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Professional best practice from the Institution of Lighting Professionals

September 2019

LONDON PRIDE The first four bridges for the capital’s Illuminated River project have been unveiled DIGITAL SHOPPER How digital lighting and media are combining to transform the retail experience LIGHTING AN IDEA Nurturing your lighting design from vision through to installation

The publication for all lighting professionals


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September 2019 Lighting Journal



Lighting is an increasing integral, and integrated, part of creating an optimised customer retail and hospitality ‘experience’, argues Brad Koerner



Lighting design may be about capturing that great idea. But your vision also has to survive getting from concept through to installation which, as Mark Ridler explains, can be challenging


Illuminated River, the ambitious plan to create the world’s largest free public art project by illuminating 15 bridges across the Thames, came to life in July with the first four being unveiled to the public. And ILP volunteers played a part in making it all happen


The ILP invited Paul O’Brien, chief executive of the Association for Public Service Excellence, to give a keynote address to this year’s Professional Lighting Summit (PLS). Here is an abridged version of what he said




The ILP used June’s Professional Lighting Summit in Newcastle as a platform to launch its long-awaited follow-up to TR22, GN22: Asset Management Toolkit: Minor Structures. Co-author Tony Parasram guides you through




Anthony Smith took over as President of the ILP from Colin Fish at the PLS in Newcastle. We present abridged versions of both their speeches



The ILP has appointed a new technical director and created a series of new Vice President roles


The lighting at Renault Trucks Commercials’ Reading logistics base used to be so poor that technicians needed to use head torches. This – and much beside – has now been vastly improved, as Liz Hudson and Alan Robson explain

September 2019

Professional best practice from the Institution of Lighting Professionals


The technology exists to turn the humble cable and power line into ‘smart’ lighting networks, additionally write Liz Hudson and Alan Robson



Next month sees the return of the ILP’s Lightscene CPD day, this year taking place in Uttoxeter. Here is what members can expect


Taking your lighting concept from drawing board to reality can be a challenge. Linda Salamoun offered sage advice in her ‘How to be brilliant’ lecture


Chris Pearson outlines how to make the business case for going for a bespoke LED solution


The City of Edinburgh Council is upgrading the Scottish capital’s street lighting to LED with wireless controls


Alongside switching to LED, Aberdeen City Council is installing Internet of Things-enabled nodes on its lighting columns

LONDON PRIDE The first four bridges for the capital’s Illuminated River project have been unveiled DIGITAL SHOPPER How digital lighting and media are combining to transform the retail experience LIGHTING AN IDEA Nurturing your lighting design from vision through to installation

The publication for all lighting professionals


Leo Villareal at work on the Illuminated River public art project. The first four illuminated bridges were revealed to the public in July. Turn to page 16 for the full story, and how ILP volunteers have been involved in this massive project. Photo: James Newton


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September 2019 Lighting Journal

Editor’s letter

Volume 84 No 8 September 2019 President Anthony Smith IEng FILP Chief Executive Tracey White Editor Nic Paton BA (Hons) MA Email: Editorial Board Tom Baynham MEng MA (Cantab) Emma Cogswell IALD Mark Cooper IEng MILP Kevin Dugdale BA (Hons) IEng MILP Graham Festenstein CEng MILP MSLL IALD Nathan French Jess Gallacher (ILP engagement and communications manager) John Gorse BA (Hons) MSLL Alan Jaques IEng FILP Lora Kaleva MSc Assoc IALD Nigel Parry IEng FILP Georgia Thomas (YLP rep) BA (Hons) Paul Traynor Richard Webster Graphic Designers Tolu Akinyemi B.Tech MSc Email: Alex Morris BA (Hons) Email: Advertising Manager Andy Etherton Email: 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: Website:

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ack in December 2016 I had the pleasure of attending the unveiling of the winner of the Illuminated River competition. Revisiting my editor’s letter of the time (Lighting Journal, January 2017, vol 82 no 1), I was broadly positive – the project, I argued, was ‘a powerful, compelling opportunity for lighting and lighting technology be showcased to the public’. But I did also confess to lingering concerns, wondering aloud whether there was a risk of the Thames’ bridges ending up being overlit, of Londoners and visitors losing the ability to use the river ‘to reflect, muse and cogitate without sensory distraction or pollution’. With the first four illuminated bridges – London, Cannon Street, Southwark and Millennium – being unveiled to the public in July, and with the remaining 11 now hopefully set to follow, the public and the industry can start to answer this for themselves. Certainly, the initial reaction has been upbeat. The bridges, as we show, look spectacular and appear to be a positive addition to the capital’s nightscape. As we also report in this edition, the project has been an inspiring experience for our small team of ILP volunteers. Many of them early in their careers, they have been able to spend invaluable time with the art team, and artist Leo Villareal himself, getting close-up experience of how a project such as this comes to life. For me, too, there is a wider value to all of this. A project such as Illuminated River can show the general public – for whom light and lighting generally only gets thought about when it goes wrong (such as during August’s massive power cut across England and Wales) – just what ‘illumination’ can do. It can articulate the power of lighting to, as the ILP’s Jess Gallacher has put it, change emotions; to shape how we react, respond to and feel about a space. As Jess also points out, involvement in a high-profile project such as Illuminated River chimes with the ILP’s wider goal of improving the world through light. The ILP also does this of course through its education, standards and guidance (such as the new GN22, highlighted in this edition), through events such as ‘How to be brilliant’ and ‘Lighting for Good’ (and watch this space for more on this in the coming months), through the great work individual members do in schools and communities, and through the ILP’s advocacy work with external bodies and organisations, something very much at the heart of new President Anthony Smith’s agenda, as we also highlight in this edition. Ultimately, however, this all comes back to the commitment, energy and passion of you, ILP members, to light and lighting. Long may that continue.

Nic Paton Editor

© ILP 2019

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


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


September 2019 Lighting Journal

Retail and hospitality lighting



Lighting is becoming an increasing integral, and integrated, part of creating an optimised customer ‘experience’, especially within areas such as retail and hospitality. This brave new media-driven/data-driven world is transforming how lighting designers need to work and think – and means the future looks dim for preset scene lighting controls

By Brad Koerner


e are entering a future where architectural design and its associated technology systems are more than ever focused on experience management as the primary end-goal of many projects. Architectural technology systems, such as digital lighting, digital media, and Internet of Things-based (IoT) communications systems are driving this digital transformation of physical space. No longer therefore can traditional architectural technology systems remain as discrete, speciality trades. This is

especially true for architectural lighting, where outdated preset scene control systems must transform into comprehensive experience management systems. What we presently call lighting controls will, I believe, be subsumed into two primary styles of technical solutions: 1. Media-driven systems 2. Data-driven systems Such a transformation will have profound influences on how bricks and mortar spaces are therefore conceived and

designed by architects, interior designers, brand designers and so on.


For decades, traditional preset scene lighting control systems have dominated the options available for architectural projects. Dimmers or relay switches controlling ‘dumb’ lamps were set at certain levels and recorded as stagnant scenes. The occupants of a space had to select from various scenes that were (supposedly) designed and (supposedly) commissioned

September 2019 Lighting Journal

into a building to anticipate common scenarios. Little blank buttons ganged together in clusters of five, 10 or 15 provided an obscure and unfriendly interface for manually selecting from these preset scenes. It should be readily apparent how unprepared such systems are for the digital transformation of architectural experiences.


The world of architectural construction is changing in two dramatic ways that render the crudeness of preset scene systems incapable of responding. 1 Branded experiences The intention of many built environments (for example retail, hospitality, corporate lobbies and so on) is first and foremost to create a branded experience. And it is impossible in our modern age to conceive of branded experiences without a strong digital presence in content and interactivity. Architectural spaces are, in essence, becoming portals to the virtual world. So the technical challenge in these spaces is to control a range of digital media – ‘pixels’ of various sorts, from 4K screens to projection mapping to simple digitally-controlled light fixtures. So, while traditional architectural lighting controls are wholly unsuited for distributing, playing and managing modern digital media, the digital signage world has filled the gap with Cloud-connected,

low-cost systems expressly for distributing and playing media files on a range of equipment. Bright Sign ( is a good example of this new category combining Cloud + distributed IP-connected hardware. To put a finer point on the vast chasm between modern media distribution systems versus old-school lighting controls, a modern 4K digital media player priced for only a few hundred pounds has effectively 24 million channels of lighting control (three channels for every RGB pixel in a 4K screen). And that is just one single screen location, with these systems capable of handling hundreds. Try pricing a traditional architectural lighting system with 24 million channels! 2 Environmental optimisation For environments that are not primarily branded experiences (for example commercial offices, institutional facilities, industrial sites and so on), environmental optimisation based on live data becomes the imperative. Stagnant, pre-configured scenes are simply not precise enough to satisfy modern demands for climate control, energy efficiency, and creating functionally-efficient spaces for the occupants. We now have networks of IoT-connected sensors generating massive live data-streams. Plus numerous other live data-streams, such as weather, operational conditions, stock market fluctuations,

social media engagement and so on can provide live input to our environments. We therefore need systems that can take these live data-streams and logically translate them across a range of environmental parameters. Such translation must be smooth, continuous and employ learning loops (for example ‘AI’) to ensure that, as a building ages, the live systems remain optimised. SkandalTech ( is a start-up demonstrating a system built entirely on just such a live control engine. There are no preconfigured scenes at all in the SkandalTech’s ‘Poet’ system. You connect data inputs to a logic engine, which in turn drives algorithmically-generated visual effects mapped out to whatever you define as pixels. So far, SkandalTech is targeting the



September 2019 Lighting Journal

Retail and hospitality lighting

innovative area of ambient media but the applications to a broad range of environments demanding live and continuous responsiveness to incoming data streams are readily apparent.


Of course, the world is more complex than a simple binary between either branded experience or environmental optimisation. Those are certainly the two main themes, but let’s consider a number of speciality ‘hybrid’ conditions that, I believe, will surely become quite common.


1 Optimised anonymous experiences There is clearly going to be an overlap where media-focused environments self-optimise to tailor personal experiences. In the classic sci-fi movie Minority Report, Tom Cruise walks through a retail centre and facial recognition systems identify him and serve up customised marketing content on massive floor-to-ceiling screens. While that was science fiction in 2002, it is now technical reality. The creepiness factor of this level of ‘big brother’ may not find acceptance anytime soon but there is still a tremendous amount of similar optimisation that can be done anonymously, in other words without identifying the specific person or shopper. Combining aspects of media management with aspects of live, parametrically-optimised systems, optimised anonymous experience solutions will therefore find widespread use. For example, stereo-vision cameras can monitor a space and detect humans – their stance, gaze, even their sex and approximate age.


Content management systems can then know what content is most appropriate to display. Beyond just serving up media content for marketing purposes, there are many ways spaces can be optimised for the occupants anonymously, considering their numbers, estimated demographics and locations within spaces. One quick example: if a group of elderly people visit a museum, the lighting can be momentarily raised on the art pieces they are near. Advertima ( is a tech start-up that is a good example of such technology. It monitors overall traffic flow, gaze/focus, linger time and, after estimating the individual and average sex and age of the occupants, serves up marketing content targeted to those demographics. To be clear, however, unlike the concept from Minority Report, this is all done anonymously, with no personally identifiable information required nor collected.

2 Personal experience management Another hybrid will be the fusing of media management with CRM (customer relationship management) systems to create highly personalised guest experience management systems. Hospitality operators will be the first to embrace such concepts. These types of control systems encompass all of the systems of a typical hospitality experience – from HVAC controls to room service to media content to lighting – under one unified guest interface, typically delivered as an app on a device. Contrasting anonymous optimisation systems, these systems will soon be highly personalised and can be linked to the CRM system of the hospitality operator, to accumulate and remember guest preferences. The key concept here is that the UX (user experience) interface is intuitively designed around the guest needs and common actions first, and all other technical systems are DigiValet’s interface, highlighting how lighting is becoming a key part supporting actors. of the hotel guest ‘experience’ For example, a guest may speak a

voice command or select via the app to set a wake-up time. The experience manager will then ask if they would like a wake-up lighting experience to precede the alarm, and maybe they would like to order room service breakfast, too? The guest no longer has to think about lighting, or worse, lighting controls with 15 tiny little arcane buttons. Sophisticated lighting scenes are therefore seamlessly and coherently integrated into the experience script. An excellent example is DigiValet ( a start-up with an intriguing solution for controlling luxury guest rooms that is making great strides – incorporating advanced wellness lighting, branded lighting scenes and, of course, media management into its solution. Beyond hospitality, there are many other scenarios where such highly personalised experience management will take root, with lighting becoming just another system subsumed beneath.


Designers must move beyond documentbased design and specification workflows. In the early stages of concept design, storyboarding must be routinely included to sketch out key dynamic scenarios in spaces. As the design progresses, live-rendered virtual models (using tools such as the Unreal Engine, en-US/studio, eventually integrated into BIM workflows) will be required to visualise, simulate and develop the functionality of the final space programming. This final programming will be transferred via the BIM/Cloud model directly to the hardware onsite, so reducing on-site commissioning and, if done correctly, ensuring the designer’s vision is not broken during construction set-up.


