SLL Jan/Feb 2015

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Volume 8. Issue 1. Jan/Feb 2015

The Year of Light: the SLL’s role

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Secretary Brendan  Keely  MSLL bkeely@cibse.org SLL  Coordinator Juliet  Rennie Tel:  020  8675  5211 jrennie@cibse.org Editor Jill  Entwistle jillentwistle@yahoo.com Communications  committee: Iain  Carlile  (chairman)  MSLL Rob  Anderson Jill  Entwistle Chris  Fordham  MSLL Wiebke  Friedewald Mark  Ingram  MSLL Stewart  Langdown  MSLL Leeman  Robinson All  contributions  are  the  responsibility  of  the  author,  and  do  not  necessarily  UHÀHFW WKH YLHZV RI WKH VRFLHW\ $OO contributions  are  personal,  except  where  attributed  to  an  organisation  represented  by  the  author. Copy  date  for  NL2  2015   is  26  January Published  by The  Society  of  Light   and  Lighting 222  Balham  High  Road London  SW12  9BS www.sll.org.uk ISSN  1461-­524X ©  2015  The  Society  of  Light  and  Lighting The  Society  of  Light  and  Lighting  is  part  of  the  Chartered  Institution  of  Building  6HUYLFHV (QJLQHHUV %DOKDP +LJK Road,  London  SW12  9BS.  Charity  registration  no  278104

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6TXHH]LQJ HYHU\WKLQJ LQWR D SDJH Newsletter  can  be  something  of  a  quart-­ into-­a-­pint-­pot  exercise  sometimes,  so  JLYHQ WKDW ZH KDYH QRZ HQWHUHG WKH International  Year  of  Light,  and  can  reasonably  anticipate  a  greater  degree  RI OLJKWLQJ DFWLYLW\ WKDQ XVXDO LW PDGH sense  to  increase  the  size  to  16  pages. A  key  theme  in  the  newly  expanded  issue,  appropriately  enough,  is  the  IYL.  The  concept  would  be  unthinkable,  says  SLL  president  John  Aston,  without  the  LQYROYHPHQW RI WKH VRFLHW\ S ,W LV DOVR essential  that  the  lighting  community  as  a  whole  puts  its  weight  behind  wringing  the  full  potential  out  of  it.  â€˜The  IYL  is  an  opportunity,’  he  says,  â€˜but  only  if  we  JUDVS LW HIIHFWLYHO\ DQG PDNH VXUH WKDW ZH DUH LQYROYHG DW HYHU\ WXUQ ¶ Echoing  his  presidential  address,  Aston  also  makes  the  point  that  this  LV WKH LGHDO SODWIRUP IRU HYDQJHOLVP an  opportunity  to  raise  awareness  about  lighting  among  fellow  design  professionals  and  the  public  rather   than  SUHDFKLQJ WR WKH FRQYHUWHG The  fact  that  this  year’s  AGM  will  be  held  at  RIBA  (see  the  insert  in  this  issue),  and  that  incoming  president  Liz  Peck  plans  for  the  SLL  to  engage  more  closely  with  the  architectural  body,  is  an  excellent  demonstration  of  this.  While  a  PXFK FORVHU UHODWLRQVKLS KDV GHYHORSHG between  lighting  designers  and   DUFKLWHFWV RYHU WKH SDVW WZR RU WKUHH decades  as  awareness  of  the  lighting  profession  has  grown,  it  is  a  crucial Â

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FROODERUDWLRQ RQ D QXPEHU RI OHYHOV ± IRU energy  use,  for  the  greater  integration  of  lighting  systems  and,  of  course,  for  the  promotion  of  daylighting. The  year  will  probably  comprise  HYHQWV DFWLYLWLHV DQG LQLWLDWLYHV RI DOO VFDOHV DQG OHYHOV RI DPELWLRQ EXW DQ exercise  such  as  the  IYL  needs  its  â€˜grand  projet’  and  the  SLL’s  plans  for  the  Unesco  World  Heritage  Sites  certainly  fall  into  that  category  (p7). What  they  should  also  do  is  engage  a  YHU\ ZLGH DXGLHQFH EH\RQG WKH OLJKWLQJ community,  which  is  exactly  what  Aston  is  talking  about. Jill  Entwistle jillentwistle@yahoo.com

LETTERS...LETTERS...LETTERS..LETTERS...LETTERS...LETTERS...LETTERS I  was  delighted  to  see  the  news  (NL  1RY 'HF WKDW D -HDQ +HDS %XUVDU\  has  been  set  up  by  the  SLL.  I  had  actually  considered  suggesting  the   idea  but  was  concerned  about  the   ORQJ WHUP ¿QDQFLDO FRPPLWPHQW LW  ZRXOG LQYROYH IRU WKH VRFLHW\ Jean  put  an  enormous  amount  into  the  society.  When  we  were  setting  it  up  in  the  late  1990s  she  worked  tirelessly  to  ensure  that  its  membership  criteria  ZHUH ZHOO GH¿QHG DQG PHW WKH QHHGV RI the  profession.  As  committee  chairman  she  was  ¿UP WKDW RXU VWDQGDUGV RI PHPEHUVKLS were  sacrosanct  but  always  looked  at  DSSOLFDWLRQV LQ D FRQVWUXFWLYH PDQQHU There  were,  after  all,  many  applications  WKDW GLG QRW ¿W WKH µUXOHV¶ VLPSO\ EHFDXVH

RI WKH YDULHG EDFNJURXQGV RI PHPEHUV of  the  lighting  profession. She  was  an  enormous  help  to  me  throughout  my  time  as  secretary  of  the  society,  not  just  on  education  and  membership  but  in  so  many  aspects   RI LWV DFWLYLWLHV On  a  personal  note,  when  we  decided  on  the  criteria  for  honorary  fellowship  it  was  agreed  that  it  was  to  recognise  major  contributions  to  lighting  by  non-­members.  Imagine  my  surprise  ZKHQ , ZDV JLYHQ KRQRUDU\ IHOORZVKLS  on  my  retirement  as  secretary.  Jean   had  persuaded  the  education  committee  to  change  the  rules  as  soon  as  I  was  out  of  the  door. Jonathan  David  HonFSLL

A  Happy  New  Year  to  you  all  and  welcome  to  the  International  Year  of  Light  2015.  The  year  ahead  offers  a  great  opportunity  for  the  society  to  further  promote  learning  and  knowledge  transfer  WKURXJK HYHQWV LQ DOO WKH UHJLRQV We  had  a  great  time  on  the  stand  DW /X[/LYH DQG WKDQN DOO PHPEHUV WKDW FDPH DORQJ WR VD\ KHOOR DQG JLYH us  their  feedback.  A  highlight  was  the  <RXQJ /LJKWHU RI WKH <HDU ¿QDO ZLWK VRPH YHU\ KLJK FDOLEUH SUHVHQWDWLRQV :H congratulate  Janna  Aronson  on  taking  the  2014  title  (see  p11  for  Janna’s  feature  which  summarises  her  paper). The  Jean  Heap  Bursary  was  also  ODXQFKHG DW /X[/LYH DQG ZH LQYLWH DOO WR apply  for  the  funding.  The  £2000  bursary  ZLOO HQDEOH DQ LQGLYLGXDO WR XQGHUWDNH UHVHDUFK LQ D SDUWLFXODU ¿HOG RI OLJKWLQJ DQG WR WKHQ GHOLYHU WKHLU UHVXOWV WR WKH society  and  the  lighting  community  at  large.  Applications  can  be  downloaded  IURP WKH 6// ZHEVLWH DQG KDYH WR EH returned  to  us  by  31  March  2015. The  CIBSE  Research  Fund  granted  last  year  to  the  society  has  been  UHFHLYHG SRVLWLYHO\ E\ WKH LQGXVWU\ 7KLV is  to  enable  research  into  the  impact  of  LED  lamps  on  health  and  wellbeing,  as  well  as  explore  issues  such  as  measurement  of  colour,  assessment  RI WKH UROH RI GHULYHG FRORXU PHWULFV PHDVXUHPHQW RI ÀLFNHU DQG DVVHVVPHQW RI WKH LPSDFW RI ÀLFNHU RQ XVHUV DQG DOVR WR VXUYH\ H[LVWLQJ UHVHDUFK LQWR WKH HIIHFWV RI ORZ /(' OLJKW OHYHOV RQ circadian  rhythms.  The  ITT  documents  should  be  returned  by  5  January. The  new  LG10:  Daylighting  guide   IRU GHVLJQHUV LV QRZ DYDLODEOH WR download  from  the  CIBSE  Knowledge  Portal.  The  publication  has  been  updated  to  address  the  modern  techniques  in  PDQDJLQJ GD\OLJKW DQG YLVXDOLVDWLRQ  as  well  as  the  use  of  climate-­based  daylight  modelling  (CBDM).  We  are  also  looking  forward  to  the  SXEOLFDWLRQ RI WKH UHYLVHG /* /LJKWLQJ for  Museums  and  Art  Galleries  at  the  beginning  of  this  year  (see  p8).  Last  updated  in  1994,  this  area  of  lighting  has  been  subject  to  tremendous  change  in  both  technology  and  thinking  on  FRQVHUYDWLRQ LVVXHV We  welcome  LED  Linear  to  our  group  of  Sustaining  Members.  Their  support,  and  the  backing  of  all  our  Sustaining  Members,  will  enable  us  to  retain  and  GHYHORS HYHQWV GLUHFWHG DW SHRSOH LQ WKHLU early  lighting  career.  That  includes  Ready  Steady  Light,  of  course,  which  takes  place  on  24  March  2015.  We  encourage  HYHU\RQH WR DSSO\ HDUO\ DV WKLV HYHQW quickly  gets  booked  up.

