Lighting Journal May 2016

LIGHTING

JOURNAL The publication for all lighting professionals

GLOBAL REACH: the opportunities, and perils, of working internationally

NIGHT LIGHT: do street lighting upgrades really make people feel safer at night?

BEYOND VISION: factoring the non-visual effects of light into your designs

May 2016

LIGHTING JOURNAL

Contents

May 2016

3

EDITORIAL

4

GLOBAL REACH

8

COUNTRY FILES

10

NEW WORLD ORDERING

4

14

18

18

20

24

Lighting is an increasingly global business and lighting designers and contractors will often find themselves working all over the world. Paul Nulty outlines his tips for making a success of overseas projects

Working effectively overseas means developing good local partnerships and recognising the importance of understanding international, national and local requirements, argues Paul Davidson

YLP member Robert Blackburn has been working in the US for the past year. An international posting can be a steep learning curve, especially when it comes to understanding different lighting standards

28

SWEET DREAMS?

30

BEYOND VISION

32

DESIGNS FOR LIFE

34

HEALTH SERVICE

38

DEEP COVER

40

BRIGHTON ROCKS

FREE LUNCH?

The Bribery Act sets out what organisations need to know when it comes to back-handers, gifts or favours and even the slightly grey area of accepting ‘hospitality’, both when working overseas or at home, as Keith Potter explains

DRAMATIC LICENCE

It is well known lighting design can create magic in the theatre. What is less widely understood is how you can use the same ‘story telling’ techniques of theatrical lighting design to transform other spaces, as Kevin Cawley outlines

THE ROAD LESS TRAVELLED

Councils often upgrade their road and street lighting in the expectation it will make people feel safer at night. But an analysis of research by The Suzy Lamplugh Trust and Neighbourhood Watch suggests this may not always be the case, as Professor Steve Fotios outlines

STREET LIFE

LED street lights are promoted as offering more directional light and less spill light.

But the reality is more complex, and is something the industry needs to be discussing, argues Don Kinghan

Research from the US has suggested the level and intensity of street lighting can have a direct effect on people’s sleeping patterns, with LED street lighting potentially uniquely disruptive.

Lighting Journal investigates

Lighting designers increasingly recognise it is no longer enough just to design for the visual task. But understanding the non-visual effects of light remains deeply challenging, argues Peter Thorns

Professor Karin Smolders outlines some of latest academic thinking around how lighting design can affect people’s visual, biological and psychological needs

There is a compelling body of evidence building up to suggest that humancentric lighting schemes can improve both patient recovery times and outcomes within the healthcare environment, argues Dr Feride Şener Yilmaz There are five main types of insurance required for lighting projects. Are you completely au fait with all of them? If not, Payal Patel and Howard Crossman are here to guide you

Next month’s Professional Lighting Summit from 15-16 June will be the ILP’s first summer Summit. Lighting Journal looks at what members can expect

42

MATCH MAKING

44

CONSULTANTS

46

LIGHTING DIRECTORY

48

DIARY

The relationship between lighting manufacturers and designers may not always run smooth, but by working in genuine partnership each can add value to the other, as Emma Cogswell argues

Cover picture – Dubai downtown night scene with city lights

24

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Editorial Volume 81 No 5 May 2016 President Elizabeth Thomas BSc(Eng) CEng FILP Chief Executive Richard G Frost BA(Cantab) DPA HonFIAM Editor Nic Paton Email: nic@cormorantmedia.co.uk Editorial Board Tom Baynham MEng MA (Cantab) Emma Cogswell IALD Mark Cooper IEng MILP Graham Festenstein CEng MILP MSLL IALD John Gorse BA (Hons) MSLL Alan Jaques IEng MILP Nigel Parry IEng FILP Richard Webster Designed by Julie Bland Email: julie@matrixprint.com Advertising Manager Andy Etherton Email: andy@matrixprint.com Published by Matrix Print Consultants Ltd on behalf of Institution of Lighting Professionals Regent House, Regent Place, Rugby CV21 2PN Telephone: 01788 576492 E-mail: info@theilp.org.uk Website: www.theilp.org.uk Produced by

Matrix Print Consultants Ltd Unit C, Northfield Point, Cunliffe Drive, Kettering, Northants NN16 9QJ Tel: 01536 527297 Email: gary@matrixprint.com Website: www.matrixprint.com

If truth be told, journalism is a much more sober profession than it used to be, and has certainly long moved on from Private Eye’s caricature of ‘Lunchtime O’Booze’. Nevertheless, it is fair to say that ‘hospitality’, whether full-on corporate or just having lunch or sharing a drink with a contact, is still one of the ways things get done in my industry. But this does, of course, create grey areas. Does having accepted hospitality simply mean you now know about someone or something in greater depth, or does it, especially if the hospitality becomes a regular occurrence, make you less likely to interrogate someone’s motives or actions or, even, begin to treat them differently or more favourably as a result?

As solicitor Keith Potter highlights in this edition, this tension around the role of hospitality, and when and how it can tip over into bribery, is very much an issue within lighting as well, especially for those working in foreign markets where assumptions or expectations around working relationships can be very different.

Lighting as an industry is increasingly global yet, as Paul Nulty and Paul Davidson both outline, working overseas can throw up a whole new set of complications. There can be issues of culture and language to navigate, different standards and regulations to understand and the challenge of simply ensuring you get paid. At an individual level, as Boston-based YLP member Robert Blackburn also explains, working in a foreign country, even one as ostensibly familiar as the US, can be a steep learning curve.

It stands to reason that, if you can make it work, building an international presence as a lighting designer, engineer, manufacturer or contractor can take your business to another level. The partnerships and connections you forge on the ground will be a critical part of this. Yet it is also important constantly to be vigilant to the dangers of these partnerships tipping over into something too cosy.

Finally, on a different note, I encourage members to check out our preview of next month’s Professional Lighting Summit on page 40.

This year’s Summit will be held in Brighton and is the ILP’s first experiment with a summer Summit. The line-up of CPD presentations is, as ever, set to be enthralling, everything from changes to ELEXON, the effects of LED street lights on residents, BIM, and project case studies, such as the refurbishment of Godmanchester’s historic Chinese river bridge in Huntingdonshire.

I look forward to seeing you there.

Nic Paton Editor

© ILP 2016 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.

Lighting Journal May 2016

4 Working internationally

GLOBAL REACH

Lighting is an increasingly global business and lighting designers and contractors will often find themselves working all over the world.

Paul Nulty outlines his tips for making a success of overseas projects

I

n today’s fluctuating and often volatile market, working internationally has never been more important. But there are no quick fixes or short cuts, so you must be prepared to be committed and look at it as a long-term investment in regards to resources.

At Nulty, although our head office is based in London, we have been working with international clients since we launched in 2011. Currently, for example, we have ‘live’ projects in the UAE, Russia, Thailand, India, America and throughout the EU. At the beginning of this year we successfully launched our first international office based in the Middle East. With the Middle Eastern market in a very buoyant period of growth in terms of development and construction (although ironically at the time of writing the current drop in the price of oil is causing a few ripples), I believe that this is not only the right time but the right market for our skill-set and offering, and expect to see the practice continue to make leaps and bounds.

FOCUS ON GETTING PAID When working internationally I think one of the most important factors that must be considered right at the start is mindset. Your mindset and practice needs to be set up not just to be great lighting designers, but to also understand how a lighting practice needs to function administratively in the region you will be working within. It is very easy for good, creative lighting designers to be taken advantage of through non-payment of invoices, ‘scope creep’ or breaking of contracts.

With this in mind, and with international projects notorious for being very difficult to get paid on, I’d advise anyone considering working internationally to ensure they have an excellent accounts team in place in that region or country.

Lighting Journal May 2016

This advice has certainly stood us in good stead in many different markets over the years!

As a business we also always try to secure some level of payment upfront and I feel this is really important and nobody should ever be embarrassed to ask a client (or stand their ground): after all, you’re the one undertaking the work.

FEET ON THE GROUND From my experience launching the Nulty Dubai office, we are certainly seeing the benefits of having someone based locally on the ground. We live in a world that (with the invention of Skype and email) is smaller than ever, yet the benefit of having someone on the ground who can support the practice and fill in the gaps whilst enabling us to have that face-to-face time with clients and contractors is invaluable.

Being willing to invest time into relationship-building with the contractor and the client’s on-site representatives is something we have learnt is important.

This can, admittedly, often require a big investment, especially when you are not on huge fees, but will often help the whole ‘lost in translation’ problem

Working internationally 5 Let’s not forget that, as consultants, we live in a world based upon relationships; something that impersonal email simply can’t replace.

When we have worked on projects where we don’t have someone on the ground, I think it is very important to be clear with the client team from the offset and ensure all parties fully understand the scope of service to be delivered.

One of the things we always try to do internationally is build a very good network of contacts and suppliers. I have found particularly within the Middle East there are some very good intermediary people who will not only supply but who will also support the design.

Companies such as Huda lighting hudalighting.com and debbas debbas.com have historically been very good at that and will see that the design intent is translated.

CULTURAL NUANCES Culturally, working internationally within certain countries can often be very difficult, as people often like to ‘wheel and deal’. Working very closely with project managers and clients is important, as it enables you to educate them so they have a better understanding of what should be expected and what quality is being aspired to.

Being willing to invest time into relationship building with the contractor and the client’s on-site representatives is something we have learnt is important. This can, admittedly, often require a big investment, especially when you are not on huge fees, but will often help the whole ‘lost in translation’ problem.

One of the biggest differences I have seen working internationally is understanding our route to market. It is often a very different route than it would be in the UK, where typically we’re appointed via project managers and developers.

Internationally, this process often comes through more diverse routes and we are often sub-consultants. With that then comes new contractual issues, such as back-to-back contracts, which can often cause a problem with cash-flow for a business.

In many ways, when it comes to working internationally the easy bit is coming up with the creative lighting design.

Budgets are often bigger and more extravagant and therefore, in an odd way, the lighting part is the easy part.

However, it is of course vitally important to stay mindful of and understand the local regulations and supply chain at all times. This means working closely with the local design team and being willing to do your research thoroughly.

Finally, I have found the key to successfully working internationally is being as collaborative, open and proactive as possible, whilst engaging all members of your design team. And, above all, if at any point it all feels a little uncomfortable contractually or financially – being willing to stand your ground.

Paul Nulty is founder of lighting design consultancy Nulty+

PAUL NULTY’S KEY TIPS TO WORKING INTERNATIONALLY • Expectation management of the client • Being very clear about your scope of work/service • Building relationships • Having an excellent financial and legal team to look at contracts and chase invoices in • If you are in any doubt whatsoever don’t do any work until you have had some level of payment upfront Nulty+’s design for a client presentation centre (office and conference space) for a data company in Kuala Lumpur, Malaysia

A render of Nulty+’s lighting design for the new Chotto Matte Nikkei restaurant in Dubai, located within the country’s Emirates Financial Towers

6 Working internationally

COUNTRY

FILES

Working effectively overseas means developing good local partnerships and recognising the importance of understanding international, national and local requirements, argues Paul Davidson

I

f as a lighting engineer, designer or manufacturer your primary marketplace is the UK, it stands to reason you might be unaware of the legislative and compliance regulations and associated requirements associated with entry into international markets.

Companies often assume the various international markets will have only slightly different regulations to those of the UK. It can therefore come as something of a surprise when first venturing overseas commercially to discover that lighting requirements can often differ significantly across the various continents.

Just using UK-based lighting techniques or practices and taking little or no account of the specific international, national or local requirements of the country into which the particular application is to be installed can result in significant issues

Lighting Journal May 2016

with regard to the lighting specification and the fulfilment of the customer’s specific project brief.

Key challenges associated with venturing into new overseas markets include having access to up-to-date information and knowledge on local legislation, securing the appropriate approvals on product compliance to prevent unnecessary delays at customs, and local safety approval requirements. Understanding the local market dynamics is critical in terms of protecting your brand and customer relationships, not to mention preventing any potential delays and financial losses. If you’re not up to speed, competitors will be waiting locally and globally to step in and take your place.

However, no matter how difficult it becomes to obtain detailed and specific knowledge of new market lighting techniques and practices around the

globe, these should be considered carefully and reviewed before any plans are put into place to enter a new target market, even if initial information suggests there are only minor differences. Legislation and compliance are subject to continuous change.

To expand internationally, the ideal business model would be to establish a global salesforce that operates within all the target markets. For cost and logistical reasons, however, this is not always a viable option.

Another way for UK-based lighting companies or manufacturers to benefit from international business opportunities is to open global hubs and/or partnerships with locally established support businesses. This can ensure you are locally enabled, supported technically and that you can offer your clients greater, hands-on, local customer service.

Working internationally 7 UNDERSTANDING CRITICAL REGIONAL VARIATIONS When researching each market, it is important to recognise that requirements can and do differ significantly – it’s not a one-solutionfits-all scenario, far from it.

There are critical dos and don’ts required to provide the best opportunity for new market entry survival, starting with carrying out research and obtaining detailed knowledge of global legislation through to understanding the varying applicable standards for the chosen target markets.

After all, designs that don’t meet local technical standards are highly likely to be rejected. The following is, naturally, broad-brush, but it does outline some of the factors you may need to consider when venturing into a range of markets.

Europe Obviously, our closest neighbour and the UK’s biggest trade partner. The key here is that European legislation is often supplemented by nationally-based legislation and standards and so don’t assume everything will necessarily be standardised.

