was probably of the most unique for us from the start because of the 3D element,’ explains Russell Beard, managing director of Barrie Beard.

‘We’ve been doing [the BIM software] Revit for about five years now, and the project also used a software called Navisworks, which allowed us to run clash detection, so we could highlight anything that needed changing.

‘Overall, it was by far the most advanced project in 3D we have ever done. The whole building is wood and was completely designed prior to starting on site, including leaving the soffits exposed and the use of acoustic rafts to absorb noise.

‘Floors, walls, everything, was made in the factory, in solid wood, and then just craned into position, with the holes out for, say, a socket on a wall. We therefore needed to offer a full 3D Revit model, as the builders’ work-holes, including all containment systems and socket outlets back boxes, were cut out off site in the factory,’ Barrie says.

 S ome of the finished interiors of the Hereford Centre for Cyber Security

 T he power of BIM. A Revit isometric section view of the Hereford Centre for Cyber Security, showing the complexity of the virtual modelling, with other model images shown overleaf

WIRELESS CONTROLS

The wiring route down to the light switches was therefore a challenge; the CLT construction meant that recessing the cables/containment was impossible.

A wireless lighting system was the most appropriate way forward, as Darren Bury, owner of Flick Lighting, explains, using www.theilp.org.uk

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LIGHTING JOURNAL

Design technology the company’s Stirling linear suspended lighting system along with integral wireless controls from Signify, using the Philips EasyAir SNS300 system.

The Stirling range, manufactured by Flick Lighting in the UK can be continuously mounted in single-piece lengths up to 2,800mm and has an output of up to 15,900 lumens and efficacy at up to 113 Ll/cW. It has a range of chip options, with colour temperatures between 3000K and 5700K; 4000K being used on this project and CRI >84.

The client was also able to pick a bespoke RAL colour and finish to the product to fit in with the architect’s requirements and vision.

‘When Russell and I first discussed the building, it was how we were we going to achieve the lighting levels around the suspended architectural acoustic rafts, how would the lighting blend into the environment, with minimum wiring to avoid any surface conduit containment to switches?’ says Darren.

‘Normally, lighting control in these areas has a reactive switch linked to a daylight presence sensor, which in turn controls the luminaires. But, because of the construction, we couldn’t do that. We therefore considered the use of a wireless system for the architectural reasons mentioned above.

‘Each room within the building had a different suspended raft arrangement.

This meant the continuous suspended luminaire had to be manufactured to the raft design layout; lighting locations within each room were fixed.

‘The fact we’re a British manufacturer also meant it was easy for us to adapt and change if things went wrong.

However, the product matched the Revit drawings and was installed without any issues.

‘One of the beauties of using BIM for a project like this is that you can do a blank lighting scheme, it’s then imported into the BIM model and then suddenly the intelligence of the BIM tells you “this product doesn’t work here” or that doesn’t work there.

‘So, you are able to deal with 98% of the problems before you even get to site.

OK, there is an expense at the start, but the savings it makes at the end of the project, when you have got time scales and things to meet, are immense (on this site there was only one clash that was missed within the model, out of hundreds).

‘It was the most detailed BIM project I had ever seen; it was incredible. The schematic with the services inside was just amazingly complex,’ Darren adds. www.theilp.org.uk

0121 752 1243 sales@flicklighting.co.uk www.flicklighting.co.uk

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AF TER THE

EXPLOSION Last August, Beirut, the capital of Lebanon – already a city and a country in crisis – was devastated by one of the biggest non-nuclear explosions ever recorded, as a massive store of ammonium nitrate blew up in the docks. Lighting designers are working to install lowcost solar lighting to bring life back to the city’s darkened, shattered streets

By Manal Kahale

www.theilp.org.uk

JANUARY 2021

LIGHTING JOURNAL

Solar lighting

I

am a lighting designer and I recently moved back to my home-town of Beirut in Lebanon. Not in a million years could I have anticipated that Lebanon would go through so many chaotic events and tragedies that have, now, inspired the Light for Lebanon project.

The tipping point, of course, was 04 August at 6.07pm. Lebanon had already been going through significant political and economic turmoil and was near to collapse. But when an estimated 2,750 tonnes of ammonium nitrate that had been unsafely stored in the docks blew up it was one of the largest explosions the country has ever experienced, that the world has ever experienced, the equivalent of 1.1 kilotons of TNT. The explosion, which was heard as far away as Cyprus, caused more than 200 deaths, and billions of dollars of property damage; it left 300,000 people homeless and more than 500,000 people without any basic shelter, electricity or food.

SHATTERED INFRASTRUCTURE

The infrastructure of Beirut was completely shattered; broken. The nights were suddenly darker than ever. Already struggling, people in Beirut were now hungry and scared, and having dark streets was not going to help; in fact, it was kind of removing any last hope, hope that people had been working so hard to hold on to.

Before I explain about Light for Lebanon, it is worth setting a bit of context about Beirut’s, and Lebanon’s, electrical infrastructure prior to the explosion, which was chaotic enough as it was.

The government already was not providing more than two hours a day of electricity; it could not afford oil and gas. In fact, the cost of electricity was responsible for 40% of Lebanon’s national debt, according to the International Monetary Fund.

That, in turn, meant people could not afford oil and gas for their private generators either. With the explosion – which meant appliances in homes and shops were no longer functioning – and Lebanon already in an economic crisis, even if somebody had been able to supply oil and gas, people could not afford to pay the bills. And, even if they could afford to pay the bills, the infrastructure was now broken from the blast anyway.

RETURNING HOPE TO RESIDENTS

It is scary, and the long-term solution to all this is not that obvious. As lighting designers, however, we can only tackle the topic of lighting and the electrical sector and try to see if there are any alternative solutions that we can help with.

