Lighting Journal – March 2020 by The ILP

Professional best practice from the Institution of Lighting Professionals

March 2020

MAKING THE CONNECTIONS Under the surface of The Neuron Pod’s flexible fibre optic ‘dendrites’ ELEPHANT IN THE ROOM? Why we need to be talking, and doing, more about LED flicker HISTORICALLY SAFE Getting emergency and exit lighting right in historic or listed structures

The publication for all lighting professionals

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Contents

14 IN THE 06 ELEPHANT ROOM?

Just because LED brings many benefits, doesn’t mean we should stop discussing how best to mitigate the impact of LED flicker, argues Public Health England scientist Luke Price

10HISTORICALLY SAFE

It is important in any building to get the emergency and exit lighting right, but even more so when you are dealing with an historic or listed structure. Historic England’s Geraldine O’Farrell outlines dos and don’ts to consider

MAKING THE 14 CONNECTIONS

The Neuron Pod in London’s Whitechapel is an eye-catching learning centre with a lighting scheme based around flexible fibre optic ‘dendrites’. Mark Sutton Vane explains the story behind it

18 REIMAGINING RETAIL

Caught between online competition and declining footfall, physical ‘bricks and mortar’ retail has taken a battering in recent years. Smart retailers are recognising shoppers are looking for light-led ‘experience’ as well as bargains, explains Phil McBrown

THE LED 22 CHANGING NARRATIVE

Bluetooth-based controls technology is making the wireless networking of luminaires without the need for additional wiring or structural or building changes a reality. Martin Thompson looks at where things are going

ATOMS Q&A

The ILP’s training programme to support GN22 ATOMS has been immensely popular. Peter Harrison answers five of the most common questions raised by members

DIPLOMATIC SERVICE

Lighting’s STEM (science, technology, engineering and mathematics) skills gap, especially when it comes to attracting women and people from ethnic minorities, is widening not narrowing. VP Kimberly Bartlett makes the case for why we need more STEM ‘Ambassadors’

38 BLUE IS THE 34 COLOUR?

With a background in theoretical lighting and ergonomics as well as lighting design, Neil Knowles brought wideranging expertise to bear for his recent ILP lecture on ‘how to be brilliant… at circadian lighting’

INTELLECTUAL 38 ENDEAVOURS

When it comes protecting intellectual property, terms such as patent, trademark or copyright may well be familiar. But what about ‘design rights’? Howard Crossman and Heidi Groom explain why it can be important

CHARGING 42 xAHEAD

Following on from our recent series on EV charging, one manufacturer outlines its five key things to consider when installing an on-street charge point

IN THE ILP 44‘BEING IS ESSENTIAL’

Long-standing ILP member and former President Stuart Bulmer is to be granted the ILP’s highest honour of Honorary Fellowship. Lighting Journal sat down with him to reflect on how the industry, and ILP, have changed

FROM THE 46 NEWS ILP 50 DIARY

p COVER PICTURE

A zoomed in close-up of the exterior of The Neuron Pod in east London, showing Mark Sutton Vane’s innovative fibre optic ‘dendrites’. Turn to page 14 for the full story. Photograph by Jonathan Cole Photography

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LIGHTING JOURNAL

Editor’s letter

Volume 85 No 3 March 2020

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

ill the ILP’s meeting with home secretary Priti Patel in January change the government’s direction or focus when it comes to investment in street lighting and lighting infrastructure? To be honest, probably not. As Alistair Scott, Vice President – Government & Policy conceded to me when I spoke to him for our news story on page 46, all sides at the meeting – he, Vice President – Products Scott Pengelly and Ms Patel herself – recognised this was very much what we might term a ‘scoping’ meeting. While elements of Ms Patel’s portfolio as home secretary do overlap with lighting – safety on our streets, for example – light and lighting is not core to her remit; it was, to an extent, just luck that Ms Patel happens to be one of Scott’s local MPs and was open to his approach. To that end, it is probably more ministers such as transport secretary Grant Shapps, housing secretary Robert Jenrick, local government minister Luke Hall and roads minister Baroness Vere of Norbiton, among others, who the ILP needs to be getting in front of. Nevertheless, the fact the meeting took place at all is positive – a good start – and evidence that the ILP’s reputation and authority can potentially open political doors. The fact the meeting developed out of Scott’s approach to Ms Patel as one of her local constituents rather than through more formal lobbying channels also highlights what can be achieved when members take the time to approach, engage with and, yes, work to educate their local MPs about industry issues. Even if your MP is ‘just’ a backbencher, building influence in this way from the ground up can only be a positive thing. So, where do we go from here? Just as one swallow does not a summer make, so one meeting with a minister – even a senior one such as Ms Patel – is not ‘job done’. But it is something the ILP can build upon; it is important. There is no longer an All-Party Parliamentary Lighting Group, which means the industry’s voice can at times struggle to be heard at Westminster, let alone within the devolved administrations. There may be a way to go yet before the ILP becomes the ‘go to’ for MPs or even government departments who want to engage with and talk about lighting, but this is, as I say, a good start. It is only right this is something that, through President Anthony Smith, chief executive Tracey White and the team at Rugby, the ILP keeps on working to push forward.

Produced by

Nic Paton Editor

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.

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SUBSCRIPTIONS

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

MARCH 2020

LIGHTING JOURNAL

LED FLICKER: THE ELEPHANT IN THE ROOM

MARCH 2020 LIGHTING JOURNAL

LED and flicker

LED may be able to bring many benefits to light and lighting. But that does not mean we need to stop discussing how best to mitigate the impact of flicker and unwanted temporal light modulation from LEDs, argues a senior Public Health England scientist

By Luke Price

ith any new lighting technology there seems to be a return to discussions about flicker. LEDs are no exception, and there is an increased level of interest in the topic, particularly within the standards and research communities. When it comes to flicker, perhaps LEDs will be an opportunity to improve lighting quality but currently they certainly present some challenges. Flicker is the visual sensation of unsteadiness in a light stimulus, occurring either at a regular frequency (which is the type being discussed in this article) or at more random intervals. Usually in lighting flicker is unintended, and originates from the modulation of voltage in the electricity supply. The general term is temporal light modulation (TLM), which is deemed to be flicker only when it can be seen directly. There is a consensus in favour of regulations to stop at least the worst levels of flicker, but there is less agreement as to how far the regulations should go.

BACKGROUND

Flicker is related to the main supply frequency. The standards for the electricity supplies in the US, UK and Europe were

argued over for several years. In the US, Edison had argued in favour of DC, but Westinghouse chose 60 Hz AC in 1886, which eventually won out. In the UK and Europe, the eventual outcome was 50 Hz AC around 1891, but this didn’t reach north east England until 1920, and some of the earliest AC systems had used 133 Hz. These frequencies made most sense at the time, and were a compromise between efficiency, safety, driving electric motors and flicker levels in lighting. Famously, or notoriously, there was much media outrage over a black-andwhite film made by Edison’s film company showing ‘Topsy’, an amusement park elephant, being electrocuted to demonstrate the inherent dangers of AC supplies. However, although Edison’s company was indeed partly linked to this electrocution (and involved with those of other animals some years earlier), Topsy was electrocuted in 1903, by which time ‘the war of currents’ had largely been settled. Nevertheless, the tale of Topsy is a useful reminder how emotive stories can be easily believed even when factually untrue, and that we should create evidence-based standards or regulations by getting as wide a consensus as possible.

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LED and flicker TYPES OF EFFECT

In 2015, Public Health England (PHE) together with CIBSE and the Society of Light and Lighting (SLL) produced a report on several aspects of LED lighting products on the UK market, including flicker and unwanted TLM [1]. Examples are shown in figure 2 opposite (the top panel). The modulation depth, also called ‘Percent Flicker’ (see figure 1 below), ranged from 0% to 100% for LEDs and was not strongly related to price or other factors. The range for incandescent and tungsten-halogen lights (INC) was merely 9% to 10%, and for compact fluorescent lamps (CFL) was between 5% and 100%. All the flicker observed was at 100 Hz, usually with higher frequency components.

t Figure 2, showing unsmoothed and smoothed example waveforms (top and bottom panels respectively)

Figure 1. How Percent Flicker, PF, or modulation depth is calculated

Flicker is just one effect of TLM. Firstly, visible flicker can trigger photosensitive epileptic seizures. Secondly, the cones in the retina continue to generate time-modulated responses at frequencies above the flicker perception threshold (or ‘phase-locking’) [2]. With rapidly modulating light, there are three further stroboscopic effects visible to the naked eye. These are: 1. The tunnel lighting effect. This is where a light moves across the field of view. This creates several separate images on the retina because each time the light comes on it has moved to a different relative location. With a series of evenly spaced lights, their images interfere and may appear to be moving more slowly than the lights are moving, or appear stationary. 2. The rotating machinery effect. This is where the motion is circular, and images from successive rotations or spokes may interfere in the same way. 3. The phantom array effect. This is where it is the eye that moves rapidly during a saccade, again creating several separate images on the retina. As well as being unintended, flicker and stroboscopic effects are unwanted because they can be distracting, irritating, and the stroboscopic illusions can cause safety problems for using machinery. The phase-locking effect and phantom array effects may also relate to other www.theilp.org.uk

adverse health effects, such as visual discomfort, eye strain, impaired visual and reading performance, migraine, headaches and nausea. With different levels of evidence, these have all been associated with lights flickering at frequencies above 50 Hz. The ‘Physiological Percent Flicker’ (PPF) metric, published in LEUKOS [3], is based on the fastest responses of the cones smoothing the luminance over time (again see figure 2, above, versus unsmoothed modulation). It has the useful property of converting the recommendations in the 2015 industry consensus published by IEEE [4] into a test that can be applied fairly to different products. The calculation is shown in figure 3 below. The PPF metric applied to the CIBSE report dataset confirms that it was already possible in 2015 to produce lights that comply with the IEEE requirements for all the tested light fittings (B22, E14, E27, GU10, LED panels and street lamps; E14 finding is based on similar data).

Figure 3. How ‘Physiological Percent Flicker’ is calculated

PROPOSED REGULATIONS

Confusingly, the phantom array effect has been classified as being distinct from stroboscopic effects [5]. Several draft regulations have proposed using the ‘Stroboscopic Visibility Measure’ (SVM) to regulate flicker above approximately 90 Hz at the 50:50 level. This almost certainly would allow the phantom array and phase-locking effects, and allows for the stroboscopic effects to be seen 50% of the time. The SVM threshold proposed in the European Union’s eco-design consultation was tightened to make sure that at 100 Hz, modulation from LEDs was not significantly worse than previous lighting technologies (see figure 4, above and opposite). This change represents a significant improvement in lighting quality, but some concerns remain. The regulations become too strict at high frequencies relative to the effect thresholds and the test used is not well-suited to rectangular waves (associated with pulse-width modulation, or PWM, often used in LED drivers and dimmers). These problems are built into the structure of the SVM metric (for example see reference 5), but they are not shared by PPF. A metric such as SVM or PPF predicts the magnitude of the effect. The lines of equal SVM or PPF shown in figure 4 should

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p Figure 4, showing an IEEE diagram with recommended thresholds, and either SVM or PPF overlays (left and right panels respectively). The values at 100 Hz and 120 Hz are critical for framing European and US regulations, respectively. To avoid creating perverse incentives, regulations relating to frequencies above 90 Hz could follow IEEE recommendations by adopting a suitable PPF threshold

therefore represent thresholds for conditions that produce the same effect magnitude. This is, for example, conditions that are predicted to be just as visible, or cause just as much phase-locking.

better-quality lighting. New research may well reveal the finer details, but these two broad trends are reflected in evidence from several independent studies and findings from reviews.

so a higher modulation frequency would be required. This is no surprise, as CFL products typically use modulation frequencies of at least 30 kHz, for precisely the same reason.

THE SHAPE OF THINGS TO COME?