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/LJKW \HDU·V DKHDG 2015 is the International Year of Light. John Aston looks at why lighting bodies must get behind the initiative 0DNLQJ KLVWRU\ FRPH DOLJKW Liz Peck explains how the SLL will mark the IYL in a unique and memorable way :H DUH SOHDVHG WR FRQ¿UP WKDW WKH society  will  partner  VIA-­Verlag  for  the  PLDC  student  speaker  competition,  The  Challenge.  The  society  is  the  Knowledge  Partner  of  the  competition  which  culminates  at  the  PLDC  in  Rome  this  October.  The  next  round  of  The  &KDOOHQJH LV DW 1DSLHU 8QLYHUVLW\ RQ )HEUXDU\ UHJLVWHU DW ZZZ HYHQWV YLD YHUODJ FRP :H HQFRXUDJH DV PDQ\ RI \RX DV SRVVLEOH WR DWWHQG WKLV HYHQW /DVW PRQWK 3DXO 5XIÀHV VWHSSHG down  as  chair  of  the  technical  and  publications  committee.  Paul  joined  the  FRPPLWWHH LQ DQG WRRN RYHU WKH chair  from  1990-­94.  He  then  took  on  the  role  again  from  2011  to  December  2014.  Many  of  us  in  the  society  thank  Paul  for  KLV LQYROYHPHQW DQG GLUHFWLRQ LQ VR PDQ\ of  the  Lighting  Guides,  Fact  Files,  Codes  DQG +DQGERRN RYHU WKH \HDUV 7KH JRRG news  is  that  Paul  will  remain  on  the  committee  with  Simon  Robinson  (WSP)  taking  on  the  role  of  chair. :H DUH ORRNLQJ IRU YROXQWHHUV WR MRLQ the  technical  and  publications  committee  whose  current  remit  includes  the  rewrite  of  the  Code  for  Lighting  and  Handbook.  Please  contact  me  by  the  end  of  January  for  more  details. )LQDOO\ ZH SD\ WULEXWH WR 'DYLG /RH who  has  stepped  down  from  the  Lighting  Research  and  Technology  editorial  board  /5 7 'DYLG KDV EHHQ D PHPEHU RI the  LR&T  board  for  14  years,  chair  for  ¿YH \HDUV DQG LQVWUXPHQWDO LQ SURGXFLQJ WKH /5 7 &' :H WKDQN 'DYLG IRU DOO his  work  on  behalf  of  the  society,  the  members  and  the  world  of  lighting  research  and  education.  The  LR&T  journals  will  increase  from  six  to  eight  editions  in  2015  and  are,  of  course,  free  to  download  to  all  members.   Brendan  Keely,  MSLL bkeely@cibse.org

3OD\LQJ WR WKH JDOOHU\ 7H\S 9\MÃ…LZ HUK 2L]HU :OH^ outline the new LG8 on museum and gallery lighting

6HWWLQJ WKH VFHQH YLOTY Janna Aronson looks at how natural light can be translated from visual art 0HDVXUH IRU PHDVXUH Lighting metrics is a key topic in the latest LR&T, discovers Iain Carlile

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Artful paper wins Young Lighter of the Year award

1HZ OLJKWLQJ FDWHJRU\ IRU &,%6( DZDUGV )RU WKH ¿UVW WLPH &,%6(¶V %XLOGLQJ Performance  Awards  will  include  a  lighting  category.  The  following  projects  KDYH EHHQ VKRUWOLVWHG  â€¢  â€¢  â€¢ Â

-DQQD $URQVRQ RI 7HO $YLY EDVHG 57/' Lighting  Design  won  the  Young  Lighter  of  the  Year  title  following  a  close  contest  EHWZHHQ WKH IRXU ¿QDOLVWV $URQVRQ whose  paper  was  entitled  Daylight-­Art-­ Atmosphere  (see  p11  for  her  summary),  was  presented  with  her  trophy  at  the  Lux  $ZDUGV DW /RQGRQ¶V 7UR[\ RQ WKH HYHQLQJ RI WKH ¿QDO LQ 1RYHPEHU DERYH 9HURQLND /DEDQFRYD RI ,VRPHWUL[ ZRQ WKH %HVW :ULWWHQ 3DSHU $ZDUG JLYHQ E\ the  ILP,  for  Possible  Impact  of  Ageing  ,QÀXHQFH RQ /LJKW 4XDOLW\ 3HUFHSWLRQ E\ Human  Beings.  James  Duff  of  Arup  was  awarded  Best  Presentation  Award  for  his  paper,  Any  2EMHFWLYH 0HWULF WR 'HWHUPLQH 6XEMHFWLYH

/LJKW $GHTXDF\" 7KH IRXUWK ¿QDOLVW ZDV Katerina  Konsta  of  Atkins  Global  who  looked  at  daylighting  in  schools. 7KH ¿QDOV ZHUH KHOG DW /X[/LYH DW London’s  ExCel. This  was  the  20th  year  of  the  competition,  open  to  anyone  under  30  years  of  age  working  in  light,  design,  architecture,  manufacturing,  research  or  healthcare,  or  studying  a  lighting-­related  HGXFDWLRQDO FRXUVH $OO WKH ¿QDOLVWV UHFHLYH D FDVK SUL]H DORQJ ZLWK D \HDU¶V free  membership  of  the  SLL.     )RU PRUH GHWDLOV DQG WR UHJLVWHU DQ LQWHUHVW IRU WKH FRPSHWLWLRQ HPDLO VOO#FLEVH RUJ

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Belfast  City  Hall  facade  lighting,  Belfast  (Arup)  &XQGDOO RI¿FHV %LUPLQJKDP (Cundall  Light4  ) +RDUH /HD¶V KHDG RI¿FH :HVWHUQ Transit  Shed,  King’s  Cross,  London  (Hoare  Lea  Lighting)  Tate  Britain  Millbank  Project,  London  (Max  Fordham)  London  School  of  Economics  (Mott  MacDonald)  Sainsbury’s  Project  Graphite  LED  lighting  programme   (Sainsbury’s  Supermarkets)  Wm  Morrissons,  Thornbury,  Bradford  (Thorn  Lighting,  Zumtobel  Group)

The  winners,  and  recipient  of  the  Carbon  Champion  of  the  Year  Award  2015,  will  be  announced  at  the  Building  Performance  $ZDUGV HYHQW RQ )HEUXDU\  www.cibse.org/bpa

Ogus only ninth lighter to get CIBSE Gold Medal Hugh  Ogus  has  been  awarded  a  rare  CIBSE  Gold  Medal,  the  institution’s  highest  honour.  It  is  only  the  30th  Gold  Medal  WR EH JLYHQ VLQFH 1912,  and  only  the  ninth  to  be  awarded  to  a  lighter. Â

Made  an  MBE  in  2012,  last  year  he  was  also  made  an  Honorary  Fellow  of  the  6// DQG JLYHQ DQ +RQRUDU\ )HOORZVKLS RI the  City  and  Guilds  of  London  Institute. $ IRUPHU &,%6( YLFH SUHVLGHQW DQG /LJKWLQJ 'LYLVLRQ QRZ 6// FKDLUPDQ DPRQJ QXPHURXV DFWLYLWLHV 2JXV KDV become  best  known  in  recent  years  for  his  work  with  the  Lighting  Education  Trust  (LET),  latterly  with  attempts  to  establish  a  graduate  degree  in  lighting  design,  now Â

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WHFKQRORJ\ UHVSRQGV WR DQ REVHUYHU·V gaze by activating tiny motors to move parts of the dresses. One dress is covered in strands of photoluminescent thread, while the other has a base layer of glow-in-the-dark threads with fabric ribbons bunched over the top. :KDW QR RQH KDV H[SODLQHG LV ZK\ www.dezeen.com/2013/06/24/nowhere-­ nowhere-­two-­gaze-­activated-­glow-­in-­ the-­dark-­dresses-­eye-­tracking-­ying-­gao/

2015 has been declared as the International Year of Light by the UN. SLL president John Aston looks at why lighting bodies must get behind the initiative We  all  take  light  far  too  much  for  granted.  The  sun  rises  in  the  morning  and  sets  in  the  HYHQLQJ RQ D FRPSOHWHO\ predictable  and  reliable  basis.  When  there  is  QR GD\OLJKW ZH ÀLFN D VZLWFK DQG ± YRLOD ± ZH JHW DUWL¿FLDO OLJKW 6R ZH QHYHU WKLQN DERXW KRZ we  get  it,  what  it  does  for  us  and  how  life  could  not  exist  without  it.  4XLWH ZK\ ZH KDYH QHYHU KDG D µ<HDU RI Light’  before  escapes  me  but  it  can  only  be  EHQH¿FLDO LQ UDLVLQJ DZDUHQHVV RI DOO WKH DVSHFWV RI OLJKW ± IURP QDWXUH WKURXJK WR LWV PDQ\ GLYHUVH XVHV ZKHQ JHQHUDWHG DUWL¿FLDOO\ ,I ,</ FDQ PDNH SHRSOH WKLQN PRUH DERXW OLJKW LWV EHQH¿WV DQG DOO LWV PDQ\ IRUPV WKHQ LW ZLOO DFFRPSOLVK PXFK But  it  can  only  accomplish  anything  if  it  is  successfully  promoted  and  supported;;  all  lighting  bodies  need  to  be  behind  it  ZKDWHYHU WKHLU LQWHUHVW 7KDQN JRRGQHVV WKH ULVN RI SRZHU FXWV in  the  winter  is  being  addressed  in  terms  of  â€˜can  we  keep  the  lights  on?’  or  â€˜expect  the  lights  to  be  dimmed  this  winter’.  The  more  we  all  know  about  light  the  more  wisely  it  will  EH XVHG , EHOLHYH WKDW ZH KDYH IRUJRWWHQ WKDW OLJKW DQG IUHVK air  used  to  be  an  essential  part  of  sanatorium  design;;  the  old  Department  of  Health  guides  for  hospital  designs  used  to  insist  RQ PLQLPXP GD\OLJKW IDFWRUV LQ FOLQLFDO ZDUGV ± GR WKH\ VWLOO" 0DQ\ KHDOWK LQVWLWXWLRQV KDG KXJH FRQVHUYDWRULHV RU YHUDQGDKV where  patients  were  put  to  get  better  quicker.  7KLV ZDV SDUWLFXODUO\ HYLGHQW ZKHQ \RX ORRN DW ROG SKRWRV taken  between  the  two  world  wars.  Yet  today  we  are  looking  at  YLWDPLQ ' GH¿FLHQF\ DQG RWKHU KHDOWK LVVXHV EHFDXVH FKLOGUHQ no  longer  play  outside...