Asia It is easy to assume most lighting comes from the Far East and that all lighting within this market is constructed and manufactured locally. However, this is not the case, as many retailbased companies have a global lighting footprint and, as such, lighting in the stores in the Far East will match those of other global areas and may be supplied out of Europe or the US. The Middle East The Middle East can represent an ideal first step into global lighting for some manufacturers, however be aware each country has different requirements. In Saudi Arabia, for instance, emergency lighting levels are significantly higher than those designed for the UK market. Lights are required to provide an initial luminance of not less that 1Fc or 10.8Lux at any point and not less than 0.1Fc or 1.1Lux at any point along the path of egress.

Product compliance is also of critical importance, as countries outside the EU

will not accept a Declaration of Conformity signed by the manufacturer. Rather, a process of product testing to international standards needs to be implemented. This can be both a lengthy and costly process in order to achieve compliance.A global lighting manufacturer active on all five continents through a network of local hubs, supported by local representation, allows specific local needs to be met.

To conclude, when considering the dos and don’ts of entering a new market, compliance, legislation and service must be a critical local necessity in supporting a wider reach to your global strategic targets.

Never underestimate the importance of technical, cultural and local dynamics, or market demands. Ignoring these factors is likely to lead to vulnerability and, in turn, increased opportunities for y our competitors.

Paul Davidson is technical and project manager for the Aurora Group

USA The US presents a huge market opportunity for lighting professionals.

However, its lighting requirements differ greatly. Two of the most apparent differences are that, first, all dimensions still use imperial feet and inches, making drawings in different scales to those used in Europe and, second, the voltage is at 120V 60Hz. Australia As with Australasia, in South Africa lighting is all metric based. However, considerations of energy consumption are of critical importance on a continent that has limited generating capacity and a massively expanding market, along with grid volatility and surge issues, which are a cause for huge concern. It is worth being aware there is also no Fired rated fitting requirement.

South Africa As with Australasia, in South Africa lighting is all metric based. However, considerations of energy consumption are of critical importance on a continent that has limited generating capacity and a massively expanding market.

It is worth being aware there is also no Fired Rated fitting requirement, thus changing the layouts for residential applications.

CASE STUDY ONE – KEEPING THE LIGHTS ON IN SOUTH AFRICA South Africa has an electricity shortage and has been load-sharing since 2008. Our Growthpoint project set out to reduce the current demand by 5.5 Megawatts in energy, in one of the country’s largest energy-saving lighting projects to date.

Energy supplier Eskom needed to aggressively reduce power requirements to keep the lights on, not compromise its maintenance programme and meet its environmental obligations. It therefore chose Growthpoint, one of South Africa’s largest listed property developers, to work with to secure integrated demand management (IDM) funding.

Growthpoint identified a number of sites, industrial, retail and commercial to form a single sizable energy-saving project. We then conducted specific energy-saving audits, and bundled together energy-efficient lighting products to match both Growthpoint’s and tenants’ needs.

The multidisciplinary approach spanned design, low-energy replacement, programme management and remote project development and execution nationally across 157 multitenanted sites.

We also remained in control from design, supply and execution through to independent post-implementation verification by the

Lighting Journal May 2016

8 Working internationally

University of Johannesburg, which concluded it delivered measureable savings of 5.5 megawatts.

Project highlights and outcomes: • Total cost of project was in excess of R40 million • Demand savings achieved of 5.5 megawatts • Annual energy saving of 22,500 MW hours • Time taken to complete the project: 10 months • 157 multi-tenanted industrial, commercial and retail property sites completed • Carbon savings/year – 12,000 metric tons • Scope of project: 100,500 lamps/fittings replaced • Winner of Lux Awards International Lighting Project of the Year 2014

CASE STUDY TWO – ADAPTIVE LIGHTING DESIGN FOR A ‘BEST IN CLASS’ DINING EXPERIENCE

The Dean & Deluca international restaurant chain was founded in SoHo, New York in 1977. With expansion plans focused on Dubai, the brand engaged Microlights, part of our group.

Operating from a hub in Dubai and servicing the region since 2000, the Microlights division has recently been rebranded as Aurora, and operates with a small team that offers significant local knowledge.

The concept for this project was to create a romantic and cosy space with real ambience. The client’s vision was that there would be dedicated lighting scenes for breakfast, lunch and dinner, employing varying colour temperatures, via a complete LED scheme that could be easily controlled.

The building features a large skylight, which floods the restaurant with light, in turn creating a challenge to achieve the desired lighting levels.

To that end, the restaurant area’s lighting scheme features a mixture of baffled 21W Twist & Lock LED modules and 38W single head square recessed adjustable spotlights, both in a warmer colour temperature (3,000K) to create a cosy atmosphere. Accents were set with a number of 10W M10 downlights in areas that required lower light levels. 8.5W Moon fittings were installed on a suspended track, highlighting the signage and complementing the restaurant’s focal and distinct wall-hung art works. In the kitchen, baffled LED downlights were used with a higher colour temperature of 4,000K to create the correct task light levels.

The restaurant opened in December 2015 and has consistently exceeded its food revenue targets.

Lighting Journal May 2016

CASE STUDY THREE – LIGHTING FOCUSED ON LUXURY AT HARVEY NICHOLS KUWAIT Aurora was again turned to for a project to provide lighting design, specification and luminaires to Harvey Nichols department store in Avenues 111, Kuwait City, in close co-operation with franchise operator, M.H. Alshaya Co. The brief was to create a sophisticated, warm lighting scheme with minimum ambient to this stunning 100,000sq ft store. A specific requirement was the use of directional accent lighting with high-quality colour rendering to be aimed on to the merchandise.

Through an energy efficient design, Microlights supplied low wattage CMH-adjustable accent lighting and track mounted luminaires, LED cove lighting, LED furniture lighting and decorative pendants.

EASI Tube 35W CMH Super Mini track accent lights with a combination of 11 and 18 degree reflectors were specified for mid-store lighting.

These were recessed into the trough system, and were an integral part of the architectural feature of the ceiling.

Dedicated lighting techniques specific to enhancing furniture display remain a key element within many retail environments, and should normally complement the main store lighting. For this project a combination of warm LED strip and small LED down-lights were chosen as an integral part of the design. These cool front-facing light sources with 40,000-hour lamp life were ideal for this application.

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10 Working internationally

NEW WORLD ORDERING YLP member Robert Blackburn has been working in the US for the past year. An international posting can be a steep learning curve, especially when it comes to navigating different national lighting standards, he writes

Lighting Journal May 2016

Working internationally 11

I

I have been working in the lighting industry since 2008, and got my first job with WSP Group in Manchester. In 2011, the opportunity came up to work for Capita Symonds, which operates all departments for Blackburn with Darwen Borough Council, and I worked there for two years.

Next stop was back with my old boss from WSP, Ian Townhill, who had moved to Parsons Brinckerhoff.

And I’m still with WSP | Parsons Brinckerhoff, and proud to be involved in the business – the only difference now being that I’m based in America!

When I first started working for WSP, it never crossed my mind I would be sitting on the YLP committee or getting the chance to work on so many great projects, let alone working abroad seven years down the line.

I’ve learnt many new ways of working and relished the chance to get to grips with all the different standards that have to be adhered to.

Working in another country has been something my wife and I often talked about. So, when I saw Parsons

Class

Brinckerhoff had a position available over here in the US, we were really up for the move; not just for the work but also the lifestyle opportunity it would offer us as a family.

So we upped and moved to Boston and I have joined the WSP | Parsons Brinckerhoff lighting group.

And what a great opportunity it’s been! The team is headed by Paul Lutkevich, a name you will find in most of the lighting standards we use today across the world.

LIGHTING STANDARDS I have been working in Boston for just over a year now and one of the key issues I have come across as a lighting professional ‘across the pond’ is that of lighting standards.

As all Lighting Journal readers will well know, the UK standard for road lighting is the BS 5489:2013. Over here in the US, however, the standard is the RP-8-2014, which is published by the Illuminating Engineering Society (IES).

One of the questions I am regularly asked is whether the lighting standards

Luminance of the road surface of the carriageway for the dry road surface condition

L in cd/m2

[minimum maintained]

Uo

U1

[minimum]

[minimum]

are very different. For the UK, when using the BS5489 on a motorway, and in conjunction with the BS EN132012-2013, you would be looking at the ME classes.

As you can see from table 1 below, there are six options for a motorway lighting scheme in England and Europe. (Table taken from the BS EN13201-2-2013).

When determining a ME/M class, this table assumes the following: ambient luminance – moderate; visual guidance – good; parked vehicles – not present.

Once this has been worked out from the risk assessment, you would then need to take into account traffic flow, road type and junction density to work out the right lighting class for your scheme.

Table 2 in BS 5489:1-2013 gives you a lighting class depending on the information you have.

In the US, however, there are only three different lighting classes to use for a motorway, highway or interstate.

(Table taken from the RP-8-2014)

Disability glare

TI in %a [maximum]

Lighting of surroundings

SR 2b

[minimum]

ME1

2.0

0.4

0.7

10

0.5

ME 2

1.5

0.4

0.7

10

0.5

ME3a

1.0

0.4

0.7

15

0.5

ME3b

1.0

0.4

0.6

15

0.5

ME 3c

1.0

0.4

0.5

15

0.5

ME4a

0.75

0.4

0.6

15

0.5

ME4b

0.75

0.4

0.5

15

0.5

ME 5

0.5

0.35

0.4

15

0.5

ME6

0.5

0.35

0.4

15

no requirement

a b

An increase of 5 percentage points in TI can be permitted where low luminance light sources are used.

This criterion can be applied only where there are no traffic areas with their own requirements adjacent to the carriageway.

Table 1 – ME-series of lighting classes

Road classification

Avg. luminance L avg (cd/m2)

Avg. uniformity ratio L avg /L min

Max. uniformity ratio L max /L min

Max. veiling luminance ratio LVmax /L avg

Freeway class A

0.6

3.5

6.0

0.3

Freeway class B

0.4

3.5

6.0

0.3

Expressway

1.0

3.0

6.0

0.3

L avg - minimum maintained average pavement luminance Lmin - minimum pavement luminance LVmax - maximum veiling luminance Table 2 – lighting design criteria for roadways

Lighting Journal May 2016

12 Working internationally

Traditional cubicle-based, rather than open-plan, offices are more common in the US, at least in Robert’s experience

Here are the definitions from the RP-814 for Freeways and Expressways: Freeway: a divided highway with full control of access • Freeway A: roadways with great visual complexity and high traffic volumes.

Usually this type of freeway will be found in major metropolitan areas, in or near the central core, and will operate at or near design capacity through some of the early morning or evening hours of darkness.

• Freeway B: all other divided roadways with full control of access Expressway: a divided highway with partial control of access.

The highest lighting class in the RP-8 is an expressway, which has a Lavg of 1.0 cd/m² (10.76 lux) whereas the highest class in the BS5489 is ME1 which has a Lavg of 2.0 cd/m² (21.52 lux). This is a difference of 1.0 cd/m² (10.76 Lux).

Looking at these lighting standards together and comparing a lighting class in the UK to the US, an ME3/M3 would be similar to the Freeway Class A, which would have a difference of 0.4 cd/m² (4.31 lux) on the Lavg.

In the UK, minimum values are used for the Lavg/Lmin (Uo) and Lmax/Lmin (Ui) whereas the US standard uses a maximum value. I would say that each lighting class suits the environment, surrounding, characteristics and country for which it has been written.

Both documents are given to help guide the designer in making decisions to complete a lighting design to the right standard. It is the same here as in the UK that, for the same road, different designers will come up with different

Lighting Journal May 2016

designs despite all using the same standards. There are many differences between the lighting standards of the UK and the US, but the lighting class chosen is still down to the designer’s interpretation of their standards.

LIGHTING TRAINING Interestingly, I have found the US is very similar to the UK in that colleges and universities do offer lighting courses but these are mostly dedicated to theatrical and stage or architectural lighting and not roadway or general lighting. Inevitably, this will have an impact on teaching a new generation of lighting designers and engineers about practical lighting.

For many people who do end up taking a role within practical lighting, this means extensive on-the-job training from the people they work with and getting support from organisations like the ILP and IES taking advantage of the various papers/talks on offer.

For me, the single biggest challenge has been getting to grips with the differences in products and understanding the American market as compared with the UK. As every scheme is different, I am learning all the time how to use different products and how the various pros and cons for each will, in turn, help me develop a better understanding of the US market and what works best in any given scenario.

COMMON LANGUAGE? Finally, it’s often said the UK and US are two nations divided by a common language. So, what is it like to work in the US, how is it different compared to the UK? My perception so far after a year is that the UK is very different to the US. In fact, I would go as far as to say the UK

and Europe will try new things before the US has even started talking about it!

For example, take the introduction of LED. While UK and European markets have been researching, developing and installing this new technology for the past 10 years or so, the US market seems, if anything, to be a good two to four years behind.

My guess is that part of this is simply down to size and scale. In the UK, when an authority is looking at changing all its stock from conventional lighting to LEDs, it may be only looking at 50,000-100,000 units. In the US, however, a similar sized authority could have four times the number of lighting points to change, making the cost to change prohibitively expensive for most local authority or departments of transport.

Office layouts seem quite different here, too. Whereas most I’ve seen in the UK are open plan, my office in Boston has a cubicle layout just like the early scenes out of the movie ‘The Matrix’! And, of course, since I now have just 16 days of annual leave, I do miss the 25 days of holiday I used to get in the UK – oh and the bank holidays too!

Overall, I still have a lot to learn in terms of the US market needs, culture and working practices. Whilst it might take some time for me to really take in all that I’m learning, the next two years in America will certainly be the most significant within my lighting career to date.

It’s already been a great opportunity and will, I believe, determine where I will be applying my trade in the future.