Increasingly, spaces need to be conceived from the very initial sketches as live, responsive environments, not lumps of steel, concrete and glass bathed in some stagnant conception of lighting. Architects and interior designers need to understand the powerful potential of these new systems for branded experience control or optimised environmental control and start conceiving of new programmatic goals that fully exploit their potential. Brad Koerner is founder of Koerner Design

September 2019 Lighting Journal

Lighting design


Lighting design may, at one level, be about capturing that great, single idea that brings a scheme together. But it also has to survive ‘the process’ – getting from concept through to completion and construction – and this can be more challenging and multi-faceted than you might think

By Mark Ridler


t the heart of any design is an idea; or at least there should be. In discussion with my BDP colleague Colin Ball we both agree that, at the beginning of a project, the initial task is to discover that single idea that will act as a thread to link all the disparate elements together into one narrative. This might be a journey, a response, to context or architecture. For me, whatever that thread is, it almost always is an exploration of how we deliver a new space to our ultimate clients. However sophisticated the idea, if it is to survive the design and construction process, it will need to be clear and simple to communicate. This is not a formal process, rather more often an instinctive and intuitive response. In this article I intend to look back over a number or our projects where I have found such common themes, and which I will discuss and elaborate upon in this context of how to maintain your lighting vision, your lighting idea, through this process.



Those of us who work in commercial design do so for a fee, paid by a client. Understanding their needs and desires is therefore central to the creation of a brief and subsequent delivery of a project. However, this should never comprise the ultimate set of stakeholders: those who inhabit a project. For example, in a shopping mall these will be the retail staff, security, maintenance, and cleaners. There are those who use the project,

September 2019 Lighting Journal

such as the developer (our client) but also the tenants who pay rent and gain sales, neither of whom may necessarily inhabit the property but they do have a financial stake and distinct aims in terms of brand and value. And, lastly, there is a wide stakeholder set: those who encounter the project. For example, there may be impacts from the project on the cityscape, permeability, economic generation, civic pride, urban legibility, crime mitigation, public art, and transport policy and so on. All of these can have an effect, beneficial or otherwise, on the local general public. There may be sustainability impacts that may have a wider national, even global, consequence. There may be beneficial economic impacts that help fund local and national public programmes, such as hospitals and schools. All this might seem far removed from a lighting design. But, in practice, by pulling together the widest set of stakeholders and imagining the project from their point of view, a comprehensive holistic brief can be generated – and it is this that will form the foundation of any concept.


Any brief can be divided into objective and subjective aims. These aims can be broadly summarised as: Objective 1 To facilitate a task (what the users need or want to do) 2 To respond to a context (architectural, landscape, social, historic, geographic, political)

• Specification restraint (preferred manufacturers, single source suppliers) • Heritage, conservation • Robustness • Maintenance

– and ultimately into built projects? To answer this, let’s look at some examples of projects that we at BDP have worked on or been involved with.

These constraints will fall into the moveable and immoveable camps for different projects. The client will often have a strong and defining opinion on these, however these opinions may not be clear or ordered. Sometimes inexperienced clients want entirely conflicting things (for example, environmental excellence through building innovation but with no understanding of the cost or programme implication). It is therefore beholden upon us as lighting designers to order these priorities and justify them and, in performing this exercise, the analysis of stakeholder desires can help to create and justify a hierarchy of needs. So how does this translate into concepts

We were part of the team that created the winning pavilion, selected from a UK-wide design competition. We worked closely with Wolfgang Buttress (the artist and creative lead), landscape designers, architects and structural engineers to create a beautifully integrated lightscape. The theme of the 2015 World Expo was ‘Feeding the Planet, Energy for Life’ and Wolfgang ’s overarching concept for the UK Pavilion was the importance of the bee. This artistic vision was abstracted into various forms and fundamental throughout the design, which culminated in the ‘Hive’ structure. This is a multi-sensorial



The Hive, UK Pavillion, 2015 World Expo

11 SYNOPSIS • Idea – beehive • Aims – view; safe navigation; conceptual support (bees, hexagons, honey colour) • Constraints – one-year programme design and construction; very tight budget

Subjective 1 To generate delight 2 To create an atmosphere


Any design can be constructed from a set of moveable and immoveable constraints. The designer has no influence over the immoveable constraints but can order the moveable ones. For example, the constraints that can typically influence a lighting design are: • Safety • Environmental impact (energy, light pollution, effect on wildlife) • Cost (capital, ongoing) • Discretion (minimal architectural intrusion) / Expression (overt or decorative intervention) • Regulations, best practice code, guidance documents

September 2019 Lighting Journal

Lighting design


experience that uses sound and light mapped from a live stream of a real beehive in the UK. Accelerometers are used to measure the activity of the colony and algorithms convert the bee colony vibrations into lighting effects. One thousand individually-addressable LED luminaires allow the Hive to pulse and glow, thereby visually representing the bee activity. In addition to the Hive, the pavilion had various spaces and functions. The entrance ‘orchard’ and ‘meadow’ walkways welcomed the public whilst they queued (often for a long time). It was important that the lighting did not obscure views to the Hive or obstruct the meadows at eye level. So the solution was to integrate a warm white ‘honey’ light into the planters at low level. Greeting the visitors was a backlit, perforated ‘Swarm Wall’, which created sparkle whilst hosting information about the bee. A conference suite that hosted high-level UKTI (UK Trade & Investment) meetings was illuminated with custom-made hexagonal pendants. Lastly a café/bar used linear hexagonal uplights and balustrade lighting to provide atmosphere. The final result was a highly integrated yet minimal lighting solution, one which articulated Wolfgang’s artistic beehive

SYNOPSIS • Idea – bioscience, DNA • Aims – artistic conceptual support; icon of civic pride; beacon for institute to attract investment and celebrate a sense of joy • Constraints – to shield façade at night; to be transparent during the day

p Corona, Biocity, Nottingham

concept in light, blended discreetly with the architecture and landscape surroundings, all the while supporting an appropriate visual hierarchy. In fact, the Hive proved so popular it was subsequently moved to Kew Gardens, where it is now a permanent feature.


Entitled ‘Corona’, meaning a coloured halo or an electrical glow, this artwork was again created by Nottingham artist Wolfgang Buttress in association with BDP, using scientific research conducted by Dr Martin Bencsik, a physicist from Nottingham Trent University. The lighting design creates a perpetually fluctuating, shimmering lit effect which animates the building’s façade at night. Wolfgang describes the artwork in the following words: ‘The façade lighting is linked to two NASA satellites monitoring the surface of the sun for solar flare activity; the Corona sculpture expresses this energy through an ever-changing fibre optic lighting system, reflecting the sun’s activity in real time on the facade of the building. ‘Colours evolve and transform over a 26½-day period – the time it takes the sun to rotate on its axis. The profile of the aluminium extrusions are informed by the negative spaces from lace samples contained within the Nottingham Trent

University lace archive.’ The installation covers a 50m x 17m area of the façade, with 1,160 aluminium extrusions. In amongst the extrusions are woven fibre optic tails, which change colour according to the NASA data. The artwork also acts as a brise soleil to provide solar shading to increase the building performance and enhance the comfort of its inhabitants. As the architect Matt Greenhalgh, of Benoy, also describes it: ‘The sculpture has science at its heart and directly responds to the intensity and location of solar flares emanating from the surface of the sun which manifests through the ebb, flow and intensity of the illumination.’


Tonbridge School in Kent recognised that its library no longer fulfilled the demands of a 21st century learning centre. Our task at BDP was to extend and refurbish the library with an updated lighting system to reflect the school’s current and future needs. A clear visual hierarchy was established: firstly, the reading desks with local task lighting; secondly, the bookcase lighting created strong verticals; thirdly, a lower ambient level, with good facial modelling provided in large part from a uplight to the central ceiling. The central feature arch was brightly illuminated with cool white 4000K to complement and balance the daylight in the central space, so allowing all lamps to be powered down when sufficient daylight is achieved. Individual lamps to desks enable localised light only where needed, while lanterns placed central to the bay windows create an external lit effect. The design takes advantage of the building’s narrow footprint and the addition of a largely glazed stair tower to the south side of the building meant we were able to provide high levels of natural daylight. This staircase was conceived as a ‘vertical cloister’, not only circulation but a space to pause and connect with the library garden. The only lighting allowed for was low-level integration within the handrails, placing light when and where needed at night, lighting the whole space as an external stair but avoiding reflections in the glass. This same technique was employed for all exterior areas to maintain a low glare, low power ambience. All of the techniques combined to achieve the aims whilst driving energy out.



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September 2019 Lighting Journal

Lighting design

SYNOPSIS • Idea – joy of learning • Aims – reveal architecture; facilitate reading; display books; inspire; circadian response • Constraints – ultra low energy  Smythe Library, Tonbridge School, Kent

with infrastructure for future flexibility. Festoon lighting is used on the external terraces to create a relaxed and informal atmosphere. High-level floodlighting is kept to a minimum and provides a baseline level of light, while low light levels create drama and contrast from overlit homogeneity of standard retail/food and beverage environments. The ever-changing dynamic lighting uses a strong palette and creates a colourful experience at night, adding drama and theatricality and forming a strong visual landmark for the borough. This new place has increased the occupation of surrounding offices along with local rental rates. This part of Croydon has become ‘cool’ and desirable, with Boxpark instrumental in changing the town’s brand and transforming its economic health.



Constructed out of 96 upcycled shipping containers, Boxpark Croydon draws its inspiration from La Boqueriain Barcelona and Chelsea Market in New York, with an emphasis on food and drink, from coffee shops to global street food. Ranging from one to five containers, 40 outlets surround a central space covered with a lightweight transparent roof while others face onto the neighbouring streets. The client’s brief was ‘raw and industrial’ – and all to be delivered for a very low £/m² rate. The scheme uses a palette of raw self-finish materials: black containers, black painted steel, corrugated polycarbonate, clear glazing and untreated scaffold planks, together with large-scale graphics, bespoke fixtures and fittings and a simple but sophisticated lighting scheme which adds to the visual interest and useability of the space. Given the industrial aesthetic and monochrome graphic style, the lighting plays a crucial role in bringing drama to the space. Theatrical lighting infrastructure is also provided for future flexibility and

p Boxpark, Croydon SYNOPSIS • Idea – regeneration and activity • Aims – new business (low entry bars, cost, fitout); advertise through programming and word of mouth; repopulate and regenerate area; fun! • Constraints – budget; reputation of local context

temporary installation. Lighting to shop frontage and graphic branding on the side of the shipping containers is illuminated using industry standard billboard lighting with asymmetric optics. The venue is fully food and beverage focused and hosts regular live music. The underside of the roof is covered in RGB linear LED luminaires which are fully DMX controllable – essentially creating an ultra-low-res screen that can be customised and programmed to enhance the experience of the performances. Contrast and accent are provided via narrow-beam RGBW spots mounted at high level, delivering the drama of a club aesthetic

I believe that our work is significant, useful, and beautiful. But this is only of value if it is significant, useful and beautiful for the wider community. We as lighting designers have a responsibility to consider the concerns of the widest possible community who encounter our designs. We can do this by generating a central idea, extrapolated from embracing the needs of our ultimate clients (who are not just those who pay us our fee), and by holding this narrative that links all the disparate elements together clear in our minds throughout the journey of the design to its successful completion. Mark Ridler MA(Cantab) CEng MILP FRSA IALD ALD

For more on the challenges of taking a concept from drawing board to reality, turn to our review of Linda Salamoun’s ‘How to be brilliant’ lecture on page 50

September 2019 Lighting Journal

The Illuminated River public art project

LONDON PRIDE Illuminated River, the ambitious plan to create the world’s largest free public art project by illuminating 15 bridges across the Thames, came to life in July with the first four lit bridges being unveiled to the public. And ILP volunteers played a part in making it all happen By Nic Paton



he first phase of what is intended to become the largest free public art project in the world – Illuminated River – was launched to public gaze in July. As the images over the next four pages show, it is both visually impressive as well as highlighting the place-shaping power of light and lighting. What’s more, the project, conceived by internationally-acclaimed American artist Leo Villareal and British architectural practice Lifschutz Davidson Sandilands, has been brought to life with the help of a team of young ILP volunteers. Four illuminated bridges – London, Cannon Street, Southwark and Millennium – were unveiled to the public in July, and the project could eventually see up to 15 bridges across the Thames being lit up. The project is a philanthropically-funded initiative supported by the mayor of London and delivered by the Illuminated River Foundation. As highlighted in the June edition of


Lighting Journal ( ‘Spanning the moment’, vol 84 no 6) the project has proved both complex and at times challenging, with the project team needing to work with seven different local authorities – with 30 planning permissions and 18 listed building consents being granted – and requiring the biggest single planning application ever made without an act of Parliament. It is the first time the Thames bridges have been cohesively and artistically lit in this way. The project has also involved the team working in consultation and collaboration with more than 50 organisations on and around the Thames, including the Port of London Authority, Historic England, Transport for London, Network Rail, London Wildlife Trust, the Zoological Society of London, and Cross River Partnership.