DIMMING

DISCLAIMER

Figure 4 above shows that the PPF thresholds run parallel to the IEEE lines where PF is proportional to frequency for a simple sine wave, because PPF itself follows lines where PPF is inversely proportional to frequency. Ideally, lamp tests should correctly allow for wave shape and frequency. For high frequencies, the chosen test measure (or metric) should be proportional to frequency, and for rectangular LED modulation at a target time-averaged illuminance it is reasonable to assume it should be proportional to 100% minus duty cycle %. Using the PPF metric makes sure the lamp tests conform to these requirements, and this allows fair comparisons between lamps with a minimal risk of incentivising anything but

Going one step further, we might wish to make predictions about dimming. This would add luminance or ‘time-averaged luminance’ as a third dimension to the IEEE diagram. So far, none of the metrics in regulations has included this factor. It is not clear if it would be entirely practical either. Taking the worst-case scenario and assuming high time-averaged luminance, we can then make some predictions about PWM dimming using PPF. At 10 kHz, a duty cycle of 21% or lower (for dimming to 21% of maximum output) lies on or above the extended IEEE lowrisk threshold. Also at 10 kHz, a duty cycle of 73% or more is on or above the extended IEEE no observable effect threshold. A dimmable product therefore would be expected to dim to well below 73%,

The author would like to emphasise that the choice over regulations leaves a large amount of leeway for personal opinions and alternative methods. Any opinion or method can never be exactly ‘right’, but in one way or another they can all be wrong, because we will never know everything about this topic. This is the reason regulations should be based on as wide a consensus view as possible. I invite constructive comments and considered alternative viewpoints. Those based on evidence, not elephants.

Luke Price is senior radiation protection scientist at Public Health England

[1] ‘Human responses to lighting based on LED lighting solutions’ (HRLBL), Chartered Institution of Building Services Engineers (CIBSE), 2016. [A Public Health England report (CRCE-RDD 01-2016) by O’Hagan J B, Khazova, M, and Price L L A, commissioned by CIBSE and the Society of Light and Lighting (SLL)] [2] Berman, S M, et al 1991. ‘Human electroretinogram responses to video displays, fluorescent lighting, and other high frequency sources’. Optometry and vision science, 68(8), pp.645-662 [3] Price, L L A 2017. ‘Can the Adverse Health Effects of Flicker from LEDs and Other Artificial Lighting Be Prevented?’ LEUKOS, 13(4), pp.191-200. [4] IEEE 2015 1789 – ‘IEEE Recommended Practices for Modulating Current in High-Brightness LEDs for Mitigating Health Risks to Viewers’, Institute of Electrical and Electronics Engineers [5] CIE TN 006:2016 ‘Visual Aspects of Time-Modulated. Lighting Systems – Definitions and. Measurement Models’, International Commission on Illumination (CIE) (2016)

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MARCH 2020

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It is important in any building to get the emergency and exit lighting right, but it is even more imperative to do so when you are dealing with an historic or listed structure. Historic England’s Geraldine O’Farrell outlines some important dos and don’ts

By Geraldine O’Farrell

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Emergency lighting challenging as there is no ‘one solution fits all’, as there is no such thing as a typical historic building. Listed structures can vary from Tower Bridge to Battersea Power Station, from a medieval chapel to Dover Castle, from a palace to a warehouse and from one room to many. Every one of them could be, and often is, graded the same and each is as important as the other, as they all form a part of our nation’s rich heritage. If working with England’s historic buildings is unfamiliar, then the listing system may also be confusing. So, to recap, what is a listed or scheduled building and what does each category mean?

UNDERSTANDING LISTED BUILDINGS

istoric buildings and structures come in many shapes, sizes and grades and they require lighting designers and engineers to take different approaches when working on them, especially in the context of designing, specifying and installing emergency lighting systems. This article outlines the different listing grades, what type of approach when it comes to emergency lighting is most appropriate, and the difficulties that designers can face when working on such buildings.

INTRODUCTION

When considering an emergency lighting and exit signage installation in a historic building, it is unlikely that a conventional approach will result in an acceptable design. Listed buildings can be very

The general principles to listing are that all buildings constructed before 1700 are listed, but they must survive in something like their original condition. Also, structures automatically listed are those built between 1700 and 1850. In addition to these, special attention is paid to buildings from the period after the Second World War, in other words 1945. Listing is not normal for buildings and structures less than 30 years old to be considered as they have not yet ‘stood the test of time’. There are three grades of listing currently employed. The first and highest grade is Grade I (Grade one). These make up about 2.5% of the approximately 500,000 listed buildings in England. These are rare and categorised as being of ‘exceptional interest’. There are only about 12,500 of them left and we lose a few every decade to fire, flood, neglect and other unforeseen disasters. Grade I listed buildings include such iconic buildings and structures as: • St Paul’s Cathedral • The Monument • Admiralty Arch • Clifton Suspension Bridge • Burghley House • The Bank of England • The Lloyd’s Building • Rom Skatepark, Hornchurch, east London The next listing is Grade II* (Grade two star). These are specified as being ‘important buildings of more than special interest’. These account for 5.8% of the total, which equates to around 29,000. They include such buildings and structures such as:

• London Underground Headquar- ters, including St James Park Underground Station

• The Royal Fusiliers War Memorial • The bust of Nelson Mandela outside Royal Festival Hall • Dr Johnson’s House in London EC4 • Temple Bar • Liverpool Street, London Under- ground signal box The final listing consists of the remainder of the 500,000 buildings or structures all listed at Grade II (Grade two). These are classified as being of ‘special interest’ and this is the most likely grade for a heritage home-owner, for example. However, just to complicate things further, a building can be classed as a ‘Scheduled Monument’ and yet also be listed. Scheduling is the oldest form of heritage protection and began in 1913. This designation cannot be applied to an ecclesiastical building or to an inhabited dwelling unless the person living there is employed as a caretaker. Buildings in use for non-residential purposes can be scheduled. Where this applies it is the scheduled monument statutory scheme that takes precedence.

HISTORY OF EXIT SIGNAGE

Having clarified what listing and scheduling mean and the rarity of each, let’s very briefly look at the history of exit signage. The first exit signs were used at the turn of the 20th century (in about 1911) following a very serious fire in an American factory. The system employed the now obsolete incandescent lamp. Prior to the installation of electric lighting there was no easy way of providing emergency or exit signage. If you are ever lucky enough to find an early example of exit signage, try to record and retain it in situ, as early examples of building services are rare and are as important in their own right as the rest of the history of a building. Further guidance on how best to go about this can be found on the CIBSE Heritage Group website, www.hevac-heritage.org/ It is now common practice to consider emergency lighting and exit signs for any building used or visited by the public who, being unfamiliar with the internal space, may need assistance to safely make their way out of the building in the case of mains failure or emergency.

TEMPORARY EMERGENCY LIGHTING

So, when a historic building is used in such a context, and it has been established that this form of lighting is required, a designer should follow this up by asking a series of questions. The most important of these should be: ‘is permanent emergency lighting needed?’. www.theilp.org.uk

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LIGHTING JOURNAL

Emergency lighting ‘wish for’ item and it will be available soon. It will mean running man signage can be almost invisible within a heritage building’s internal space, and therefore is a welcome and valuable addition to the designer’s lighting armoury. I would be pleased to pass on any information about these new products to any interested parties, and my email address is at the end of this article.

INSTALLING EMERGENCY AND EXIT LIGHTING IN HISTORIC BUILDINGS

 Examples of the sort of free-standing emergency lighting that can often work in a heritage or historic setting

The answer to this is often ‘no’, especially when public events are only sporadically held at the building in question. For example, many listed churches are only occasionally used as musical or theatre venues and the associated cost, physical intervention to the historic fabric or the visual impact of an emergency and exit signage installation cannot therefore be justified or often afforded. It is perfectly legitimate in this scenario to have simple free-standing, plug-in or solar-powered, floor-standing LED units providing the escape lighting. These can be brought in on an ‘as-needed’ basis. These units can also incorporate running man signs if required. They can be made as sophisticated as required, the ones shown in the images above, for example, are for a highly ornate interior but they can be a simple wooden frame. On top of this, it must be taken into account that some listed buildings have no electrical supply and still use gas lighting or candles. These locations can use either solar-powered units, as described above, or photo-luminescent safety signage that provides 24 hours of bright illumination within five minutes of a change in normal lighting conditions. Alternatively, as is used in some large listed houses that open at night for such events as ghost tours, an option is to have trained staff familiar with the internal layout who are on hand to guide visitors out. This arrangement will only comply with health and safety requirements however when there are sufficient numbers of staff, with the necessary knowledge, to provide the required ratio of staff to visitors. All hazards must have been identified beforehand. www.theilp.org.uk

 Examples of discreet permanent emergency lighting exit and running man signage that may be appropriate for a heritage/historic building setting

PERMANENT EMERGENCY LIGHTING INSTALLATIONS

Where listed churches are regularly used for non-ecclesiastical events and the church’s aim is to make the building a centre for community events (something that is on the increase), it may be cost effective and desirable to have a permanent emergency lighting installation in place. If this is the case, then it is important in a listed building interior to make this installation as discreet as possible. The best way of achieving this is to have integral emergency packs installed in the space lighting wherever possible. It is a good idea, too, to use discreet locations, such as low level and door reveals and non-conventional running man exit signage. This can take the form of a non-standard design that suits the interior better or an exit sign that will only appear when there is a mains failure. The latter would be the ideal compromise as the sign will be invisible when not needed and illuminating the way out when it is. New product development here in the UK now means this sort of exit sign is no longer a

When a decision to install emergency and exit signage has been made, before any work is carried out permission for these works must be gained from the local authority conservation officer. In the case of Grade I and Grade II* buildings this must be in consultation with Historic England. In the case of churches, a faculty (or the church law that grants a permissive right to undertake works to a church building or its content) must be applied for via the appropriate diocese. It must be remembered that it is a criminal offence to undertake works to a listed building or scheduled monument without detailed written consent. As well as dealing with the legislation, there are other issues that must be considered when working within a listed building. When installing any service into a heritage structure, you must adhere to the principles of reversibility – total reversibility if possible – so that no part of the installation leaves a permanent scar. This means methods such as only fixing into mortar joints and not the brick or stone and using mounting pattresses where needed to locate such fixing points. At Historic England we support the use of modern technology and contemporary fittings that are an honest addition to a building’s interior. A faux heritage lantern that pretends to be a historic fitting is unlikely to be suitable unless there are exceptional circumstances, for example where an existing lighting theme is being matched. Wherever possible, the use of low-energy LED lamps is encouraged. Finally, remember, a conventional, strict adherence to British Standard guidance approach is unlikely to be met with favour, so come to a listed building project prepared to do some lateral thinking.

If ILP members wish to find out more about this topic, Geraldine is happy to be emailed on : geraldine.ofarrell@HistoricEngland.org.uk Geraldine O’Farrell DipConHistEnv(RICS) BA(Hons) CEng FCIBSE FIET MSLL is senior building services engineer, Technical Conservation Team, at Historic England

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The Neuron Pod in London’s Whitechapel is an eye-catching 10m-high learning and community centre designed by the late architect Will Allsop. With a complex lighting scheme based around flexible fibre optic ‘dendrites’, getting things right required creativity, careful planning and doggedness, as Mark Sutton Vane recalls

By Mark Sutton Vane

or me, lighting schemes should tell a story. They should take the ideas a building wants to tell, or the design team wants to communicate, or the function that a building needs to emphasise and show how it works. The lighting designer takes those requirements, perhaps exaggerates them a bit, maybe emphasises them. But the key is they tell the ‘story’, sell the dream, make that emotional ‘thing’ happen, grab the heart – through light. Through what the eyes see, the heart can then feel; for me, great lighting design is all

about the emotions of the building. This was very much the case when I was asked to develop the lighting scheme for The Neuron Pod. The Neuron Pod is part of Queen Mary University’s Centre of the Cell science education centre in Whitechapel, east London. It is a 10m-high, 23m-long learning and community centre which opened in May last year and is connected to the Blizard Institute (part of Barts and the London School of Medicine and Dentistry) via a bridge. It was designed by the late, great

architect Will Alsop, who I felt honoured to be able to work with, even though, tragically, he died during the construction of this project; so he never saw the finished building. But he was a delight to work with.