Robert Blackburn is a YLP member and lighting designer with WSP | Parsons Brinckerhoff in Boston, Massachusetts

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14 Working internationally

FREE LUNCH? The Bribery Act sets out what organisations need to know when it comes to back-handers, gifts or favours and even the slightly grey area of accepting ‘hospitality’, both when working overseas or at home, as Keith Potter explains

I

t is easy to be lulled into the belief bribery is something that only affects organisations like FIFA or City traders rigging interest or exchange rates or sports people be paid to lose matches. This may feel comforting but it is wrong. Bribery can and does affect small and medium sized companies, and it is not confined to highprofile bodies and individuals.

The Bribery Act 2010 took effect on 1 July, 2011. It created various criminal offences. Bribery on the part of individuals is punishable by up to 10 years’ imprisonment. Organisations may also be prosecuted for offences of bribery committed by their employees or agents.

It is sometimes suggested the UK’s bribery legislation does not affect bodies such as trade associations or other organisations which represent the interests of member businesses. This also is not the case. Such bodies commonly have the status of companies limited by guarantee. The Act creates an offence of failing to prevent bribery from taking place, which can be committed by any organisation incorporated in the UK. This includes companies limited by guarantee.

Lighting Journal May 2016

FORMS OF BRIBERY The Act defines various forms of bribery. The first and most obvious form is offering or giving a financial or other advantage with the intention of inducing a person to perform a function improperly or to reward them for doing so. An obvious example would be a situation where a contractor offers or gives a bribe to a contract supervisor with the aim of inducing him to place contracts for work with the contractor, even though his bid is not the most advantageous one for the client.

The other principal form (referred to as passive bribery) occurs where a person requests or accepts a financial or other advantage as a reward for performing a function improperly or with the intention of doing so. An example of this might be the situation where a contracts’ manager requests a bribe with the intention that, if it is given, he will secure a renewal of a contract for the benefit of the person who gives the bribe.

The Act refers to the performance of a ‘function’. This includes any business activity, anything done in the course of a person’s employment and any commercial function of a public nature.

Improper performance of a function in this context occurs where a person breaches the expectations of good faith or impartiality or the duties associated with a position of trust. An example would be the case where the contract supervisor is induced to place a contract with a contractor whose bid is not the most advantageous for the client.

This would be contrary to the expectation that the person in the supervisor’s position will act honestly and in good faith in selecting the bid that is most beneficial to the client whom the supervisor represents.

FOREIGN OFFICALS But the Act is also important in the context of working internationally or overseas. The Act creates a separate offence of bribing a foreign public official by offering a financial or other advantage with the intention of influencing the official in performing his or her duties or obtaining or retaining business.

The guidance and the examples of scenarios issued by the government on the Bribery Act are largely concerned with this type of bribery. The government clearly believes the risk of bribery when dealing with foreign officials is much greater than the risk in cases which only involve dealings between businesses or with UK public officials.

The following example may help to dispel any illusions that bribery does not occur in dealings between business representatives in the UK. The situation began with a suggested lunch meeting between a contracts’ manager and a contractor (‘contractor A’), ostensibly to discuss current and future work under the contract.

There was an unspoken expectation that contractor A would pay. There was nothing inherently wrong with this, as long as the parties were acting in good faith. However, at the request of the contracts’ manager, the lunch meetings became increasingly frequent.

Increasingly expensive alcohol and dishes (chosen by the contracts’ manager) were consumed. There was no overt suggestion the contracts’ manager would perform his functions improperly on behalf of the client organisation or that he was in a position to reward contractor A by securing a contract renewal or placing new business with contractor A. Nevertheless, contractor A became increasingly uneasy about the lunches and raised his concerns informally with the boss of the contracts’ manager. However,

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16 Working internationally nothing changed. Contractor A made excuses to avoid some lunch meetings but went along with others in the interests of maintaining a relationship with the client organisation.

Matters came to a head when the contracts’ manager had a meeting with a contractor who was responsible for work of a completely different kind (‘contractor B’). They discussed the possibility of a contract extension being granted. The contracts’ manager indicated to contractor B that if he knew what was good for him he would do what contractor A had been doing (referring to the increasingly frequent lunches).

Contractor B complained to the client organisation at a high level that the contracts’ manager had solicited a bribe. The contracts’ manager was disciplined and his employment ended.

BRIBERY POLICY The client organisation, understandably, was concerned about potential damage to its reputation. It requested a highlevel meeting with contractor A. It wanted to satisfy itself that contractor A had not been complicit in bribery. It asked to see contractor A’s bribery policy, as an indicator that contractor A treated bribery as a serious issue.

Contractor A was able to satisfy the client organisation that for several months it had been a very reluctant participant in the series of lunches, and had raised its concerns informally with the client organisation.

The parties agreed the episode might have been avoided if the contract with contractor A had included a review mechanism, Journal Ad Oct 14_Journal Ad 14/10/2014 12:27 Page 1 providing a periodical opportunity for concerns to be raised in a formal way. It would also have been helpful if the contract had contained whistleblowing provisions to allow contractor A to raise concerns confidentially at client director level.

This sequence of events illustrated several key issues: • Firstly, the giving of gifts or hospitality to clients or contractors is not wrong in itself but various requirements must be met. It must be clear that hospitality is not given with the intention of obtaining or retaining business.

Hospitality which is genuinely provided as part of a process of developing a working relationship or discussing work-related issues is not prohibited. The government guidance places great stress on this. However, any hospitality should be proportionate to the occasion and purpose for which it is given and not excessive in value. Some organisations have guidelines for employees on what is and what is not appropriate.

• Secondly, an organisation can protect itself by having a policy making it clear that bribery is unacceptable and a procedure which employees can use to report any concerns about possible bribery.

• Thirdly, there are potential advantages for all parties if commercial contracts contain provisions to allow concerns and suspicions about possible bribery to be raised.

• Fourthly, there are benefits in retaining clear records of hospitality given or offered to third parties. Such records allow an organisation to say that it is able to monitor such expenditure to ensure that it remains proportionate.

• Finally, an organisation should provide training and guidance to its staff on the risks of bribery and on how to deal with the issues that may arise if bribery is suspected.

Keith Potter is a consultant solicitor at Downs Solicitors LLP

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18 Lighting design

DRAMATIC LICENCE It is well known lighting design can create magic in the theatre. What is less widely understood is how you can use the same ‘story telling’ techniques of theatrical lighting design to transform other spaces, as Kevin Cawley outlines

I

n this article I’m going to look at how I used techniques more commonly associated with theatrical lighting design to create a narrative, a story, in a project at the Ellerslie International Flower Show in Christchurch.

It is estimated some 530,000 New Zealanders live with the debilitating effects of arthritis, 1,000 of them children.

I had the privilege of meeting an 11-year-old girl called Alisha who is one of those kids living with this condition and is an absolute inspiration. My inspiration, in turn, for the garden I lit at the show was to try to tell her story, along with the stories of all the many others who suffer from this.

I wanted to demonstrate the challenges these kids living with arthritis go through – how one day they can be fine, acting like a normal child. And then in pain the next. So the garden was designed to raise awareness by demonstrating the reality of this disease and some of the very real obstacles these children face and go through every day in living with Juvenile Idiopathic Arthritis.

PLEASURE VERSUS PAIN The concept was that I wanted to use light to create a story at night that reinforced the difference between two

Lighting Journal May 2016

I wanted to use light to create a story at night that reinforced the difference between two identical children’s playgrounds. Through the use of light I wanted to accentuate and demonstrate the awareness that there was pleasure in one playground and pain in the other identical children’s playgrounds. Through the use of light I wanted to accentuate and demonstrate the awareness that there was pleasure in one playground and pain in the other.

The installation by landscape

designer Bayley Luu Tomes was called ‘Take a second look’, and had the two apparently identical playgrounds side by side. But, when you took a second look, you could see they were not in fact the same. On a good day the playground offered enjoyment and relief, and encouraged mobility. On a bad day it became an obstacle.

Simple tasks we take for granted can be painfully impossible for these children. To that end, the planting was very different in the two playgrounds.

For example, a tree log replaced a normal fireman’s pole. This evoked the sheer difficulty and pain if you were to slide down.

A hard rock in one replaced the soft rubber tyres in the other. This, again, was to symbolise the hard impact on knees and joints. A bed of roses, and their thorns, evoked the pain in landing and getting up off the slide.

When it came to the lighting, I used my theatrical skills to use colour to demonstrate the distinctions between the two playgrounds.

In the playground that was pleasurable to use I concealed LED small IP rated 20watt floods and a warm colour theatre gel Chris James 158 deep orange, and focused the fittings to spread the sense of a warm inviting feeling to the area.

The installation by landscape designer Bayley Luu Tomes was called ‘Take a second look’, and had the two apparently identical playgrounds side by

A warm inviting feeling to the area highlighted how, on some days, playing can be fun and encourage mobility

A steel, cold, uninviting feeling showed how, on other days, playing can be painfully impossible

In the playground that was painful to use I concealed LED small IP rated 20watt floods and a cold colour theatre gel Rosco 64 steel blue, and focused the fittings to spread a steel cold uninviting feeling to the area.

In between the two I created a neutral look of a stunning theatre blue gel Chris James 363 special medium blue and focused on the water feature. Light came from fibre inserted in the clear glass lilies that the water travelled through. The light source was an in-ground IP rated 10watt

appropriate for the theme and space.

This design was also a wonderful opportunity to demonstrate how colour temperature can influence what we see and how we feel; it was a way of reinforcing a message through lighting.

And, of course, to help the kids with arthritis was most rewarding.

LED and the light travelled through the fibre with the water.

To frame both playground areas, I used LED IP strip 2,700K in extrusion in the warm and 6,000K in the cold.

The colour temperature was the key to this lighting design. All the theatre gel needed to be fitted into the frames of the fittings.

The people who viewed this project saw first-hand just what a remarkable difference planting can look at night if you use the correct colours that are

Kevin Cawley is a theatrically trained, independent lighting designer based in Christchurch, New Zealand

Lighting Journal May 2016

20 Road lighting and pedestrians

THE ROAD LESS TRAVELLED Councils often upgrade their road and street lighting in the expectation it will make people feel safer at night. But an analysis by The Suzy Lamplugh Trust and Neighbourhood Watch suggests this may not always be the case, writes Professor Steve Fotios

Road lighting and pedestrians 21

A GENERAL IMPRESSION OF THE SAFETY BENEFIT OF ROAD LIGHTING Q11: How safe do you feel when walking in a well-lit neighbourhood?

Q12: How safe do you feel when walking in an unlit or badly-lit neighbourhood?

Two questions within the survey sought opinions of perceived safety in neighbourhoods with good lighting (Q11) or neighbourhoods that were unlit or badly lit (Q12), although without definition of what should be considered as good or bad lighting.

What these responses show is not how people feel in a well-lit or poorly lit area, but how they think they will feel.

There were four responses available: very safe, fairly safe, a bit unsafe, and very unsafe. The results are shown in Figure 1. It can be seen that there is a tendency to associate lighting quality with a feeling of safety. Respondents indicated that in a well-lit area they tended to feel at least fairly safe, while in a badly-lit area they will tended to feel at least a bit unsafe. There were, however, some people (25%) who responded that they would still feel fairly safe in a badly lit area.

12,000 WELL LIT

FREQUENCY OF RESPONSES

T

he Suzy Lamplugh Trust and Neighbourhood Watch are two not-for-profit organisations concerned with crime and safety.

In 2013 they issued a report1 summarising an online survey of road lighting and perceived safety carried out in response to anecdotal reports in some areas of street lights being turned off or dimmed.

One reason why this survey is of interest is because responses were obtained from 15,786 people, a large sample for safety surveys. A broad range of people responded to the survey. Geographically, it included respondents from the Thames Valley area (24%), North Yorkshire (12%), Cambridgeshire (9%), Nottinghamshire (7%) and Dorset (6%).

Respondents were almost equally divided between male and female. The age distribution included 22% aged 35-50 years, 53% aged 51-70 and 19% aged over 70 years.

This article presents an independent further analysis of some questions to add to discussions of road lighting for pedestrians and perceived safety.

10,000

UNLIT OR BADLY LIT

8,000 6,000 4,000 2,000 0 VERY SAFE (4)

FAIRLY SAFE (3)

A BIT UNSAFE (2) VERY UNSAFE (1)

RESPONSE Figure 1. Frequency for reporting levels of safety in well-lit (Q11) and unlit or badly-lit areas (Q12).

If the desire of a local authority is that residents feel their neighbourhood is safe, perhaps to encourage more outdoor activity after dark, then these data suggest that good lighting can work.

An alternative approach to analysing the trends shown in Figure 1 is to assume a numeric score for each rating item (in other words very safe=4, fairly safe=3, a bit unsafe=2, and very unsafe=1) and then calculate for each person the difference between the well-lit and badly-lit scores. What this does is show the benefit (in other words the improved perception) of upgrading lighting from badly-lit to well-lit – a greater difference indicates a greater improvement in perceived safety. These results are shown in Figure 2.

A difference of three indicates a badly-lit environment considered to be

unsafe would be considered very safe if well-lit. Few people (6%) suggested such a dramatic change. This is less than the proportion of people (16%) who thought improved lighting would lead to no change in safety, although the majority of these respondents (2,223 out of 2,453) already considered their safety to be at least fairly safe, so improved lighting would not be expected to have significant further benefit.

A difference of two in Figure 2 suggests a well-lit area would improve from being considered unsafe to being considered safe, and this was the opinion of 34%. The highest frequency (44%) was for a difference of one rating point, indicating a small increase in safety associated with better lighting.