Villareal’s artwork has replaced outdated and inefficient lighting on the four bridges, providing what the foundation has described as a more long-term sustainable solution for lighting the Thames. Designed by Atelier Ten, the lighting is intended to minimise direct light spill on to the river and reduce energy consumption. While the former lighting ran all night from dusk to dawn, Illuminated River’s connected LED lighting from Signify will be switched off at 2am. It is expected the artwork will be in place for at least ten years Site works for this first phase of the project began in January, two years after the winning team was announced by mayor Sadiq Khan, and closely following the granting of planning permission. The foundation has argued it is on track to complete phase two by autumn next year, which will include Blackfriars Road, Waterloo, Golden Jubilee Footbridges,

September 2019 Lighting Journal

Westminster and Lambeth bridges. Once complete, Illuminated River will span from Albert Bridge in the west of the capital through to Tower Bridge in the east. It will be the longest public art commission in the world at 2.5 miles in length, along 4.5 nautical miles of the River Thames, and is expected to be viewed more than a billion times during its lifespan. Hannah Rothschild, who originated the idea of lighting the bridges and is a trustee of the Illuminated River Foundation supported the project throughout, said at the public unveiling: ‘The River Thames is London’s “liquid history” and its beating heart and the bridges are the arteries connecting north, south, east and west. ‘But at night these extraordinary structures, each with a unique history and style, evanesce into darkness and obscurity. This project, one of the world’s longest and most ambitious cultural commissions, will transform a snake of darkness into a ribbon of light, threading art through the heart of the city.’ London mayor Sadiq Khan added: ‘From the Fourth Plinth to Art on the Underground, our city has a rich heritage of showcasing public art, and I am delighted that

FOUR ILLUMINATED BRIDGES – LONDON, CANNON STREET, SOUTHWARK AND MILLENNIUM – WERE UNVEILED TO THE PUBLIC IN JULY Illuminated River is bringing more free and accessible artwork to Londoners. ‘The Thames has played a key role in

the growth and development of our capital for centuries, and this unique artwork will help Londoners and visitors see it in a whole new way. The Illuminated River will celebrate the unique architecture and heritage of our bridges, showcase creativity, boost life at night and transform the way we think about the Thames.’ And the artist himself Leo Villareal said: ‘With Illuminated River, the largest artwork I’ve ever conceived, I’m hoping to follow in the footsteps of Monet, Turner and Whistler and reveal the truly unique, inspiring and poetic character of the Thames. ‘Studying the river and the history of London for the last three years, was a fantastic experience that changed me and allowed me to grow as an artist. The integrated nuances and motions across the bridges create a unified piece that celebrates and enhances the river as a continuous living entity. I’m both delighted and humbled by the completion of this initial phase and I can’t wait for the public to experience the first four bridges.’

* Turn over to find out how the ILP has helped bring the project to life

Views of the project. Left: Millennium Bridge. Above: Cannon Street Bridge. (Both images James Newton)


September 2019 Lighting Journal

The Illuminated River public art project



As ILP engagement and communications manager Jess Gallacher points out, the thought process, the ‘mission’, behind Illuminated River closely aligns with the ILP’s goal of improving our world using the power of light. ‘In well-lit spaces people behave differently; their emotions are different, it changes their lives. Whether its colour temperature of street lighting, daylight at your workplace or the world’s longest public artwork, lighting is something that speaks to your soul,’ she explains. ‘Being able to involve our members in this experience, and supporting

something which is so environmentally responsible and beneficial to the public is a great privilege for our Institution. This initiative is really helping us spread the message to the wider world about the importance of great lighting,’ she adds. So, what have our team of ILP volunteers made of their experience so far? The ILP spoke to some of them to find out. ‘The process is something you don’t usually get to see with such big projects, unless you are lucky to work on one!” says Emma Beadle, lighting designer in the architectural lighting team at WSP. ‘I was lucky enough to be able to help out on two nights, and each night the experience was different; working in different sites to see

a new view of the bridge and witnessing the creation of multiple bridges.’ For Emma perhaps the most memorable element had been seeing how Villareal uses his software. ‘It was amazing to see such a small computer control such a large bridge, changing the experience and atmosphere of the Thames with just a click of the mouse button,’ she adds. ‘I’m super passionate of lighting, technology and art. The Illuminated River project is the perfect marriage of all these disciplines,’ agrees Giovanbattista Cannella, a lighting designer colleague of Emma’s at WSP. ‘I hope the project will inspire other countries/cities around the world – for a

September 2019 Lighting Journal

Views of the project. Above: Southwark Bridge as it is now illuminated. Left: London Bridge. (Both images James Newton)

better understanding of how light can change our life, enhancing the architecture of the city, providing safety, wayfinding…’ he adds. ‘I hadn’t prepared myself for how amazing everything was going to look, and the time it would take to get it up and running. Oh, plus I got to go inside London Bridge,’ recalls Harriet Parkin, a trainee design technician (street lighting) at Hull Council. ‘I saw the progress that was made as Leo came to know how to use the system and became more confident with it, experimenting with the different colours and timings – working out what went together well, and how he envisioned it before it started. ‘Yes, it was a long night, but the experience was a once-in-a-lifetime. The way so many different aspects of lighting had come together to make this happen is incredible. Not only were they installed by abseilers, there were people on the Thames in boats at 2am fixing snagging, people from the contractor walking around all night seeing how it looked

from either side of the bridges. ‘From the get-go, when they [the lights] were initially turned on at the beginning of the night, we had the public stopping and taking pictures. So I can only imagine the impact it is going to have once it goes officially public,’ she adds. For Motheo Ramphele, a lighting designer working at Arup, the most exciting part of the process was seeing the art team at work, the way ‘the speed, colour palate and other parameters were being experimented with on the night’. ‘The technology that Leo and his team are using on the project interested me since I am at the beginning of my personal learning curve with similar software packages,’ he adds. Watching the programming falling into place was also a fascinating experience for Guus Ketelings, lighting design technician at CU Phosco Lighting. ‘I have really come to understand how certain elements look fantastic whilst others might not, in terms of animation speed, colour, negative space etc.’ One surprise for Guus was how dynamic the project is. ‘I predicted that most programs would be pre-programmed and fairly static. Getting to grips a bit with the software really made me appreciate how dynamic the bridges are,’ he says.



To follow and learn more about The Illuminated River as it progresses go to

ILP VOLUNTEERS Clockwise from top. Emma Beadle Giovanbattista Cannella Motheo Ramphale Gus Ketelings Harriet Parkin

September 2019 Lighting Journal

The 2019 ILP Professional Lighting Summit



MUNICIPAL ENTREPRENEURIALISM’ As part of its strategy of engaging more effectively with external organisations, the ILP invited Paul O’Brien, chief executive of the Association for Public Service Excellence, to give a keynote address to this year’s Summit. In this abridged version of his speech, he outlined some of the funding challenges facing local authorities, and how lighting professionals may need to respond

By Paul O’Brien


t is a great pleasure to come to the Institution of Lighting Professionals to speak at your Summit. I am going to be unashamedly talking today about fighting for funding for your sector. A lot of the funding for your sector is filtered through local government, which is the area I work in. So I am going to be talking about the funding challenges within local government. I am going to talk about public satisfaction with services, and the need to be generating more income for services. For most of us now when it comes to funding, we are really beginning to move

into uncharted water. By 2020, local government funding will have fallen by about 30% on average across the UK. But for some areas it has been a much harsher cut. Indeed, local government funding as a percentage of gross domestic product is now down to something like 5.7%. That is the lowest it has been since records began; it is the lowest in more than 70 years. If you look at GDP, at present it is about £2tr. So every 1% cut is the equivalent of £20bn, and local government over the past eight or nine years has lost approximately 2.5% of GDP, or the equivalent of about £50bn of funding. We’ve seen as a result a complete

September 2019 Lighting Journal

there for the most deprived areas has also been taken away.


realignment of local government within society. There is a realisation that there is significantly less funding to go round; there are huge challenges, huge public policy crises taking place at present; there is a real battle for funding and resources. I may as well get it out of the way – there’s Brexit as well. That is coming along and will have an impact, especially around the comprehensive spending review (CSR) that the chancellor is expected to announce at the Autumn Statement in October or November. That will outline spending plans for the next three to five years. But, because of Brexit, there might be a one-year stop-gap Budget because it takes 12 weeks to undertake a CSR in terms of laying the legislation, and so that would have needed to have started before the summer recess of Parliament. As well as budgets dropping and finances changing, we have huge rises in need for adult care and children’s services, which is soaking up lots of budget and leaving a lot less for other services. So what’s happening as a result in roads, highways and street lighting? At APSE we locate roads, highways and street lighting within what we call ‘neighbourhood services’. This also covers things such as environmental services, parks, and leisure. Together, they make up about 19% of total service expenditure in England and 15% in Wales and 18% in Scotland. The average cuts to neighbourhood services have been higher than the cuts generally within local government. It has been around a 40% reduction, but a lot worse in some of the most deprived areas. There has been a ‘double whammy’ in that, as well as the general austerity cuts since 2010, the funding that used to be

Roads and transportation spending is currently around £7.4bn in England, but we think there has been an average cut of between 21% to 30% over the past five years. This isn’t just about neighbourhood services ‘taking their fair share’ of cuts. If we look back ten years’ or so, the neighbourhood services budget would probably have been about the equivalent of 97% of the social care budget. It is now down to 66%. That is a significant change in terms of resource allocation. From the information supplied to us through our regular ‘state-of-the-market’ surveys, 56% of authorities are saying neighbourhood services’ budgets have been cut further this year, and 62% are expecting even more cuts next year. To put this in context in terms of highways, from 2017/18 to 2018/19 45% of local authorities say they are expecting a drop in budget in this area. Of these, 62% are expecting a drop of 5% or less and 12% a drop of 20% or more. When asked whether their budget fully met their needs to fill potholes or resurface where necessary, only 7% thought it did. When it comes to street lighting, again from 2017/18 to 2018/19, those expecting a drop in budget reported by local authorities has been 43%. Of these, for 45% the drop expected is by 5% or less but for 28% it is by 20% or more. When again asked whether their budget fully met their needs in terms of maintaining or replacing street lighting assets, only 41% thought that it did. When it comes to staffing of highways teams, 55% of authorities feel absence is at an ‘acceptable’ level, 70% run apprenticeship training schemes within highways, although 26% say their training budget has dropped at the same time. The average age of operational staff is 48, which is something perhaps to think about. In terms of street lighting it is a similar picture. A total of 77% think absence levels are acceptable, 34% have apprenticeship schemes, 24% have experienced a drop in their training budget, and the average age of operational staff is the same at 48. Digging down further into this, more than half of local authorities, 52%, say they have a target time of five days or fewer to restoring

THERE IS A SIGNIFICANT CHANGE IN TERMS OF RESOURCE ALLOCATION streetlights to working order, 26% say this is 7% or fewer, and 21% say 10 days or more. All of you have undertaken work on LED lighting, with the majority focused on lamp dimming or reducing lighting hours. Although switch-offs have been less popular, they are still 35% doing that. But what about public perceptions, what do the public perceive, or what are they experiencing with regard to frontline council services, especially street lighting as a result of this financial climate?



We do an annual opinion poll with polling company Survation of more than 1,500 adults UK-wide, and some of the issues that come out are, I think, important. The public by and large remain satisfied with the job you do in keeping their streets well lit, as you can see in figure 1 overleaf. But they are less satisfied with winter maintenance and, in particular, potholes. I think these figures are still relatively positive, given that we are now in the tenth year of what was supposed to be a five-year ‘fiscal correction’ programme. So we are not doing too bad in terms of public satisfaction. We also asked where the public would like to see more money spent. As we see in figure two, again over the page, right at the top of the list is roads maintenance and potholes. One thing that is interesting is that ‘street lighting’ is at the bottom this time. But having been third from the top in terms of public satisfaction it is perhaps not that surprising. Finally, what of the future? What will local government look like in 2020? We know that local government faces huge funding challenges going forward. APSE is calling for a local government sector that is more self-confident, more self-reliant and more self-sufficient. Ultimately, to

September 2019 Lighting Journal

The 2019 ILP Professional Lighting Summit


do this we need to look towards generating more of our own finance. I think that has relevance to the work you as lighting professionals are doing with your services; you need to be aware of the context that we are operating in. And it is not just for local authorities themselves, it is for those who supply, who partner, who deliver within the sector. There are going to be lots of public challenges that we have to face. I suspect that, if the last decade was all about austerity, the next one will be about the climate change emergency we are increasingly facing; it will become one of the dominant issues and your services will be significantly affected by this. Digitalisation is going to be another issue, especially in regards to lighting columns. Lighting columns are going to become a vehicle for 5G. So there is going to be huge change there. Air quality will be another area of huge, huge challenge where, again, street lighting and streetlight-located sensors may play a big part. Our state-of-the-market surveys show us that 62% of highways services already sell services to external organisations, and a further 15% expect to be doing so in the near future. A total of 87% do this directly, while 13% of respondents have established a trading company to do this. When it comes to street lighting, more than half (56%) of local authorities say they sell services to external organisations, with 17% expecting to do so in the near future.

p Figure 1 Satisfaction with performance of council services (mean score out of 10)


To conclude, local authority budgets will continue to drop up to and probably beyond 2020. Remember that announcement a few months ago that austerity was over? Don’t you believe it. It will take a long time to filter through to local areas and the services that you operate within. For me, the sector response has been excellent so far, especially in terms of efficiency and in terms of improving productivity and in terms of cost reduction. The public currently continues to be broadly supportive of your services. But for me that only takes us so far. We need to be thinking about income generation opportunities to offset those budget cuts. There is a need to focus on the concept of commercialisation.


p Figure 2 How the public would like extra funds spent (mean %)

It is time for a new spirit of municipal entrepreneurialism to triumph, and there is a need to fight for funding in the upcoming comprehensive spending review, whether it is a one-year or a three-year settlement. There is a need for us to be fighting, to make a

conscious effort to protect and fight for the services that you operate to local people and to local communities.