FIBRE OPTIC ‘DENDRITES’

A neuron has a long stem and then has ‘hairs’ which stick out, which are called dendrites. So that was the inspiration; that was Will’s idea. You are in a place that is all about learning about biology and cells, yet at the same time you are effectively learning inside a cell.

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Lighting design

The Neuron Pod, therefore, is constructed from 13 large steel sections, each pierced by hundreds of fibre-optic LED ‘dendrites’, which light up and colour change at night. When it came to developing the lighting scheme, we worked through a whole series of concepts, both drawings in pastels and more scientific renderings. And we played around with the dendrites. We knew, for example, that they would have to bend in the wind, and so we designed prototypes which then lived for a year on the roof of the factory where they were made in Scotland (by manufacturer UFO), so we could check that they did work and withstand the temperature, wind and rain and everything else. I am very glad to say that, so far, they have stood the test of time and withstood all that the elements have thrown at them. The dendrites also needed to long, flexible

and lightweight, able to be grouped together in large quantities and easily maintained. The building arrived on site in one piece, pre-fabricated, and was just lowered down into position. It already had the holes for the dendrites pre-drilled all over it. When you went inside it was absolutely incredible, because there were all these holes that the fibre optics were going to shoot out of. The builders first sprayed the whole inside with a special, very thick and strong, insulation material. But they put a plug in each hole to ensure that, first, all the insulation they were spraying did not go shooting out of the holes but, second, so that we would know where each of the holes was when it came to installing the lighting scheme.

CAREFUL LINING UP

Once the insulation was completed, the

 The Neuron Pod during installation showing (clockwise from top left) it being lowered on to site, the internal holes for the ‘dendrites’, the external fixing process, and removing the insulation ‘plugs’ to enable the dendrites to be installed

first fix electrical team went in to start taking out the plugs and inserting the dendrites. We did a few tests to make sure they worked before we went too far. Fortunately, they did! Then we had to start lining the whole thing up, which was one of the most challenging aspects of the project. The dendrites on the outside are powered by fibre optic light boxes. There are 12 fibre optic light boxes, each of which does 42 dendrites on the outside. Then there is a thirteenth box that powers the flush fittings on the underside of www.theilp.org.uk

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Lighting design

MAKE LIGHTING ‘FOR GOOD’

Mark described the story behind his lighting scheme for The Neuron Pod at the launch of the ILP’s new ‘Lighting for Good’ portal, which is working to bring together lighting professionals, academics and others to share knowledge and collaborate. You can check it out and find out more by going to: www.theilp.org.uk/good

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External photographs of The Neuron Pod by Jonathan Cole Photography

the building, on the under-belly. This under area, again supplied by UFO, comprises 42 P2 paver fittings, which shine downwards on to the ground For the dendrites, you can do rippling patterns, you can chase them, you can dim them up or down. The under-belly lighting, similarly, uses the exact same light source, exactly the same RGBW DMX controls, so you can mimic the same shapes, colours, and twinkle effects happening both outside and inside the building. But to do all this, we had to make sure every single dendrite was in the right place and connected to the right light box in order to be able to get the programmed effects working. This meant there was a huge amount of co-ordination needed from both inside and outside, with teams both inside and outside needing to work closely together. First, someone went to the outside and started installing the supporting mechanism. A ring was put on, sealed so as to be completely waterproof, and then screwed in firmly. Each dendrite is a side-emitting fibre optic encased in an acrylic flexible tube. These were slowly pushed through, very carefully so as not to do any damage to the fibre. Finally, a collar was slid down the dendrite on to the outside and screwed in place, and firmly tightened. We also knew that, once installed, we wouldn’t be able to get to the dendrites from the inside; they’re behind the insulation. Yet a key part of the design was that they had to be able to be replaced, if for example one should snap. So we designed them to be completely accessible from the outside, so you did not need to touch the fibres at all from the inside. The reason for that is the Neuron Pod, as I mentioned at the beginning, is part of Queen Mary University of London’s Whitechapel campus; so it is part of a

university. And students, as we all know, are terribly well-behaved! We therefore had to check that the dendrites were well out of reach because, otherwise, it was just too tempting for people. We got one person to sit on the shoulders of another person and reach up, and so that is why the dendrites start a bit of a way up the building.

COLOUR-CHANGING FUNCTIONALITY

Inside, the lights are supposed to look like little groups of cells. They give a whole range of colours from controls located by the door. You can change to a whole range of patterns or colours; you can have a lot of fun with it. You can have everything from very high levels of white light for working, through to more atmospheric colour-changing light or dimmer settings. The Neuron Pod is in the Centre of the Cell, a fantastic institution, because there is a real belief about bringing education to

local people. It is estimated that since the Centre of the Cell opened in 2009, more than 180,000 young people and adults have joined one its activities. I have heard some wonderful stories of people who have come from very deprived backgrounds and come through this organisation and have ended up flowering into the most fantastic successes academically and in their careers. Which is of course great; this project – and this building – is part of something exciting for the world outside. And I’m so glad that the lighting scheme has able to be a part of that, too, been able to be a part of telling that inspiring ‘story’.

Mark Sutton Vane BA(Hons) Arch IALD FSLL FRSA is principal at Sutton Vane Associates

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MARCH 2020

LIGHTING JOURNAL

Caught between online competition and declining footfall, physical ‘bricks and mortar’ retail has taken a battering in recent years. Smart retailers are recognising that shoppers are increasingly looking for ‘experience’ as well as bargains – and innovative lighting controls can play a vital role

By Phil McBrown

MARCH 2020

LIGHTING JOURNAL

Lighting controls

ecent years have seen our traditional ‘bricks and mortar’ retail industry struggle to keep up with the digital world. High street sales last summer slumped at this fastest pace since 2008, the critical Christmas period last year was a bit of a damp squib for many and just in January we saw Mothercare and Links of London disappearing from our high streets, while big-brand names such as Marks & Spencer and Debenhams, among others, continue to find conditions challenging [1]. The rise and rise of online shopping and e-commerce has forced many retailers into weighing up whether they put the investment into how their stores look, or into their online presence. While online shopping undoubtedly offers convenience, the ability to touch and feel, smell, taste and listen to the products that are being bought is something some retailers are capitalising on. Primark is one clear example of a retailer that still has hope for the high street. Back in April last year, for example, the fashion retailer launched its biggest store in the world in Birmingham, packed with a Disney-themed café, a barbers shop and beauty studio [2]. See the separate panel at end of this article for more on this. By successfully reinventing its presence on the high street, Primark has tapped into the ‘experience economy’ trend. That is, it has made its stores a go-to destination that offer a unique experience, and not just a place where cash is traded for clothes. For the bricks and mortar economy, it’s a case of being truly innovative to attract

customers back time and time again. One ingredient to making this happen is lighting and lighting controls. Clever controls can bring not just creativity to store designs, but also comfort, cost-effectiveness, and commerciality.

LIGHTING AS ‘THE DEFINING FACTOR’

It’s long been known that lighting is a vital asset to retail, either to draw attention to passers-by or to create an ambient, welcoming environment. Some retailers use the commodity of lighting to full effect, making it a defining factor in their outlets. The stores of American lifestyle brand Hollister, for example, are famed for their super low-light levels. Technology giant Apple, too, has just patented a new smart ceiling design to use in next-gen Apple stores. The firm believes that uniform lighting offers an ideal customer experience and flexible product display options for wideopen spaces, which is an Apple store hallmark. This level of lighting design may sound dauntingly expensive and sophisticated. However, an impressive lighting display can be easily achieved through clever yet simple solutions. For instance, a fully addressable system that runs off the DALI protocol can allow for full control of individual luminaires, their lux levels and output. This is achieved by each fitting having its own unique ‘address’, enabling it to be programmed from a lighting system attached to either a head-end PC or tablet. Luminaires can then be grouped

together to form a range of ‘architectural lighting’ scenes, and controlled from scene plates mounted on walls, tablets, or the head-end PC. LEDs can be dimmed automatically with timers or manually based on need, and the output can be anything from 1%-100%. Modern lighting controls solutions make it easy for LED lightings to be programmed to provide tuneable and colour change lighting effects, with a good example being our own ‘RAPID’ controls system. When designing lighting systems in retail environments, it is important to decide whether all this will run off a DALI fully addressable system or a DALI broadcast system. The difference in simple terms is that the former allows for each luminaire to be controlled individually, while the latter allows luminaires to be controlled in pre-defined groups, and requires a hardwired relay module to send the commands to the light fittings.

NEED FOR FLEXIBLE SOLUTIONS

As the retail industry is a fast-moving environment, with concession stores and different occupiers coming and going, it is important to have a flexible solution that can adapt accordingly. In this respect, fully addressable systems are at the pinnacle of flexibility. Once this type of system is installed, if any wholesale changes are needed to the pre-set scenes, then all that is required is a commissioning engineer to come out to help re-programme the lighting controls. Flexible lighting controls also help with one of the latest retail phenomena, pop-up

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MARCH 2020

LIGHTING JOURNAL

Lighting controls

shops. These, as their name suggests, are outlets that retailers only occupy for a short amount of time before moving out again. A lighting control system that can be easily customised without the need to re-do the electrical wiring work is, naturally, an added-value benefit in this context and can help to attract prospective retailers. Going beyond individual shops, lighting controls are just as important for largescale retailing, such as shopping centres and retail parks. It is only natural that consumers want a comfortable retail experience, one where they can feel at peace and ease, and lighting is a huge contributor to this. For instance, bright street lighting can help light the way and discourage any would-be criminals from lurking in darker and remote areas. Applications where this would be useful include corridors, office spaces in retail areas, toilets, storerooms, and car parks. Of course, to help save money, lighting can be set to come on only when presence is detected. Again, the lighting controls and detectors can be part of a fully addressable system. Alternatively, they can be installed as standalone detectors, set to dim to a desired output when presence hasn’t been detected for a pre-determined amount of time.

RETAIL EMERGENCY LIGHTING

Lighting control solutions aren’t just useful for the aesthetic appearance of shops and stores and detecting presence. They can

also play a huge role in helping to streamline operations and processes for facilities managers (FMs) and building owners. This is especially the case in larger shopping centres, where hundreds, if not thousands, of luminaires and detectors could be deployed on the site. It can be a nigh-on impossible task to stay on top of all the fittings for even large FM teams. Adding to this conundrum is emergency lighting. Emergency lighting needs to be tested at set intervals to comply with regulations. Typically, this is done by FMs assessing each emergency light fitting and manually starting the test, which involves draining the back-up battery in the fittings and then repowering them up. The process, as you can imagine, is a labour intensive one. However, with fully addressable lighting control solutions, this process can be made much more efficient. The tests can be timed to happen automatically, directly from the head-end PC. This means FMs don’t need to walk around to each emergency light, and the test can be done when the shopping centre or store is closed to minimise disruption. Not only this, but if there are any faults with the luminaire or the battery then a log file is created and stored on the system, enabling easy diagnosis. The same principle applies to luminaires. Using the DALI protocol, the drivers and ballasts in the luminaire fittings can send signals back to the system and inform users about the status of the luminaire and whether it is in a failed state or not. Through

the use of lighting controls, FMs can gain back valuable time in ongoing maintenance of their buildings.