The biggest inspiration for me was all

the people who immediately went down on to the streets and began cleaning up and helping out. Out of that was created groups of architects and contractors, who came together to see what they could do to help.

This was when I reached out to my former thesis professor, Professor Nathalie Rozot, who works at Parsons School of Design in New York.

She is a founder of the Light Reach Network, a solar lighting initiative set up by the lighting think-tank PhoScope (of which she is also CEO) and which is designed to leapfrog utility grids to bring light, and economic growth, to underserved communities worldwide Within hours, she responded and generously gave me her whole model, which she

agreed could help Beirut, and we partnered up. From there, a team started forming organically, with experts in the field and people who simply wanted to help. We needed a bunch of different disciplines, such as lawyers, designers, financial analysts, even a graphic designer.

Light for Lebanon’s main aim, based on the Light Reach Network model, is to bring immediate, low-cost, solar lighting solutions to Beirut’s citizens, all of which then can, in time, be integrated into a long-term solar lighting masterplan.

LANTERNS, FLOODLIGHTS AND STREETLIGHTS

The programme comes in three layers.

These are: portable solar lanterns, security floodlights, and streetlights. www.theilp.org.uk

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Solar lighting LUXLIVE 2020

Manal Kahale’s article has been based around a presentation she gave to November’s LuxLive 2020.

The Covid-19 pandemic forced LuxLive to become a two-day ‘digital festival’ from 11-12 November, once again supported by the ILP and, appropriately for a year dominated by a pandemic, with a particular focus on health and wellbeing.

Different streams ran across both days, with the ILP running a panel discussion on light pollution (reported on from page six in this edition) as well as two roundtable events held in conjunction with the SLL and Women in Lighting.

These focused on how to look after your mental health in these challenging times and how, as a woma n, to get professiona l recognition as a lighting designer.

Individual ILP members were also strongly represented across the two days, which also saw the winners of the Lux Awards 2020 being crowned.

The plan – hope – is that LuxLive will return as a physical event this year, once again in November.

For me, one of the beauties of the system is that we do not need to wire anything on the façades or the houses or anything.

Also, the fact we’re not needing to use any government input or having to work with any of the big electrical companies.

We want to reduce vandalism and increase safety; we want to give people hope and protect people from all the hazards on the streets, including the debris that is still falling from devastated or damaged buildings.

So, what’s our process? It’s very simple.

We’ve been interacting with people who have lost everything; we have been going on site talking to the community, trying to get the community involved. To our surprise, those are the happiest and most generous people; people who have welcomed us with arms wide open, and who are desperately looking forward to our solutions.

Once we’re on the ground, we go into people’s homes; we talk to people. We’ve also partnered up with NGOs, which have helped us assess the situation and kindly shared their data with us.

COLLABORATION WITH FIRE DEPARTMENT

Our team in the US and Canada is raising the funds; it is sharing its model with us www.theilp.org.uk

and guiding us through the process. It is also helping us to assess the products so we can make sure, as lighting designers, that the products are vetted and that we have ever y t h i ng checked before implementation.

So, first of all, the solar lanterns. These are my favourite part because we get to meet so many people. We’re learning sign language as well, because, after all, the deaf community have just as much right to light at night to be able to communicate.

There are also people who cannot afford generators and who have children who need to continue education and classes at night. So we are beginning to distribute those, hopefully in the quantities that are needed.

The second layer is the security floodlights. These will be installed above doorways and to help with security, illuminate debris and to reduce theft.

Finally, there are solar streetlights.

These are being located in various urban spaces to reduce the darkness and also kind of give people a sense of hope on the ground.

I am pleased to say the implementation programme has been going ahead smoothly. We started with the Beirut fire department, which was among the first to help its citizens. In fact, they lost their biggest team, which was right down on the docks, near the site of the explosion.

So we have been distributing solar lanterns, floodlights and streetlights to help them circulate at night safely because, otherwise, they have nothing to help them with safety or security; the government is not giving them anything.

For our next step, we are testing

floodlights and streetlights, and we have our amazing team abroad that is helping with that. We are trying hard to source products and equipment from local suppliers, so the citizens of Beirut will be able to maintain the lighting themselves if the project ever has to stop for whatever reason.

There are public parks and landmarks that we want to light to help revive the city; we want to make a statement – that lighting is helping people but also that lighting is important. Lighting will help people to be able to go about their day-to-day lives; not to fear the night or hide from the dark.

Finally, I am keen for people to be aware that Light for Lebanon exists and to spread the word, especially if anyone knows people who know of solar products, especially in Beirut; anything like that helps.

At the end of the day, it is about us as lighting designers being able to have a social impact, especially in a country that has so much culture and which has been part of so many innovations through history. It is, for me, about giving something back and, hopefully, making at least a small difference.

Manal Kahale is a lighting designer based in Beirut and runs MaKaLi Design

FIND OUT MORE

You can find out more about Light for Lebanon at https://www. lightforlebanon.com/ and the Lig ht Reach Net work at https://lightreach.net/

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LIGHTING CONSULTANTS

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

HERBIE BARNIEH

JASON MCNULTY

ALISTAIR SCOTT

PROJECT CENTRE

4WAY CONSULTING LTD

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LONDON WC1X 9HD T: 0330 135 8950, 077954 75570 HERBIE.BARNIEH@PROJECTCENTRE.CO.UK

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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.

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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.

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

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Specialist exterior lighting consultant.

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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.

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Professional consultancy providing technical advice, design and management services for exterior and interior applications including highway, architectural, area, tunnel and commercial lighting.

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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.

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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

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.

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

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

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

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