Paul O’Brien is chief executive of the Association for Public Service Excellence

September 2019 Lighting Journal


September 2019 Lighting Journal

Asset management


The ILP used June’s Professional Lighting Summit in Newcastle as a platform to launch its long-awaited follow-up to TR22, GN22: Asset Management Toolkit: Minor Structures (ATOMS). Here co-author Tony Parasram guides you through what’s in it and what to expect By Tony Parasram


t first glance, it may seem peculiar that the authoring of the ILP’s new Guidance Note 22 Asset Management Toolkit: Minor Structures (ATOMS) should be a collaboration between lighting and structural engineers. But therein lies an important point. The origins of GN22 ATOMS, as it has become known, lay in the first few meetings between WSP/Free4m, Westminster City Council and the ILP. The notion that the lighting column or bracket is a minor structure giving support to the luminaire, CCTV, signal and suchlike, is essentially a new one. If indeed this is the starting point, then it

p Lighting columns are ‘minor’ structures

follows that understanding all aspects of structural behaviour, material deterioration, galvanic action and so forth become applicable. This is where GN22 ATOMS began: to view the lighting column or bracket as a minor structure in much the same way as a building or a bridge. Extending this thought process brings us to the application of structural mechanics, to estimate residual life under certain loading conditions, ascribing statistical methods to index condition and the application of asset management principles. Running parallel to this, of course, are the recent changes to the UK Roads


Take control of your time and budget with Free4m Lighting’s GN22 Toolkit Easy to use, accessible and affordable online asset management and lifecycle planning. Our online subscription service takes your existing stock data to provide you with Condition Index and Assumed Residual Life at the click of a button. Subscribe now at

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LiveConnect Be informed of your changing stock condition as LiveConnect always retrieves the latest inspection and test data. LiveConnect takes the guesswork out of whether you are looking at the latest condition results.


September 2019 Lighting Journal

Asset management



Liaison Group’s new code of practice Well-Managed Highway Infrastructure which came into force in October 2018, as was covered in Lighting Journal earlier this year (‘Risk and Reward’, ‘Building Resilience’, ‘Locally Managed’ , January-March 2019, vol 84, nos 1-3). Itself an updated document, to recap, the code is the culmination of merging three codes of practice (highways, structures and lighting) into a single document. The key change is the migration from a prescribed approach to managing assets to an evidence-based, risk-based approach. It is about what works for you in the location you are with the assets you have. In essence, GN22 ATOMS is a move toward applying a structural approach to the column/bracket. It is about managing your stock using a risk-based approach and targeting resources appropriately, having understood where the stock condition is heading using the new tools provided.

Assumed Residual Life (ARL) are solely for the purposes of financial planning and not for development of a works programme. Secondly, the quality of the CCI or ARL is dependent on the quality of data to start with. Finally, these tools are not intended to be a replacement for structural testing. They are designed to manage risk by bringing a stock-wide visibility regarding condition, allowing the asset manager to make strategic decisions on investment. One innovation within GN22 ATOMS is the introduction of CCI and ARL. CCI is an objective, snapshot-in-time measure of a stock’s overall condition. It utilises visual inspection data input into the freely available calculator to produce a stock CCI. Current indications are that CCI will adopted by UK Road Lighting Board as its national indicator. The calculator provides a single value for the overall stock but also breaks down the stock into what percentage is ‘excellent’, ‘good’, ‘fair’ or ‘poor’. Repeating the calculation after possibly a maintenance works programme or a replacement programme demonstrates the impact the works has on overall stock condition. Computation of the CCI score is based on weighting of individual elements of the column and their contribution structurally to the whole. GN22 ATOMS records visual inspection data slightly differently to TR22 – recording the severity and extent of defects element by element. This move is intentional, bringing the language and description into


Doing more with less is always good news, and that’s what is possible using the approach and tools set out in GN22 ATOMS. If indeed we managed our stock with the most basic elements of the now superseded TR22, then we have some level of data. That may be simply knowing where the assets are, extending to possibly inspection reports and maybe even test data. All of the data currently held is useful and can be utilised within the tools provided to produce stock level condition indexation and assumed residual life. Before we get into the minutiae of column condition index assumed residual life, three things need to be borne in mind. Firstly, all output of the tools, be it a Column Condition Index (CCI) or

p Column condition index (CCI) obtained using the free toolkit

the world of the bridge engineer. Principal inspections, severity, extent, bridge condition indicator (BCI) are all familiar terms to the local authority bridge engineer. Given the lighting column is now seen as a minor structure, this seemed a prudent development. Asset owners with visual inspection data in the TR22 format can use the conversion table provided, converting data to the GN22 ATOMS format, to take advantage of the CCI calculator. A second tool is assumed residual life (ARL). Utilising test data for steel columns, asset owners can use the graphs, location specific (for example urban/ coastal) provided within GN22 ATOMS to estimate the assumed residual life of the column, assuming no maintenance is carried out. This differs from CCI insofar as CCI gives a snapshot-in-time on the asset condition, whereas ARL gives an ‘assumed residual life’, or a view into the future, so to speak. A recently painted column may visually look in good condition but could be hiding a relatively thin wall thickness. Using test data to determine ARL one can very quickly understand the likely service life of the column when compared to loading as set out in BS EN40. Of course, all of the above is captured within an envelope but it’s a starting point. Once successive years of visual inspection and testing is compiled, one can obtain actual deterioration rates, which may even vary across an asset stock, to further refine the ARL.

September 2019 Lighting Journal

Asset management



What could possibly be bad about this? We could use the Americanism ‘GIGO’ or ‘garbage in garbage out’. Essentially, asset management and a targeted maintenance approach is about doing more with less. It is about maintaining or possibly even improving stock condition using steady state funding, but it is all about the quality of the data. The starting point is having possession of the basics: inventory, visual condition possibly even test data. Another useful phrase is ‘if you don’t know about it you can’t manage it’. In the absence of this, GN22 ATOMS suggests obtaining this data is the starting point. Possession of this data, even in the old TR22 format, still affords a quick win for users of GN22 with the free tools. Using an objective tool such as CCI, we are able to understand not only our asset stock condition but that of the UK, irrespective of whether the asset owner is the local authority or a railway operator or a supermarket. A column is a column. By combining the local and regional CCI scores we are able to understand a national picture to possibly to present to government in a ‘state of the UK’ report. During the development of GN22, a series of workshops was held with asset owners primally populated by local authorities. The overriding question was ‘does GN22 ATOMS tell us what to do?’. The straight answer to this is ‘no’. A risk-based, evidence-driven world means no one answer fits all, whether it be in how often we should inspect or test or what we should do with the answers. The release of Well-Managed Highway Infrastructure signalled a shift change in thinking from ‘prescribed’ to ‘described’. It is about making intelligent decisions to meet local conditions managing the local risks. Once decisions made are evidenced and the process is documented it is considered sufficient reason to execute that particular plan. Inspection frequency may well vary from owner to owner, even from area to area within a single ownership. As long the rationale is described and documented and the reasons for a particular conclusion given it’s acceptable. The net result of all this is we start to make strategic decisions regarding where we place human and capital resources based on having an initial condition index. We can obtain a CCI for free using visual inspection data. This may lead to decisions on where we start a

programme of testing based possibly on asset age or location – in other words densely trafficked areas, or due to condition. The test data will then lead us to the longer-term investment programme. It is worth reiterating the outcome of obtaining a CCI or ARL value leads to strategic decision-making and not physical works. Physical works arise from inspectors highlighting emergency works, failure of a column through testing or via a planned works programme.


No-one wants to be here: what I term the downright ugly. This has also been referred to as ‘the cliff edge’ or ‘the tsunami’, neither of which sounds good. At the end of the GN22 ATOMS launch at the Professional Lighting Summit in Newcastle upon Tyne in June, statistics provided by test-houses were revealed on the impeding wave of columns deemed ‘critical’ facing the UK as a whole.

p Column deterioration ultimately leading to structural failure

In 2017, 3.5% of the assets were ‘red’ or critical, ‘amber’ state had grown from 11% (2010) to 37% (2016). In short, doing nothing is not an option as we face a tsunami of columns reaching criticality at the same time. We can stem this. Using GN22 ATOMS and the tools provided we can start to gain stock-wide visibility and make decisions to manage risk. Managing risk may take different forms not always palatable but at least the risk is managed, leading to a phased replacement programme where appropriate. There will always be the anomaly. There

always is. For example, an asset owner recently had a column fail structurally in a densely trafficked area that had recently passed a load test. It transpired the column fell following lifting of the paving slabs local to the column. The parent material of the column itself has completely deteriorated and the column was being held aloft via the interaction of the embellishment kit and interface friction with the column shaft. There are challenges yet remaining such as dealing with existing embellishment kits requiring further work.


There is a payback to all this. Local authority bridge owners, using an objective condition index to understand stock condition and deterioration, have demonstrated the ability to maintain steady state or even improve in the face of reducing budgets. Similarly, with GN22 ATOMS we have the ability to track a path between investment and condition. If a desired condition is required at a period in time we can determine the year-onyear investment required. If a determined budget is set we can estimate the outcome condition at a set point in time. This, in turn, assists reporting and responding to questions on asset condition and stock performance. Ultimately, GN22 ATOMS is an opportunity to understand where our stock is going and manage the process in the face of higher demands and reducing budgets.

Tony Parasram is director at Free4M Lighting

GN22 Asset Management Toolkit: Minor Structures (ATOMS) is available to download at resources/free-resources/atoms/ As well as now being available to download, the first official GN22 training courses from the ILP have been announced. These will be taking place this month, on 24 and 25 September, at the ILP in Rugby. Anyone interested should contact Angela Davies for more details on or go to training/book-your-2019-place/

GN22 - Inspection, Data Capture and Non-Destructive Testing of Lighting Columns Inspection and Non-Destructive Testing of Lighting Columns at vulnerable zones including the root, base and swaged joint connection. Techniques used include the Relative Loss of Section Meter and Swaged Joint Analyser supported by Ultrasonics where appropriate. Other Services include: • Data Collection and Geographical Positioning of Highway Assets • Inspection of Concrete Columns • Assessment of Column Attachments (as specified in ILP PLG06) • Load Testing of Caternary Wire Anchor Points All test data is recorded and reported electronically with recommendations on each column tested in accordance with guidance given by ILP Guidance Note 22/19. Kiwa CMT Testing are UKAS accredited (ISO 17025) for the Structural Testing of Lighting Columns. We are also CHAS accredited and HERS, HEA and Constructionline registered.