THE ‘EXPERIENCE ECONOMY’

Finally, and as touched upon earlier, consumers are nowadays expecting more and more from their shopping experiences. On top of being able to try products and services in real life, they want their retail environment to offer a comfortable and safe experience. People are even factoring in whether the places they go to are ‘Instagramable’, and this in turn is translating into ratings on the likes of Google and TripAdvisor. Not just this, but with sustainability a now-daily talking point, shoppers are more aware than ever about the need for where they shop to demonstrate its good practice with being eco-friendly. Lighting controls are a big part again of making all the above possible, in the process ensuring that our shops, high streets and shopping centres become more than just a (declining) place to buy things. To that end, lighting and lighting control has the power to transform our retail spaces into destinations in their own right – spaces that are efficient, sustainable, future-proof, and most importantly, show-stopping. Phil McBrown is area sales manager at CP Electronics

[1] ‘High street crisis deepens as 3,150 staff lose jobs in a week’, The Guardian, January 2020, https://www.theguardian.com/business/2020/jan/07/high-street-crisis-deepens-as-nearly-4000-staff-lose-jobs-in-a-week; ‘Retail sales at 19-month low as Christmas shoppers leave it late’, The Guardian, November 2019, https://www.theguardian.com/business/2019/dec/19/retail-sales-at-19-month-low-as-christmas-shoppers-leave-it-late; ‘UK high street sales fall at fastest rate since 2008’, The Guardian, August 2019, https://www.theguardian.com/business/2019/aug/22/uk-retail-sales-fall-fastest-rate [2] ‘Biggest Primark in the world opens in Birmingham’, BBC News, April 2019, https://www.bbc.co.uk/news/uk-england-birmingham-47867785

www.theilp.org.uk

MARCH 2020

LIGHTING JOURNAL

BANG-ON BIRMINGHAM

Primark’s flagship Birmingham store is its largest anywhere in the world. Located on the site of the city’s former Pavilions shopping mall, it is a massive 15,000sq m outlet across five floors and encompasses a Disney-themed café, restaurant, barber’s, beauty salon and personalised printing of T-shirts and accessories, among other services, writes Nic Paton. The store’s LED lighting system, designed by LAPD and using products from iGuzzini, includes a track structure with front light projectors fitted with different optics for the fashionwear departments and relaxation areas. The relaxation areas, which feature sofas, small tables and ‘graffiti-decorated’ walls, are lit with linear iN60 luminaires, fitted with opal screens and 3000K colour temperature, the most common colour temperature in the store. In some areas, these luminaires are positioned in a zig-zag shape to create a ‘soft’ atmosphere with lower lighting levels. Laterally positioned iN60 light lines create an even vertical wall wash effect on the ‘graffiti’. Front light luminaires are used to focus light on the cash desk areas and work tables in the beauty salon, and Underscore Ledstrip LED lighting is used to create a repetitive effect that distinguishes the escalator areas and highlights the building’s different floors. The outside of the building is characterised by different kinds of surfaces, including metallic and a central pearlescent insert that becomes transparent at night. Using the DMX control system, a touch of blue is added to the artificial night-lighting created by Linealuce luminaires. This was chosen on account of the different materials used in the façade, so allowing them to take on different colours and shades and help the store to stand out from other landmark buildings in the Birmingham cityscape. www.theilp.org.uk

MARCH 2020

LIGHTING JOURNAL

CHANGING THE

LED NARRATIVE Bluetooth-based controls technology is making the wireless networking of luminaires without any additional wiring or the need for structural or building changes a reality. It is also bringing a whole range of intuitive additional end user functionality to the LED conversation, which can only be a good thing, argues Martin Thompson

By Martin Thompson

MARCH 2020

LIGHTING JOURNAL

Lighting controls

he narrative of ‘why switch to LED?’ is well-trodden by this point. The arguments, and business case, for switching to modern LED lighting have been all but won: financial savings, increased energy efficiency, lower maintenance and improved functionality. Whether we’re talking workplace, industrial, healthcare or schools lighting, the demands you hear time and again are for schemes that are: ‘contemporary’, ‘practical’, ‘durable’, ‘sustainable’, ‘cost-effective’, ‘simple’, ‘quick’. Again and again, LED can hit the mark. But it is not just LED that is important within this narrative, it is the role, scope and potential of lighting control. The integration of intelligent lighting control, alongside LED, enables power consumption to be reduced, allows for flexible room-use, intuitive control, simple and efficient light management (for example through the use of presence sensors) and automated dimming over the course of the day or a timer. However, going down this route may mean a considerable amount of work for the installer and complicated commissioning. This is where Bluetooth-enabled lighting controls can come into play as a way to modernise both lighting and control system without the need for major (and expensive) structural work. At Tridonic, for example, we have basicDIM Wireless, a Casambi-ready technology that can control luminaires via the Bluetooth Low Energy (BLE) network without the need for an additional gateway. The system brings together components such as LED drivers, communication modules, sensors and an app to form a secure wireless mesh network which communicates via BLE, with up to 250 devices easily controllable in a single system. It can be used for modernising an existing lighting system as well as for installing a new one. So, how does such Bluetooth-enabled wireless light management actually work? And what sets it apart?

BLUETOOTH WIRELESS MODULE

Using basicDIM Wireless as a basis for the discussion, the core of wireless light management is the use of a Bluetooth wireless module. This is installed directly in the luminaire – either as a separate unit or integrated in the LED driver. By installing it in the luminaire in this way, the module is therefore powered directly and does not require an additional connection. The luminaire can then be controlled by the wireless module via Bluetooth. The Bluetooth system can be set up in a very short time and requires no complicated programming or new cabling to be laid – in other words quick installation and reduced disruption and/or costs. Importantly, retro-fitting the technology into the luminaire is also a simple matter. The lighting can be switched on and off via an app or a remote control, or wireless switches can be placed anywhere in the room and linked back to the wireless system. This means you can use a Bluetooth solution as an easy way to set up personalised and demand-led lighting – again with minimal time, effort or structural changes. What next? With basicDIM Wireless, we make available a free app for quick and simple commissioning, programming and control. The iOS app can be installed and used on a tablet, smartphone or even an Apple Watch. The system can be easily set up, configured and adapted via BT’s ‘4remote’ app. The desired settings can be input wirelessly and there are no complicated processes for making the system operational. Localising, naming and grouping the luminaires and setting up lighting scenes are equally intuitive. Because it is all Bluetooth, there is no need for an internet connection. Once in operation, the system can be scaled up and reconfigured through the app without the need for any additional tools.

CONTROL FOR END USERS

The app can also be used by end users for controlling the lighting. In addition to simple on/off switching, end users can dim the luminaires, change settings and select specific lighting scenarios. Users simply choose a photo of the room showing the luminaires in the app and then control the lighting by clicking on the photo or a specific luminaire. What, then, about security? Access to the system via the app is password-protected and communication is encrypted. Individual luminaires, or even the entire network, can be released for certain users. Without release and without access data, users will not be able to control the luminaires even if they possess the app. This allows the system to be protected against unauthorised access. Changes to the configuration of the luminaires can also only be made by authorised users. Turning to sensors, the system uses a combination of sensors to reduce energy consumption and adjust the lighting, with the sensors again using Bluetooth to communicate with the wireless module. If a person is detected in the vicinity, the lights can be switched on or the illuminance level increased. If on the other hand no presence is detected, the light can adjust accordingly, switching off or dimming down. Ambient light-dependent control is also possible through the sensors, with lighting levels being changed depending on the amount of available daylight. Tuneable white integration enables automatic or individual changes to be made to the colour temperature over the course of the day. There is a system-internal calendar that can be used to control the lighting at user-defined intervals. At night, for example, it will not operate at full output. On top of this it is possible to set how long the light will continue at high illuminance following presence detection and when it will be dimmed down again. This, again, all helps to save energy and therefore costs.

www.theilp.org.uk

MARCH 2020

LIGHTING JOURNAL

Lighting controls

Each luminaire in the room can be controlled individually via an integrated Bluetooth module, allowing for maximum flexibility for light management. In this scenario, as each luminaire is equipped with a wireless module, the client will need to recognise that higher costs can be expected. Another option is for several luminaires to be combined into groups and then controlled centrally via the wireless radio module. For this purpose, they are interconnected via DALI lines to form a unit and then linked to a Bluetooth module. As this grouping does not require each luminaire to be equipped with its own wireless module, it can be more cost-effective. Potential downsides are that it does mean a little more effort for installers since the grouped luminaires have to be connected via DALI lines. And, overall, the control options are more restricted in this solution because the luminaires can no longer be individually switched, only within the predefined groups.

IMPROVING VISUAL PERFORMANCE

However, grouping of luminaires can make day-to-day work easier and improve visual performance in different situations. In offices and schools, for instance, it means all www.theilp.org.uk

the luminaires above a table or island can be combined into a single unit. Equally, rows of tables or workstations near windows can be controlled separately from those along internal walls depending on the amount of daylight falling on them. In classrooms, a different light circuit can be provided for the luminaires near the whiteboard from the one for the students’ desks. This means the light near the whiteboard can be dimmed to improve its visibility while the students have full brightness over their desks for reading, writing notes or using their laptops. Within the workplace, rooms with multi-functional use will often benefit from retrievable lighting scenes, pre-set for varying activities. For example, you might want different lighting scenarios for presentations, team meetings, or conferences. Or, take another scenario – physiotherapy practices. Here this sort of intuitive Bluetooth functionality could enable different lighting scenes to be made available for different treatments, such as relaxing massage through to more active exercises. In an industrial environment, walkways in underground garages or warehouses can be illuminated under control from presence sensors. The light is switched on fully only when it is needed; at other times it is

p A traditional school classroom. Using Bluetooth lighting controls means a different light circuit can be provided for the luminaires near a whiteboard, for example, versus those illuminating the desks

dimmed to save energy and costs. In combination with a timer function, it is possible to set the length of time the light will be at full brightness after presence detection, after which it will be dimmed down again.

CONCLUSION

Whether we’re talking retrofitting or new build, open-plan offices, schools, law firms, medical practices or underground garages, the embrace of Bluetooth controls functionality – in our case the basicDIM Wireless system – enables installers to fit a lighting system that offers both individual control and can be done without major structural changes.

Martin Thompson is technical services manager at Tridonic (UK)

MARCH 2020

LIGHTING JOURNAL

BOR COLLA

ATE

ATE INNOV RE PREPA ER

DELIV

WORKING WITH YOU

www.theilp.org.uk

MARCH 2020

LIGHTING JOURNAL

The ILPâ&#x20AC;&#x2122;s training programme to support GN22 ATOMS proved popular last year, and is set to continue around the country during 2020. Here are the five most common questions (so far) raised by members, and their answers By Peter Harrison

s many ILP members will by now undoubtedly be aware, the ILP launched GN22 Asset Management Toolkit: Minor Structures (ATOMS) at the Professional Lighting Summit in Newcastle upon Tyne in June last year. The guidance note replaced TR22 and was a response to the development and publication by the UK Roads Liaison Group of its Well-Managed Highway Infrastructure code of practice. This was launched in 2016, to be implemented as best practice for the management of highway assets either immediately or within two years. The code is intended to co-ordinate the management of highways and the various assets on and under it in a way that will lead to efficiency gains. Key to this is the management of risk, with an emphasis on the value of allocating resources where most needed. In order to do that, there needs to be a common vocabulary of terms and inspections.

Therefore, in delivering the code, highway authorities need to develop risk management strategies and plans that help them to better understand the condition of their assets and monitor their deterioration. It was to address the management of lighting supports, or minor structures, within this context that ATOMS was written. Since the launch last June, the ILP has been proactive in developing and delivering a programme of training sessions around the country, through the new LDC network. These outline the fundamentals of both GN22 and the code, and more are planned to take place during 2020 (and keep an eye out online, at www.theilp.org.uk/events or in the Diary page at the back of Lighting Journal). The general reaction from members has been that, on the one hand, little has changed from TR22 yet, in a way, everything has changed! So, eight months on, what lessons have been learned from the launch of

GN22 and what have been the key concerns that members have expressed during the ATOMS training sessions? Here are the five most common questions members have asked during or after the training sessions, and their answers.

MARCH 2020

LIGHTING JOURNAL

Training and development: asset management

WHY ARE LIGHTING COLUMNS NOW CLASSED AS ‘MINOR STRUCTURES’?

he term ‘minor structures’ has been taken from The Design Manual for Roads and Bridges (DMRB). CD 354 Design of minor structures (formerly BD 94/17), defines minor structures as: ‘lighting columns, cantilever masts for traffic signals and/or speed cameras, CCTV masts, and fixed vertical road traffic signs. It incorporates the provisions of BS EN 40, BS EN 12899 and supersedes BD 94/17.’ TR22 was seen as applying

to lighting columns and therefore a ‘street lighting’ document. However, lighting columns and lighting supports are, fundamentally, a structural element, hence the move for their inspection and management to apply to all assets included in DMRB definition. It has also been written to be applicable to assets not on the highway such as compounds, transportation, retail parks and commercial premises.