IYL:  the  background The  Unesco  International  Year  of  Light  and  Technology,   WR JLYH LW LWV IXOO WLWOH LV WKH LQLWLDWLYH RI D FRQVRUWLXP RI VFLHQWL¿F ERGLHV ,WV URRWV WKHUHIRUH OLH YHU\ PXFK LQ technology  and  academia  with  an  initial  bias  towards  more  UDUH¿HG WHFKQRORJLFDO GHYHORSPHQWV VXFK DV QDQRSKRWRQLFV and  quantum  optics,  and  applications  of  light  in  spheres  such  as  medicine  and  communications.  +RZHYHU OREE\LQJ IURP ERGLHV VXFK DV WKH 6// ZKLFK has  subsequently  become  a  Gold  Associate  sponsor,  has  SXW WKH OLJKWLQJ RI WKH EXLOW HQYLURQPHQW RQ WKH DJHQGD 7KH ball  is  now  in  the  court  of  the  lighting  community  to  create  HYHQWV DQG DFWLYLWLHV WKDW ZLOO SURPRWH OLJKWLQJ DQG UHODWHG issues  under  the  IYL  banner. According  to  the  prospectus,  IYL  will  â€˜promote  the  central Â

role  of  light  in  science  and  culture,  the  importance  of  light-­ EDVHG WHFKQRORJLHV IRU WKH HTXLWDEOH GHYHORSPHQW RI JOREDO VRFLHW\¶ 7KH DLP LW VD\V LV WR EULQJ WRJHWKHU D YDULHW\ RI VWDNHKROGHUV LQFOXGLQJ VFLHQWL¿F VRFLHWLHV DQG XQLRQV HGXFDWLRQDO LQVWLWXWLRQV WHFKQRORJ\ SODWIRUPV QRQ SUR¿W RUJDQLVDWLRQV DQG SULYDWH VHFWRU SDUWQHUV  â€˜An  International  Year  of  Light  is  a  tremendous  opportunity  to  ensure  that  international  policymakers  and  VWDNHKROGHUV DUH PDGH DZDUH RI WKH SUREOHP VROYLQJ SRWHQWLDO RI OLJKW WHFKQRORJ\ ¶ VD\V -RKQ 'XGOH\ YLFH president  of  the  European  Physical  Society  and  chairman  RI WKH ,</ VWHHULQJ FRPPLWWHH µ:H QRZ KDYH D XQLTXH opportunity  to  raise  global  awareness  of  this.’ For  full  details  go  to:  www.light2015.org/ V

Clothes with LEDs that light up is so 2010, but dresses that writhe around and light up simply because you stare at them is something else. Fashion designer Ying Gao has made a pair of GUHVVHV WKDW GR H[DFWO\ WKDW ¶:H XVH an eye-tracking system so the dresses PRYH ZKHQ D VSHFWDWRU LV VWDULQJ · <LQJ *DR WROG GHVLJQ ZHEVLWH 'H]HHQ ¶>7KH system] can also turn off the lights, then WKH GUHVVHV LOOXPLQDWH · 7KH HPEHGGHG H\H WUDFNLQJ

SDUWLDOO\ DFKLHYHG DW %UXQHO 8QLYHUVLW\ µ,I , JHW LQYROYHG ZLWK VRPHWKLQJ , JLYH it  my  attention  or  there’s  no  point  in  being  there,’  commented  Ogus,  who  said  he  ZDV YHU\ SURXG WR UHFHLYH WKH KRQRXU ‘If  there’s  a  job  to  be  done  I’m  SUREDEO\ WKH RQH WKDW ZLOO YROXQWHHU WR do  it.  I  think  it’s  something  in  the  blood.  You’re  here  in  this  world  and  you  may  not  change  it  but  you  can  help  make  it  better  for  other  people.’ Â

Light year’s ahead

V

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, IHHO WKH RULJLQDO RPLVVLRQ RI OLJKW LQ WKH EXLOW HQYLURQPHQW  on  the  IYL  agenda  was  largely  a  symptom  of  the  fact  that  we   all  take  light  for  granted.  ,W LV QRZ XS WR XV DQG VLPLODU ERGLHV WR GHYHORS WKH RSSRUWXQLW\ JLYHQ WKDW WKLV KDV EHHQ DGGHG RQO\ DW WKH HQG RI

$ <HDU RI /LJKW ZLWKRXW RXU LQYROYHPHQW ZRXOG EH XQWKLQNDEOH ,W LV DQ RSSRUWXQLW\ ² EXW RQO\ LI ZH JUDVS LW HIIHFWLYHO\ DQG PDNH VXUH WKDW ZH DUH LQYROYHG DW HYHU\ WXUQ

2015  will  we  know  whether  the  balance  was  suitably  addressed.   :H DOUHDG\ KDYH SODQV WKURXJK /L] 3HFN WR HQJDJH PRUH closely  with  RIBA  and  if  we  can  make  some  progress  with  them  FRQFHUQLQJ WKH XVH RI OLJKW ± QDWXUDO DQG DUWL¿FLDO ± LQ IXWXUH buildings  and  the  IYL  can  help,  so  much  the  better.  But  we  need  WR HQJDJH ZLWK D ZLGHU DXGLHQFH VR WKDW HYHU\RQH VHHV OLJKW DV being  important  in  all  its  guises.  Where  our  role  as  a  sponsor  is  concerned,  for  an  International  Year  of  Light  to  be  promoted  without  the  LQYROYHPHQW RI WKH VRFLHW\ ZRXOG EH XQWKLQNDEOH , KRSH LW ZLOO IRFXV XV RQ RXU FRQWLQXLQJ REMHFWLYH WR SURPRWH JRRG OLJKW DQG OLJKWLQJ HGXFDWH DQ\RQH ZKR ZLOO OLVWHQ DQG ± E\ UDLVLQJ  LQWHUHVW LQ WKH VXEMHFW RI OLJKW ± SRVVLEO\ KHOS XV DWWUDFW OLNH minded  people  to  our  membership. 7KH ,</ LV DQ RSSRUWXQLW\ ± EXW RQO\ LI ZH JUDVS LW HIIHFWLYHO\  DQG PDNH VXUH WKDW ZH DUH LQYROYHG DW HYHU\ WXUQ

Brendan  Keely,  SLL  secretary,  outlines  some  of  the  society’s  plans  for  IYL  2015

What is Light? Light plays a vital role in our daily lives and has become an important tool in meeting the needs of our 21st century world. Light-based technologies protect health and safety, provide sustainable energy, enable space explorations, advance lighting options in rural areas, enable communication via the Internet, and hold the promise of limitless possibilities to improve the human condition and protect the earth.

This still image was taken from a new NASA movie of the sun based on data from NASA’s Solar Dynamics Observatory, or SDO, showing the wide range of wavelengths – invisible to the naked eye – that the telescope can view. By examining pictures of the sun in a variety of wavelengths, scientists can track how particles and heat move through the sun’s atmosphere. In this image, the various invisible wavelengths are each colorized differently to show the range of components on the sun’s surface, helping scientists to paint a complete picture of our star.

Light is part of the electromagnetic radiation spectrum and is a form of energy. Light is usually considered to be the visible part of the spectrum. However, in physics, light can be defined as all portions of the electromagnetic scale, including invisible forms such as infrared, ultraviolet, X-rays, radio waves, and more. Electromagnetic waves can be described by their wavelengths, energy, and frequency.

Wavelength ( )-Light waves are vibrations in the electromagnetic field. The wavelength of a light

wave is measured as the distance between two wave crests. Light wavelengths can vary greatly; for example, radio waves can be about the size of small buildings, while gamma rays are subatomic size.

Frequency ( )-The number of wave crests passing by a fixed point in a given time period—usually

one second—is called frequency. Frequency is measured in hertz (Hz). Higher-frequency waves have shorter wavelengths.