In summary, 94% of respondents indicated well-lit lighting would improve their feeling of safety by at least one grade in the rating scale. For the 40% of respondents with a difference of two or three, this is sufficient to ensure a response in the safe side of the rating scale.

If the desire of a local authority is that residents feel their neighbourhood is safe, perhaps to encourage more outdoor activity after dark, then these data suggest that good lighting can work. A subsequent problem, however, is to define what a well-lit area is, and in a manner that does not simply resort to an ever increasing rise in illuminances.

For the 6% of respondents who did not indicate that well-lit lighting

Neighbourhood Watch and the Suzy Lamplugh Trust. Street Lighting & Perceptions Of Safety Survey: Results And Analysis.

November 2013. http://www.suzylamplugh.org/wpcms/wp-content/uploads/Perceptions-of-Safety-survey-FINAL.pdf 1

Lighting Journal May 2016

would make them feel safer than a badly-lit environment, 91% (of these 6%) gave a rating of safe or fairly safe for both the well-lit and badly-lit scenarios. These people may truly believe that light has no effect, they may live in a well-lit area and thus not understand the problems of a poorly-lit area, or they may have incorrectly/inconsistently completed the questionnaire.

IMPRESSION OF SAFETY IN OWN NEIGHBOURHOOD Two questions concerned ratings of safety in daytime and at night in respondents’ own neighbourhoods: Q4: Do you feel safe when out and about in your neighbourhood during the day?

Q6: Do you feel safe when out and about in your neighbourhood between 9:30pm and 5:30am?

Figure 3 shows that the majority of people reported feeling safe most of the time or all of the time in day (98.6%) and also at night (83.6%).

The day ratings suggest that the environments concerned are generally considered to be safe.

The reduction in the number of people tending to feel safe at night may be a result of several factors, including the lower light level (road

DIFFERENCE IN SAFETY SCORE: WELL-LIT MINUS BADLY-LIT

22 Road lighting and pedestrians 3 2 1 0 0

1,000

2,000 3,000 4,000 5,000 FREQUENCY OF RESPONSES

7,000

Figure 2. Frequency of responses indicating a given difference in safety rating for well-lit and badly-lit areas. This is calculated as Q11 – Q12.

lighting rather than daylight), that there are fewer people around at night who might be of assistance, or it may be that a lower night score was the assumed expected response.

An alternative approach to analysing these data is to analyse the difference between the day and night ratings of safety. A greater difference here indicates a greater decrease in perceived safety at night compared with day. Figure 4 (‘overall’ data) shows that, for the majority (92%), this difference was either zero or one; in other words, that they tended to have the same or only slightly lower feeling of safety at night as in daytime.

IMPRESSION OF SAFETY IN THE LOCAL CONTEXT Three questions focused on the local context.

Q5: Are you ever out on the street in your neighbourhood at any time between 9:30pm and 5:30 am?

Q7: Do you have street lighting in your neighbourhood?

Q8: Are street lights switched off or dimmed at any time between 9:30pm and 5:30am where you live?

It might be expected that people who did not go out at night, or in whose vicinity there was no street lighting

50

12,000

45

10,000

NIGHT

8,000 6,000 4,000 2,000

PERCENTAGE OF RESPONSES

DAY

FREQUENCY OF RESPONSES

6,000

40 35 30 25 20 15 10 5

0

0 ALWAYS(4)

MOST(3)

SELDOM(2)

NEVER(1)

FEEL SAFE WHEN OUT AND ABOUT IN NEIGHBOURHOOD

0

1

DIFFERENCE BETWEEN DAY AND NIGHT RATINGS

Figure 3. Responses to questions “Do you feel safe when out and about in your neighbourhood …”

Figure 4. Difference between day (Q4) and night

during the day (Q4) and at night (Q6).

(Q6) ratings of safety.

Lighting Journal May 2016

2

3

Road lighting and pedestrians 23

ARE CHANGES NOTICED? Q9: Have you noticed any changes to the street lighting in your neighbourhood within the last three years?

Q10: If you answered yes to question 9, since you noticed these changes do you feel (safer/no change/less safe)?

Of the 15,786 respondents, 5,929 said they had noticed a change, 8,558 said they had not, and 1,299 said they were not sure. Here we have only their recollection of change; there are no data available as to whether there were any recent changes, and if so, the nature of changes.

Of the 5,929 respondents who had noticed a change, 421 (7%) responded they now felt safer. Their reasons for this included that the new lighting was brighter; was less bright (associated with alleged benefits for light pollution, health and energy consumption); and was whiter.

In contrast, 2,772 (48%) respondents stated they were less safe after the change, and some of their comments are shown in Table 1. The remaining 2,639 respondents (45%) reported that their level of safety was about the same.

The reasons given for feeling less safe tend to show that people do not like change, in particular if it is perceived (albeit incorrectly in some cases) as a negative change.

Two things are worth noting amongst these responses. First, comments raised about part-night lighting may have been prompted by the previous reading of Q8 in the questionnaire. Second, that reasons categorised in Table 1 as changes in control or changes having direct personal affect were not associated with an increase in perceived safety.

If these changes are made, it may lead to a negative reaction but will not lead to a positive reaction.

CONCLUSIONS The first part of this analysis reveals a tendency to associate the perceived quality of road lighting with perceived safety – people think they will feel safer in an area that they consider to be welllit rather than badly-lit or unlit.

But, for a person who already feels safe, improved lighting has little benefit.

The final part demonstrates, however, that making changes to lighting can lead to a reduced feeling of safety. In other words, if a change is made this does not guarantee a positive outcome for perceived safety.

This can leave local authorities in a quandary. A lighting change might be implemented, with the expectation that people will feel safer with better lighting.

But a change in lighting, regardless of the type of change, is likely to cause dissatisfaction to some.

One limitation of this survey is that respondents were targeted from neighbourhood watch groups. Because their neighbourhoods are subject to neighbourhood watch they may be considered safer areas, which may introduce a bias into the responses.

This can be seen in the ratings of local safety (Figure 3) and that these ratings were not significantly affected by either any tendency by individuals to go

out at night, by the presence/absence of street lighting in the area, or by partnight dimming or switch off.

This work contributes to ongoing reviews of lighting for pedestrians within the ILP and CIE. A summary of recent research of lighting for pedestrians can be found at these two links: • http://lightingresearch.group.shef. ac.uk/MERLIN-summary.pdf • https://www.theilp.org.uk/news/ understanding-lighting-forpedestrians/ ACKNOWLEDGEMENT Thanks to Kristiana Wrixon (The Suzy Lamplugh Trust) and Catherine Dunn (Neighbourhood & Home Watch Network – England and Wales) for giving access to the survey data.

Steve Fotios is professor of lighting and visual perception at the University of Sheffield’s School of Architecture

70 PERCENTAGE OF RESPONSES

or where there was part-night switchoff might express a lower level of safety. Analysis of responses to Q6 did not express any such effect to be significant. Figure 5 shows, for example, the night safety responses of those people with either little or common tendency to go out at night.

NIGHT RATING: OVERALL

60

NIGHT RATING: NEVER/SELDOM GO OUT AT NIGHT

50

NIGHT RATING: MOSTLY/ALWAYS GO OUT AT NIGHT

40 30 20 10 0

ALWAYS(4)

MOST(3)

SELDOM(2)

NEVER(1)

FEEL SAFE WHEN OUT AND ABOUT IN NEIGHBOURHOOD Figure 5. Percentage of ratings of safety at night for those people who reported that they never/seldom go out at night and those who most/always go out at night.

Change in control

• Switch to part night • Switch off at night • They are switched off during the night - when they are needed for security reasons

Change in type of lighting

• New lights • Amber lights changed to white LED • New lights are not as bright, i.e don’t illuminate as big an area. I suspect they are energy saving lights • New low level lights which seem to cover a smaller area. The old lights had a wider cover as they were higher up. We now have a number of blind spots • They have changed the type of lighting it does not seem quite so good • LED lights in certain areas

Change having direct personal effect

• • • • • •

Lamp post removed from front of house A street lamp outside my house was removed and replaced with a tree Roads near us do not have street lighting. I am not happy about this Some lights removed We don’t have enough lights in XXXX street Bulbs not being replaced, many street lights out of action

Table 1. Reasons given for feeling less safe in response to an apparent recent change in road lighting.

Lighting Journal May 2016

STREET LIFE

LED street lights are promoted as offering more directional light and less spill light. But the reality is more complex, and is something the industry needs to be discussing, argues Don Kinghan

Street lighting and illumination 25

A

s the roll-out of LEDs continues across the UK, it would appear there are still some concerns about their use, whether related to glare, light distribution or the inherent greater blue-rich content and its potential detrimental effect in the context of light pollution, the environment or its potential effect on human health.

These topics all continue to spark debate. However, for this article I would like to look at a different aspect based on a number of different, ongoing studies.

For some years now, indoor lighting has queried the use of the ‘working plane’ lux level as the best metric for providing an accurate indication of the quality of the overall illuminance within the interior of the room.

Author and academic Dr Kit Cuttle, visiting lecturer in architectural lighting design at universities in New Zealand and Australia, for example, has developed and promoted the concept of ‘Mean Room Surface Exitance’, or MRSE, as a better indicator of a typical assessment of the brightness of illumination in an indoor space.1

AMBIENT ILLUMINATION MRSE is a measure of reflected light from all surfaces, excluding direct light, to create a ‘Perceived Adequacy of Illumination’ (PAI). This, in turn, is an assessment of whether or not the users of a space are likely to judge the ambient illumination to be adequate.

Recently Dr Martine Knoop, lecturer for indoor lighting and daylighting at Berlin University of Technology, presented a webinar on spatial light distribution which referred to Dr Cuttle’s work on MRSE and came to much the same conclusions.2 Dr Knoop argued current internal lighting guidance would imply that ‘efficient’ lighting requires: • High lumens per Watt light sources and • Luminaires that focus light onto the horizontal working plane The idea here is that the ambient level could be reduced and only the lighting where it is needed applied to the task area. In principle this makes sense but, as Dr Knoop has pointed out, creates a complication in that, if only the task area is lit, this could leave the overall impression of the illumination of the room being compromised.

Other areas of focus within her work have been direct light, reduced illuminance on vertical surfaces, spill light (the good type), and diffuse lighting.

As I have investigated both Dr

Knoop’s and Dr Cuttle’s work, I have started to see the obvious relevance in their arguments to exterior lighting.

Many of the issues associated with the horizontal illuminance on the working plane as not being an adequate metric for internal lighting could apply just the same to road lighting.

DIRECTED LIGHT Around the same time as I was reaching this conclusion, I read the ILP’s discussion document Understanding Lighting for Pedestrians by Steve Fotios, professor of lighting and visual perception at the University of Sheffield’s School of Architecture, and lighting consultant Peter Boyce.3 This highlighted four main areas: illumination, distribution, light spectrum and control of glare. Again, to my mind, the issues highlighted in this document with relevance to lighting for pedestrians seemed to overlap with some of the concerns above regarding road lighting, and possibly indicated a gap in the current guidance.

Directed light produces harsh shadows, yet LED street lights are promoted as having more directional light and less spill light. Does this therefore result in a gloomy appearance if the vertical walls of shops and houses are not considered?

Dr Knoop has suggested the vertical walls are as important as the luminaires in interior lighting. But should they therefore be considered as equally important in exterior lighting?

Understanding Lighting for Pedestrians states that: ‘vertical illuminance is important for revealing the face of someone approaching’ and ‘measurements of the ability to identify emotion from facial expression have shown that adaptation luminance and distance are major factors in determining accurate judgments of emotion’.

Therefore, does a more directional, higher perceived brightness LED light source reduce the level of adaptation luminance and the vertical illuminance?

Does it reduce the distance before the emotions of someone approaching can be identified? Does the higher perceived brightness mean the ‘pool’ of light on the road surface also appears brighter and more defined, which in turn makes the darker areas appear even darker? In other words, does the higher perceived contrast between light and dark result in an apparently less uniform distribution?

REFLECTED LIGHT LEDs are always promoted as being more directional and only putting the light

where it is needed but, as Dr Knoop has suggested, is this to the detriment of the overall impression of the illumination of the space?

I believe this is relevant to Understanding Lighting for Pedestrians where it states: ‘What is needed is guidance on how big an area the lighting needs to cover and some criterion for light distribution over that area using a metric based on the distance over which illuminances below a certain fixed value occur.

‘Such a criterion would eliminate the extended areas of relative darkness between lighting columns that can be seen on many residential streets. This is particularly important given the sharp cut-offs that can be achieved with LED luminaires.’

Whilst not all streets have nearby vertical faces from which street lighting is reflected and therefore increasing adaptation luminance, is there a case for assessing the possible potential reflected light on a scheme-by-scheme basis?

For example, continuous terraced housing in a town setting with house facings set directly on the back of a footpath may need a lower level, as the light is reflected off the vertical surfaces and possibly contributing to a better PAI for the exterior scene.

However, a more suburban area with detached or semi-detached properties separated from the street by gardens and dark spaces between houses where little light is reflected back on to the task area may require a higher level to achieve the same PAI. This terraced housing example is more typical of a populated area/higher environmental/higher crime rating zone, and therefore requires a higher base illuminance level than the suburban equivalent. But maybe a reversal of these base levels could be justified taking account of this reflected light in a more built-up area?

Additionally, could it be that the more uniform the light distribution is, the less illuminance might be required? Could it be that, if certain levels of uniformities are achieved, the required lighting level could be incrementally reduced, similar to mesopic compensation?

Another area mentioned in Understanding Lighting for Pedestrians is glare. I would agree with this and think the LED light source has made this more of an issue with its high lumen output from a very small point source.