THERE IS NOW A REQUIREMENT TO COLLECT TWICE AS MUCH DATA THAN TR22 REQUIRED. THAT WILL BE AN ENORMOUS ADDITIONAL COST. WHY?

n TR22, lighting supports were assessed by inspection areas: base, shaft, bracket, luminaire and electrical. Within each area there were defined elements to be inspected individually. For example, within the base area there was the door, flange plate, base compartment, door opening, shoulder and backboard internal region. The worst element condition for that area would describe the overall condition of the support; ranging from one (good) to four (bad). ATOMS has removed the electrical inspection as part of this process, as other systems

(BS7671) will be in place to demonstrate electrical safety. Inspections are no longer grouped into areas, each element needs to be inspected and recorded individually. Defects are required to be recorded by the extent to which a defect is present rated A (no significant defect) to E (extensive, >60%), and condition rated one (as new) to five (failed). It is true, therefore, that there is now twice as much data to collect. However, when assessing the condition, the extent to which it is observed will be part of the inspection, so minimal additional work will be necessary.

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MARCH 2020

LIGHTING JOURNAL

Training and development: asset management

WITH TR22, ASSETS THAT WERE ASSESSED AS ‘RED’ FOLLOWING INSPECTION WERE EASILY IDENTIFIED FOR MORE DETAILED INSPECTION OR REPLACEMENT. HOWEVER, ATOMS DOESN’T PROVIDE DETAILS OF ‘RED’ ASSETS?

t is important to note that TR22 and, indeed, ATOMS are a visual inspection regime only, and this does not negate the need for structural testing. It is also worth noting that inspection data is fed into the supplied spreadsheet model to generate a condition assessment at stock level. It is not been developed to provide a works schedule for further investigation. With the spreadsheet model, condition assessment can also be calculated at a sub-level such as ward or parish within an authority. Development of priorities for further inspection and testing would be by asset age or understanding its condition against industry standard deterioration profile graphs, thereby determining assumed residual life. Data analysis of the inspection can also be used to develop

priorities for further investigation, for example searching the spreadsheet for any element with a condition four or five. From a practical point of view, condition five was introduced as ‘needing immediate attention’ (something lacking in TR22), so it would be expected for these to be reported as soon as they are detected. It is accepted that the spreadsheet model is basic in its functionality, more suited to owners of a relatively small number of assets. It is expected therefore that the development of more advanced models with better functionality and advanced features, such as lifecycle planning, will be developed through alternative suppliers or by asset management system suppliers as an extension to existing systems, the need for which will be driven by end user requests.

TR22 HAD A SYSTEM THAT DETERMINED THE ‘ACTION AGE’. WHY DOESN’T ATOMS DO THIS?

he TR22 ‘action age’ was a methodology for identifying assets that, due mainly to their age and environmental influences, were likely to require testing. This functionality is not available through the basic assessment model; development of this would need to be through the more

advanced model or by delivery of an ATOMS module, being an extension to your asset management system. Regarding the ‘consequence of failure’ methodology described in TR22, the principles of that could be continued as a way of highlighting more frequent inspection and testing regimes that may be necessary.

FOR YEARS WE HAVE BEEN COLLECTING TR22 DATA. DO WE NOW HAVE TO START AGAIN COLLECTING DATA IN ATOMS FORMAT?

o! There is a mechanism for converting TR22 data to ATOMS format described in the document. If this is held in electronic format, then it should be

relatively easy to write a conversion spreadsheet. If your data is only in paper format, then modern scanners will probably be able to read it and convert it to an electronic format.

HOW TO GET HOLD OF GN22

GN22 Asset Management Toolkit: Minor Structures (ATOMS) is free to download from www.theilp.org.uk/atoms A further programme of ILP training events on the new toolkit is being delivered during 2020. Go to www.theilp.org.uk/events for more details or keep an eye on the Diary page in this journal.

www.theilp.org.uk

Peter Harrison is technical director for the ILP

SIGMA in-ground unit Beale Place, Bournemouth for BCP Council Beale Place officially reopened

for street lighting. In this case BCP

in July 2019 after investment from

Council was looking for in-ground

BCP Council transformed an area,

units for the supply of single-phase

that once accommodated both

electrical power for a small vendor

vehicular and pedestrian traffic,

stands, arts & crafts, and other

into a modern, vibrant space for

events.

shoppers, businesses, visitors and workers to enjoy in a bustling part of Bournemouth town centre.

For this location the SIGMA in-ground unit was used, as you can see from the photos, when

New landscaping and paving,

in the closed position the SIGMA

modern seating and plants, as

is inconspicuous to vehicles and

well as public art celebrating

pedestrians. Then using an easy

Bournemouthâ&#x20AC;&#x2122;s literary history have

opening mechanism, the lid opens

been installed in this new space

to reveal the electrical sockets to

enabling people to reclaim what

plug into, and at the same time

had previously been used as

a treadplate locks into position

a thoroughfare for motor traffic.

ensuring that the user can make

Charles Endirect has a long history of working together with BCP lighting department supplying feeder pillars

their plug connection safely. The SIGMA is therefore an extremely safe user-friendly product.

and other components required

The SIGMA in-ground units offer a safe means of supplying electrical power for eventing purposes whenever required.

Ingenuity at work

CharlesEndirect.com +44 (0)1963 828 400 â&#x20AC;˘ info@CharlesEndirect.com

MARCH 2020

LIGHTING JOURNAL

Training, education and development

DIPLOMATIC

SERVICE

If it is to thrive, lighting needs to be attracting the best and brightest talent the UK has to offer. But our industry’s STEM (science, technology, engineering and mathematics) skills gap, especially when it comes to attracting women and people from ethnic and other minorities into our industry, is, if anything, widening. Could you change the narrative by becoming a STEM Ambassador? By Kimberly Bartlett

hen you’re working in lighting, STEM (science, technology, engineering and mathematics) is an acronym that keeps cropping up, not least because, when you think about, it goes to the very foundation of our profession. Split into its constituent parts, STEM is the collective term for the academic pursuits that make up the cornerstones of our work, sometimes with an added ‘A’ for art, so making it STEAM. You would be hard pressed to find a member of the ILP who doesn’t have a hand in some or all of these disciplines on a daily basis, and those of us who are involved in design will likely also be part of the ‘A’ group with our creative sides taking centre-stage.

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But while STEM is an important part in all our daily working lives as lighting professionals, it may come as a surprise to learn that STEM subjects are not being taken up at school as readily as we would like.

STEM SKILLS GAP

In fact, Engineering UK estimates there to be a shortfall of between 37,000 and 59,000 people (a conservative one at that) in meeting the annual demand for core engineering roles in the UK, what is otherwise known as the STEM ‘skills gap’ [1]. Year-on-year this skills gap is widening, and we are feeling it in our industry already. Recruitment of engineer- and technician-level positions is getting harder and the uptake of engineering apprenticeships that

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Training, education and development relate or cross over to lighting seems to be on the downturn as well, much to the frustration of hiring managers across the industry. We know we have brilliant and dedicated people working within the profession; our issue is we are both struggling to encourage new blood to come and join us, as well as potentially losing talented young people to other sectors, industries or competitors. This is where an Institution such as the ILP and you, ILP members, can help to make a difference: by working to encourage colleagues, friends and peers to become STEM Ambassadors, or even putting yourself forward to become one yourself. STEM Ambassadors are people who make it their mission to engage with the next generation, to work with our grassroots to support and encourage young people to consider and actively engage in STEM-based education and careers. They work hard to bridge the growing skills gap within our industry and bring on the next generation of lighting professionals. I myself am a STEM Ambassador, and ambassadors engage with children from reception class age right up to university level through a range of activities, including presentations, mentoring and careers talks with the sole purpose of inspiring the next generation.

ENGAGING WITH YOUR COMMUNITY

Ambassadors work with schools, youth clubs and community groups and with educators and parents to offer the best opportunities for STEM-loving children to engage and grow. So, how does it work? Becoming an ambassador couldn’t be simpler. All you have to do is go to the STEM learning website (www.stem.org.uk/stem-ambassadors) to learn about what being an ambassador means and apply. You will be DBS checked and undertake an afternoon’s induction in how to be an ambassador and what to do with the young people you will work with. Once everything is cleared, you can start volunteering to work with educational groups and in no time at all you too will be building spaghetti and marshmallow

skyscrapers with seven-year-olds! Many employers offer paid volunteering days to ‘give back’ to the community and STEM Ambassador activities tick all these boxes. School governor duties are also considered STEM Ambassador activities. So, if you either already are or are thinking of becoming a school governor it makes perfect sense to join the programme as part of this and make the most of your term for the greater good of STEM learning.

CULTURAL STEREOTYPES

There is an important saying in the STEM world: ‘If I can’t see it, I can’t be it.’ For me, this hit home when I was reading a study that had found children change their mindset at around age seven, changing the way they see their future and the world around them [2]. Before the age of seven, when asked to draw a person of a particular profession children tend to draw a person of their own gender. For example, boys drew male doctors, nurses, engineers and teachers and girls drew women. Or, if they had a family member who happened to be in that profession, they would draw them – mummy the mechanic or Uncle James the midwife and so on. But after the age of seven the impact of television, the internet and books all kicked in and the drawings changed. STEM professions suddenly become drawn almost entirely as males and, conversely, almost all nurses become female. You can see where this is leading. This pervasive cultural osmosis – the influence of cultural stereotypes and preconditioning – reduces the flow of girls studying and going on to careers in STEM because it is seen as ‘something for boys’ or ‘not for me’. This, in turn, ends up being a huge player in our industry’s skills and gender gaps. Based on statistics from Higher Education Statistics Agency and the ‘WISE’ Campaign (www.wisecampaign.org.uk), in 2018 the number of women in engineering professions was just 8% [3]. In turn, black, Asian and minority ethnic (BAME) engineers make up just 7.8% of our profession, despite accounting for 12% of the UK working age population [4].

For members of these and other minority groups (for example mixed race, LGBT+ and so on), being present and visible within our professions is key to ensuring the next generation can see us as role models and believe they too can become engineers, STEM professionals and, of course, lighting professionals.

HOW THE ILP IS WORKING TO CHANGE THE STEM NARRATIVE

1. STEM toolkits – volunteers wanted! Currently, the ILP’s education committee is working on a number of STEM toolkits for all school ‘Key Stages’, or for school children from ages five to 16+. These toolkits feature sets of activities to engage with young people on the subjects of light and lighting and are age specific so are tailored to particularly engage children of a certain age group. Committee member Emma Beadle is leading this project and is looking for volunteers to help build the toolkits and test their activities with the target age groups. So, if you would like to get involved or perhaps already have a young person or school connection where we could test our activities, please get in touch with Emma (at Emma.beadle@wsp.com) or myself through the VP – Education email vp.education@theilp.org.uk. 2. Lighting for Good – dive in and have a go The ILP’s ‘Lighting for Good’ initiative houses a section on ‘STEM and education’ to share resources and activities. All serving or existing ambassadors are encouraged to log on and share their experiences and activities. If you are therefore considering joining the programme and becoming a STEM Ambassador please log in and have a look around, taking in the other elements of the forum for good measure.