Kiwa CMT Testing

Unit 5 Prime Park Way, Prime Enterprise Park, Derby, DE1 3QB T: E: W:


September 2019 Lighting Journal

The 2019 ILP Professional Lighting Summit



Anthony Smith took over as President of the ILP from Colin Fish at the Professional Lighting Summit in June. Here is an abridged version of both their speeches


By Anthony Smith


en years or so ago we rebranded from the ILE to the ILP with the intention of broadening our church. This has definitely achieved some big wins over that time. Lightscene, for example, has become a really vibrant element, as has ‘How to be brilliant’ in London and Edinburgh and we are looking for others. We have become involved in really positive things such as Light School. But we are hitting a point where the highway lighting landscape has changed, and has changed without us really noticing. I think we need to stop being afraid to say that we are also very good at highway lighting. We’re still one of the best Institutions in the world for highway lighting with our excellent technical documentation, which is referenced all over the world. With the Exterior Lighting Diploma, we’ve had students from Hong

Kong, Malaysia, South Africa, Holland and Bahrain. We’ve demonstrated our quality – but we need to build on that. The landscape has changed. As our National Lighting Survey has shown, we don’t have the local authority lighting teams any more where there used to be four or five engineers, plus technicians, in place. We’ve got consultants, contractors, assistant asset managers. I’m not saying that’s a bad thing, but a lot of the important people have gone and many of those who have come in in their place perhaps don’t know us or what we do. So we need to be looking at how we can promote our offer better and make sure people in local authorities actually know who we are. The whole thing for me sits on collaboration. We’re very good at talking to ourselves, but less good at talking to others;

we don’t engage well enough as an Institution. And that is something I think we need to work on, although we have started this under Colin. We need to do more; we need to look at how we engage more externally. We need to continue to make people more aware of us within the broader lighting industry. We also need to ensure the YLP continues to flourish. The YLP has been a great asset to the Institution. I look round this room and I now see some quite young people who are fairly senior within this Institution. I don’t think that would have happened without the YLP, and we have to continue to do that. We don’t want the Institution to be a load of old men in tweed suits. We need that vibrancy. Internally, I think a lot of the membership probably do not appreciate just how much work the incoming chairmen have done with regards to the Lighting

September 2019 Lighting Journal

Delivery Centres (LDCs). There has been an implementation panel, chaired by Kevin Grigg initially and then by James Duffin, and there has been a huge amount of work and effort gone into that and a lot of discussion. I think it is fair to say the change to LDCs has been anything but smooth; there have been a fair few issues to iron out. But we would not have got there without the chairs of the LDCs engaging with the process as they did. And the position we are in now is as much driven by them; they are your LDC chairs so get to know them and engage with them. I think the National CPD Curriculum is a great idea. It has to be the vehicle by which we continue to improve the quality of CPD we deliver. It has got to be the right thing to do. But it does rely on everybody – it relies on you all – to be involved in that. If the curriculum is driven by four or five people sat in an office in Rugby then it won’t work. It has to be driven by the membership: the type of paper, the

type of content you want as members. Therefore, if you have got a good paper or think you have a good topic, please put it forward. Another thing I think is going to be key moving forward is the appointment of Peter Harrison into our new role of technical director. It is very much about continuing to improve the technical quality of what we deliver, but it is also about providing advice to the LDCs themselves and the wider membership. We have also created some new Vice President positions and I think we now have a really good mix of experience, backgrounds and age. That diversity of people involved as VPs will, I am sure, help the Institution to move forward. There is one final thing I would like to highlight. We do a lot of great work at a strategic level. But I think we could do more to engage across the industry at a more operational, technical and educational level; I think that is something we should try and get off the ground.

There are lots of institutions and organisations out there that are generating and using great technical content – but they are doing it in silos. Therefore I think we have an opportunity, as the ILP, to be more proactive around marketing the technical information and expertise we have as a way of growing our profile and membership. For example, we should look at areas where we can do joint training, where we can deliver joint technical papers, where we can come together and work together instead of working separately. This is the challenge, and opportunity, I see myself making as my priority as President. Let’s work together as an industry, not work separately.

Anthony Smith IEng FILP is President of the ILP and director of Stainton Lighting Design Services



Colin Fish (left) handed over to Anthony Smith as President of the ILP at the Professional Lighting Summit in June

September 2019 Lighting Journal

The 2019 ILP Professional Lighting Summit




32 By Colin Fish


can’t quite believe where the last 12 months have gone. It only seems like yesterday that I was privileged and honoured to become your President. Last year when I stood on a stage very similar to this one, I set out the theme for my year: that of effecting evolution of the Institution for the benefit of the members and the profession. Along with the executive board, past chairs and the team in Rugby we set out to deliver on three key objectives: the successful transition to the new Lighting Delivery Centres (LDCs); the development and implementation of the new National CPD Curriculum; and raising the profile of the Institution, both to other professional bodies and at local at national levels of government. I am pleased to say great progress has been made on all of three objectives. I am delighted to announce that through the hard work of the implementation panel and Jess Gallacher and the rest of the team we now have all the pieces in place. A call for papers was released at the back end of last year and I am pleased to say we had a great response.

We now have a lively group of presenters that the LDCs will be calling on over the coming year. Please, however, don’t forget that the content of the National CPD Curriculum is very much driven by you, the members. So please keep your topics and requests coming in so that we can deliver focused CPD for your needs. We have been working hard to raise the profile of the Institution with other professional bodies. Last September, for example, we hosted the first Presidents’ Dinner at the House of Lords. We welcomed presidents and CEOs from other lighting bodies, such as the LIA, SLL and the HEA, where we set out intentions to work together on common grounds for the benefit of the industry. I am pleased to report this has led to further meetings and we continue to work on this area. We have engaged both national and local government and the London mayor’s office. For example, in July our chief executive Tracey White wrote to transport secretary Chris Grayling to support the

principles of the government’s ‘Road to Zero’ strategy, which has called for greater investment in highways’ lighting infrastructure. I am pleased to say we had a response welcoming further discussions with the ILP. We have also replied to the mayor of London’s draft London Plan and I am pleased to say Tracey again represented the ILP at a meeting of the London Assembly on this matter. Finally, as I hope many of you will have seen in June’s Lighting Journal, the ILP has many members involved in the Illuminated River project. I hope you agree it has been a busy year, but there is still much work to be done, and I wish Anthony every success for his coming year as President. It has been a privilege and an honour to be President of this great Institution.

Colin Fish IEng MILP is Immediate Past President of the ILP and team leader north – lighting systems UK and Europe, Engineering, Design and Project Management, at Atkins

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September 2019 Lighting Journal

The new-look ILP


As well as launching its new network of Lighting Delivery Centres and National CPD Curriculum, the ILP has appointed a new technical director and created a series of new Vice President roles. Nic Paton spoke to them



n his previous position as technical services manager, Peter Harrison for the past three years played an important role for the ILP in terms of directing, creating, reviewing and promoting its technical content – guidance notes, professional lighting guidance and the like. But in July this role changed, with Peter being taken on by the ILP as a fulltime employee (he had been a freelance consultant before) and given an expanded brief as technical director.

So what’s it all about, what does it mean, and will mean it mean for members? ‘As technical services manager I simply provided services as and when necessary to the Institution. Now, as an employee – and as the lead technical officer within the Institution in fact – I am much more an intrinsic part of the organisation,’ Peter explains. ‘The role has been expanded to cover things like the development and delivery of training as well as technical aspects of reports, publications and guidance. It is about education and training, supporting the VPs and much more. Before it was mostly about working closely with Haydn Yeo, Vice President Technical, on delivering technical papers. The technical director role is much more than that, much broader. ‘It is about working with the LDCs on their technical events so we can assist them with trying to find presenters and appropriate papers. Papers that are put forward, or a synopsis, will be reviewed by me. ‘I’ll give my view as to how they are

going to be delivering the National CPD Curriculum and whether they have the right level of technical content. That doesn’t mean to say that the LDCs can’t identify and deliver their own papers of course. But, fundamentally, the spine of each of the events, hopefully, will be making sure that the content does deliver the National CPD Curriculum,’ Peter adds.

So in practical terms what difference will ILP members now see as a result? ‘It’s partly the fact there will now be a technical person at LDC events,’ says Peter. ‘I’m not saying I’m going to be there at every single LDC event, but we are intending to have some form of presence at LDC events where we can. It is also going to be about networking with the membership; finding out what their issues and concerns are and making sure they are addressed going forward.’

and share the difficulties they have got, whether through contact at Rugby, at LDC events or at wider ILP events such as next month’s Lightscene CPD day in Uttoxeter. ‘It is, for me, an opportunity to engage with members and to get a feel of what their concerns are and to offer some practical advice wherever I can. Having said that, the one thing I am absolutely clear about is I don’t know it all. The success or not of the Institution is not necessarily my knowledge – it is my knowledge of the network out there and where I can go to get answers, I think that is the important thing. And that is what we will deliver going forward,’ Peter adds.


This will naturally mean there is always an open door, email or phone for members to get in touch with him at the Rugby head office, Peter emphasises. ‘Anybody ringing up with an issue can do so. It could be, for instance, a neighbour has put a security light up and they won’t turn it down/switch it off – what can I do about that, who do I complain to, what documents have you got, what guidance have you got? Those sorts of issues I will still deal with – as I did before as technical services manager,’ he says. It is simply about having someone available who members can engage with

Peter Harrison (above) can be contacted at

September 2019 Lighting Journal


Steve Biggs, Vice President – Contracting ‘For many years there has been a bit of a barrier between design and install. You have designers in their offices miles away from where the installers are. The installer just gets the design and then tries to install it. And so the idea with this new VP role is to create more of a joined-up approach; a bit more togetherness. ‘How often have I heard an installer saying, “they don’t know what they’re designing, we can’t install that” and the designer going “of course it’s installable because we designed it”. There can often be a bit of an impasse between the two. ‘I came into the lighting/electrical industry as an apprentice electrician. I have come from the ground-floor level and worked my way up through that training programme before eventually moving into consultancy. My background


‘This new VP role is primarily about looking at the strategy of the ILP and working out how we can expand our reach, particularly in the area of government. It is about trying to ensure we have a bigger

started with the install element of street lighting; I have practical hands-on knowledge of both sides. ‘What I am looking to do through this VP role therefore is bring people like myself who have got the install knowledge and design knowledge, whether they have gone from design to install or the other way around. It is about saying, “look we have got this experience in designing and installing, where can we make synergies better, and how can we get people who don’t do design or don’t do install, how can we bring their views into a complete system approach?”. ‘For example, I’d like to look at how we can make the Fundamental Lighting course more attractive to installers. I’m thinking aloud but perhaps we could one day have a Fundamental Install course, perhaps a seminar or day course, and designers could get involved? Or perhaps topics within the National CPD Curriculum or maybe even a new guidance note around on-site issues? ‘As I say, everything is at a very early

stage yet. But I am open to ideas and keen to hear from members. I will also be going around visiting the LDCs as part of my role; so that is a chance to chat and give me feedback in person. I’m also hoping we might be able to do some electronic surveys. Finally, I am looking at the possibility of creating a small committee of people from different areas who can engage at their level.’

say in some of the key issues. At the moment there is too often a feeling that we don’t have that much of a say in the government side of things. ‘Part of the role therefore is going to be about working alongside Tracey White and the Rugby team to engage with organisations such as the Department of Transport, Highways England, the Welsh Government and Transport Scotland, as well as working to develop our networks within Parliament.

‘I’d very much like to investigate the feasibility of setting up a new All-Party Parliamentary Group for lighting. Obviously at the moment politically it is perhaps not a good time to be thinking about something like this, but perhaps in the near future. ‘Members could certainly help by lobbying their MPs, especially those where manufacturing has a strong presence within their constituency. It is often a good way to get listened to. ‘Looking further ahead, I think there is interesting work we could be doing in terms of lobbying for change around planning legislation so that lighting is considered in every large planning application, whereas it is a bit of a postcode lottery at the moment. Another key objective would be to lobby for some sort of regulation on the competence of people doing lighting design.’

Steve Biggs is Vice President – Contracting, as well as principal engineer within lighting design within Skanska Contact:

Alistair Scott is Vice President – Government & Policy, as well as a Past President of the ILP and he is managing director at Designs For Lighting Contact: p

The Welsh National Assembly at night, Cardiff Bay. The devolved administrations, as well as national government, will be more on the ILP’s radar


September 2019 Lighting Journal

The new-look ILP


Scott Pengelly, Vice President – Products


‘Some of you may recognise me as formerly VP Events at the ILP, a role I held for the past four or so years. But this new VP role, which has come about because of the restructuring to LDCs, is I feel a very important one for the ILP and our wider membership. ‘My role is, essentially, to be engaging with the main product manufacturers and suppliers within the highway, infrastructure and architectural sectors of the lighting industry, both with established manufacturers and suppliers and new entrants to the market. ‘When you look at the membership breakdown, some 25% of the ILP’s membership comes from manufacturers. So my role is to work to embed these members and their contribution within the Institution. My focus is about ensuring product manufacturers feel they are getting enough value


from their membership. ‘What I want to do is go around manufacturers, product designers and suppliers and say, “how can the ILP be better for you guys?” and try and build that into what we’re doing. And just really trying to represent them better. ‘It is, again, early days. But I think there is a lot of scope to extend how we engage with and involve the product sector. I think, too, there is potential to extend or add to our training and education. For example, take the Exterior Lighting Diploma. It’s a great course but if you’re in the manufacturing world and are, say, a salesperson and you want to learn more about streetlights there is no point in doing it because it is far too in-depth and technical. ‘So I think there could be mileage in a shorter course, perhaps a one-week course, perhaps an Exterior Lighting Certificate or similar for people who are involved in product design, development and sales for exterior lighting products that would give them enough information

to progress and grow in their careers without having to commit to the full diploma. ‘I’m also hoping to engage with other relevant industry bodies, such as the HEA and the LIA and I’d be keen to investigate the feasibility of setting up an ILP manufacturers’ forum. I am very open to ideas and would love to hear from members. So my door is always open.’