Maybe LED output and lm/w efficiency have reached the level at which the manufacturer could afford to enclose the light source in a more diffuse protector

Lighting Journal May 2016

26 Street lighting and illumination rather than leave the bare chips visible?

I assumed a diffuse protector would reduce the efficiency of the output but Dr Knoop has suggested a more diffuse source could be more efficient and save energy for interior lighting. Could this, again, be true for outdoor lighting?

Personally, I still believe the LED has achieved a large enough lumen-to-Watt ratio that we can afford to cover up the point sources with a diffuse protector without being too concerned with a potential reduction in light output if it helps reduce the glare issue.

Dr Knoop has also suggested people tend to prefer a more diffuse source with some directionality. We already have the directionality in street lighting, so how easy would it be to add the diffuseness?

From the LED street lighting installations I have seen and pondered over, I have gained an overall impression that, while the colour rendering and horizontal appearance looks good, there is less uniformity – or at least there is the perceived appearance of less uniformity.

Whilst the colour temperature is 4,000k I think the directional, sharp cut-off of the distribution still gives a slightly harsher appearance, although not as pronounced as the 5,700K early-days installations.

However, there is also the question of maybe this is just because there are still many more HPS installations and we are still more accustomed to, and familiar with, their appearance when judged against the new kids on the block.

Finally, it would seem from lighting industry news4 that, after comparison with famous images taken from space of city lights around the world, LEDs have allegedly made light pollution worse – in that the same photos taken now show a perceived higher brightness.

When trying to come up with a description for myself of the difference I see when looking at LED lighting and HPS lighting, the one that seems to suit the best is that ‘HPS seems to glow in the darkness and LEDs seems to pierce the darkness’.

And maybe it is arguable piercing the darkness doesn’t give such a good impression, after all.

SOX lighting (above), SON lighting (below) and (bottom) LED lighting, all taken by the author on the same night.

With the LED street lighting there is less vertical illuminance on the bungalows opposite the lights. But, while the colour rendering and horizontal appearance of the LED lighting looks good, there is also a question-mark over uniformity

Don Kinghan is senior engineer, Lighting and Electrical, Strategic Highways, Europe at AECOM

1. http://kit-lightflow.blogspot.co.uk/ | 2. http://www.lighting.philips.com/main/education/lighting-university/lighting-universitybrowser/webinar/spatial-light-distribution | 3. https://www.theilp.org.uk/documents/ilp-understanding-lighting-for-pedestriansdiscussion-document/ | 4. http://uk.businessinsider.com/astronaut-photos-light-polution-led-nasa-esa-2015-8. Plus http:// www.citiesatnight.org/

Lighting Journal May 2016

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28 Street lighting and sleep patterns

SWEET DREAMS? Research from the US has suggested the level and intensity of street lighting can have a direct effect on people’s sleeping patterns, with LED street lighting potentially uniquely disruptive. Lighting Journal threw off the duvet and padded to the window to investigate

P

eople living in brightly-lit neighbourhoods are more likely to suffer from disturbed and disrupted sleep patterns, a study from the US concluded in March.

The study, led by Maurice Ohayon, professor of psychiatry and behavioral sciences at Stanford University in California, was due to be presented to the annual meeting last month of the American Academy of Neurology, and argued that night-time light was ‘significantly’ associated with sleep disturbances.

The study interviewed 15,863 people by phone over an eight-year period. They were asked about sleep habits and the quality of their sleep as well as any medical and psychiatric disorders.

Then, using data from the Defense Meteorological Satellite Program, Professor Ohayon and his team looked at how much outdoor light those people were exposed to at night.

This concluded that, perhaps unsurprisingly, people living in urban areas of 500,000 people or more were exposed to night-time lights that were three to six times more intense than people living in small towns and rural areas.

But when it came to sleep patterns, the findings were more surprising. People living in more intense light areas were 6% more likely to sleep less than six hours per night than people in less intense light areas.

FATIGUE AND CONFUSION People living in more intense light areas were also more likely to be dissatisfied with their sleep quantity or quality than people in less intense light areas, with 29% dissatisfied compared to 16%.

People with high light exposure were also more likely to report fatigue than those with low light exposure, (9% versus 7%). People with high light exposure slept less per night than those with low light exposure, with an average of 412 minutes per night compared to 402 minutes per night.

In addition, people with high light exposure were more likely to wake up confused during the night than people with low light exposure, with 19% experiencing this compared to 13%. And they were more likely to have excessive sleepiness and impaired functioning, at 6% compared to 2%, the study concluded.

Professor Ohayon said of his research: ‘Our world has become a 24/7 society. We use outdoor lighting, such a street lights, to be more active at night and to increase our safety and security.

‘The concern is that we have reduced our exposure to darkness and it could be affecting our sleep. Light pollution can be found in any sizable city in the world. Yet, excessive exposure to light at night may affect how we function during the day and increase the risks of excessive sleepiness.’

Moreover, in a subsequent interview with The Huffington Post, Professor Ohayon pointed the finger of greatest blame at the latest generation of LED streetlights, arguing their blue colour temperature meant that they could be as bad for sleep as having a screen in your bedroom late at night.

‘The blue light emanated by the streetlights in most big cities provides more safety because it’s like daylight, and allows people to see more clearly at night. But it is uniquely disruptive to human sleep,’ he told the paper.

Clearly, as Professor Ohayon has been at pains to emphasise, this is just one study.

Nevertheless, the potentially disruptive effects of LED on sleep patterns has long been recognised, although the extent of this disruption in the context of sleep patterns and the body’s circadian rhythms is still a subject of some debate.

And the solution? This study did not address these questions in the context of city street lighting infrastructure or technology. But Professor Ohayon did have some suggestions for individual citizens feeling their sleep might be disrupted as a result.

‘If this association is confirmed by other studies, people may want to consider room darkening shades, sleep masks or other options to reduce their exposure,’ he said.

Lighting Journal May 2016

30 Human-centric lighting

BEYOND VISION Lighting designers increasingly recognise it is no longer enough just to design for the visual task. But designing for the non-visual effects of light remains deeply challenging, argues Peter Thorns, opening a six-page report into human-centric lighting

I

n most religions and mythologies there is a point of creation where the first ‘lighting engineer’ places the lights in the sky. Whatever your belief in how our universe came to be, it is unarguable that the configuration of sun, moon and stars sets the pattern of light and dark under which life on this planet has evolved.

With the invention of electric light, and especially with the work of Swan and Edison, we have produced an environment where day has moved towards night, and night has moved towards day.

For most of us, the light we are exposed to during the day is lower and of a lesser quality than daylight. Similarly, the light we are exposed to at night is far in excess of moonlight and starlight, and again of a lesser quality. In effect, we have 24 hours-a-day sub-optimal lighting conditions.

NEEDS OF THE VISUAL SYSTEM A driver for this has been the fact lighting has been designed to fulfil the needs of the visual system – what quantity of light allows us to effectively and efficiently perform a task.

The more informed designer tries to provide this quantity of light in a way that also creates pleasant spaces, but this is still essentially about the manipulation of the visual appearance of surfaces and objects.

We now understand much better that, alongside the visual system, there is a non-image forming system that influences our health and wellbeing. Integrated within the structure of rods and cones within our eyes is another photoreceptor; the intrinsically photosensitive retinal ganglion cells (iPRGC).

The iPRGC are sensitive to short wavelength light (at the blue end of the spectrum) and, in association with parts of the conventional visual system help control our biological clock(s), mood, sleep quality, alertness, and many other aspects of our physiological and psychological wellbeing, mainly through the hormone melatonin.

Melatonin is supressed under bright

Lighting Journal May 2016

light and blue-rich light, which is the general condition during the day-time.

During the hours of darkness melatonin levels rise, making us feel sleepy (melatonin is sometimes called the sleep drug).

In many ways this is no surprise and, indeed, Florence Nightingale commented on this effect over one century ago, observing: ‘Little as we know about the way in which we are affected by form and colour and light, we do know this; that they have an actual and physical effect. Variety of form and brilliance of colour in the objects presented to patients are an actual means of recovery.’

SPECTRAL CONTENT It should be noted that timing is also very important when discussing light and wellbeing. Just as we evolved with a defined pattern of light and dark, that period of the light and dark varies throughout the year. The spectral content of the light also varies throughout the day and generally throughout the year (although this is also dependent upon the region of the earth you are on).

This does, however, create a problem for lighting professionals. Relatively widespread and frequently misinformed public opinion on the non-visual effects of light means designing purely for the visual task and ignoring non-visual effects is becoming unacceptable.

The cat is out of the bag and we cannot ignore non-visual effects in case we do harm, as we would most probably do if we ignore their effect. So we need to consider more carefully some of the issues related to lighting.

Consider the changing demographics within society. Figure 1 (opposite) shows how the population within Europe is expected to change between 2013 (darker coloured bars) and 2060 (lighter coloured bars).

The median age within the EU28 countries of the European Union will increase from 40 (male) and 43 (female) in 2013 to 45 (male) and 47 (female) in 2060. This is mainly because of the relative shift of 20+ years adults, whereas

the proportion of adults aged 20-64 years decreases from 61% to 51% and the proportion of elderly adults (65+ years) increases from 18% to 28%.

This has a number of implications, some of which are becoming evident already. The age where a person can retire (or at least draw a state pension) is increasing and is likely to continue to do so as fewer working-age adults support more dependant people (the elderly and young).

In addition, as people are increasingly healthy later into life and therefore more active with higher lifestyle expectations, the need to work longer to fund this lifestyle will increase. Therefore, it can be expected that the average age of the workforce is going to increase in the near future.

Twenty or thirty years ago we would have considered these facts and discussed the need to adjust recommended lighting levels based upon the age of the worker and the task they were performing, so any changes would have been purely to aid vision.

This does still need consideration as, with increasing age, people’s abilities change, especially with respect to eyesight, mobility and dexterity.

However, we now know this is no longer the complete story. As people age, opacification of the crystalline lens increases, absorbing and scattering light.

This absorption is not evenly spread across the visible spectrum.

Absorption of longer wavelength (red) light is relatively unchanged, whereas absorption of shorter wavelength (blue) light increases dramatically. We have already discussed that iPRGC are most sensitive to shorter wavelength light, so this means as people age they are more likely to have, for example, disrupted sleep patterns or reduced concentration levels.

So older people need blue-rich light at the correct time of day (remember that timing is as important as spectral content) to synchronise themselves to a normal day/night cycle.

There is an increasing body of research on the non-visual effects of light

Human-centric lighting 31

in applications such as healthcare and education. The use of light in the treatment of seasonal effective disorder (SAD) is well-documented and further application areas are being studied. For example, research at Alzheimer’s care homes in Vienna has indicated that the use of lighting could: • aid in stabilising the circadian rhythms of patients • improve daytime activity and communication • promote better adjustment of sleep and wake patterns • reduce medication levels • provide higher levels of satisfaction for both patients and carers.

• (And for more on this see Improved quality of life for resident dementia patients: St. Katharina research project in Vienna. C.A. Sust, P.Dehoff, D.Lang, D.Lorenz. Zumtobel).

However, as with all things, an assessment should be made of risk versus benefit. Improving the quality of life for the elderly or those with a medical condition that results in a significantly reduced quality or span of life must generally be worth the risks of unknown adverse effects.

SHIFT WORKERS Applying non-visual effects of light to young students or to shift-workers should be viewed more cautiously. Applying non-visual effects of light as part of the general ambient lighting in a space with an uncontrolled population (public areas, large open-plan workplaces and so on), each with unknown individual medical and photic histories, should probably be approached with caution verging on trepidation.

With human-centric lighting, we are heading towards the era of truly personal lighting where each person can adjust the quantity and quality of their lighting to suit their specific situation.

So much for poor lighting during the day. But the non-visual effects of light also imply the need for darkness at the correct time, and photo-biological darkness is becoming increasingly rare. In fact, there is little information as to the required size of an unlit area and the lighting intensity below which an area is unlit in ecological terms, and this threshold will vary by species.

Humans are relatively insensitive to light compared to nocturnal animals.

So, to create a space adequately lit for humans results in a space over-lit for animals. But spaces light-adjusted for animals and nature will be perceived as

‘no-go’ areas during the hours of darkness by a large proportion of people, especially the elderly who tend to have inferior nightvision due to the aging process changing the eye (and see Reducing the ecological consequences of night-time light pollution: options and developments. K.J. Gaston, T.W. Davies, J.Bennie and J.Hopkins.

Journal of Applied Ecology 2012, 49, 1256-1266. British Ecological Society).

The use of light curfews is promoted as a possible solution but, again, this runs into the problem of the human need for relatively high levels of light at certain periods of the night.

EFFECTS ON NATURE A light curfew may be suitable and beneficial for humans, but the majority of activity by nocturnal and twilight-active organisms tends to occur during the hours of dusk and dawn. Many species time the stages of their lifecycle (such as bud burst, flowering, dormancy and leaf abscission in plants, and reproduction, migration and diapause in animals) through the detection of day length. Any physiological impacts of a human-centric light curfew may be ineffective to animals and plants.

In the final analysis, we have to decide how much we are willing to give up. A light curfew or reduced lighting levels are helpful unless we have indoor lighting that stimulates the circadian system, or we go to an evening football match with

EU28 - Population by age groups and sex Males

lighting levels in excess of 1,000 lux, or an evening shopping at an out-of-town shopping centre and so on.