Energy ( )-The greater the energy, the higher the frequency and the shorter (smaller) the wavelength. Given

the relationship between wavelength and frequency—the higher the frequency, the shorter the wavelength—it follows that short wavelengths are more energetic than long wavelengths.

www.SPIEDigitalLibrary.org

6

www.SPIE.org/IYL

The  society  is  supporting  the  Unesco  International  Year  of  Light  2015  in  recognition  of  the  role  light  plays  in  society,  to  promote  awareness  of  lighting  in  the  EXLOW HQYLURQPHQW DQG WR SURPRWH WKH OLJKWLQJ GHVLJQ profession  and  industry  as  a  whole,  as  well  as  the  members  of  the  society. 9DULRXV HYHQWV ZLOO WDNH SODFH WKURXJKRXW WKH \HDU in  liaison  with  the  Institute  of  Physics  (IoP),  the  UK  Steering  Committee  and  the  European  Physical  Society  (36 7KH VRFLHW\¶V SUR¿OH DQG HYHQWV ZLOO EH LQFOXGHG on  the  website  of  the  IYL  2015  along  with  educational  PDWHULDO LQFOXGLQJ IUHH IDFW ¿OHV IRU SXEOLF GRZQORDG This  will  enable  the  society  to  reach  further  than  its  PHPEHUVKLS EDVH WR RWKHUV RIIHULQJ DGYLFH DQG VXSSRUW 7KH VRFLHW\ ZLOO DVVLVW LQ HYHQWV DUUDQJHG WKURXJK /LJKWLQJ 5HODWHG 2UJDQLVDWLRQV / 52 ± D JURXS organised  by  Italian  lighting  designer  Chiara  Carucci  ZKR LV FRRUGLQDWLQJ ZLWK DOO SURIHVVLRQDO ERGLHV ± DV ZHOO DV GHOLYHULQJ HYHQWV XQGHU WKH ,</ EDQQHU (YHQWV SODQQHG IRU LQFOXGH WKH <HDUV RI Fresnel  lecture  at  the  Royal  Institution  in  March,  and  an  LQLWLDWLYH WR OLJKW 8QHVFR :RUOG +HULWDJH 6LWHV LQ WKH 8. DQG ,UHODQG VHH RSSRVLWH SDJH ,W LV KRSHG WKDW HYHQWV will  be  jointly  hosted  by  the  professional  lighting  bodies  operating  in  the  UK. One  of  the  IYL  2015  themes  is  the  Empowerment  RI :RPHQ &RLQFLGHQWO\ WKH VRFLHW\ ZLOO KDYH D IHPDOH president  half  way  through  the  year,  Liz  Peck,  as  will  the  ILP,  IALD  and  RIBA.  This  will  help  reinforce  the  role  of  women  in  lighting.  The  society  will  also  continue  to  strengthen  links  with  RIBA  and  encourage  collaboration  between  the  lighting  and  architectural  professions. All  professional  bodies  will  promote  light  and  lighting  applications  to  schools  through  Stem  (science,  technology,  engineering  and  maths)  and  other  LQLWLDWLYHV ,Q 0D\ DW WKH $*0 WKH 6// ZLOO FRQ¿UP the  winner  of  the  Jean  Heap  Bursary,  which  will  enable  DQ LQGLYLGXDO WR IXUWKHU WKHLU UHVHDUFK IRU WKH EHQH¿W RI the  industry  and  the  society’s  members.

Making history come alight The SLL will mark the IYL in a unique and memorable way. Liz Peck explains the plan to light UK Unesco sites One  of  the  things  I  enjoy  most  about  being  part  of  the  SLL  is  WKDW LW EULQJV WRJHWKHU SHRSOH LQYROYHG LQ ZLGHO\ GLIIHULQJ DUHDV RI OLJKWLQJ EXW ZLWK D VKDUHG ORYH RI WKH VXEMHFW PDWWHU At  SLL  council,  we  also  formally  bring  together  UHSUHVHQWDWLYHV IURP DOO URXQG WKH 8. DQG ,UHODQG ZLWK PLQXWHV RI WKH PHHWLQJ JHWWLQJ GLVWULEXWHG WR 6// UHSUHVHQWDWLYHV LQ Hong  Kong,  Australia  and  the  Middle  East.  It’s  an  opportunity  for  sharing  ideas  and  for  our  members  to  feed  into  the  H[HFXWLYH ERDUG ZKDW WKH\¶UH H[SHULHQFLQJ LQ WKHLU UHJLRQV VR WKDW ZH FDQ GR WKH EHVW ZH FDQ IRU DOO RXU PHPEHUV ZKHUHYHU they  are  based.  It’s  fair  to  say  council  is  an  eclectic  mix  of  different  skills  and  experience. :LWK PHPEHUV WUDYHOOLQJ IURP DOO SDUWV RI WKH FRXQWU\ DQG trains  pre-­booked,  it  usually  means  there’s  time  for  a  drink  DIWHUZDUGV ZKHUH WKH FRQYHUVDWLRQ FRQWLQXHV WR ÀRZ 1RZ ZKHQ \RX OHW WKUHH SDVVLRQDWH OLJKWLQJ GHVLJQHUV JHW WRJHWKHU RYHU D beer,  crazy  ideas  are  sure  to  arise  and  so  it  was  last  autumn  when  Dan  Lister,  Rhiannon  West  and  I  started  discussing  the  possibility  of  doing  something  amazing  for  the  Unesco  ,QWHUQDWLRQDO <HDU RI /LJKW ± VRPHWKLQJ WR EULQJ SXEOLF DWWHQWLRQ to  how  light  transforms  and  can  breathe  life  into  our  history.  Perhaps  we  could  illuminate  historic  sites  across  the  whole  of  the  UK  and  Ireland,  for  one  night  only?  After  all,  the  SLL  has  D ELW RI KLVWRU\ ZLWK HYHQWV VXFK DV 5HDG\ 6WHDG\ /LJKW KHOSLQJ young  people  to  understand  lighting  equipment  and  lighting  HIIHFWV LQ YDULRXV HQYLURQPHQWV VR GRLQJ LW RQ PXOWLSOH VLWHV shouldn’t  be  too  hard,  should  it?  After  some  research  on  sites  which  are  less  well-­known,  WKH SURYHUELDO OLJKW EXOE PRPHQW DUULYHG ZKHQ FRQWHPSODWLQJ D suitable  site  in  Northern  Ireland.  We  were  thinking  how  cool  it  would  be  to  light  up  Giant’s  Causeway  and  then  remembered  WKDW LW¶V D 8QHVFR :RUOG +HULWDJH 6LWH $ TXLFN VHDUFK UHYHDOHG far  more  WHSs  in  the  UK  and  Ireland  than  we  had  realised.  While  they  may  differ  in  architecture  and  location,  the  common  theme  of  being  Unesco-­protected  should  inspire  plenty  of  interest  and  enthusiasm. 1RZ REYLRXVO\ ZH ZDQW WR WDNH WKLV FKDOOHQJH RQ LQ D SURIHVVLRQDO ZD\ ZH DUH ORRNLQJ IRU GHVLJQHUV WR RYHUVHH HDFK site,  suppliers  to  help  out  with  equipment  and,  in  some  cases,  we’re  going  to  need  some  power  as  well  as  distribution.  Most  important,  though,  we  want  the  industry  to  engage  with  the  project,  be  a  part  of  it,  help  us  to  create  something  truly  special  to  capture  the  public’s  imagination  and  attention. So,  the  plan  is  to  illuminate  10  sites  next  autumn.  These  will  QHHG VRPH UHVHDUFK DQG ¿QDOLVLQJ DV ZH DSSUHFLDWH WKDW WKHUH may  be  some  reticence  from  certain  parties  about  allowing  SHRSOH WR FODPEHU RYHU WKHLU SUHFLRXV VLWHV ZLWK D ORW RI OLJKWLQJ equipment  and  electricity.  Personally,  I  can’t  wait  to  read  the  health  and  safety  statement  for  Giant’s  Causeway. 6SHDNLQJ WR SHRSOH DW /X[/LYH ODVW 1RYHPEHU KDV DOUHDG\ brought  pledges  of  support  from  a  number  of  designers  and  PDQXIDFWXUHUV $ IHZ SHRSOH KDYH DOVR PHQWLRQHG SRVVLEOH FRQWDFWV DW YDULRXV VLWHV :H ZLOO QHHG WR PD[LPLVH RXU FROOHFWLYH DELOLWLHV QRW MXVW RXU FRUH VNLOOV H[SHULHQFH DQG ORYH