Scott Pengelly is Vice President Products, as well as national sales manager, UK street lighting, at INDO Lighting Contact:

Look out in the October edition of Lighting Journal for further updates from ILP VPs

The Professional Lighting Summit is a great way to bring members together and create networking opportunities, something that will be a priority for many of the new VPs

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September 2019 Lighting Journal

The new-look ILP


The ILP’s seven new Lighting Delivery Centres (LDCs) are now established and up and running around the UK and in Ireland. Events and activity will, naturally, begin to ramp up throughout the autumn. ILP members can choose which LDC emails they would like to receive (as many as you like) by logging into MyILP and choosing their communication preferences. Here are your LDC representatives in your area. • Birmingham Chair: Michala Medcalf. Vice chair (and YLP member): Kieron Jarvis. Immediate past chair: Jonathan Ayers. Contact:


• Bristol Chair: Ian Clemetson. Vice chair: Clare Gough. Secretary/bursar: Tom Lewis. Immediate past chair: Andrew Williams. Contact:

p ILP President Anthony Smith with some of the new LDC chairs at June’s Professional Lighting Summit in Newcastle

• Durham Chair (and YLP member): Elizabeth Harrison. Vice chair: Ray Keane. Secretary/bursar: Tony Lord. Immediate past chair: Kevin Dugdale. Contact:


• Ireland Chair: Kevin Mooney. Vice chair: Sean Campbell. YLP member: Isabel Kelly. Secretary/bursar: Thomas McDonald. Immediate past chair: Pat Redmond. Contact: • London Chair: Perry Hazell. Vice chair: James Duffin. YLP member: Matthew Fisher. Secretary/bursar: David Long. Immediate past chair: Paul Bateman. Contact: • Manchester Chair: David Jones. Vice chair: David Coldron. Secretary/bursar: Ruth Barker. Immediate past chair: Chris Pennington. Contact: • Scotland Chair: Ray Clarkson. Vice chair: Kevin Thomson. YLP member: Stewart Thomson. Secretary/bursar: Kevin Ramsay. Immediate past chair: Steve Francey. Contact:



13 September LDC Durham first annual review, golf and dinner Venue: Ramside Hall Hotel-Golf-Spa, Durham

6 February LDC Durham technical meeting and CPD papers Venue: Durham County Council, County Hall, Durham

19 September LDC Bristol technical meeting Venue: River Gate Building, Bristol

7 February LDC Scotland dinner dance and networking Venue: Airth Castle, Airth, Stirlingshire

10 October LDC Durham technical meeting and CPD papers Venue: Thorn, Spennymoor 24 October LDC Scotland autumn technical CPD day Venue: Airth Castle, Airth, Stirlingshire 14 November LDC Durham technical meeting with CPD papers on Lumiere Durham Venue: Radisson Blu Hotel, Durham 5 December LDC Durham networking evening – Ten Pin bowling Venue: Planet Leisure, Newton Aycliffe, Co Durham

12 March LDC Durham technical meeting – YLP mini papers Venue: Thorn, Spennymoor 23 April LDC Durham technical meeting and CPD papers Venue: Durham County Council, County Hall, Durham

Keep an eye on: events where all LDC events, and other ILP events, are regularly updated

September 2019 Lighting Journal



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September 2019 Lighting Journal

Industrial and commercial lighting



The lighting at Renault Trucks Commercials’ Reading logistics base used to be so poor that technicians often needed to use head torches to work properly. This – and much beside – has now changed and been vastly improved through the transition to a new site-wide and emergency lighting LED scheme By Liz Hudson and Alan Robson


ighting is an essential ingredient in all commercial buildings and facilities. As a business, whether or not you get this right will affect virtually every aspect of your commercial operation, from energy expenditure through to emissions, from working comfort through to evacuation procedures. Even the distances at which employees can perceive yellow warning marks and oncoming hazards are, of course, affected by light. Following a number of successful retrofit and commercial LED upgrades and conversions, including for Volvo’s facility in Motherwell (‘Scottish Premiership’, Lighting Journal February 2019, vol 84, no 2), Carbon Reduction Technology

(CRT) was recently commissioned to carry out an LED upgrade for Renault Trucks Commercials’ logistics facility in Reading. The facility is a busy logistics base for the company, covering repairs, maintenance and MOTs for many HGV and LCV (light commercial vehicle) vehicles in the south east of England. The facility includes extensive high-bay spaces for working with the vehicles, plus low-bay parts storage, administration and customer interaction areas.


The original lights in the high-bay areas were 400w energy-intensive highpressure sodiums, outputting 150-200

lumens, augmented by natural light ingress via five large roller shutters set into an exterior wall. However, technicians were still finding light levels too low and on overcast days where ambient light from outside was minimal were often using head torches for tasks that would not normally have required additional illumination. The project brief for the main maintenance area and MOT bay was therefore to increase output lumens at floor level and, crucially, to achieve a much more uniform spread of illumination. The objectives were to achieve increased comfort, safety and visual range for the technicians on the facility floor and a reduction in energy consumption and emissions to contribute

September 2019 Lighting Journal


to the brand’s environmental targets. In addition to the main work areas, new LED low-bay and office lighting would be installed throughout to facilitate further savings and improve working conditions. The facility’s reception area is fronted with an extensive glass façade and the Renault team was keen to take advantage of this natural light. The exterior of the facility was also needing to be relit so that it was able to provide enough light to move and store vehicles after dusk without encroaching on neighbouring properties. Finally, the brief required a full complement of new emergency lighting to be implemented, along with a smart control and monitoring system to trim away any potential energy waste. Occupancy intelligence was to become a key performance indicator for the branch and Renault therefore needed an effective control system to collect this data. After assessing a number of potential smart networking options, the Renault and CRT teams agreed that the enModus Wattwave powerline technology (also used at Volvo CE Motherwell) would be the most suitable option. The Renault Trucks team was also very

clear that the Reading service centre was key to the region’s logistics and services. Therefore, the facility could not be closed for the lighting upgrade – installation would need to fit around its service commitments.


• The maintenance bay During the assessment phase of the project, the lighting scheme design team was immediately able to identify a key problem in the maintenance area and MOT bay. The maintenance area consists of six bays, into which vehicles are pulled for servicing and repairs. As the facility specialises in larger vehicles, these are often high-sided and wide. The original lighting scheme had the lights lined up directly above the bays, meaning the light pooled on top of taller vehicles and cast shadows into the work areas alongside. As CRT scheme designer and project manager for the Reading site Nick Wilkins explains: ‘We saw immediately that the light sources needed to be between the bays to be most effective. The only way to properly address the problem was to completely change the

The exterior lighting was designed to light the main walkways and staff parking areas whilst keeping excess light from encroaching on neighbouring properties

strategic layout of the lighting. Instead of a complete rewire to move the power points for the luminaires, we were able to work around the issue by extending the length of the HBX connection cables during their manufacture.’ One of the advantages of using CRT’s HBX2 high-bay luminaire was its versatile directionality. The design team therefore used a variety of optics (directional lenses) and, in some cases, physically angled the luminaires on their brackets to achieve the best possible light coverage. The redesign enabled the team to increase floor level lumens by more than 125% whilst at the same time halving the number of lanterns required to light the space and, in turn, reducing power consumption per asset from 400 watts to 138 watts. This equated to a saving of just over 83% in energy and emissions, even before the addition of the control system. A key function of the control system in the maintenance space was to be daylight harvesting. Sensors would


September 2019 Lighting Journal

Industrial and commercial lighting


p The lighting layout in the main servicing area was completely redesigned so uniform coverage can still be achieved when high sided vehicles are parked within the bays

continuously measure the ambient light from the roller doors during daylight hours and, as the extra light would no longer be an essential addition to levels, automatically reduce the power output of the HBX2 luminaires in appropriate parts of the lighting network. On an average summer day, the new luminaires are expected to dim as much as 75% to take advantage of natural light, without compromising lighting quality at floor level. • Low ceiling areas The low ceiling areas of the plant included extensive parts storage plus human-centric

areas, such as reception, offices and staff facilities. Further ‘smart’ functionality was therefore going to be key in all of these areas in order to maximise the savings potential. To that end, the CRT team began with a luminaire upgrade, replacing fluorescent tubes with light-injection low-bay and office fixture LEDs designed by Waveguide (now owned by CRT). By pre-mixing the light and diffusing it through a tube, the Waveguide luminaires project virtually no flicker or glare, making them an exceptionally comfortable light source for people working below. Passive infrared (PIR) sensors were installed throughout to dim or switch off the lights when any space is not in use. This significantly increases the potential for savings, particularly in the offices, staff facilities and parts storage, all of which are in use only sporadically throughout the day or staffed at shorter hours than reception and the main service area.

The team was once again able to reduce both the wattage per asset and the total number of assets required to light each space while increasing light quality and distribution. Before controls, parts storage benefited from a 68% saving and, with the addition of controls, this rose to 84%. Much like the maintenance bays, the reception area and offices also benefited from plenty of natural light via the building’s glass frontage and large windows, making daylight harvesting a rich source of further energy savings. The administrative and customer areas benefited from a basic reduction of 74%, going up to 85% once connected to sensors and controls. • Emergency and exterior lighting Emergency lighting is, naturally, an essential component of any lighting system as well as a legal requirement. Crucially, as well as designated luminaires being fitted with an independent back-up power supply and emergency driver that

September 2019 Lighting Journal

EMERGENCY LIGHTING IS, NATURALLY, AN ESSENTIAL COMPONENT OF ANY LIGHTING SYSTEM AS WELL AS A LEGAL REQUIREMENT 44 trigger when the power is cut, it is a legal obligation to regularly test emergency lighting. Each luminaire must be tested for one hour every month plus an annual discharge test. The smart lighting system installed at the Reading facility is capable of autonomously testing every emergency luminaire on this monthly basis and automatically producing a report, in addition to conducting the annual discharge tests. Safety checks can be programmed to trigger outside of working hours, or the system can test one luminaire at a time inside of working hours, so negating the time and cost involved in having a lighting engineer visit the site to carry out testing manually. The exterior lights were replaced with a combination of flexible LED floodlights and SLX2 lanterns. Optics were used to direct the light to ‘hug’ the drive and walkways, so preventing unwanted light from spilling on to neighbouring properties. The exterior lanterns are programmed to light up when natural light levels dip below 17 lux, in a similar way to streetlights.


As already highlighted, a key aspect to the project was getting the installation rolled

out without significantly affecting the facility’s service capacity and without causing disruption that could affect revenue or the business’s high customer care standards. As Nick Wilkins again explains: ‘It’s almost never reasonable or possible to expect a busy facility to shut down to accommodate a lighting upgrade. The six maintenance bays, which are the bread and butter of the business, undoubtedly required the most physical adjustment because of the essential redesign to the lighting layout but it was the one area that absolutely couldn’t accommodate a full shut-down.’ To that end, the CRT install team arranged to carry out the upgrades and redesign of the lighting grid in the maintenance area over weekends, whilst the facility was off-peak. Each of the six open-plan maintenance bays was upgraded separately, one by one, working closely with the Renault technicians on the ground so that the other five bays could remain in use without compromising on safety. Clive Bassindale, dealer point manager for Renault Trucks Commercials, adds: ‘One of the biggest hurdles to carrying out a project like this is getting it done without negatively affecting the day to day running of your business or the service you provide to your customers. Finding a supplier who understood that and could work around our commitments was imperative to making our lighting upgrade happen.’


There have been seven key savings resulting from this project: 1 Visibility of space utilisation using PIR hotspot monitoring One of Renault Trucks Commercials key goals in Reading was to facilitate a way quickly and easily to monitor use of the space in the building, so that low-use areas could be identified and further optimised. The PIR occupancy sensors integrated into every luminaire can dynamically monitor activity and feed this data back for automatic compilation and assessment via timeseries graphs and hotspot diagrams. 2 Automated emergency lighting As already highlighted, the Reading site’s monthly and annual emergency light testing, as required by law, is now

automated. The estimated savings in manpower from this transition is approximately £4,000 per year. 3 Light levels and quality Light levels have been improved from an average of 150 to 200 lumens to an average of 400 to 450 lumens at ground level, with much greater uniformity. All low-bay and low-level ceilings have been retrofitted with light-injection luminaires that project virtually no flicker or glare, ensuring maximum staff comfort. 4 Site-wide energy saving before smart controls Before smart controls and sensors, lighting consumption site-wide has improved by 79.5% with an actual saving of 149 megawatts per year. 5 Site-wide energy savings including smart controls After the addition of smart controls and sensor technology, the site-wide savings increase to 89.4%, a further 18 megawatts per year. 6 Full payback in 16 months Including the new luminaires, control system and installation, the Reading site will achieve full payback through energy savings in just 16 months. 7 Total CO2 saved The new energy efficient lighting and control network equates to a CO2 saving of 77 tonnes per year. This is approximately equivalent to the CO2 generated by an average passenger vehicle over 188,264 miles of travel. In the current tough commercial climate, leveraging any and every competitive advantage you can is important. As Renault Trucks Commercials has found, upgrading your lighting can be a relatively simple and straightforward way to make an immediate positive impact on emissions and consumption, as well as a way to improve the working environment and, in turn, productivity and competitiveness.