Even watching television or using display screens has raised questions, as these technologies can emit substantial quantities of blue-rich light. For example, in a report in the US (Report 4 of the Council on Science and Public Health (A-12) Light Pollution: Adverse Health Effects of Night-time Lighting. AMA House of Delegates 2012 Annual Meeting) one conclusion was that media use at night (in other words, televisions, computer monitors, cell phone screens) negatively affected the sleep patterns of children and adolescents and suppressed melatonin concentrations.

So, to an extent, the choice we need to be discussing is do we want light and the other aspects of modern society, or not?

As a profession, we cannot ignore the non-visual impacts of lighting, even though for many applications our knowledge of these is very immature.

An informed decision of whether to design for non-visual effects of light or not needs to be made and, if non-visual effects are to be included, the possible impacts, both positive and negative, should be considered.

Peter Thorns is head of strategic lighting applications at Thorn Lighting Limited

Age groups

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Lighting Journal May 2016

32 Human-centric lighting

DESIGNS FOR LIFE Professor Karin Smolders outlines some of latest academic thinking around how lighting design can affect people’s visual, biological and psychological needs

Human-centric lighting 33

T

he development of artificial lighting has allowed us to turn on and turn off, at will, the light we receive and perceive throughout a 24-hour day.

This, naturally, has meant that in modern, especially urban, environments, humans will often experience higher levels at light, both by day and night, than they would if they were just being exposed to natural light sources.

We all use lighting to perform tasks or create a pleasant ambiance. What’s less well recognised, and certainly among the general public, is that the effect of light can reach much, much further than this.

There is a lack of awareness and understanding of the potential impact of light on our behaviour and physiology in everyday life. And this is where lighting professionals, designers and engineers can have an important role to play in helping to create stimulating and healthier lighting regimes, ones that recognise the non-visual impact of light, yet remain fit for the purpose for which they are intended.

VISUAL AND NON-VISUAL EFFECTS There is now a large body of academic research showing that light reaching the retina not only enables us to see, our vision, but also affects how we function as humans, our physiological and psychological processes.

Via our visual path, we form images of our surroundings by detecting and processing light reflected from the physical environment. This makes it possible to extract and interpret the world around us so as to allow us to engage in the tasks we want to carry out.

In addition, this visual pathway can influence how we experience the environment around us and even influence our mental wellbeing, our health and our performance But in addition to these image-forming effects, light can influence our functioning through non-image-forming processes.

Via our non-image-forming pathway, light can affect our physiological and psychological processes throughout the day and, on top of this, influence our state of alertness, our mood and even our cognitive processing.

BIOLOGICAL CLOCK The biological clock, as most of us will be aware, is an internal ‘master clock’ located in the what is called the Supra Chiasmatic Nucleus. It anticipates environmental changes and aligns our affective, cognitive and physiological functioning according to our external environment.

And light, researchers are increasingly aware, is an important time cue for this biological clock. When there are no time

cues, our biological clock has a rhythm either slightly longer or shorter than the 24hour light/dark cycle.

Our circadian rhythm of about 24 hours therefore needs to be ‘entrained’ on a daily basis by the light we receive to ensure waking and sleep episodes are not out of sync with the natural day-night rhythm.

Misalignment and disturbances in sleep-wake cycles can affect wellbeing, health and performance. Probably the best-known example of the internal clock being out of phase with the environmental light/dark cycle is, of course, jetlag.

But, and this is where it gets interesting, light can affect or slightly shift this internal syncing of the clock. The direction and magnitude of the shift is dependent on the timing, intensity, duration and spectrum of the lighting.

Exposure to light in the early morning, for example, can induce a phased advance in your body clock that generally corroborates with an earlier sleep timing.

Conversely, exposure to light in the late evening may delay the onset of sleep and lead to wakefulness.

There has been some research carried out around the use of alarm clocks that provide a dawn-like light simulation which shows that such devices can support the waking-up process in the early morning.

Moreover, the use of tablets, mobile phones or laptops with light-emitting screens in the evening may induce alertness and delay onset of sleep. This seems particularly the case for LED screens, which often emit light with a high power in the blue part of the spectrum.

Awareness of these potential circadian effects of light on the timing and quality of our sleep and daytime functioning is self-evidently important, as it may result in better or less disturbed sleep patterns and potentially healthier lifestyles.

AREAS OF DEBATE Academics are also looking at a range of other intriguing areas. One is how exposure to intense light may boost feelings of alertness and vitality. Another is how the intensity and spectrum of lighting may influence our attention span or even our cognitive performance. However, these are still very much areas open to debate. The optimal light levels that cause these effects are still unknown and require additional research.

The majority of academic studies into the effect of light on circadian rhythms have been focused on exposure to light at night. But there are indications light can support wellbeing, health and performance during daytime, too.

We have carried out studies here at Eindhoven University of Technology, for

example, that have suggested individuals report higher alertness and vitality when they are exposed to brighter light, even during regular working hours.

These reported effects seem to depend on time of day, environmental context, type of activity, person characteristics and an individual’s momentary state.

And, while this research is again at an early stage, it does highlight the sort of challenges many lighting designers face when it comes to providing optimal light settings in, for instance, office or workplace settings or similar environments.

RETHINKING LIGHTING DESIGN To conclude, therefore, exposure to light (or darkness) can affect our functioning throughout the 24-hour day in various ways, whether it is exposure to light in schools, workplaces, at home or outdoors.

Light can influence our mood, cognition, behaviour and sleep in situations where we live; it can affect how we interact – how we learn, eat, recover, move and play.

The current academic literature suggests lighting systems therefore need not only to meet visual and energyconsumption requirements, but also incorporate (or at the very least consider) an individual’s biological and psychological needs. To date, however, most lighting installations are simply designed to support visual functions and minimise visual discomfort.

The development of LED technology has offered greater opportunities for designers to develop innovative lighting systems to enhance people’s wellbeing, health and quality of life in various application domains.

What is increasing clear is that light reaching the eye activates the imageforming as well as the non-image-forming pathway simultaneously. The challenge therefore is to achieve lighting that is optimally tuned to a combination of not just the user’s visual needs but their biological and psychological needs as well.

It is vital lighting designers lift their thinking beyond the basics of cost, visual comfort and function, and energy efficiency, although these all of course will always remain important.

When designing lighting schemes, designers need to consider both the image-forming and non-image-forming effects of light, as well as the potential trade-offs between these effects.

Dr Karin Smolders is assistant professor in the human technology interaction group at Eindhoven University of Technology in the Netherlands

Lighting Journal May 2016

34 Human-centric lighting

HEALTH SERVICE There is a compelling body of evidence building up to suggest that human-centric lighting schemes can improve both patient recovery times and outcomes within the healthcare environment, argues Dr Feride Şener Yilmaz

A

person’s health, wellbeing and mood are closely related with the environmental factors around them, of which lighting is of course just one, although an important one.

It is well recognised that a good balance between visual, biological and emotional needs is required in architectural lighting design in order to create physiologically and psychologically pleasing atmospheres and environments.

Moreover, the important non-visual biological effects of lighting on the human body are becoming increasingly well recognised, as Peter Thorns and Karin Smolders have both highlighted on the previous pages.

This article is going to look specifically the role of ‘human-centric lighting’ within the context of the healthcare environment.

In particular, it will be addressing the issue of the association between the use of daylight in healthcare environments and a patient’s recovery.

LINK TO PATIENT RECOVERY TIMES According to Walch, in a study investigating the link between daylighting and recovery time after spinal surgery, patients staying in rooms that were better lit by daylight reported significantly lower

Lighting Journal May 2016

use of pain medication and less pain than patients recovering in more dimly lit rooms.1 A similar study (Choi, Beltran & Kim, 2012) investigated the daylight potential of different hospital rooms with the aim of establishing a relationship between daylighting and patient recovery times.2 This study showed there was indeed a significant relationship between indoor daylight conditions and a patient’s average length of stay in a hospital. Depending on the disease type, the physiological benefits provided by daylight were also found to be conducive to accelerating recovery time.

There have been many other studies in this area, too. Beauchemin and Hays, for example, investigated the link between exposure to daylight, length of stay and mortality rates within a cardiac intensive care unit.3 They compared units located on the south (sunny) side of the hospital with units located on the much dimmer north side. Their conclusion was that overall mortality rates were found to be higher in the dimmer rooms than in the bright rooms. There have also been studies carried out to investigate the effect of daylight exposure in relation to psychological and physiological therapies (Mead, 2001, Ljubicic et al., 2007).4,5 So, it is clear there is a base of intriguing academic study building up within this area. But what does this mean for the lighting design within healthcare environments?

MAXIMISING DAYLIGHT In the context of lighting design, the term human-centric lighting is often used to describe lighting schemes that either imitate or simply maximise daylight conditions within the built environments.

Other factors that often come into play include the consideration of energy efficiency and sustainability.

But human-centric lighting, as has already been highlighted in the previous articles, is much more than this. It is the

opportunity for lighting designers to try to understand and respond to human circadian rhythms, to affect mood, visual acuity and individual performance (Walerczyk, 2012).6 Therefore, any discussion around a human-centric lighting design approach has to take all these factors into consideration – the role and effect of daylight, energy efficiency and sustainability, functionality but also nonvisual effects – right from the start of the building design phase onwards.

Currently, human-centric lighting design applications can be used in many different building types, anything from healthcare environments, to educational buildings, workplaces, industrial buildings, residential buildings and even homes for the elderly.

But, as the studies I have highlighted illustrate, healthcare environments have the potential to be one of the most suitable building typologies for the application of human-centric lighting design concepts.

In essence, using human-centric lighting design solutions within healthcare environments can be beneficial in terms of regulating human physiology and sleep/ wake patterns, supporting and stabilising the patient body clock, and positively influencing factors such as patient recovery, mood and wellbeing.

What this, therefore, needs to mean in practice is that where the healthcare environment is receiving inadequate amounts of daylight, the lighting designer should compensate for this through design and installation of a more humancentric artificial lighting system. This could also mean adjusting colour temperature and intensity to ensure that the lighting scheme is the most advantageous it can be to a patient’s body clock.

Figure 1 opposite is a good example of a human-centric lighting design application in action, at the Maria-Hilf Hospital in Brilon, Germany. In this application, a new lighting control system was installed in the geriatric department patient rooms and corridors that had the facility for its light intensity and the colour temperature of LEDs to be adjusted.

Another example given (Figure 2) is from Maastricht University Medical Center in the Netherlands. Here, following a human-centric lighting system retrofit, sleep patterns, mood, and length of sleep were measured and compared against the experience of patients in rooms that still had the conventional lighting system.

The study concluded that the new lighting scheme was found to have a positive influence on patient and staff satisfaction levels, on sleep duration and on enhancing mood (Giménez et al, 2011).7

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36 Human-centric lighting

REFERENCES 1. Walch, J.M., Rabin, B.S., Day, R., Williams, J.N., Choi, K., & Kang, J.D. (2005). The effect of sunlight on postoperative analgesic medication use: A prospective study of patients undergoing spinal surgery. Psychosomatic Medicine, 67, 156–163.

Figure 1. Dynamic lighting system in Maria-Hilf Hospital in Brilon, Germany: the lighting scheme means light intensity and colour temperature can be adjusted

2. Choi, J.H., Beltran, L.O. and Kim, H.S. (2012) Impacts of indoor daylight environments on patient average length of stay (ALOS) in a healthcare facility, Building and Environment, 50, 65–75.

3. Beauchemin, K.M., & Hays, P. (1998). Dying in the dark: Sunshine, gender and outcomes in myocardial infarction. Journal of the Royal Society of Medicine, 91, 352–354.

4. Mead P.G. (2001) Assessment of Design Configurations for the Therapeutic use of Daylight, Biologic Effects of Light 2001, Proceedings of a Symposium Boston, Massachusetts June 1618, 75-82.

5. Ljubicic D. et al. (2007) The influence of daylight exposure on platelet 5-HT levels in patients with major depression and schizophrenia, Journal of Photochemistry and Photobiology B: Biology 89, 63–69.

6. Walerczyk, S. (2012) Human Centric Lighting, Architectural SSL Magazine, June 2012, pp: 20-26

Figure 2. Application of a human-centric lighting system in Maastricht University Medical Center, Netherlands: adjusting the lighting scheme was found to have a positive influence on patient and staff satisfaction levels, as well as on sleep duration and enhanced mood

CONCLUSION The key to effective human-centric lighting design within the healthcare setting is to be providing flexibility in colour temperature and light intensity.

To that end, it is likely to be a question of putting in place more advanced lighting control strategies, ones more attuned to the specific challenges associated with human-centric lighting.

The argument for the use of humancentric lighting systems in healthcare environments is increasing.

Of course, much more interdisciplinary research is needed on what is a hugely complex area, but the research so far appears to provide

Lighting Journal May 2016

compelling evidence as to the benefits of taking this human-centric approach, both in terms of energy and sustainability as well as patient outcomes and recovery.

There is a long way to go yet, and (I am sure) much debate and discussion to be had. But I would argue it would be helpful for current standards on lighting design to be revised in order to provide guidance on the use of human-centric lighting design within the healthcare setting and environment.

Dr Feride Şener Yilmaz is an academic within the Faculty of Architecture at Istanbul Technical University

7. Giménez M.C. et al (2011), Light and Sleep within Hospital Settings, Sleep-Wake Research In The Netherlands, Annual Proceedings of the Dutch Society for Sleep-Wake Research (NSWO), Vol 22, pp:56-59.

Using humancentric lighting design solutions within healthcare environments can be beneficial in terms of regulating human physiology and sleep/ wake patterns

38 Legal issues

DEEP COVER

There are five main types of insurance required for lighting projects. Completely au fait with all of them? If not, Payal Patel and Howard Crossman are here to guide you

M

ost lighting professionals will probably be well aware that insurance is an essential feature of lighting projects in terms of ensuring both parties to a contract are protected.