Lighting for Good can be accessed from the ILP homepage by going to: www.theilp.org.uk/good Kimberly Bartlett EngTech AMILP MIET is the ILP’s VP – Education as well as principal engineer, South Team Lead – Lighting & Energy Solutions, at WSP

[1] Key facts and figures: highlights from the 2019 update to the Engineering UK report, Engineering UK, https://www.engineeringuk.com/media/156186/key-facts-figures-2019.pdf [2] Chambers, D W, ‘Stereo-Typic Images of the Scientist: The Draw-A-Scientist Test’, Science Education Assessment Instruments, 13, April 1983, https://onlinelibrary.wiley.com/doi/abs/10.1002/sce.3730670213 [3] ‘Women in STEM | Percentages of Women in STEM Statistics’, STEM Women, September 2019, https://www.stemwomen.co.uk/blog/2019/09/women-in-stem-percentages-of-women-in-stem-statistics [4] ‘Celebrating leading minority ethnic engineers’, Royal Academy of Engineering, https://www.raeng.org.uk/diversity-in-engineering/diversity-and-inclusion-at-the-academy/celebrating-leading-ethnic-minorities-in-engineer

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BLUE IS THE COLOUR? With a background in theoretical lighting and ergonomics as well as lighting design, Neil Knowles was able to bring a wide range of expertise to bear for his ILP lecture on ‘how to be brilliant… at circadian lighting’ in the autumn

By Neil Knowles

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The ILP’s ‘How to be brilliant’ lectures

ack in October I was asked to talk at a ‘how to be brilliant’ lecture organised by the ILP. ‘How to be brilliant’ – as ILP members may well be aware – is a series of lectures primarily for students and lighting designers at the start of their career, with a programme of events running throughout the year split between (currently) Scotland and London. My talk was on ‘circadian lighting’. I don’t claim to be an expert, but my lighting experience, coupled with a background in theoretical physics (BSc) and ergonomics (MSc) means that I do have a deep understanding of the essentials. This article is based on that informal evening talk, so imagine me giving it with a glass of wine in one hand! It is an overview of the basics – and therefore may be considered relatively ‘entry level’ – but is also an opportunity to remind ourselves, whatever our experience, about some of the fundamentals. I emphasise I don’t claim it is any more than that. There were four parts to my presentation:

before you are sleepy or tired; they are what make you tired. Without a correctly regulated body clock, all sorts of things go wrong, from performance at tasks to life expectancy and even the likelihood of bipolar disorder. Many of these things are

documented problems of long-term shift work and many of the health issues associated with this kind of working relate to improper functioning of the internal body clock or its lack of synchronisation with daytime.

SCN

Active

Sleep Day 1 5 10 15

• Body clocks • Regulation and the third receptor • Cool white versus warm white – from black body curves to LED phosphors • Summary

Suprachiasmatic Nuclei (SCN)

SCN

BODY CLOCKS

To start then: body clocks. Humans (and in fact most mammals) have an innate body clock. It runs on a 24.5- or 25-hour cycle, normally slightly longer than a day. It’s evinced by a number of measurable factors, such as core body temperature, which rises in the day and falls at night, and melatonin levels which rise in the evening and fall sharply in the morning (as figure 1 shows below). Note that these changes happen

Active

Sleep Day 1 5 10 15

Suprachiasmatic Nuclei (SCN)

Figure 2. Studies on mice have shown how, if you knock out the part of the ‘master clock’ of the brain, the suprachiasmatic nucleus, you lose all track of what time of day it is or when you should be awake or sleeping

Figure 1. The rise and fall of human melatonin levels during the day/night cycle. Both this slide and figure 2 above are taken from a talk, with thanks, by Professor Russell Foster, professor of circadian neuroscience at Oxford University

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The ILP’s ‘How to be brilliant’ lectures The core of the body clock is what is called the suprachiasmatic nucleus (SCN). This is a small part of the brain; it functions as a master clock. Studies on mice have shown that if you knock out this SCN (say with genetic editing or a scalpel) the mice lose all track of what time of day it is and behave in erratic ways, essentially falling between asleep and awake at random (shown in figure 2 on the previous page). If you isolate someone in an underground room with no means of telling the time – no TV, no radio, no internet (don’t do this with a millennial by the way) – they will carry on as normal, eating and sleeping in a roughly 24-hour pattern. But they will switch to their innate body clock period of around 24.5 hours, and therefore start getting up later and later. Something must be resetting our innate body clock every day, to bring it in line with reality. But what?

REGULATION AND THE THIRD RECEPTOR

This brings me on to part two – regulation and the third receptor. Discovered recently, these are a type of light receptor present in the eyes. Everyone learns at school that there are two receptors: rods and cones. Rods are good in low light levels but are only monochromatic. Cones only work at higher light levels but allow colour vision. The third receptor (so new it doesn’t have a proper name yet) does not allow you to ‘see’ and is not connected to the visual part of the brain. These cells connect directly to the SCN. Experiments show the cells have a peak sensitivity of 470nm, which is blue, in fact exactly the blue of a bright blue sky. If you think about it, clearly it has evolved to be this. There is no point in our daylight-sensing cells working on purple, for example; they work on daylight. So you wake up in the morning, walk into the blue sky sunlit day and your SCN gets a massive wake-up hit, courtesy of your third receptor. It’s morning, wakey wakey! And, thus, your body clock is dragged back into line with reality, every day.

COOL VERSUS WARM WHITE

But how much light? Highly controversial at present, and as yet unknown. Early studies suggested 1,200 lux. More recent ones suggest 75. I’ll be bold and say, ‘we’re not quite sure at present’. Exciting times. But what we are all agreed on is that walking to work in the morning sunlight is going to reset your body clock, dragging it back into tune with reality and not letting it drift. So, 470nm light. But how do we make this then? Well, we could make LEDs with only this frequency of light emitted, specifically designed to wake us up and stimulate the www.theilp.org.uk

SCN. But nobody does, and if they did it would be blue, so not brilliant for warm and intimate bars, or where good colour rendering is needed. Let’s therefore go back to basics. Take a lump of something; metal preferably, so it doesn’t melt or catch fire. Heat it up a bit. It gets hot and starts to radiate heat (actually infra-red radiation). Heat it more and it starts to glow, first a dull red colour, then yellow, then white-hot. Keep going and it will glow blue hot. About this time, you’re probably thinking you’ve never seen anything glow blue hot. That’s because it’s around 6,000 degrees, and most metals have melted now, setting fire to anything nearby as they do. Anyway, you have, the sun is this hot on the surface; that’s why the sky is blue. But where does the blue light come from? It comes from the sun. Rayleigh scattering is what splits the sunlight into two parts; blue for the sky, yellow coming straight through. So we end up with blue sky and yellow sun. How about we change to ‘the sun is this hot on the surface, that’s where all the blue light in the sky comes from originally’. Describing mathematically the relationship between temperature and intensity of light and colour of light emitted was a major challenge to early 20th century physics. Classical theories could not do it; they broke down and predicted infinite amounts of ultra-violet light (in fact, the collapse of the Rayleigh-Jeans theory was known as the ‘ultra-violet catastrophe’). It wasn’t solved until the physicist Max Planck arrived on the scene and suggested that perhaps light was ‘quantized’. This means it comes in specific lumps, not a 1 continuous mass. This was revolutionary at the time; 0.8 light was thought to be a wave, and therefore could 0.6 come in any amount. The idea that it comes in lumps 0.4 means it is in some ways like a particle not a wave. Quan0.2 tum theory. Planck’s law is not easy to 0 derive (I covered it in the 0 500 second year of

my physics degree) but for those interested and with a good grasp of mathematics there is a description in this reference [1]. Planck’s law looks daunting but most of the terms are constants. The only two variables are the temperature, T, and v the frequency of light. If we pick and fix a temperature of, say, 3000K, you can draw a graph with light frequency on the bottom axis and amount of light up the side. The graph below (figure 3) has three of these lines plotted, with temperatures fixed at 4500K, 6000K and 7500K. There are two things to notice about the differences between the three lines. Firstly, and most obviously, the peaks are much higher at higher temperatures. More energy is being emitted at every point; it is far brighter. But the second is more subtle; look where the peaks are located. For the 4500K curve, it is peaking in the red part of the spectrum. In the 6000K curve, the peak has shifted left to be in the green part and at 7500K the peak is in the blue part. If this was a lump of metal it would be glowing red hot (4500K), green hot (6000K) and blue hot (7500K). In lighting terms, these lumps of glowing metal are at different colour temperatures. In practice, what this means is we know blue light is the key for affecting the SCN, and different colour temperatures of light have different amounts of blue in them. Don’t worry, we’re almost there. So, if we want to keep people alert and awake, we need to convince them it is daylight. We need to produce light with lots of 470nm in it, so the SCN supresses melatonin production and your body stays awake. And what’s got lots of blue in it?

Figure 3. A illustration of Planck’s law

7,500k

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1,000 Wavelength [nm]

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High colour temperature light. Actually, the manufacturer’s use of ‘colour temperature’ is an approximation. What labelling an LED tape ‘3000K’ means is that if you look at the emission graphs and compare them to an ideal (Planck’s law) graph; the one it is closest to is 3000K. But LED does not generate light by heating stuff up, it does it from exciting electrons on a semiconductor substrate, causing them to emit photons to lose energy and then re-radiating these photons off a phosphor to blur the resultant colours. So, what you actually get in this instance is a series of individual spectral lines from an LED; it is not a perfect Planck curve distribution but instead a vague approximation. The actual light emitted is dependent on each manufacturer, and the mix of phosphors used, and the manufacturing process. That’s why 2700K from two different manufacturers look different to each other.

SUMMARY

So, in summary. Humans: • Have innate body clocks • These are regulated by light • Only a specific frequency works • Lighting can be manufactured to emit this frequency To finish, let’s look at a couple of examples of projects, both by Elektra Lighting. The first (the top image) is for Vodafone, with a cool light behind the stretch fabric ceiling throwing lots of blue light and making everyone alert and awake. By contrast, the image opposite is the Tivoli cinema, with warm lighting so everyone is nice and relaxed. To end, I should emphasise this is a very new field, with lots of unknowns. For example, we don’t know how much light is needed to stop melatonin production. We don’t know how light affects the elderly or the young. Is it the same? Is there a difference across genders? before bedtime; their screens have lots of blue and How many receptors are there in therefore the light can keep you awake. But you the eyes that do this and where are knew that already. Hopefully now you know why. they located? We don’t know. So much to explore yet. Neil Knowles is director Until we do know this and more, all of Elektra Lighting I can offer is to reiterate what has been said before: no mobile phones

THE ILP’S 2020 ‘HOW TO BE BRILLIANT’ PROGRAMME – DATES FOR YOUR DIARY The ILP’s ‘How to be brilliant’ programme of free, fun and friendly evening talks will be continuing during 2020, and dates for the London programme have now been agreed. All the London lectures will be back at Body & Soul on Rosebery Avenue in Islington, north London, normally starting from 6pm (but do check online in advance). The 2020 programme will kick off on 29 April, with further lectures taking place on 27 May, 24 June, 30 September, 28 October, and 25 November. The speaker line-up was still being confirmed as Lighting Journal went to press but look out for updates online at www.theilp.org.uk/brilliant The ILP wishes to extend its thanks to Zumtobel, which has generously agreed to sponsor ‘How to be brilliant’ once again this year. The intention is that ‘How to be brilliant’ lectures will also take place in Scotland through the year. Again, more details on these will be available online and in the journal once the programme has been finalised.

[1]The Derivation of the Plank Formula, https://edisciplinas.usp.br/pluginfile.php/48089/course/section/16461/qsp_chapter10-plank.pdf

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INTELLECTUAL ENDEAVOURS

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Legal issues

Whether you’re a manufacturer or designer, it is important to be protecting the intellectual property (IP) of your work. Terms such as patent, trademark or copyright may well be familiar, but what about ‘design rights’? Howard Crossman and Heidi Groom explain what this IP protection is, and how it might be valuable By Howard Crossman and Heidi Groom

ntellectual property (IP) is an evolving area of law as businesses seek to protect ideas and creations, with lighting and lighting design professionals being no exception. Many people will probably recognise phrases such as ‘patents’, ‘trademarks’ and ‘copyright’ in this context. A patent protects an invention, a trademark protects your company name and/or logo, and copyright prevents someone from copying your work. These all form part of your brand and can protect how your business is represented to the world. However, there is another IP protection that people may be less familiar with – ‘design rights’. When it comes reviewing what you are creating as a lighting professional, and whether it is adequately protected by law, it is useful to consider design rights. Used wisely, design rights have the ability to become a highly valuable asset, especially for those just starting out in business.

So, what are design rights and how can they enhance the IP protections available to you as a lighting professional? A design right can protect the appearance of your product including the shape or configuration of a purely functional product, such as a lamp, streetlight or light fixture, from being copied similar to copyright. The design right can protect the whole or a part of the product and can be either an internal or external component. For an internal component to have protection it must be visible when the product is being used. An example of this could be a lamp. A design right could protect the shape of the lamp, the material used to create the base of the lamp or a bracket, or the lamp switch or even a combination of all of these, all of which will protect them from being copied. Bear in mind, however, design rights would not extend to any pattern or design on the surface of the lamp, as these will have their own protection under copyright.