Liz Hudson is head of marketing at The Yorkshire Marketing Machine and Alan Robson is director at Carbon Reduction Technology

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September 2019 Lighting Journal


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September 2019 Lighting Journal

Smart connectivity

CABLE VISION Using cables and power lines to send signals isn’t a new concept. But the technology now exists to turn humble power lines into ‘smart’ lighting networks, in the process opening up exciting new possibilities for lighting scheme designers By Liz Hudson and Alan Robson



ll electrically connected buildings have one thing in common: they are fully wired into a network of power cables. Up to now, the sole purpose of these cables has of course been to carry power to and from assets within the building (lights, sockets, devices, machinery and so on) and power the mains electricity. However, the technology now exists to expand this humble role into something new – a ‘smart’ lighting network. It is well-recognised that smart lighting networks can not only provide real-time and historical monitoring of energy usage, they can perform important tasks such as scheduling or remotely controlling lighting, daylight harvesting, carrying out routine and ad hoc emergency function checks and so on. In fact, well-configured smart control and monitoring can squeeze a further 10%-20% of energy savings from even the most efficient lighting upgrade.


But the actual practicalities of doing this – of installing a new smart control system into existing built infrastructure on a tight budget or deadline – can sometimes be challenging. This is where upgrading your power lines to do this job can make a difference – by bringing the benefits of a cabled system without the cost and disruption of a large-scale rewire. Cabled control presents a number of further advantages over Wi Fi too, including:

• Range and reliability Unlike Wi Fi, long-range use over a very large site doesn’t present an issue, as every asset is directly connected by cable. Power line signals are able to bypass obstacles and connectivity ‘black spots’ that might physically block a Wi Fi signal. They are also unaffected by metal building components or events which can create interference for a wireless signal. • Connectivity Every asset with a control node connected to mains electricity can communicate directly with a designated on-site control hub. In this way, a smart connected lighting network can be expanded to monitor and control any device which can be fitted with a control node and plugged into the mains. This technology is highly scalable, without the need to introduce signal extenders or bounce the signal between receivers. So, how does it all work? Similar to a Wi Fi-based smart network, each connected luminaire is fitted with a communication node. This node uses the cables that supply power to the unit to send and receive signals to an on-site hub. This hub then uses an internet connection to upload data to a secure Cloud data hub, which processes and stores the data. The user or client can access this web-based interface to get reports and operate a control panel. Typically, this set-up would be implemented by your lighting supplier

using technology such as the Wattwave system by enModus. As well as a range of automated functions, such as daylight harvesting and PIR (passive infrared) monitoring, operators can log into their smart system from any internet-enabled location. They can then perform a wide range of functions, such as check room occupancy, monitor energy use, control lights, or remotely control or oversee emergency testing.


Commercial buildings account for approximately 30% of all electricity consumed on our planet and the vast majority of buildings that will exist 30 years from now are already standing. This highlights the value of integrating smart technologies into the fabric of an existing building rather than going down the route of extensive and costly remodelling, construction or installation work. Power cable-based power line control for lighting is swiftly gaining momentum and has already been adopted on sites operated by leading commercial brands, such as Volvo CE, Renault Trucks and Virgin Media.

Liz Hudson is head of marketing at The Yorkshire Marketing Machine and Alan Robson is director at Carbon Reduction Technology

September 2019 Lighting Journal








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September 2019 Lighting Journal

Lightscene 2019

Uttoexeter Racecourse: venue for this year’s ILP Lightscene CPD event



Next month sees the return of the ILP’s Lightscene CPD day, this year taking place in Uttoxeter. Here is what members can expect

By Nic Paton


f you can, keep Thursday 17 October clear in your diary. Why? Because it’s the date of this year’s Lightscene – the ILP exhibition and day of CPD presentations and seminars. This year’s event is being hosted by LDC Birmingham and will take place at Uttoxeter Racecourse in Staffordshire, and will be a day around the certainly thought-provoking theme of ‘Can we save lighting engineers from extinction?’. The full programme of speakers had yet to be finalised as Lighting Journal went to press, but this year’s event is very much building on the findings of the ILP’s National Lighting Survey and the worrying decline in local authorityemployed lighting professionals, as we

reported back in June ( ‘State of the nation?’, Lighting Journal June 2019, vol 84, no 6).


Discussion and debate will focus on the key questions, including the changing role of the lighting professional, can a local authority manage without engineers, and should we as an industry embrace ‘insourcing’? The National Lighting Survey results will be digested, the role of the Engineering Council will be discussed – including the role of professional registration – as will be the need to upskill non-technical staff, and whether this is even a good idea.

Alongside the presentations and seminars, there will be a Professional Development Zone and exhibition, an o p p o r t u n i t y t o m e et l i g h t i n g professionals from the LDC Birmingham group, and opportunities for those interested to find out more about the ILP’s Young Lighting Professionals (YLP) group. Visitor places at Lightscene are free, and you don’t need to be an ILP member to attend.

To find out more and for updates on the agenda for the day, go online to lightscene-2019/

September 2019 Lighting Journal

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September 2019 Lighting Journal

The ILP’s ‘How to be brilliant’ lectures


VISION ON From selling your vision through to keeping the client and architect happy through to managing contractors, getting your lighting concept safely from the drawing board to construction can be a challenge. Linda Salamoun offered some sage advice in her ‘How to be brilliant’ lecture in April

By Nic Paton

September 2019 Lighting Journal


he ILP’s ‘How to be brilliant’ lecture series has long been renowned for attracting senior names within the industry who are willing to give up their time to pass on their expertise and experience to often a newly qualified, up-and-coming or student audience. Linda Salamoun, senior lighting designer at Steensen Varming, who came to Body & Soul in north London in April was no exception. Her lecture was entitled ‘The story of light’, so not a small topic to cover of an evening. But in reality it was essentially her – very generously – passing on ‘been there, done that’ knowledge around how to protect and progress your vision as a lighting designer from concept through to completion, arguably of course a hugely important and valuable practical skill for any aspiring lighting designer. Linda opened her lecture with a brief canter through the history of light and how light has been used in different ways throughout the centuries. This included taking her audience from the orange glow of cave firelight through to how the Romans understood and communicated architectural concepts, including deliberately bringing daylight into public spaces. From there we raced to the Industrial Revolution and beyond where, as she pointed out: ‘The exact opposite happened, and everyone started boarding everything up and electric lighting came. So people did not really see the need for daylight anymore, and that is when things like rickets started to appear.’ Everything then of course came full circle during the twentieth century until, now, with so much technology – and so many technologies – to choose from that, for the lighting designer, ‘you really have to think, “what is it we are lighting, and why is it that we’re doing that?” and going back to the basics of “what is that we are trying to achieve?”’, Linda pointed out.


This included the imperative to reduce glare and ‘how people perceive the space that they are in’. It meant understanding a space through light or ‘looking at the architecture around you and the surroundings that you are in’. Crucially, it meant understanding the social content of light, she argued, or ‘creating spaces where you can have a relationship with other people and communicate.’


Linda then moved to explaining and understanding different phases of the lighting design process. For example, when it came to ‘selling’ a concept, she argued: ‘There are two elements to selling a concept. You’ve got the client’s aspiration, who is really looking for the experience that you create in the space, and the human relationship to it, as that is ultimately why you are doing it. ‘Then there is the architect’s inspiration and, as much as they align with what the client, they also have this vision of their architecture that they would like to see a language of light that communicates with their architectural design and unifies with it.’ How, then, should a lighting designer go about navigating this process, in particular how much detail should they provide? Simple sketches were often a direct and accessible way to communicate your lighting language, she argued. Using photoshop on top of an architectural render could also be valuable but, again, not losing sight of the fact this was still very much about the concept. ‘It is important to keep things as simple as possible when you are working conceptually, in the concept phase, to make sure you don’t over-complicate your visuals and what you are trying to communicate to them,’ she emphasised.


The use of reference images could be an important and effective part of this process. ‘You can’t actually visualise with sketches what the feel of it would be and how the different materials behave. So, for better understanding you do need reference images. ‘Having said that, in this day and age there are so many to choose from you have to make sure that you use something appropriate for the project that you are doing. You have got to be quite careful when you are selecting these because often people get zoned in on one little detail on the image, which might have nothing to do with what you are actually trying to communicate to them,’ Linda said. When it came to expanding on the detail it was important to communicate enough so that the architect fully understood what you were getting at, she pointed out. ‘It is “if you are going to do this, you are going to have to allow for this much space”. Because if you don’t, they’ll look at the visual and love it but then it will be “oh you never told us we had to create an actual

pole for that”. And by that stage it may be too late,’ Linda warned. When moving from concept to more technical visualisations, while nowadays there are any number of software tools available, it was important not to forget the bigger conceptual picture you are trying to communicate, she argued. ‘The most important thing is what is the point you are trying to get across? It is going back to that not going into too much detail. So, in concept phase it might be more about the reference images and actual effects that you are trying to do. In detailed design you are going to be getting into the sizes of requirement that you need. And then if you into the technical phase and construction, it is about the calculations and proving what your design is and how it works,’ Linda advised. She then took her audience through the different RIBA design stages, offering practical advice and tips on everything from concept through to design, then technical design, then construction. On concept, for example, the key question to be asking yourself was ‘why?’ she suggested. ‘Why are you trying to visualise it? To allow the client to understand what they are getting and, ultimately what will be in the space? Just to sell your concept? It is good to have a few sketches from different angles so they can understand the context of the space as a whole and see it from different angles and see how different items communicate and what is the language throughout the whole building.’



September 2019 Lighting Journal

The ILP’s ‘How to be brilliant’ lectures

p Smythe Library, Tonbridge School, Kent Auckland Art Gallery, New Zealand, with a light scheme by Steensen Varming


On construction, Linda addressed the potentially tricky moment when contractors come on board, perhaps late in the scheme, who decide they want to put forward alternative visions or concepts. ‘You have to make sure that in your actual construction documentation you have everything that want to have watertight in there,’ she emphasised. ‘ You have to make sure that everything that you deem important, whether it is the size of the luminaires or a particular distribution or output,


The ILP’s ‘How to be brilliant’ lecture programme will continue throughout this autumn, both in London and Scotland. Later this month in London, on 19 September, Arfon Davies and Nicola Rigoni of Arup, who will be speaking about ‘How to be brilliant… at daylight,

that everything is in there that you need and communicated clearly. When you go to the different phases these documents will keep getting pulled up every time. If there are items you want to make sure they adhere to when other ideas come forward, this gives you something to fall back on. So it is quite important.’ Linda highlighted that it was important to recognise that the architectural side of things can and often does change during the process. ‘I’ve had walls going from white to brown, and then them asking “why does it feel so dim and dull?”. So it does happen.’ Similarly, electrical requirements can adjust as a project evolves, meaning energy consumption and load can fluctuate, and often in ways you may not have planned for. ‘These are all items that you have to be aware of and which can have knock-on effects and can,

going forward, mean you have to change the lighting design or look at alternatives,’ Linda said. ‘Lighting is an expensive part of the construction and so, if you have the client on board and the architect on board, it’s far more likely that it will be retained. So try to really get that concept in and show them to vision of what can be achieved; that can really help,’ she added. ‘So, in summary, what is the story of lighting? It is going back to the conceptual phase and really looking at “what is it that the client wants in terms of human experience?” and then also communicating it as a human experience,’ she then argued in conclusion. ‘As well as this, it is about looking at what the architect wants and making sure there is a language of lighting that is in harmony with the architecture they are trying to create,’ she added.

experience and wellbeing’. Their lecture will be held at Darc Room at the Truman Brewery in Spitalfields and will be part of London Design Week. Then, on 23 October, Neil Knowles, director and founder of Elektra Lighting Design will be talking about ‘How to be brilliant… at circadian lighting’, back at Body & Soul in Rosebery Avenue. Wrapping up 2019 will be BDP’s Colin

Ball and Lora Kaleva who will be providing a fascinating insight into ‘How to be brilliant… with the colour blue’, again at Rosebery Avenue. The 2019 programme has been kindly sponsored by Zumtobel. To find out more about the ‘How to be brilliant’ programme and for updates as new events get agreed, especially in Scotland, go online to:

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September 2019 Lighting Journal

Industrial lighting

MADE TO MEASURE Businesses are, rightly, increasingly recognising the value of switching to LED. But one barrier to this transition can be if the existing installations are not compatible with an off-the-shelf solution. One lighting company outlines the business case you can make for going bespoke in this scenario

A manufacturer that offers a postsale maintenance service is also worth considering in order to keep the lights fully functioning if any problems arise in the following years. The bespoke process should typically start with the in-house product design team taking a sample of the existing light fittings in order to design an LED gear tray that fits perfectly into the same fittings. This will ensure the calculation and execution of the project is accurate, energy efficient and within budget. As well as maintaining or improving light levels, they will ensure there is minimal disruption to the aesthetics of the interior or exterior.




ighting consumes about 20% of the overall electricity used in commercial and industrial buildings in the UK, resulting in more than five million tonnes of carbon emissions. It stands to reason, therefore, that more and more companies are looking to upgrade their lighting to LED to reduce energy costs and their carbon footprint. However, one barrier to making this transition can be if existing installations are not compatible with off-the-shelf lighting solutions. This can mean the business will need to invest in a bespoke and fully integrated luminaire and lighting solution – a solution many clients may fear will therefore make this transition cost-prohibitive.