Contracts allocate risk and liability between parties, and a party accepting a risk will often want to cover any liability with insurance. Likewise, the party to whom liability is owed will want to be protected knowing that the insurance policy is an available recourse if the other party is not able to cover off the issue, for example professional negligence.

However, it is worth revisiting the different types of insurance and refreshing your knowledge about how they work and where they’re most relevant.

In practice, the following are the main types of insurance frequently required in projects related to the lighting industry: 1. Contractors’ all risks insurance (CAR), also called construction all risks insurance 2. Professional indemnity (PI) insurance 3. Employers’ liability insurance 4. Public liability insurance 5. Product liability insurance CONTRACTORS’ ALL RISKS INSURANCE (CAR) CAR insurance provides cover against risks of physical damage to the works and site materials. A CAR policy may operate on an annual basis, and the insured is required to maintain and renew the policy.

Or it is possible to take out a CAR policy in relation to a single project or contract.

CAR policies do not have a single generic form of wording; however, they will share some common features. A CAR policy usually covers most forms of physical loss or damage, subject to various exceptions. As a result of this, a CAR policy’s exclusions are vital to

Lighting Journal May 2016

understanding the scope of its cover.

For example, a CAR policy may exclude: damage and defects caused by negligent design; the cost of correcting defective workmanship; employer liability; gradual pollution caused by the works; inherent defects; and damage occurring after the rectification period.

These exclusions can be found in the insurance requirements of many standard forms of building contracts, including lighting works. These exclusions mean that, in the event of a claim, the burden is on the insurer to prove the loss falls within an exclusion. A CAR policy will often extend to cover additional categories that include physical damage to other property.

CAR policies usually address the risks of physical damage to works by dividing the cover into three categories, which can equally apply to contracts, or projects involving lighting: • Damage to the insured property, which includes to the structure being built and any temporary structures • Consequential or ‘business interruption’ losses, this covers losses caused by the physical damage • Liability to third parties during the works An essential part of any CAR policy is to know how it defines the property that it covers, the types of damage to which it responds and the period of cover.

The property covered is usually the ‘contract works’ which in turn comprise the ‘permanent works’ and the ‘temporary works’. Permanent works is known as the structure that is foreseen as an outcome of the project and temporary works are the structures and materials required to facilitate construction, and this includes works necessary for access and support of the permanent works, which is then removed before completion. This applies

to all types of lighting contracts and works involving lighting professionals.

A CAR policy will normally cease at practical completion of works when the employer takes back possession of the site. The CAR policy may, however, include cover for physical damage that occurs to property during the defects liability period. The contract will usually specify the party that must procure CAR insurance in its name or joint names.

A CAR policy will cover several parties to a (lighting) project. This could be the employer, the contractor, sub-contractors, professional consultants and suppliers.

PROFESSIONAL INDEMNITY (PI) INSURANCE PI insurance is another one of the most commonly required insurances within the lighting industry. Some clients may even decline to engage a lighting professional who has not obtained PI insurance because they feel there is inadequate protection if something goes wrong.

PI insurance insures against liability arising from professional negligence. In projects concerning lighting, this could arise from negligent design, advice or performance of other professional services, such as surveying, project management or contract administration. A PI insurance policy is usually required by: • A professional consultant • A contractor with design responsibility • A sub-contractor whose duties include a significant design element While PI insurance protects against liability for professional negligence, it is important to check the scope of liability the insurance covers before entering into a contract. For example, it may not extend to a lighting designer guaranteeing that its design will be ‘fit for purpose’.

Most PI insurance policies cap the

Legal issues 39 liability of the insured, therefore the contract particulars set out a minimum acceptable limit on the cover. These limits vary. A limit may be applicable to each particular claim brought against the insured or a limit may be applicable to the aggregate liability of the insured.

This clause must be negotiated by the parties, taking into consideration the circumstances of the project and the state of the insurance market.

There are various negotiation issues associated with PI insurance policies for both an employer and the lighting contractor or consultant.

An employer should agree the amount of PI insurance cover, ensuring PI insurance in the contract is at a level that will sufficiently cover reasonably foreseeable liabilities of the lighting contractor or professional, to the employer and also any third parties.

If there is an agreed cap on liability for design, then the insurance requirement should at least equal that cap on liability.

The duration of the PI insurance policy must be considered. An employer should also regularly request proof of insurance from the contractor or consultant and especially when the policy is renewed (usually annually).

Clearly, the lighting contractor or consultant should try to ensure the required level of policy is available at a reasonable commercial rate. A lighting contractor or consultant may also want to consider expressly excluding certain issues if not relevant or if they affect the premium too much. For example, stating the PI insurance is not required to cover asbestos or fungal mould.

PI insurance will usually operate on a ‘claims made’ basis and, as a result, a lighting professional appointment, building contract or sub-contract inevitably requires that PI insurance is maintained throughout the insured’s period of liability and not only until the completion of the work.

This is imperative to bear in mind when considering a cancellation of a PI insurance policy, as claims in tort are actionable for at least six years from the

date on which the damages was actually suffered, and liability in contract under a deed can be 12 years.

EMPLOYERS’ LIABILITY INSURANCE Employers’ liability insurance will protect a party against liability for injury or disease to its employees arising out of their employment. An employer in the lighting industry can, of course, also be a contractor that has employees working on lighting projects with them or for them. In the UK there is a statutory requirement that most employers are required to maintain employers’ liability insurance, although there are exempt parties to this requirement.

Specific provisions that deal with employers’ liability are usually unnecessary in UK construction contracts because it is mandatory for most businesses in the UK to have it. In practice, provisions relating to employers’ liability insurance in construction contracts will only be necessary if the project has an international element, whereby the insured may be subject to foreign laws or if the nature of the project justifies a level of insurance greater than the statutory minimum.

In lighting projects with an international element, therefore, both parties should check they are aware of local requirements in relation to employers’ liability. This may include checking that: • The insurance is similar to that required in the UK • There is payment into a workers’ compensation scheme, such as those operated in other countries (US, Australia, continental Europe) • There is payment into a local social security scheme PUBLIC LIABILITY INSURANCE Public liability insurance covers liability that arises from death or personal injury to a third party other than the insured’s own employees, and for damage to any property belonging to a third party.

This type of insurance will usually be maintained on an ‘events occurring’ basis, therefore once the project has completed,

there is no requirement for this insurance to be maintained.

An employer should ensure the insurance policy is sufficient to cover the contractor’s own liabilities to the employer under specified clauses of the particular lighting contract used. It is essential documentary evidence of the policy is provided before the contract is signed, and the policy is maintained and checked regularly.

For a lighting contractor, this means it is essential the policy covers its liabilities under specified clauses of the contract particularly its insurance obligation.

PRODUCT LIABILITY INSURANCE Product liability insurance protects against liability for injury to third parties or damage to their property that arises from supplied products, and often covers the product itself. Suppliers of lighting equipment to construction and engineering projects will often be required to maintain product liability insurance to cover materials, goods or technology supplied.

Product liability insurance clauses are usually similar to those of PI insurance.

Product liability insurance is useful to have if something happens before the works are completed, as it will be down to the contractor to make sure everything is right before completion. Faulty products will also be covered under this policy.

CONCLUSION The scope of cover that policies provide varies widely. Any parties to a contract must be aware of the terminology used and the precise conditions. Legal or specialist insurance advice is often recommended.

When considering the provisions to be included in contracts within the lighting industry, all parties should ensure the insurance requirements stipulated are ‘back to back’ with the actual cover.

It is necessary frequently to check the correct level of insurance is maintained and a reputable insurer used. This is a technical area where vigilance and thoroughness is essential.

HOWARD CROSSMAN (hcrossman@greenwoods.co.uk) is head of construction at Greenwoods solicitors LLP. With offices in London, Cambridge and Peterborough, Greenwoods is a UK commercial law firm providing legal advice and pragmatic solutions to local, national and international clients PAYAL PATEL is legal assistant construction and Howard Crossman (hcrossman@greenwoods.co.uk) is head of construction at Greenwoods solicitors LLP. With offices in London, Cambridge and Peterborough, Greenwoods is a UK commercial law firm providing legal advice and pragmatic solutions to local, national and international clients

Lighting Journal May 2016

40 Inside the ILP: The 2016 Professional Lighting Summit

BRIGHTON ROCKS Next month’s Professional Lighting Summit from 15-16 June will be the ILP’s first summer Summit. Lighting Journal looks at what members can expect

F

irst, the bad news. It currently looks light lighting professionals are going to miss the grand opening of Brighton’s brand new, iconic (or controversial, depending on who you speak to) ‘i360’ seafront column by just a matter of weeks.

The 170m-high observation tower being constructed near to the West Pier, which Guinness World Records has also deemed will be the thinnest tower in the world, is only expected to open in August after a two-year build.

But, no matter. Along with the lure of the pier, arcades, rides and beach front, delegates to this year’s Professional Lighting Summit will have much to get their teeth into, apart from, of course, icecreams, fish and chips and the ubiquitous Brighton rock.

The Summit is being held from 15-16 June at the Jury’s Inn Waterfront Hotel right on the seafront. It is something of an experiment, being the first time the ILP has held its Summit in the summer, in

Lighting Journal May 2016

response to feedback from members that its traditional autumn slot was increasingly clashing with other industry events.

So, what’s in store for members? As Lighting Journal went to press in April, the presentations were still being finetuned, but members can look forward to the usual varied and diverse line-up of speakers, as well as, of course, a variety of workshops, commercial displays and exhibitions and professional networking opportunities aplenty.

What follows therefore is just a flavour of the presentations expected over the course of the two days, and members should keep an eye on the ILP’s website and online newsletter for further updates.

ELEXON CHANGE Speakers will include James Everley, account manager at Power Data Associates, who will provide an update on the latest industry change from ELEXON. His presentation will be especially topical because, as members will

undoubtedly be aware, from June ELEXON will be introducing generic charge codes for all LED lamps. This is potentially the most important ELEXON change for the lighting industry since the introduction of 13-digit charge codes back in 2008, James will argue.

‘It will impact both LED lighting manufacturers who need to apply for charge codes as well as the local authorities and anyone who is responsible for maintaining unmetered inventories. It is important to note that this change will also impact how dimming is declared for non-LED users,’ he explains.

Kelly Smith, global lighting applications engineer at Thorn Lighting, will give a presentation entitled ‘Midnight Blues – the effect of blue-rich white lights’. This will examine, and attempt to navigate, the debate around the possible effects of LED street lights on humans and the surrounding environment.

Nick Smith, of Nick Smith Associates, will provide an overview of the newly-

Inside the ILP: The 2016 Professional Lighting Summit 41

introduced European Standard EN13201:2015, looking at Part 3 and Part 5 specifically. Nick will also look at innovations within design techniques, including the impact of Cloud and data processing on luminaire design.

CHINESE BRIDGE Pete Lummis, project engineer with Huntingdonshire District Council, will talk Summit delegates through the council’s innovative project to overhaul the lighting on Godmanchester’s historic Chinese river bridge, including refurbishment of its brackets and lanterns and the installation of new floodlighting.

Peter Raynham, course director of UCL’s MSc in Light and Lighting and senior research associate Navaz Davoudin will together present a paper entitled ‘Pedestrian Vision at Night’.

This will examine the results of studies eye-tracking pedestrians to gauge what it is they look at, and especially what distance people start to look at other

pedestrians and the regions of the night scene that people look at.

The paper is set to conclude with an undoubtedly thought-provoking discussion of how the visual field explored by pedestrians can be used to characterise visual adaption, and how, in turn, this may lead to changes in source spectrum and the spatial distribution of light in road lighting installations.

Finally, Will Baron, director of Keysoft Solutions, will examine the topic of Building Information Models (BIM) and how they fit within street lighting design and maintenance.

His talk will encompass how BIM works for lighting engineers and therefore its role and potential within whole-life asset management.

To reiterate, however, this is just a snapshot of what is set to be an enthralling and enlightening two days at the seaside. And, just think, you’ll still have the i360 column to look forward to for your next visit.

WHAT YOU NEED TO KNOW The ILP 2016 Professional Lighting Summit will take place from 15-16 June at the Jury’s Inn Waterfront Hotel in Brighton.

Tickets are on a first-come, first-served basis. They are available for one day, both days or you can book a ‘full time place’ which includes overnight accommodation (dinner, bed and breakfast) on 15 June.

There will also, as normal, be a celebration black tie dinner on the night of 15 June.

The ILP’s AGM is being held immediately before the Summit. Full details on both can be found online at https://www.theilp.org.uk/ events/professional-lightingsummit-2016/

Lighting Journal May 2016

42 Independent lighting design

MATCH MAKING

The relationship between lighting manufacturers and designers may not always run smooth, but by working in genuine partnership each can add value to the other, as Emma Cogswell argues

L

ighting manufacturers often get a bad reputation from lighting designers. They are not overly welcome into designers’ offices to show their newest products; after all, designers are in the business of selling advice, so why to tell them how to improve features on their products for free?

But if we don’t tell them what we’re looking for, how do we expect to see products that answer the needs of the designer, with the balance of physical aesthetics and quality of light that we are all looking for?

Light + Building in Frankfurt has closed its doors for another year. This absolute juggernaut of a trade show attracts more than 2,589 exhibitors from 55 countries with a total of 216,000 trade visitors over the week from over 160 different countries.

These numbers indicate a growth from the previous show two years ago.

Manufacturers are busy hosting on their stands with beers and wine, and once the show-floor has closed VIPs are taken out to dinner across Frankfurt to be entertained.