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Legal issues For a design right to attract protection, the design must be original and be recorded, for example in the form of a design drawing or a model made to the specification of the design. Recording a design in this context can cover many forms of media, including: a drawing, written description, photograph, data stored on a computer and others. Therefore, if you start a design sketch and add more details with the evolving design this is capable of having a design right. It is important to remember a design right protects purely design features; the shape or configuration of your design cannot be protected if it is simply how the product needs to fit together in order to work. Your design right also cannot rely on another product that will form an integral part of the functionality of the product. For instance, the type of switch used cannot be protected if it is based on the location of the internal electronics. In the UK and Europe, a two-tiered system is applied to design rights. These are ‘registered design rights’ (RDR) and ‘unregistered design rights’ (UDR). We shall look at these in turn.

REGISTERED DESIGN RIGHTS (RDR)

A registered design right (registered community design in the European Union) essentially protects the appearance of your functional product from being copied. An RDR means you retain the exclusive rights to the visual appearance of the whole or part of a design (such as texture, colour or shape) when applied to your functional product. Being in possession of an RDR for your product will also assist you when you seek to utilise licensing opportunities as, of course, it again protects you from other copying or using your design and moving into new markets as a result. An RDR can protect both three-dimensional and two-dimensional designs. The design must be new; there can be no identical design disclosed to the public anywhere in the world. The design must also have its own ‘individual character’. However, when it comes to functional products it is accepted that the design freedom may be limited and there may be fewer differences from pre-existing designs. Finally, an RDR offers protection across all sectors; it is not limited to the sector or product it was originally applied to. In other words, if your design is used, or someone attempts to register your design for another sector, you will be notified. The price for registering design rights is slightly different between the UK and EU. For the UK it is £50 per design (or £70 for up to 10 designs). For the EU, it is €230 (or www.theilp.org.uk

€115 for up to 10 designs). Both these figures exclude lawyers’ fees or other supplementary expenses, such as the cost of preparing drawings. An RDR will last for 25 years, provided the appropriate renewal is completed every five years. If your design right does lapse, you are able to request that it is reinstated but there is an additional charge for doing this.

UNREGISTERED DESIGN RIGHTS (UDR)

An unregistered design right (unregistered community design in the EU) arises automatically rather than being something you have to apply to register (as the name suggests). A product must meet certain criteria, for example that it is an original, non-commonplace product. Again, its purpose is to protect a design from being copied. In the UK, UDRs only apply to three-dimensional designs, but can protect the shape and configuration of products, both internally and externally. Whereas an RDR can last for 25 years, as outlined above, the protection from a UDR lasts for a shorter period of time: 10 years following any sale of the product, or 15 years following the creation, whichever is lesser. Nevertheless, a UDR can still be a valuable protection. It gives the owner of the design the right the exclusive right to reproduce the design for commercial purposes by making models and/or the product, or for creating a design document that then enables products to be made. This could be, for example, engineering documents.

HOW TO APPLY

As explained, a UDR arises automatically. When it comes to RDRs the process for registering is quick and relatively low cost particularly for the level of protection that it offers. After all, the value in competitive terms of having a monopoly on your design could far outweigh any initial costs for registering a design right. To register a design, you will need to make an application to the Designs Registry of the Intellectual Property Office (IPO) with the prescribed fee. It is also possible to apply online, at www.gov.uk/government/ organisations/intellectual-property-office In the UK, the IPO will examine your application within two weeks. If an objection is raised, you have two months to respond. Once approved, the design is added to the list of registered designs and made public unless registration is deferred, which can be done for up to 12 months. In the EU, the design application will be checked to ensure all the necessary formalities have been observed and the correct fee paid. The timeframe can be shorter for EU-registered designs, which can be

registered in as little as two days from the date of the application.

WAYS TO PROTECT YOURSELF

Beyond putting in place these formal legal IP protections, it can be useful from an IP standpoint to get into the habit of protecting and recording your design process on a regular basis. So: • If you are a designer, ensure you sign and date any design documents. Remember that this can be when, from a design protection perspective, the clock starts ticking • Ensure that you keep records of the design document and the design process; this shows your original thought process • Finally, include in the records the date that the products were first marketed

CONCLUSION

Remember, the use of design rights is just one way to protect your IP, and design rights may need to be something you consider in tandem with patent, trademark and copyright protection. In essence, you may have more than one type of IP protection for your designs and products. And, as ever, if you are in any doubt, seek out professional legal advice or guidance. Ultimately, the message here is: when looking at your designs and products take a moment to consider their ‘hidden’ intellectual value to your business and the protection (and extent of protections) you may need to ensure your lighting business remains competitive and profitable. Howard Crossman (hcrossman@greenwoodsgrm.co.uk) is head of construction and Heidi Groom is a trainee solicitor at Greenwoods GRM

With offices in London, Cambridge and Peterborough, Greenwoods GRM is a UK commercial law firm providing legal advice and pragmatic solutions to local, national and international clients

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CHARGING AHEAD Following on from Lighting Journalâ&#x20AC;&#x2122;s recent series on EV charging, one manufacturer outlines its five key things to consider when installing an onstreet charge point

By David Hall

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Electric vehicle charging

he government has the unenviable task of managing one of the world’s most significant, and important, transitions to occur in industry for a very long time. Perhaps the most important to happen in motoring, ever. The government’s Road to Zero strategy aims to be net-zero by 2050 [1]. The sale of new conventional petrol and diesel cars will also be phased out by 2040 (and now brought forward to 2035) to support this ambitious goal. The Department for Transport said its £400m public-private Charging Infrastructure Investment Fund will see thousands more charge points installed around the country. The UK currently has approximately 11,000 public charging locations providing 30,000 EV connectors [2]. Whilst that is quite impressive it is still a cause for concern. One factor that impacts on our industry enormously is the lack of charging infrastructure available. While charge point numbers are increasing, the UK is still some way short of what it needs, and this feeds into consumer EV ‘range anxiety’, in turn dampening demand.

HOME AND WORKPLACE CHARGING

It is claimed 90% of people who charge their electric car do so at home. The government has set out ambitions for all new homes in the UK to be built with the provision of EV charge points, a world first [3]. But while charging at home is ideal for those who have access to a drive and a charge point, for those without, charging immediately becomes more challenging. Nevertheless, as Lighting Journal highlighted in the autumn, on-street EV charging is gradually becoming more available, with a range of funding streams available for local authorities and others to tap into (‘Plug in and play?’, November/December 2019, vol 84, no 10). All this, in turn, puts street lighting and streetlamps firmly in the spotlight when it comes to EV charging. Why street lighting? It is existing infrastructure, ubiquitous and common throughout most urban spaces. As streetlights are constantly powered, it makes sense to utilise existing street furniture, especially when adding further street clutter is not suitable or desired. Retrofitting EV charging facilities into streetlights can often be cheaper than installing new on-street charge points, which often include expensive ‘new connection’ costs. Saying that, existing

streetlights have their own costs and complications, particularly around connections and earthing requirements. However, manufacturers such as ubitricity have made good headway in tackling this area. As Allan Howard outlined in Lighting Journal in January (‘It’s not just a case of “here’s a vertical tube, let’s go and drill a hole in it”,’ vol 85 no 1), in order to make streetlights multi-purpose assets in this way, providing both illumination and charging facilities, the electrical infrastructure within the lighting column itself must be adapted, and done so by an approved electrician. Although streetlights are already connected to a DNO electricity supply there are a number of considerations and requirements, particularly on earthing systems (conversion to a TT earthing system). The correct type of protection must be used and locality of nearby assets must be considered to reduce the potential of electric shock (touching distance). At Lucy Zodion, we strongly recommend using the latest edition of the IET Code of Practice for Electrical Vehicle Charging Equipment Installation (BS7671+ A3) as your guide for installations. Work with your DNO and appoint an approved contractor to help ensure that your street lighting infrastructure is compatible and in line with industry standards. In the event when a secondary isolator is not present, ensure you install a product such as (to use our own examples) a Trojan Midi (3-way) or Trojan Maxi (4-way), manufactured to current British and industry standards and tested to IEC/EN 60947-3 and the fuse carrier to IEC/ EN60269-1. This will provide a reliable protection. Use any service department to help manage variations, gland plates, locking options and so on, where possible, giving individual protection for both the EV charging equipment and the luminaire.

PUBLIC REALM CHARGING POINTS

One thing is certain, to implement a holistic EV charging infrastructure, a mix of charging types is required, not just slow (home) and fast (7kW on-street). Public realm charging points are becoming increasingly crucial as adoption rates for electric vehicles surge. People will need to charge their cars as they go about their daily lives. Whether at schools, shopping, train stations, or airports (and the list goes on) EV charging needs to be commonplace

and readily accessible, not just when at work or home. The need for convenience is paramount. These public realm chargers will need to have faster charging times – between four hours and 30 minutes – falling into the ‘rapid’ and ‘super charging’ category. With this, of course, comes a different set of requirements. These are associated with larger power capacity, the need for new connections, either from DNO supply or perhaps even a package sub station if a large installation. And the requirements will vary in different areas of the country, as each DNO will have its own approved products and working practices. Luckily for us at Lucy Zodion our street lighting cut-outs are widely approved across all DNO networks. Additionally, our sister company Lucy Electric has been working with DNOs for decades, supplying heavy duty cut-outs, CTCOs and package sub stations. Given all this, we recommend five things to consider when installing a new connection for an EV charge point. 1. Plan properly – Anticipate that the process will take longer than expected and, given the increasing demand for new connections, timescales will only get longer. 2. Follow the process – Check with your DNO when ordering a new connection that you are using the right process. Many have fallen foul by not checking first, resulting in an installation that will not get approved. 3. Install Quality Products –Installing high-quality products will reduce potential issues that may arise in the future. Ensure all your products comply to the appropriate regulations and are tested regularly. 4. Consider Oversizing – Consider oversizing your supply and include some spare capacity in your EV connection and supply pillar. By making your system scalable, you can add to the number of charge points or upgrade the rating of your charge points in the future, when technology supersedes current equipment. 5. Maintain Regularly – In order to keep your equipment in good working order test and inspect regularly. It is pointless having stranded assets that aren’t serving customers and/or earning revenues.

David Hall is head of sales at Lucy Zodion

[1] ‘The Governments Road to Zero Strategy aims to slash vehicle emissions by at least 50 per cent’ https://www.gov.uk/government/publications/reducing-emissions-from-road-transport-road-to-zero-strategy [2] ‘Charging point statistics, 2020’, Zap Map website, February 2020 https://www.zap-map.com/statistics/ [3] ‘Electric car chargepoints to be installed in all future homes in world first’, July 2019, Department for Transport, Office for Low Emission Vehicles, https://www.gov.uk/government/news/electric-car-chargepoints-to-be-installed-in-all-future-homes-in-world-first

www.theilp.org.uk

MARCH 2020

LIGHTING JOURNAL

‘BEING IN THE ILP IS ESSENTIAL;

YOU CAN’T DO IT ALL ON YOUR OWN’ A member since 1974, President from 2000-2001 and, until last year, the ILP’s educational and professional services manager, Stuart Bulmer has dedicated his life to the Institution and to best practice within the industry. That is why at this year’s Professional Lighting Summit he will be granted the ILP’s highest honour, of Honorary Fellowship By Nic Paton

ince becoming editor of Lighting Journal back in 2015, I have religiously kept every edition of the magazine, so much so that my collection now takes up quite a number of racks in my office. I can therefore only imagine how much shelf-space Stuart Bulmer has to clear to accommodate to his archive. ‘I have kept every Lighting Journal since 1980,’ Stuart recalls, ‘so, yes, they are taking up a quite a lot of space!’ If you needed no other measure, this dedication to the journal alone would illustrate Stuart’s long-standing commitment to the ILP and to best practice within lighting. But a stack of back-copies is, of course, but one small element of Stuart’s service to the Institution, both as the ILP and in its previous iterations as the Association of Public Lighting Engineers (APLE) and Institution of Lighting Engineers (ILE). Stuart served as Regional Chair and as Vice Chair and then Chair of the technical committee in the mid-1990s. He rose to become President in 2000 and most recently worked as the ILP’s educational and professional services manager until the arrival of Peter Harrison as permanent technical director last year. And now, or at least as of this June’s Professional Lighting Summit in Bristol, Stuart will be able to add ‘Honorary Fellow’ to his list of achievements, as a mark of gratitude

from the ILP for his distinguished service. Honorary Fellow is the highest honour the ILP c a n b e s t o w. There can only ever be six Honorary Fellows worldwide at any one time, with previous ILP chief executive Richard Frost having most recently been granted the honour in 2018. ‘I am very honoured,’ Stuart tells Lighting Journal. ‘The fact you can say you are one of only

MARCH 2020

LIGHTING JOURNAL

Inside the ILP six fellows – anywhere in the world – it is a great honour; I cannot emphasise that too much.’