List  and  locations  of  potential  sites

RI OLJKW EXW DOO WKH FRQWDFWV ZH KDYH EHWZHHQ XV ZKR ZLOO KHOS IDFLOLWDWH WKLV EULOOLDQW HYHQW Being  the  SLL,  we  also  want  this  to  be  an  experience  and  RSSRUWXQLW\ IRU OHDUQLQJ VR ZH¶OO EH ORRNLQJ WR KDYH \RXQJ SHRSOH LQYROYHG LQ WKH SODQQLQJ DQG H[HFXWLRQ RI HDFK VLWH  DQG SRVVLEO\ DOVR VRPH OD\ SHRSOH ZKR KDYH QR H[SHULHQFH  LQ OLJKWLQJ ZKDWVRHYHU Each  site  will  present  different  issues  and  some  will  be   more  challenging  than  others,  but  there  was  a  method  in   RXU PDGQHVV ± ZH NQRZ ZH KDYH OLJKWLQJ GHVLJQHUV DQG H[SHUWLVH FORVH WR PRVW LI QRW DOO WKH VLWHV ZH¶YH LGHQWL¿HG  for  possible  inclusion  (currently  18).  We  know  that  some  will  restrict  access,  and  we’ll  only  include  one  of  the  four  sites  in  /RQGRQ VRXWK HDVW :H¶YH DOVR HOLPLQDWHG VLWHV ZH NQRZ WR be  already  lit,  such  as  Durham  Cathedral,  along  with  the  more  extreme  sites  on  the  coasts  of  Scotland,  Ireland  and  south-­  west  England.  The  sites  are  all  eminently  do-­able;;  we  just   need  some  people  and  some  kit  and  someone  to  be  willing   to  project-­manage  each  site.  6R KRZ FDQ \RX JHW LQYROYHG" 2XU ¿UVW MRE LV WR JHW VRPHRQH WR YLVLW HDFK VLWH DQG HVWDEOLVK LI WKHUH LV OLJKWLQJ DOUHDG\ LQ place  (or,  in  the  case  of  the  cities,  identify  some  buildings  not  FXUUHQWO\ OLW ,I \RX KDYH D FRQWDFW DW DQ\ RI WKH VLWHV OLVWHG please  let  us  know  as  we  want  the  process  to  be  as  smooth  DV SRVVLEOH ,I \RX ZDQW WR EH LQYROYHG LQ DQ\ ZD\ DW DQ\ RI WKH sites,  just  let  Brendan  know  (bkeely@cibse.org).  Now  we’re  into  2015,  we’re  looking  to  get  things  rolling  as  we’ll  need  to  identify  the  kit  we’d  like  for  each  site  and  then  chat  up  some  manufacturers  to  help  us  out.  It’s  all  exterior  lighting  but  if  you  work  for  an  interior  product  manufacturer,  you  can  VWLOO EH LQYROYHG ± PD\EH \RX KDYH VRPH FRQWDFWV RU FDQ KHOS with  designing  one  of  the  sites.  There’s  lots  to  be  done  but  by  uniting  the  industry,  we  know  we  can  create  something  that  truly  symbolises  how  we  can  use  the  IYL  to  draw  public  attention  to  the  brilliant  medium  of  light. I  can’t  wait.  Who’s  joining  us?

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Playing to the gallery 7H\S 9\MÅLZ V\[SPULZ [OL JVU[LU[Z VM [OL UL^ 3. VU T\ZL\T HUK NHSSLY` SPNO[PUN ^OPSL 2L]HU :OH^ SVVRZ H[ OV^ [OL SH[LZ[ [LJOUVSVN` HUK UL^ thinking have radically reshaped guidance in this sphere 3DXO 5XIà HV 7KH REMHFW RI WKH H[HUFLVH :KHQ YLVLWLQJ DQ DUW JDOOHU\ RU PXVHXP QR RQH OLNHV WR JR LQWR a gloomy space, no one likes not being able to read information labels and, we hope, no one wants objects so brightly lit that they fade away before the next generation has a chance to see and appreciate them. 6R WKH ÀUVW FKDSWHU RQ OLJKWLQJ SULQFLSOHV EHJLQV E\ ORRNLQJ at why it is important to consider the objects, the display space and the operation of the building when creating a successful lighting strategy. 7KH QH[W FKDSWHU FRQFHQWUDWHV RQ GHVFULELQJ WKH ZD\ WR OLJKW the interior of the room or display space where the exhibits are to be viewed. Some spaces are plain and simple white boxes – a more recent trend, with their own lighting problems – but many are architecturally interesting spaces or historic rooms that deserve to be well lit in their own right. 7KH KHDUW RI WKH JXLGH RI FRXUVH LV WKH FKDSWHU RQ OLJKWLQJ the exhibits. Here the guide examines ways to select and SRVLWLRQ WUDFNV À[LQJV DQG OLJKWV WR EULQJ RXW WKH EHVW LQ GLIIHUHQW W\SHV RI REMHFW 7KLV FRYHUV QRW RQO\ PRGHOOLQJ contrast with background and lighting levels, but also glare and practical issues such as access for maintenance. 7KH LVVXH RI OLJKWLQJ OHYHOV LV FRYHUHG LQ PRUH GHWDLO LQ WKH material degradation chapter where we go through how light and heat can fade and physically degrade material types within REMHFWV RQ GLVSOD\ :H H[SODLQ ZK\ IRU LQVWDQFH LW LV QR ORQJHU UHFRPPHQGHG WKDW ÀQH VLONV DQG VLPLODU IXJLWLYH PDWHULDOV FDQ be on permanent display, even at the minimum lighting level for good perception of detail and colour: 50 lux. Daylight and electric lighting are the subject of the next two chapters, both as individual light sources and when combined. 7KH GD\OLJKW VHFWLRQ ORRNV DW ELJ FRPSOH[ URRà LJKW V\VWHPV and at the control of daylight through typical side windows in KLVWRULF URRPV 7KH HOHFWULF OLJKWLQJ FKDSWHU FRYHUV DOO W\SHV DQG varieties of lighting equipment and lamp types in common and sometimes not so common use.

Water  Hall,  Birmingham  Museum  and  Art  Gallery:  a  purpose-­designed  lighting  structure  is  suspended  below  the  historic  ceiling  (Arup)

Wallace  Collection:  the  chandelier  is  the  visible  source  of  ambient  lighting,  while  illumination  to  the  wall  and  objects  is  hidden  in  the  ceiling  detailing  (KSLD)

.HYDQ 6KDZ .HHSLQJ DEUHDVW RI FKDQJH 8SGDWLQJ /* KDV WDNHQ D ORQJ WLPH 7KH SDVW Ă€YH \HDUV have seen so many changes in museum lighting that it has EHHQ YHU\ GLIĂ€FXOW WR NHHS XS DV GUDIW DIWHU GUDIW KDV EHFRPH overtaken by various transitions and transformations before it has made it through the editorial and approvals process. 7KH ODVW HGLWLRQ RI /* ZDV SXEOLVKHG LQ DQG ZRUN KDV EHHQ JRLQJ RQ WR UHYLVH LW VLQFH 7KH Ă€UVW FKDOOHQJH ZDV WR Ă€JXUH RXW KRZ WR LQFRUSRUDWH WKH UHYLVHG JXLGDQFH RQ lighting in the conservation environment published by the CIE ² &,( &RQWURO RI 'DPDJH WR 0XVHXP 2EMHFWV E\ 2SWLFDO 5DGLDWLRQ 7KLV GRFXPHQW UHIRFXVHG DWWHQWLRQ RQ WKH IDFW WKDW LW LV H[SRVXUH RYHU WLPH DQG QRW WKH VSHFLĂ€F OLJKW OHYHO that causes damage. It also introduced a new category of objects to allow for those that are so sensitive that even at the low lighting levels used for very vulnerable exhibits they cannot be left on permanent display without suffering unacceptable levels of damage. 7KURXJKRXW WKH SHULRG RI ZULWLQJ WKLV HGLWLRQ RI WKH JXLGH we have seen the extraordinary development of LED lighting technology. Back in 2005, LEDs were an interesting gadget that had very limited application in museums with the exception RI VSHFLĂ€F FRORXUHG OLJKWLQJ DQG G\QDPLF GLVSOD\V (DFK RI the subsequent drafts has entailed a total rewrite for the

/(' VHFWLRQ XQWLO WKH ÀQDO GUDIW ZKHUH WKH\ DUH ULJKWO\ GHDOW ZLWK as the principle light source that is now likely to be considered for museum lighting. Conversely, we have seen a succession of European EcoDesign legislation that has changed the landscape of the ODPSV DQG OLJKW VRXUFHV WKDW DUH DYDLODEOH ,Q WKH URDGPDS for withdrawal of conventional incandescent lamps was set. 7KLV SDUWLFXODUO\ DIIHFWV EXLOGLQJV ZLWK KLVWRULF OLJKWLQJ VXFK DV historic houses, which are also covered in LG8. In 2013 the amusingly named DIM2 regulations started to deprive us of the low voltage tungsten halogen lamps that have been our weapon of choice for museum lighting over the past 30 years. 7KH UHVXOW LV WKH LQIRUPDWLRQ LQ WKH JXLGH RQ WKHVH ODPSV LV now more of a historical note than the detailed and currently XVHIXO JXLGDQFH LW ZDV LQ WKH HDUO\ GUDIWV 7KLQJV ZLOO FRQWLQXH to change and this edition of LG8 is very likely to have a considerably shorter life than its long-lived forebear. LG8 has to serve a broad audience. Although widely considered to be the prime source of information for professional lighting designers it also has to provide approachable and useful information for a broader audience. It is also a primary resource for people in many professions spanning the museum world who are looking for a sound basis on which to develop lighting strategies and briefs for

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7KHUH LV D YHU\ XVHIXO FKDSWHU RQ ZD\V WR OLJKW VKRZFDVHV either from outside the case or from within. Often the standard lighting solutions offered by some case manufacturers leaves a lot to be desired and we hope this chapter will encourage all involved in showcase lighting to improve the situation. 7KH JXLGH FRQFOXGHV ZLWK NH\ FKDSWHUV RQ OLJKWLQJ FRQWURO DQG WKH LVVXHV DURXQG PDLQWHQDQFH HQHUJ\ HIĂ€FLHQF\ DQG running costs. Easy control leads to better use of the lighting, as well as happier clients and room attendants. It also leads to good energy and running cost savings with unnecessary lighting avoided when the public are not using the space. Access for maintenance is particularly important in museums and galleries as not only do you have the normal safety issues with working at height but you also have to consider possible danger to the exhibits themselves.