When choosing bespoke lighting it’s important to deal with a lighting specialist who has a proven track record. Equally, it is important to look for a personalised service, with a project manager who can work to the client’s requirements from the initial design through to manufacture and installation.


At Hilclare we’d argue that in fact, in many cases, it can be quite the opposite – there is a compelling business case you can make to a client for going down the bespoke route. A cost-effective bespoke retrofit solution can actually minimise the costs of conversion from older technologies whilst maximising energy savings. This is especially the case when retrofitting more efficient lamps into existing luminaires. In addition, bespoke lighting solutions are often more flexible, controllable, and adaptable to almost any business setting.

p Retrofit gear trays are individually designed, manufactured and tested in Hilclare’s Manchester-based facility

Functionality is key when it comes to designing bespoke lighting systems as, obviously, employees must be able to carry out their roles in comfortable light conditions, without spaces being either underlit or overlit. This can involve complex calculations involving the lumens and lux required for each room, or specific areas within that space. When paired with intelligent sensors and controls, a bespoke LED lighting system should offer a smarter and overall more sustainable solution. When it comes to discussing the capital outlay for a bespoke solution, this can be framed by emphasising the longterm benefits of opting for solutions that have a longer lifespan, lower servicing and maintenance costs and better energy efficiency performance. It may be worth highlighting that opting for fittings with the lowest capital cost can also often prove to be a false economy. The lifecycle cost of the lighting must be taken into account before investing in equipment, as this can help enhance the cashflow benefits still further. To conclude, the key message here is that, whether it’s switching to LED or installing lighting controls, sensors, and timers, a bespoke solution can often be a viable option and may not be as expensive or cost-prohibitive as clients fear.

Chris Pearson is managing director at Pilot Group Infrastructure, owner of Manchester lighting firm Hilclare


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September 2019 Lighting Journal

Public realm lighting: Scotland’s smart revolution

The City of Edinburgh Council is in the midst of upgrading the Scottish capital’s street lighting to LED with wireless controls. It’s a move that is expected to significantly reduce energy consumption, improve maintenance and mean faults and complaints can be tracked and resolved more quickly



he business case for transitioning to LED has long been made and, arguably, won. In the case of Scotland’s capital, Edinburgh, The City of Edinburgh Council has estimated that an ongoing programme of switching to smart LED street lighting will save it some £54m over the next two decades through reduced energy consumption and carbon emissions. Indeed, the council has estimated that since upgrading to LEDs with wireless controls its pre-LED yearly energy spend of £3.2m has already reduced by some 60% and is expected to average out at around 50%. As council lighting designer Marshall Gillespie has put it: ‘With energy costs continuing to rise and expected to double within ten years, I could see the use of LEDs with wireless controls across the city would allow the council to reduce its energy consumption profile and assist with mitigating the expected rise in energy and carbon costs.’


But, given Edinburgh’s unique architecture and heritage, when choosing its wireless control nodes (known as telecells) the council had to consider carefully its numerous

conservation areas, including tailoring the aesthetic of the wireless node to the location. A clear black design was therefore chosen for conservation areas so as to blend in, and the post-top design node was chosen to complement the decorative streetlights. The programme started in December 2018, with the council installing 500 smart streetlights per week. So far this has been a smooth process, scanning each wireless node at the point of installation to get the asset data plotted in the central management system. The deployment is expected to finish in early 2021. During installation, the central management system (CMS) occasionally alerted a streetlight power level that was different to the specification, indicating the luminaire model needed to be changed. Because the CMS alerted immediately, the luminaire could be changed efficiently as part of the main deployment, preserving the overall lighting design. As Marshall again explains: ‘Investing in GPS-enabled wireless nodes means we’re not relying on people to check our assets are accurate. We can now be safe in the knowledge that accurate asset plots and further asset information is in our central management system.’

By Nic Paton

Installing wireless nodes at the same time as upgrading to LED streetlights has given the council the extra functionality of real-time monitoring and remote control over light levels.


The ability to identify and track faults proactively has also reduced resident complaints and allowed the use of additional asset information to optimise maintenance. Indeed, the increased responsiveness to luminaire failures has been a crucial measurement of success for the City of Edinburgh Council. A common fault pre-transition for Edinburgh was luminaire drivers failing. This became hard to manage as there were many different driver types across its fleet of streetlights, meaning sourcing the right parts to fix the job made the repair a lengthier task. Wireless controls have allowed the council to source just one driver and to power it down to the appropriate level using the CMS. As Marshall again highlights: ‘The central management system is a useful tool for the team – LED is a new technology so this platform provides a range of information making it easier to manage.’







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September 2019 Lighting Journal

Public realm lighting: Scotland’s smart revolution

ABERDEEN ASSETS Alongside switching to LED, Aberdeen City Council is installing nodes on its lighting columns that, it is hoped, will allow the city to become a pioneer of Internet of Things-enabled functionality 58

By Nic Paton

p Mercat Cross in Aberdeen. The city is embracing Internet of Things-enabled connectivity


berdeen City Council is another Scottish city pioneering ‘smart’ connectivity via its street lighting infrastructure, in its case through a so-called ‘LoRaWAN’ network that enables Internet of Things devices to communicate over large distances with minimal battery usage. The installation of the ‘Ki.’ platform (or as operator Lucy Zodion has called it ‘ecosystem’) is being wrapped into a wider city-wider 3,500 street lighting column upgrade, with columns being converted into connected points across the city and LED lanterns installed alongside the platform nodes. Once all up and running it will mean the council will have the ability to implement dimming and part-night schemes and energy monitoring as well as real-time fault maintenance

and monitoring and data gathering and communication.


The Ki. platform can communicate and transmit data bi-directionally via the LoRaWAN open standard and, while it is early days, should in time allow Aberdeen City Council to grow and develop its smart city functionality and capability as new technologies and interfaces become available. The scheme is also believed to be one of the first of its kind in Scotland, and should help the council to save 60% of its energy, with cost savings of approximately £1.1m per year once the streetlights have been upgraded with LED lanterns and the Ki. nodes. The project is a collaboration with Pinacl, a communications network coverage provider, while Lucy Zodion is

a member of the LoRaAlliance, a nonprofit association of more than 500 member companies committed to enabling large scale deployment of low power wide area networks through the development and promotion of the LoRaWAN open standard. Richard Perry, Lucy Zodion smart cities business development manager, said: ‘The Ki. platform will be a valuable tool for the council, not only for streetlight management but for gaining a deeper and more contextual understanding into their smart city. Being LoRaWAN-compliant means these insights gain more traction as additional smart devices are deployed, thanks to the seamless integration aided by the standard.’


September 2019 Lighting Journal


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

Steven Biggs

Allan Howard

Alan Tulla

Skanska Infrastructure Services


Alan Tulla Lighting


Peterborough PE1 5XG

T: +44 (0) 1733 453432 E:

BEng(Hons) CEng FILP FSLL London WC2A 1AF

T: 07827 306483 E:


Winchester, SO22 4DS

T: 01962 855720 M:0771 364 8786 E:

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.

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

Michael Walker

SSE Enterprise Lighting


McCann Ltd


Portsmouth PO6 1UJ T: +44 (0)2392276403 M: 07584 313990 E: 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.


Nottingham, NG9 2HF

T: +44 (0)115 9574900 M: 07834 507070 E:

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. 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.


Nottingham NG9 6DQ M: 07939 896887 E: 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.

Lorraine Calcott

Tony Price

Peter Williams

it does Lighting Ltd

Vanguardia Consulting

Williams Lighting Consultants Ltd.


T: 01908 560110 E:

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

BSc (Hons) CEng MILP MSLL Oxted RH8 9EE

T: +44(0) 1883 718690

Bedford, MK41 6AG T: 01234 630039 E:

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.

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.

Mark Chandler

Alistair Scott

MMA Lighting Consultancy Ltd

Designs for Lighting Ltd


Reading RG10 9QN

BSc (Hons) CEng FILP MHEA Winchester SO23 7TA

T: 0118 3215636 E:

T: 01962 855080 M: 07790 022414 E:

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

Professional 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.

John Conquest


4way Consulting Ltd Stockport, SK4 1AS

T: 0161 480 9847 E:

Anthony Smith IEng FILP

Stainton Lighting Design Services Ltd Stockton on Tees TS23 1PX

T: 01642 565533 E:

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

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.

Stephen Halliday

Nick Smith


Nick Smith Associates Limited


Manchester M50 3SP


Chesterfield, S40 3JR

T: 0161 886 2532 E:

T: 01246 229444 F: 01246 270465 E:

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.

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


This space available Please call Andy on 01536 527297 or email for more details

This space available Please call Andy on 01536 527297 or email for more details

Go to: for more information and individual expertise

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



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

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

Venues by arrangement Contact Nick Smith

Nick Smith Associates Ltd

t: 01246 229 444 f: 01246 588 604 e: w:

36 Foxbrook Drive, Chesterfield, S40 3JR M 07795 903858 T 01202 530166 E

We offer straightforward, no-nonsense, professional advice and solutions to all those involved in street lighting and the highway assets maintenance: to implement integrated asset management programmes in a cost effective, sustainable manner.

Your contact is Martin Wyeth


Multi-Award Winning Structural Testing Business


BSI Cert No. FS607666 I BSI Cert No. OHS 660317 I HERS Reg No. SSR539

Delivering Decorative Lighting Festoons for over 25 years

ILLUMINATING THE WAY Survey, design, energy management & distribution of road, commercial, industrial & architectural lighting solutions.

To illuminate your next project, contact our lighting team on 01236 458000 or 0191 217 0119.

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

We create bespoke low energy, durable festoon lighting for architects, designers, retail chains, sign makers, ship builders, and more. Contact us to discuss your lighting project. 01245 329 999

Patented Raised Lamppost Banner System that significantly reduces loading on columns and prevents banners twisting and tearing. Column testing and guarantee service available. The most approved system by Highways Engineers

Cumbernauld Newcastle Aberdeen Dingwall Great Yarmouth Light & Energy Distribution, formerly known as MacLean Electrical Lighting Division. Part of the MacLean Electrical Group.

0208 343 2525

September 2019 Lighting Journal

Meter Administrator Meadowfield, Ponteland, Northumberland, NE20 9SD, England Tel: +44 (0)1661 860001 Fax: +44 (0)1661 860002 Email:

Power Data Associates Ltd are Power Associates the leadingData meter administrator in Great Britain. We Ltd are the achieve leading accurate energy calculations meter assuring youadministrator of a cost effective quality in service. Great Offering Britain. We independent consultancy advice achieve to ensure correct accurate inventory coding, unmetered energy forecasting and energy calculations impact of market developments.

Manufacturers and Suppliers of Street lighting and Traffic Equipment • Fuse Units • Switch Fuse Units • Feeder Pillars and Distribution Panels • The Load Conditioner Unit (Patent Pending) • Accessories

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01525 601201 a cost effective Wrest Park, Silsoe, Beds MK45 4HR

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September 2019 Lighting Journal



How to be brilliant… at daylight, experience and wellbeing (London), with Arfon Davies and Nicola Rigoni of Arup Venue: Darc Room, London Design Week



GN22 (ATOMS) ILP foundation courses (two one-day courses) Venue: ILP, Regent House, Rugby Details: training/book-your-2019-place/ p Next month’s Lightscene CPD event – on 17 October – will be held at Uttoxeter Racecourse. Turn to page 48 for full details of what to expect


The Art and Science of Lighting Venue: Arup, London


Lightscene exhibition and CPD seminars Venue: Uttoxeter Racecourse, Wood Lane, Uttoxeter, Staffordshire


How to be brilliant… at circadian lighting (London), with Neil Knowles, director and founder of Elektra Lighting Design Venue: Body & Soul, Rosebery Avenue, London EC1R


Fundamental lighting course Venue: The ILP, Regent House, Rugby


How to be brilliant… with ‘the colour blue’ (London), with Colin Ball and Lora Kaleva, senior lighting designers at BDP Venue: Body & Soul, Rosebery Avenue, London EC1R

For full details of all ILP events, go to:


Understanding absolute and relative photometry, and which format to use when


How the new EN 12767 may affect passive safety and pole choice


What matters most to local authorities when it comes to smart cities











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Lighting Journal September 2019  

Lighting Journal September 2019