GROWTH OF PROFESSIONALISM

What, then, have been the biggest changes he has seen in the industry in his career? ‘The industry has changed dramatically. When I first started in 1974, there were still lighting engineers who were chief officers. But since then it is almost as if lighting has been downgraded,’ Stuart recalls. ‘There are many authorities who do not even have a lighting engineer nowadays; they will have what is called an “intelligent client”, or not as the case may be. The fact the county lighting engineer seems to have disappeared is a sad thing, I feel.’ The transition to LED and, from there, the connected lighting/digitalisation revolution have been further massive changes for the industry, the full ramifications of which are still being worked through. ‘Since I started, the light source has changed many times,’ Stuart says. It was mercury first, although they were changing to SOX. Then along came SON, then the Cosmopolis CPO idea came out and white light started to come in, and then LED. So it has changed many times,’ Stuart says.

STUART BULMER BY DATES 1974 – joins Tyne & Wear Metropolitan Council as a lighting engineer 1976 – joins the APLE 1980 – moves to Buckinghamshire County Council and becomes a full member of the ILE 1985 – becomes country lighting engineer for Buckinghamshire 1994 – becomes Chair of ILE London & South East region, moving on to National Council and then the technical committee, becoming Vice Chair and then Chair 1996 – moves over to Hyder as technical director, though continuing to work for Buckinghamshire 2000-2001 – becomes ILE President (and wearing his chain of office, right) 2001 – sets up his own company, SBL, but then joins URS in Bedford 2012 – reconstitutes SBL, retires from full-time lighting work, but carries on working for the ILP as educational and professional services manager

‘The main challenge to me is for the lighting engineer to make his mark, to fight his corner. There has also been the challenge, the need, for more professionalism within lighting, although I would argue we are getting there because of the ILP’s lighting courses – notably the Exterior Lighting Diploma (ELD). We have got to keep our standards high to compete with civils, mechanicals and chemicals [engineers] to ensure we can fight our corner.’ The ILP has of course also been through significant change in that time, not least in the transition from APLE to ILE and then ILP, but also in terms of the ILP’s role, and profile, in promoting and standing for best practice. ‘When I started there were very few qualified lighting engineers. Now people are doing ILP courses, they are taking an interest in getting the ELD, which is now the prime course for exterior lighting, there is no question about that,’ says Stuart. ‘The technical committee nowadays talks a different language to how it was in the old days; it is a more professional approach. We have Vice Presidents who are pushing their areas and doing sterling work. And it has been good to see the rise of people like [ILP President] Anthony Smith. ‘I can claim – because Anthony told me – to have been one of his encouragers, one of those w h o

pushed him. I could see a great engineer and lighter in him, a young person who was doing really well with his company. So, when he was looking at the education VP role, I more or less insisted to him, ‘just do it, don’t mess about’. And he has gone on from there to be President, and I consider that to be wonderful. ‘The main challenge I’d argue for the Institution is to be bringing young people through, and that relies on the lighting professional, the lighting engineer, the lighting boss, as it were, to push his people forward,’ Stuart adds. ‘There are a lot of young people, young engineers, who aren’t members of the Institution who should be. ‘The YLP has been a very good idea in that respect, because it helps us to connect with young people. It is a first-class way of doing things. ‘Another important area, I think, needs to be the encouragement of young designers coming into the industry. We have some first-class leaders from the architectural area of the profession who are members of the Institution, and we need to use them, make sure their knowledge and experience is passed on.

‘PRACTICE MAKES PERMANENT’

Finally, what has being an ILP member meant to Stuart in his career? ‘From my point of view, it was essential to be a member. I used to go to meetings, regional meetings, in London generally. And I managed from 1984 onwards to get to all the conferences. Being in the Institution was – and is – essential; you can’t do it all on your own,’ he says. ‘People often say, “practice makes perfect”, but me it’s more “practice makes permanent”. Being in the Institution was one way of making sure you didn’t get things wrong. And the fellowship within the ILP has always been second to none. ‘One thing that has always amazed me about the ILP is you can have a consultant, designer, manufacturer, contractor and engineer all together in the same room – and we all get on so well. Even though many will be in competition, everybody gets on well. To me, that speaks volu m e s.’ say s Stuart.

www.theilp.org.uk

MARCH 2020

LIGHTING JOURNAL

Inside the ILP

ILP PUTS LIGHTING ON THE AGENDA WITH HOME SECRETARY

LP Vice Presidents Scott Pengelly and Alistair Scott met home secretary Priti Patel in January to raise the industry’s concerns around the UK’s decaying street lighting infrastructure, skills shortages and the role that light and lighting can play in helping to mitigate climate change. The 20-minute meeting came about in part because Patel is Scott’s local MP, for Witham in Essex, and was happy to engage with the ILP as part of its campaign during December’s General Election to encourage members to contact prospective

Parliamentary candidates about lighting industry issues. ‘We wanted to focus on the key areas of education and ageing infrastructure, and I think we managed to get both of those points across very well to her,’ Scott, VP – Products, told Lighting Journal. ‘On education, we raised concerns with the apprenticeship levy, the effect on STEM training, and how we as an industry have a skills gap that, as the ILP, we want to narrow. She had quite strong opinions about STEM and its usefulness; she felt there need to be better links between schools, colleges and universities and the world of work. ‘On ageing infrastructure, that was something she really engaged with. She was keen to find out what we as an industry, and the ILP as an Institution, had been trying to do to engage with government on this area. I mentioned some of the lobbying activities the ILP has done in the past few months through Tracey White and others with various MPs and ministers, notably Chris Grayling when he was transport minister, to get lighting up the political agenda,’ he added.

‘This is obviously a really good first step to getting into the heart of government. Priti seemed to have some interest and knowledge about lighting, for example recognising that good-quality LED lighting can provide sustainable solutions and SOX/SON is obsolete and should be replaced, so ticking the box there. So, it is good she has an interest,’ said Alistair, VP – Government and Policy. ‘While her portfolio as home secretary was not necessarily the most relevant within government in terms of our industry, it is great to have made this initial contact. Hopefully it may help in terms of opening doors for us to speak to other people in the future, such as transport secretary Grant Shapps and housing secretary Robert Jenrick,’ he told Lighting Journal. ‘With some of the MPs who did show an interest when members wrote to them, our hope is perhaps to organise an event whereby we can lay down our agenda and try and get some interest and traction on that. Fundamentally, what we want is for MPs to be approaching the ILP whenever they have got a lighting-related issue,’ Alistair added.

Premier Member Advertorial

Bath’alf zebra crossing! For Cancer Research, by Alan Read, National Sales Manager On Sun 15th March I will be taking part in the Bath Half Marathon again, commonly known as the Bath’alf. Just to make things really interesting I will be dressed in a zebra onesie, and strapped to my back will be a Charles Endirect Belisha Beacon! If you haven’t already guessed, the end effect will be that I am running as a zebra crossing! And, I would like to raise as much money as possible for the charity Cancer Research UK. I am sure that almost everybody has been touched in some way, through personal experience, family, friends, or colleagues by this horrible disease. My own children have recently lost their mum at the age of just 51, and I want to do my bit by completing the half marathon again, and raise the money to continue the research into getting rid of this disease once and for all. My employers, Charles Endirect, have already kindly pledged a generous amount money to help me raise as much money as possible. If any of you would like to make your own pledge/donation then this can be easily done using the link below. Every donation no matter how large or small will be so very appreciated, and if you happen to be in Bath on Sun 15th March give me a wave!

Please sponsor me, by visiting: fundraise.cancerresearchuk.org/page/zebra-crossings

CEL_Lighting journal advert_Advertorial.indd 1

12/02/2020 17:28

Outdoor Lighting ONROADLED

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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

Stephen Halliday

Anthony Smith

Project Centre

WSP

Stainton Lighting Design Services Ltd

BEng IEng MILP

London WC1X 9HD

EngTech AMILP

Manchester M50 3SP

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

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

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

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

www.projectcentre.co.uk

www.wspgroup.com

Steven Biggs

Allan Howard

Skanska Infrastructure Services

WSP

IEng MILP

Peterborough PE1 5XG

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

www.skanska.co.uk

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

BEng(Hons) CEng FILP FSLL London WC2A 1AF

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

www.wspgroup.com

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

Simon Bushell

Alan Jaques

SSE Enterprise Lighting

Atkins

MBA DMS IEng MILP

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

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

Lorraine Calcott

IEng MILP IALD MSLL ILA BSS

it does Lighting Ltd

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

T: 01908 560110

E: Information@itdoes.co.uk

www.itdoes.co.uk

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

Mark Chandler EngTech AMILP

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

www.atkinsglobal.com

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

IEng FILP MIES

Nick Smith Associates Limited Chesterfield, S40 3JR

T: 01246 229444 E: training@nicksmithassociates.com

www.nicksmithassociates.co.uk Specialist exterior lighting consultant. Private and adopted lighting and electrical design for highways, car parks, area and sports lighting. Lighting Impact assessments, expert witness and CPD accredited Lighting design AutoCAD and Lighting Reality training courses

IEng FILP FSLL

Winchester, SO22 4DS

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

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

Michael Walker

Vanguardia Consulting

McCann Ltd

BSc (Hons) CEng MILP MSLL

IEng MILP CMS.

Oxted RH8 9EE

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

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

Chartered engineer with wide experience in exterior and public realm lighting. All types and scales of project, including transport, tunnels, property development (both commercial and residential) and sports facilities. Particular expertise in planning advice, environmental impact assessment and expert witness.

Design for all types of exterior lighting including street lighting, car parks, floodlighting, decorative lighting, and private lighting. Independent advice regarding light trespass, carbon reduction and invest to save strategies. Asset management, data capture, inspection and testing services available.

www.vanguardia.co.uk

Patrick Redmond

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

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

Alistair Scott

4way Consulting Ltd

Designs for Lighting Ltd

BSc (Hons) CEng FILP MHEA Winchester SO23 7TA

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

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

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

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

www.4wayconsulting.com

Nick Smith

Tony Price

John Conquest Stockport, SK4 1AS

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

Alan Tulla Lighting

Redmond Analytical Management Services Ltd.

MA BEng(Hons) CEng MIET MILP

www.staintonlds.co.uk

Nottingham, NG9 2HF

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

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

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

Alan Tulla

HDip Bus, EngTech AMILP, AMSLL, Tech IEI

www.mma-consultancy.co.uk

Stockton on Tees TS23 1PX

IEng FILP

MMA Lighting Consultancy Ltd Reading RG10 9QN

IEng FILP

www.designsforlighting.co.uk

www.mccann-ltd.co.uk

Peter Williams EngTech AMILP

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

www.wlclighting.co.uk

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

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

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

Lighting

Lighting Journal – March 2020

Articles inside

DIARY

x CHARGING AHEAD

CHANGING THE LED NARRATIVE

INTELLECTUAL ENDEAVOURS

ATOMS Q&A

BLUE IS THE COLOUR?

ELEPHANT IN THE ROOM?

HISTORICALLY SAFE

MAKING THE CONNECTIONS

REIMAGINING RETAIL