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/LJKWLQJ *XLGH /LJKWLQJ IRU 0XVHXPV DQG $UW *DOOHULHV ZLOO EH SXEOLVKHG LQ HDUO\ Kevan Shaw (chair) 7DG 7U\OVNL WHFKQLFDO HGLWRU

John Fitzpatrick (technical secretary) 3DXO 5XIà HV ÀQDO XSGDWHV

History  Gallery,  Birmingham  Museum  and  Gallery:  LED  lighting  within  cases,  structures  and  at  high  level  provides  low-­energy,  low-­maintenance  lighting  throughout  (LD&T)

PXVHXPV JDOOHULHV DQG SULYDWH FROOHFWLRQV 7R DFKLHYH WKLV WKH guide covers all the aspects of lighting in museums with due reference to other Lighting Guides where appropriate. Museums have not escaped the challenges of the current HFRQRPLF VLWXDWLRQ $OO DUH QHHGLQJ WR ÀQG LQFUHDVHG VRXUFHV of revenue. As budgets and grants are put under pressure, operating costs are under increasing scrutiny. Lighting is, of course, a major energy user in most museums so again we anticipate LG8 will be referred to by facility managers and

7DVN JURXS DQG FRQWULEXWRUV Linda Bullock (Linda Bullock Conservation) $QG\ &DOYHU 6W $OEDQ¡V 0XVHXP

Stephen Cannon-Brookes (CB Lighting) Christopher Cuttle (consultant) Arfon Davies (Arup Lighting) David Loe (consultant) Boris Pretzel (Victoria and Albert Museum) Devki Raj-Guru (LittleFish Lighting, USA) John Roles (Leeds Museums) 3DXO 5XIĂ HV /LJKWLQJ 'HVLJQ DQG 7HFKQRORJ\

David Saunders (British Museum) Mike Simpson (Philips Lighting)

Manchester  Art  Gallery:  mixed  media  are  lit  at  appropriate  lighting  levels  between  50  and  150  lux  (LD&T)

Based on her winning paper, Daylight-Art-Atmosphere, Young Lighter of the Year Janna Aronson looks at how natural light can be translated from visual HY[ [V JYLH[L HU HY[PĂ„JPHS HUK KH`SPNO[PUN KLZPNU JVUJLW[ MVY H T\ZL\T MV`LY Imagine entering a museum in Berlin, Germany, displaying an art exhibition from another part of the world, and giving visitors DQ LOOXVLYH IHHOLQJ RI GD\OLJKW DWPRVSKHUH LQ WKH PXVHXP¡V IR\HU 7KLV VSDFH D OD\HU EHWZHHQ ÂśUHDOLW\ DQG UHODWLYLW\¡1 – a physical and spiritual transition zone – could act both as an introduction and homage to the art exhibition itself. Unique architectural lighting design for museum buildings is of great importance for any art collection. Of course the art exhibition space is the main focus of attention. But to create an outstanding experience, the transition zone between outside and inside can be used as an important mediator. Daylight-art-atmosphere – these three important terms combined as one expression developed into the following research question: is it possible to interpret daylight atmospheres, captured in visual art, as a lighting design concept for a museum foyer? Daylight has a strong impact on human beings because it is essential for life and living. Our traditions, habits and cultures are strongly connected to natural light and this LQĂ XHQFHV WKH ZRUOG ZH OLYH LQ DQG HYHU\ LQGLYLGXDO SHUVRQDOO\ Since the beginning of humanity we have strived to capture D VSHFLĂ€F GD\OLJKW DWPRVSKHUH LQ YLVXDO DUWV H[SUHVVLQJ LW by sketches, paintings, sculptures and the more modern photographic medium. 'D\OLJKW SHUFHSWLRQ DQG DWPRVSKHUH +XPDQ SHUFHSWLRQ RI DUW As stated by Dr Margaret Livingstone, a professor of QHXURELRORJ\ DW +DUYDUG 8QLYHUVLW\ Âś7KH DSSHDUDQFH RI EOXH and red can change so dramatically that you might wonder ZKLFK YHUVLRQ LV FRUUHFW 7KHUH LV QR DEVROXWH FRUUHFW EXW LI you want to see what an artist saw while painting a picture, you should view the painting under the same level of light he ZRUNHG LQ ¡2 7KLV PHDQV WKDW WKH JHRJUDSKLFDO ORFDWLRQ ZKHUH the artist worked is worth considering due to the different appearances of natural light. 7KH WZR FRPSRQHQWV FRORXU DQG OXPLQDQFH FDQ EH GLIĂ€FXOW to separate because even if the brightness is the same in terms of contrast, our visual system perceives colours differently when it comes to brightness. One example is given in the painting Impression, Soleil Levant (Impression, Sunrise) by Claude Monet (Fig 1). Our attention is driven to the perceived brighter spots in a scene, in this case the sun. Looking at the same painting in grey scale (Fig 2), it is surprising that the actual level of brightness of the grey-blue sky and the orange sun is exactly the same. Âś,W WKH VXQ DSSHDUV VR EULOOLDQW WKDW LW VHHPV WR SXOVDWH ¡3 7KH ODFN RI OXPLQDQFH FRQWUDVW PDNHV WKH VXQ GLVDSSHDU IRU that part of our visual system that processes information about movement and position. Monet was aware of this process in visual perception, which made him use the exact same amount of pigments for the different colours in his painting to create the effect of a vibrating sun – the impression he experienced.

Fig  1:  Claude  Monet,  Impression,  Sunrise,  1872,  original Fig  2:  Painting  in  grey  scale  (Livingstone,  M.  Vision  and  art,  the  biology  of  seeing.  Abrams,  New  York,  2002)

/LJKW DQG LWV TXDOLW\ 5LFKDUG .HOO\¡V OLJKWLQJ SULQFLSOHV 5LFKDUG .HOO\ LV EHOLHYHG WR EH WKH IDWKHU RI PRGHUQ TXDOLWDWLYH DUFKLWHFWXUDO OLJKWLQJ GHVLJQ ZKR GHĂ€QHG three basic lighting principles – ambient luminescence, focal glow and play of brilliants – that are still in use nowadays. Kelly describes the three principles by a mixture of observations from nature during the day and applications of DUWLĂ€FLDO OLJKW DW QLJKW 5 7KH SULQFLSOHV FDQ WKHUHIRUH EH DSSOLHG WR OLJKWLQJ GHVLJQ ZLWK QDWXUDO RU DUWLĂ€FLDO OLJKW RU D FRPELQDWLRQ RI ERWK 7KH\ FDQ DOO EH GHĂ€QHG LQ RQH DQG WKH VDPH OLJKWLQJ situation but also separately. 7KHVH SULQFLSOHV DOWKRXJK FRPLQJ IURP QDWXUH DQG constantly changing through the day, were translated by Kelly into static qualities. But today, due to technological GHYHORSPHQW LQ DUWLĂ€FLDO OLJKWLQJ DQG OLJKWLQJ FRQWUROV , ZRXOG probably consider a fourth lighting principle which could be called dynamic light. 1RZDGD\V LQ WKH Ă€HOG RI HOHFWULF OLJKWLQJ OLJKW FRQWURO DQG dynamic scene setting is part of the design job. Dynamic light is always present in natural light, which is never static; changes of intensity and colour temperature DUH FRQVWDQW Âś0RVW SHRSOH GR QRW FRQVFLRXVO\ UHJLVWHU WKLV change because daylight is so all-pervasive there is little GLIIHUHQWLDO UHIHUHQFH ¡6

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7KH VLJQLĂ€FDQW GLIIHUHQFH EHWZHHQ WKH WZR GLPHQVLRQDO visual art and the three-dimensional space is that the foyer gives more than just one impression. It is also necessary to FRQVLGHU DQRWKHU IDFWRU WLPH VHTXHQFH :LWK G\QDPLF OLJKWLQJ design, shifting colours and increasing brightness, the painting can become alive and the visitor is able to experience the art in a new dimension. 1LFN %UDQGW ² FRQWHPSRUDU\ SKRWRJUDSKHU For the exhibition of Nick Brandt, the lighting design for the foyer picks up on the visual language Brandt uses in his photographs – layers of light, shadow and texture. 7KHVH OD\HUV RI OLJKW DQG VKDGRZ FDSWXUHG LQ %UDQGW¡V DUWZRUN are interpreted by a combination of light and contrasting DUFKLWHFWXUDO HOHPHQWV 'HSHQGLQJ RQ WKH YLVLWRU¡V SRVLWLRQ in the room, layers of bright and dark surfaces interact in different ways with each other. 0\ DQDO\VLV LV EDVHG RQ FRPSDULQJ WKH OLJKW LQ %UDQGW¡V photographs to seven lighting techniques derived from nature DQG DSSOLHG LQ DUFKLWHFWXUDO OLJKWLQJ GHVLJQ GHĂ€QHG E\ 'U Karolina M Zielinska-Dabkowska (Fig 8). Backlighting in the photographs is interpreted in the

Ambient Luminescence

Fig  7:  Claude  Monet,  Impression,  Sunrise,  1872,  analysed  with  Richard  Kelly’s  lighting  principles

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Fig  12:  Diagram  indicating  layers  of  interpretation  of  daylight  atmospheres  in  the  museum  by  artist,  lighting  designer  and  visitor

foyer as a backlit wall with diffused light. People passing by in front of the wall are reduced to silhouettes – the same effect %UDQGW KLJKOLJKWV LQ KLV DUWZRUN 7KH VWDJH %UDQGW FUHDWHV IRU the animals and landscapes is abstractly transformed into the movement of visitors in the gallery space but also the factor of time is considered: the picture of the stage depends on the visitors acting in the foyer space. From different positions in the foyer the visitor will experience GLIIHUHQW GLUHFWLRQV RI OLJKW 7KH EDFNOLJKWLQJ VKLIWV WR VLGH OLJKWLQJ ZLWK WKH QHZ YLHZSRLQW )LJ 7R H[SHULHQFH VXQOLJKW LQ (DVW $IULFD IURP D YHU\ KLJK angle creates a completely different impression of natural light compared to Berlin, where the sun is at a lower angle. 7R FKDQJH WKH OHQJWK DQG GLUHFWLRQ RI WKH ERG\¡V RZQ VKDGRZ when entering the foyer from the external environment, a strong direct light from the ceiling can create the effect of top lighting/ downlighting (Fig 10). ,Q WKH SKRWRJUDSK Âś(OHSKDQW ZLWK H[SORGLQJ GXVW¡ WKH DLU particles are captured. A similar sense of light bouncing behind translucent surfaces in the air can also be created by smoke LQVLGH WKH IR\HU )LJ 5LFKDUG .HOO\ EHOLHYHG WKDW Âś6SDFH LV nothing until interrupted. Light is invisible until interrupted by a VXUIDFH OLQH RU SRLQW WKXV PDGH YLVLEOH ¡7 &RQFOXVLRQV 7KURXJK P\ UHVHDUFK ZRUN DQG SKRWRJUDSKLF UHVXOWV P\ conclusion is that such translations from the visual arts into a OLJKWLQJ GHVLJQ FRQFHSW DUH GHĂ€QLWHO\ SRVVLEOH FUHDWLQJ YDULRXV OD\HUV RI LQWHUSUHWDWLRQ 7KH\ FRXOG VHUYH D OLJKWLQJ GHVLJQHU DV well as an exhibition visitor (Fig 12). I believe that the creation of daylight atmospheres in a PXVHXP¡V IR\HU FDQ OHDG WR D GHHSHU XQGHUVWDQGLQJ DQG emotional connection between visitor and art.

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DEVWUDFW ZD\ 7KH OLJKW LQWHQVLW\ DQG WKH LQWHQVLW\ RI FRORXU LV dynamically decreasing and then increasing, so the effect of the pulsating sun is created by means of the architectural OLJKWLQJ GHVLJQ )LJ :LWK WKH ULVLQJ VXQ WKH EULJKWQHVV RI OLJKW ZLOO LQFUHDVH LQ 0RQHW¡V VFHQH 7KH FRORXU WHPSHUDWXUH of natural light changes from a cold, bluish sky light and a warm orange sunlight to a more neutral white light towards the break of day.

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3URMHFW OLJKWLQJ FRQFHSW IRU IR\HU RI %HUOLQ DUW PXVHXP From an architectural point of view, a foyer in a museum can be seen as the link connecting outside and inside as well as a geographical location and the exhibition. 7KH OLJKWLQJ GHVLJQ FRQFHSW IRU WKH PXVHXP¡V IR\HU ZDV developed for two different exhibitions, featuring two very different artists: Claude Monet, the impressionist painter, DQG 1LFN %UDQGW D FRQWHPSRUDU\ SKRWRJUDSKHU 7KH IROORZLQJ lighting design concepts are based on two-dimensional SDLQWLQJ SKRWRJUDSK\ 7KH\ LQWURGXFH P\ SHUVRQDO LQWHUSUHWDWLRQ of daylight atmospheres into the three-dimensional space RI WKH PXVHXP¡V IR\HU

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Fig  8:  Four  of  seven  lighting  techniques  (Zielinska,  KM.  Techniques  for  enhancement  and  visual  change,  understanding  the  experience  and  effects  of  lighting  design.  PLD  Magazine,  Jan/Feb  2006)

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)ULHEH , œ7KH UHODWLYLW\ RI WKH VR FDOOHG UHDOLW\¡ 3/' magazine, Jul/Aug 2006, No 50, p57. 2. Livingstone, M. Vision and art: the biology of seeing. $EUDPV 1HZ <RUN S 3. ,ELG S Ibid. 5. 1HXPDQQQ ' 7KH VWUXFWXUH RI OLJKW 5LFKDUG .HOO\ DQG the illumination of modern architecture. Yale University Press, New Haven and London, 2010, p31. 6. .HOO\ 5 œ/LJKWLQJ DV DQ ,QWHJUDO 3DUW RI $UFKLWHFWXUH¡ &ROOHJH $UW -RXUQDO 9RO 1R S 7. Kelly R. Statement to Mrs Edward Emerson, editor of the Bulletin, after a talk at the Garden Club of America )RUXP LQ 1HZ <RUN &LW\ 1RY

<RXQJ /LJKWHU RI WKH <HDU -DQQD $URQVRQ 57/' Daylight-Art-Atmosphere %HVW ZULWWHQ SDSHU VSRQVRUHG E\ WKH ,/3 Veronika Labancova, Isometrix ,PSDFW RI WKH DJHLQJ LQà XHQFH RQ OLJKW TXDOLW\ perception by human beings %HVW SUHVHQWDWLRQ James Duff, Arup An objective metric to determine subjective lighting adequacy? 7KH <RXQJ /LJKWHU RI WKH <HDU ÀQDO ZDV KHOG DW LuxLive, ExCel on 20 November

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Artful illumination The Lux Award-winning Reid Building at the GSA is a study in lighting technique

3PNO[PUN TL[YPJZ PZ H RL` [VWPJ Ă„UKZ 0HPU Carlile, along with circadian rhythms, road lighting and daylight Light distribution is an important element in creating interest, HQKDQFLQJ VDIHW\ DQG LQĂ XHQFLQJ EHKDYLRXU \HW LW LV D OLWWOH researched variable. In his editorial, Boyce calls for more research to be undertaken into this area, suggesting possible funding by large-scale end users. Discussions on daylighting standards are currently concerned with replacing daylight factors with climate-based GD\OLJKW PRGHOOLQJ &%'0 QRWHV 7UHJHQ]D LQ KLV RSLQLRQ Instead of concentrating on numerical methods, daylight simulation should be investigating new, non-numerical measures, he argues, providing the power to look at varying luminance patterns, extreme values and complex control systems behaviour, providing a creative tool for daylight design. )ROORZLQJ RQ IURP ODVW \HDU¡V /5 7 6\PSRVLXP %R\FH DQG Smet look at the desirable attributes of a metric, summarise proposed new lighting metrics, and consider whether they may lead to better lighting if adopted. Barroso et al propose a set of metrics for characterising lighting conditions from a circadian perspective, with a direct application in clinical studies investigating light and health. In the same area, Bellia et al evaluate the circadian impact of D OLJKW VRXUFH E\ SUHGLFWLQJ FLUFDGLDQ VWLPXOXV &6 7KH\ IRXQG that above 600 lux the CS increase is small, while between 50 OX[ DQ LQFUHDVH RI OX[ FDXVHV D VLJQLĂ€FDQW ULVH 6RXUFHV EHWZHHQ . DQG . KDG VLPLODU HIIHFWV :DQJ HW DO ORRN DW WKH HIIHFW RI G\QDPLF FRORXUHG OLJKW RQ D SHUVRQ¡V SHUFHSWLRQ RI DWPRVSKHUH 'LIIHUHQW YDULDEOHV FUHDWHG different perceived atmospheres, they discovered, and they also found marked gender differences for some of the scales used. 7R DSSO\ WKH &,( V\VWHP IRU PHVRSLF SKRWRPHWU\ IRU URDGV \RX QHHG WR GHĂ€QH WKH UHOHYDQW YLVXDO Ă€HOG DQG DGDSWDWLRQ luminance in night-time driving conditions. Investigating the visual DGDSWDWLRQ Ă€HOG RI WKUHH SDUWLFLSDQWV LQ OLW DQG XQOLW VHFWLRQV RI URDG &HQJL] HW DO IRXQG DQ LQFUHDVH LQ WKH YLVXDO Ă€HOG UHVXOWHG in a decrease in the variation in the mean luminance. Also on road lighting, Davoudian et al studied the effects of disability glare from veiling luminance. Using a target detection WDVN WKH OXPLQDQFH FRQWUDVW WKUHVKROG RI VXEMHFWV ZDV PHDVXUHG 'HVSLWH D VLJQLĂ€FDQW HIIHFW RQ SHUIRUPDQFH WKH HIIHFW of veiling luminance was lower than expected from contrast loss. 7KHUH FDQ EH ODUJH GLIIHUHQFHV LQ GD\WLPH KRUL]RQWDO illuminance levels between external and internal spaces. For people with special lighting requirements, such as the elderly, WKLV GLVSDULW\ FDQ EH D ÂśYLVLRQ EDUULHU¡ /DVDJQR HW DO IRXQG WKDW ROGHU SHRSOH¡V YLVXDO DGDSWDWLRQ ZDV VORZHU ZKLFK PD\ PDNH WKHP PRUH SURQH WR WULSSLQJ RYHU REVWDFOHV 7KHLU Ă€QGLQJV suggest the design of transitional spaces needs to consider removing visual barriers, taking into account factors such as the XVHUV¡ DJH FOLPDWH EXLOGLQJ RULHQWDWLRQ DQG VSDWLDO FRPSOH[LW\ Becker and Becker propose a sky vault, intended for use LQ GD\OLJKW DYDLODELOLW\ DQG HQHUJ\ EXGJHW HVWLPDWLRQV 7KHLU sky vault model has 20,000 cells making it suitable for use in massive computational assessments. Nehdi et al investigate the dimming of an HPS lamp through

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WKH XVH RI D YDULDEOH IUHTXHQF\ EDOODVW 7KHLU H[SHULPHQWV showed a 50 per cent dimming level could be achieved with stable operation and no observed acoustic resonance. 0HDQZKLOH 1VLEL HW DO LQYHVWLJDWHG WKH EHKDYLRXU RI D : HPS lamp with a pulsed power supply in order to improve the ODPS OLJKW TXDOLW\ 7KHLU VWXG\ VKRZHG WKH HPLWWHG VSHFWUXP RI the lamp could be widened, offering an improvement to the CRI. Cai et al demonstrate a novel LED bicycle headlamp with D VSHFLDOO\ GHVLJQHG UHĂ HFWRU WR SURYLGH DSSURSULDWH WDUJHW illuminance, meeting the K-mark regulation, while also providing additional ground illuminance . ,DLQ &DUOLOH 06// LV DQ DVVRFLDWH RI '3$ /LJKWLQJ 'HVLJQ Lighting Research and Technology Vol 46, No 5, Oct 2014 Contents Editorial: Light distribution – a missing variable Peter Boyce Opinion: Climate-based daylight modelling or daylight factor? Peter Tregenza /5 7 6\PSRVLXP Âś%HWWHU PHWULFV IRU EHWWHU OLJKWLQJ¡ ² D summary PR Boyce and KAG Smet Metrics of circadian lighting for clinical investigations A Barroso, K Simons and P de Jager ,QGRRU DUWLĂ€FLDO OLJKWLQJ 3UHGLFWLRQ RI WKH FLUFDGLDQ HIIHFWV of different spectral power distributions L Bellia, A Pedace and G Barbato A study of atmosphere perception of dynamic coloured light HH Wang, M Ronnier Luo, P Liu, Y Yang, Z Zheng and X Liu Combined eye-tracking and luminance measurements while driving on a rural road: towards determining mesopic adaptation luminance C Cengiz, H Kotkanen, M Puolakka, O Lappi, E Lehtonen, L Halonen and H Summala Disability glare: a study in simulated road lighting conditions N Davoudian, P Raynham and E Barrett 7UDQVLWLRQDO VSDFHV IURP H[WHULRU WR LQWHULRU DV IXQFWLRQDO vision barriers in ageing CM Lasagno, LA Issolio, AE Pattini and EM Colombo Sky vault partition for computing daylight availability and shortwave energy budget on an urban scale B Beckers and P Beckers Dimming control by variation of the switching frequency for high-intensity discharge lamps MN Nehdi, H Elloumi, W Nsibi, A Chammam, A Sellami and G Zissis Behaviour of a high-pressure sodium lamp fed by a pulsed power supply W Nsibi, MN Nehdi, A Chammam, H Elloumi, A Sellami and G Zissis 'HVLJQ RI D KLJKO\ HIĂ€FLHQW /(' EDVHG ELF\FOH KHDGODPS with additional ground illumination J-Y Cai, Y-C Lo, S-T Feng and C-C Sun

A new addition to the Glasgow School of Art, the Reid Building, opposite the renowned Mackintosh building, has two basement VWRUH\V DQG Ă€YH VXSHUVWUXFWXUH OHYHOV DQG LQFOXGHV D VHULHV of double-height studios, lecture theatres and workshops. An extensive use of natural light and a daylight-linked control system have contributed to the building gaining a BREEAM Excellent rating. $UXS ZDV UHVSRQVLEOH IRU ERWK WKH DUWLĂ€FLDO OLJKWLQJ VFKHPH and daylighting advice, providing technical support for the daylighting design, which was a crucial consideration in the studio and workshop spaces. *ODUH DQG UHĂ HFWLRQ VWXGLHV ZHUH DOVR FDUULHG RXW $UXS assessed the environmental impact and the effect of the new JODVV IDFDGH RQ QHLJKERXULQJ EXLOGLQJV SDUWLFXODUO\ WKH Ă€QH DUW studios in the Mackintosh building. 7KH IRUP RI WKH EXLOGLQJ PDGH WKH DUWLĂ€FLDO OLJKWLQJ VFKHPH FKDOOHQJLQJ 7KH IDFW WKDW FHLOLQJV DUH KLJK DQG DOVR DQJOHG PDGH LW GLIĂ€FXOW WR DFKLHYH DQ HYHQ OLJKW GLVWULEXWLRQ DV URRP KHLJKWV YDU\ IURP RQH VLGH WR WKH RWKHU 7KH VROXWLRQ ZDV D VHULHV RI EHVSRNH Ă€WWLQJV ZKLFK QRW RQO\ DFKLHYHG WKH appropriate light distribution and output – while keeping energy usage down – but also met the minimal aesthetic brief. 7KH H[WHUQDO OLJKWLQJ LV ODUJHO\ GHSHQGHQW RQ WKH ODQWHUQ HIIHFW H[SORLWLQJ WKH YDULRXV WUDQVSDUHQFLHV RI WKH EXLOGLQJ¡V cladding system. After dark, the ambient light allows the activity inside to be visible and for the movement of the occupants to animate the facade.

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3URMHFW Reid Building, Glasgow School of Art /LJKWLQJ GHVLJQ Arup $UFKLWHFW Steven Holl Architects $ZDUG Education and Healthcare Lighting Project of the Year

EVENTS...EVENTS...EVENTS...EVENTS...EVENTS...EVENTS...EVENTS...EVENTS...EVENTS...EVENTS...EVENTS

2015 27  January 2EWUXVLYH OLJKW  QDYLJDWLQJ WKH FRPSOLDQFH PLQH¿HOG (ILP  training  course) Venue:  BRE,  Watford ZZZ EUH FR XN HYHQWGHWDLOV MVS"LG 29  January SLL  Masterclass:  Light  for  Life Location:  St  James’s  Park,  Newcastle  upon  Tyne www.sll.cibse.org 10  February CIBSE  Building  Performance  Awards  2015  (including  new  lighting  category) 9HQXH *URVYHQRU +RXVH Park  Lane,  London  W1 ZZZ FLEVH RUJ ESD 10-­12  February Light  School  at  the  Surface  Design  Show 2UJDQLVHG E\ /LJKW &ROOHFWLYH DQG supported  by  the  ILP) Venue:  Business  Design  Centre   Islington,  London  N1 ZZZ VXUIDFHGHVLJQVKRZ FRP OLJKW VFKRRO 24  February How  to  be  Brilliant  with: Florence  Lam,  global  lighting  leader,  Arup  ,/3 HYHQW

Venue:  ACDC  Lighting  Studio,  London  N1 Time:  6.30pm jo@theilp.org.uk

19  March Lighting  Design  Awards Venue:  London  Hilton,  Park  Lane KWWS DZDUGV OLJKWLQJ FR XN

14  May SLL  Masterclass:  Light  for  Life Location:  Royal  Society  of  Arts,  London www.sll.cibse.org

23  March How  to  be  Brilliant  with: Michael  Grubb,  Michael  Grubb  Studio ,/3 HYHQW

Venue:  ACDC  Lighting  Studio,  London  N1 Time:  6.30pm jo@theilp.org.uk

21  May SLL  AGM  and  Awards Venue:  RIBA,  66  Portalnd  Place,   London  W1 www.sll.cibse.org

24  March Ready  Steady  Light Location:  Rose  Bruford  College  Sidcup,  Kent www.sll.cibse.org 26  March SLL  Masterclass:  Light  for  Life Location:  Edinburgh  Castle,  Edinburgh www.sll.cibse.org

29-­31  May UG ,QWHUQDWLRQDO &RQIHUHQFH RI $UWL¿FLDO Light  at  Night  (ALAN  2015) Location:  Sherbrooke,  Quebec,  Canada ZZZ DUWL¿FLDOOLJKWDWQLJKW RUJ Lighting  Masterclasses:  Masterclasses  are  kindly  VSRQVRUHG E\ +HOYDU 3KLOLSV  Thorn  and  Trilux  )RU YHQXHV DQG ERRNLQJ GHWDLOV www.sll.cibse.org Â

30  April SLL  Masterclass:  Light  for  Life Location:  Watershed,  Bristol www.sll.cibse.org

26  February SLL  Masterclass:  Light  for  Life Location:  Leeds  City  Museum,  Leeds www.sll.cibse.org Until  1  March 24:00:00 Foyer  exhibition  curated  and  hosted  by  Arup  on  light  and  light  technology   in  the  modern  world Venue:  Arup,  Fitzroy  St,  London  W1 www.arup.com

LET  Diploma  (in  association  with  London  6RXWK %DQN 8QLYHUVLW\ DGYDQFHG TXDOL¿FDWLRQ E\ GLVWDQFH OHDUQLQJ 'HWDLOV from  www.lightingeducationtrust.org  or  email  LET@cibse.org

10  March <HDUV RI )UHVQHO ZK\ HYHU\WKLQJ  we  light  and  look  at  today  depends   on  what  he  said 6// HYHQW

Venue:  Royal  Institution,  London  W1 www.sll.cibse.org 11  March Fundamental  Lighting  Course (Organised  by  the  ILP) Venue:  Regent  House,  Rugby jo@theilp.org.uk

Mid  Career  College:  the  college   UXQV YDULRXV FRXUVHV DFURVV WKH  whole  spectrum  of  lighting  and  at   sites  across  the  UK.  Full  details  at   www.cibsetraining.co.uk/mcc  10  March:  200  Years  of  Fresnel  (SLL  event),  Royal  Institution,  London  W1

LIF  courses:  details  from  John Hugill,  0208  529  6909,  or  email training@lif.co.uk

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