But why do they bother? Lighting designers, after all, only account for between 4-10% of specification of light fittings. At best that means 90% of lighting products are chosen by others, such as electrical mechanical engineers or electrical wholesalers.

Lighting designers are skilled in creating environments that are compelling, which work for the people that inhabit them.

They are inspiring and often work with great architecture. The covers of our trade magazines are emblazoned with stunning projects from all over the world. The IALD, too, is the originator of the International Lighting Design Awards and year after year we are treated to the best examples of architectural lighting design on the planet – from literally dozens of countries in the awards programme history.

These projects show how well-designed schemes benefit everyone, boosting efficiency, performance, and the overall ambiance and feel of the light within the space – and demonstrating how manufacturers’ products can be used to their full effect and potential.

Lighting Journal May 2016

GLOBAL PERSPECTIVE I spoke with Ian Stanton, sales and marketing director at iGuzzini UK, about how his company views this question of the connection between designer and manufacturer.

‘For iGuzzini, it’s extremely important to work with lighting designers, not only for their support in specifying our products but also to get their constructive feedback, both positive and negative, due to them being at the cutting edge of lighting design,’ he said.

‘Their knowledge is essential feedback for our product development managers to understand and ensure if our development programme is in line with the latest market requirements, especially in LED technology and optical performance, such as wall washing for example, or overcoming the phenomenon as “Colour Over Angle” with our patented Optibeam reflector system.

‘The lighting design sector is growing rapidly and exponentially, and therefore it is imperative that we at iGuzzini work closely with the lighting design fraternity for the development of our business. One thing that is obviously a great strength of UK-based lighting design practices is the number of them working on international projects – and this is a factor that has focused the development of our internal structure. We have created an international projects team to ensure we can protect the lighting designer’s specification all the way through to delivery in the relevant overseas country where the project is located, yet also ensure the client gets what was specified,’ Ian explained.

I also spoke to Jesse Lilley, senior vice-president, marketing, at Lumenpulse to gauge her organisation’s perspective towards designers.

‘The lighting designer is absolutely key to Lumenpulse. About 70% of our business is specified through lighting designers.

The rest comes through engineers, landscape architects, architects and interior designers, or through internal design departments situated at the client level, for example in retail,’ Jesse explained.

‘There is an interesting symbiosis between lighting designer and manufacturer. Clearly the manufacturer

Independent lighting design 43

Well-designed schemes benefit everyone, boosting efficiency, performance, and the overall ambiance and feel of the light within the space – and demonstrating how manufacturers’ products can be used to their full effect and potential towards establishing good relations with lighting designers. No one will fight our corner with more conviction than a lighting designer who believes in us,’ she added.

‘At the same time, the relationship becomes reciprocal. Designers lean heavily on manufacturers who can give

substance to their designs and respond well to the special parameters they set.

Design fees are justified not only by unique ideas but by solid delivery.

And the best projects are achieved through a solid partnership between designer and developer.

‘Recently, I was out with IALD member Michael Grubb. When he ordered a round of drinks at the bar, I instinctively whipped out my card. But he insisted on paying for the both of us.

‘We joked about how this can make manufacturers feel uncomfortable. He told me that each year he throws a barbecue party for manufacturers, as a way of saying thank you. I like the signal this sends; it shows how the relationship between manufacturer and designer has evolved into one of genuine partnership,’ Jesse concluded.

PARTNERSHIP APPROACH Finally, I gauged the view of Mark Ridler, IALD member, head of lighting at BDP and the ILP’s Vice President, Architectural.

‘Ethical manufacturers are crucial to us delivering our projects honourably, meeting the quality requirements we set as a company and the expectation of our clients. Working closely with manufacturers in a kind of partnership allows us to deliver on these expectations,’ he explained.

‘We recognise the value of the supply chain and celebrate the good relationships we have; this is demonstrated in the praise and awards we have won.

‘Having these relationships become symbiotic, the products can improve as we explore new techniques and

technologies and our designs can increasingly become more integrated to the architecture. Such projects allow us to go out and educate through associations to architects, interior designers and such about the value of light.

‘As long as there is transparency between what services the manufacturers are offering, the relationship between them and the designers should be a respectful one.

Manufactures fund many of the activities designers attend, from conferences to evening events and workshops, to inform and unite the industry.

‘Simply speaking, manufacturers give money and designers give their time, this should not be seen as “dirty” trade but one that continues to nurture the profession forward,’ Mark concluded.

As a lighting designer responsible for organising events and in several associations, I’m very grateful for the support the manufacturers give us – we simply wouldn’t be able to exist without them.

And on a final side note, the IALD’s Lighting Industry Resource Council – you’ve seen it as LIRC – is the body of manufacturers belonging to the IALD. More than just giving money, it is an integral part of the work of the association, supporting its goal of raising the profile of the design profession. You can find out more about it and its work at https://www.iald.org/ Lighting-Industry-Resource-Council/ About-the-LIRC Emma Cogswell is IALD UK projects manager

The IALD Designers’ Lounge at Light + Building in Frankfurt, sponsored this year by manufacturer Lumenpulse: the relationship between lighting manufacturers and designers is becoming increasingly symbiotic

Photography: Fotostudio Klaus Haase.

relies heavily on lighting designers.

We depend on the designer to educate and persuade clients of the value that good lighting design can bring to projects when underpinned by decent equipment. When we do our job well, the lighting designer becomes our best ambassador, our staunchest defender.

That’s why, to be frank, a good portion of our sales and marketing effort goes

Lighting Journal May 2016

Lighting Consultants

Go to: www.ilp.org.uk for more information and individual expertise

Carl Ackers

Mark Chandler

Alan Jaques

Built Environment Consulting Ltd

MMA Lighting Consultancy Ltd

Atkins

MSc CEng MCIBSE MILP MSLL

Castle Donington DE74 2UH

EngTech AMILP

Reading RG10 9QN

IEng MILP

Nottingham, NG9 2HF

T: +44 (0) 1332 811711 M: 07867 784906 E: carlackers@bec-consulting.co.uk

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

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

With many years’ experience we are able to bring a wealth of knowledge to the design process. Our vision is to deliver class leading sustainable solutions for the built environment, including specialist internal and external lighting design and specification services, record for PFI projects and their indepedent certification.

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 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.

Steven Biggs

John Conquest

Tony Price

Skanska Infrastructure Services

4way Consulting Ltd

Vanguardia Consulting

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

www.skanska.co.uk

T: 0161 480 9847 M: 07526 419248 E: john.conquest@4wayconsulting.com

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.

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

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.

Colin Fish

Ian Runciman

WSP | Parsons Brinckerhof

LED

www.bec-consulting.co.uk

IEng MILP

Peterborough PE1 5XG

Simon Bushell MBA DMS IEng MILP

SSE Enterprise Lighting

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

www.sseenterprise.co.uk Professional consultancy from the largest external lighting contractor maintaining 1.5m lights in the UK and Ireland. Exterior lighting/electrical design for Motorways, Highways, Architectural, Car Parks, Public Spaces and Sports lighting. From advice on carbon reduction strategies to delivering the whole installation package.

www.mma-consultancy.co.uk

MA BEng(Hons) CEng MIET MILP Stockport, SK4 1AS

www.4wayconsulting.com

IEng MILP

Hertford SG13 7NN

T: 07825 843524 E: colin.fish@wspgroup.com

www.wspgroup.com

Providing design and technical services for all applications of exterior and interior lighting from architectural to sports, rail, area, highways and associated infrastructure. Expert surveys and environmental impact assessments regarding the effect of lighting installations on wildlife and the community.

www.atkinsglobal.com

BSc (Hons) CEng MILP MSLL Oxted RH8 9EE

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

www.vanguardiaconsulting.co.uk

BEng (Hons) CEng MILP

Cumbernauld G68 9LD

M: 07726 358955 T: 01236 805995 E: ian.runciman@lightandenergy.co.uk

www.lightandenergy.co.uk

Professional lighting consultancy offering technical advice, design and management for exterior and hazardous area lighting, services for architectural lighting using the latest colour changing technologies and advice on energy and asset management, policy and strategy preparation..

Simon Butt

Stephen Halliday

Alistair Scott

Capita

WSP | Parsons Brinckerhof

Designs for Lighting Ltd

BEng(Hons) CEng, MICE, MILP, MAPM Blackburn, BB2 1AU

EngTech AMILP

Manchester M50 3SP

BSc (Hons) CEng FILP MIMechE Winchester SO23 7TA

www.capita.co.uk/infrastructure

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

Capita are a market leading design consultant, who specialise in street lighting design, LED retrofit schemes and project management. We also provide budget reducing solutions through technical expertise in products, specifications and procurement. We offer energy reduction advice, funding mechanisms and financial evaluations.

www.wspgroup.com

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

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.

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.

Lorraine Calcott

Philip Hawtrey

Anthony Smith

it does lighting ltd

Mouchel

Stainton Lighting Design Services Ltd

T: 01254 273000 E: simon.butt@capita.co.uk

IEng MILP MSLL MIoD

Milton Keynes, MK14 6GD

T: 01908 698869 E: Information@itdoes.co.uk

www.itdoes.co.uk

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

BTech IEng MILP MIET

Sutton Coldfield B72 1PH

Widely experienced professional technical consultancy services in exterior lighting and electrical installations, providing sustainable and innovative solutions, environmental assessments, ‘Invest to Save’ strategies, lighting policies, energy procurement, inventory management and technical support. PFI Technical Advisor, Designer and Independent Certifier.

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.

Clayton Fourie Consultancy Ltd

WSP | Parsons Brinckerhof

BEng(Hons) CEng FILP FSLL London WC2A 1AF

T: 07722 111424 E: claytonfourie@aol.com

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

Internationally experienced multi-disciplinary consultants. We provide design and technical advice on all aspects of exterior lighting, hazardous area lighting, traffic signals and other highway electrical works.We also provide Planning Advice, Road Safety Audits and Expert Witness Services

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.

www.clayton-fourie-consultancy.com

Stockton on Tees TS23 1PX

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

Allan Howard

Edinburgh, EH15 3RT

Eng FILP

www.mouchel.com

T: 04489 501091 E: philip.hawtrey@mouchel.com

Euan Clayton IEng MILP

www.designsforlighting.co.uk

www.wspgroup.com

www.staintonlds.co.uk

Nick Smith IEng MILP

Nick Smith Associates Limited Chesterfield, S40 3JR

T: 01246 229444 F: 01246 270465 E: mail@nicksmithassociates.com

www.nicksmithassociates.com 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

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

Alan Tulla IEng FILP FSLL

Alan Tulla Lighting

Winchester, SO22 4DS

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

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

Michael Walker CMS IEng MILP

WSP | Parsons Brinckerhoff Ferrybridge, WF11 8NA, UK

T: 0197 7632 502 E: Michael.Walker@pbworld.com

www.pbworld.com

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.

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

RECRUITMENT

Technical Manager Street Lighting Bouygues Energies & Services (E&S) Infrastructure Ltd operates through a network of branches throughout the UK, providing a diverse range of lighting and infrastructure services to local authorities and the private sector. We have an exciting opportunity for a Technical Manager – Street Lighting to join our Business Development team working in Hatfield, Hertfordshire.

the role • • • • • • • • •

To provide technical and engineering expertise to the street lighting business.

Produce energy efficiency analysis and proposals on existing and potential customers.

Develop, support & maintain energy projects & support the operations teams to realise energy savings To manage and report on energy consumption and efficiency as part of the monitoring, targeting and validation process for contracted street lighting Energy Performance Contracts Provide technical advice to street lighting operations teams on key areas of compliance requirements. Conduct regular reviews of technical compliance across operational contracts.

Perform the role of design manager for street lighting contracts where Bouygues E&S are Principal Designer under Construction Design & Management (CDM) (2015).

Carry out design reviews of street lighting designs performed by supply chain/others to ensure suitability for construction and maintenance.

Work with business development & operations teams to create & sell energy offers to existing and future clients.

Link in to internal working parties and external networks for regulatory and industry change relating to changes in legislation and new technology

the PERSON • • • • • • •

Extensive experience in a similar role Detailed technical understanding of UK street lighting regulations & Understanding of elexon regime for unmetered electricity charging Capability to create and interpret energy investment models for street lighting Diplomatic and confident communicator, with ability to influence Engineering degree or equivalent (preferably electrical). Post-Graduate lighting related qualification - Desirable Commercial understanding of Street Lighting economics & good understanding of UK and global Street Lighting market trends – Desirable Capability to perform Street Lighting and Low Voltage (LV) electrical network design – Desirable

This is a permanent position, working 40 hours per week Monday to Friday. In return, we offer an attractive salary, car or car allowance, pension, private healthcare and company ShareBy scheme. Bouygues Energies & Services Infrastructure Limited is an equal opportunities employer. Due to the high volume of applications we may receive, we will only be able to respond to successful candidates.

APPLICATIONS TO: Hayley Jones HR Manager Bouygues E&S Infrastructure UK Limited infra.recruitment@bouygues-es.co.uk

Closing Date – 31st May 2016

LIGHTING DIRECTORY LIGHTING DIRECTORY LIGHTING DIRECTORY LIGHTING

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

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

Column testing and guarantee service available.

ELECTRICAL DISTRIBUTION

Kiwa CMT Testing MACLEAN ELECTRICAL LIGHTING DIVISION Business info: Specialist Stockist and Distributors of Road Lighting, Hazardous Area, Industrial/ Commercial/ Decorative lighting. We also provide custom-built distribution panels, interior and exterior lighting design using CAD. 7 Drum Mains Park, Orchardton, Cumbernauld, G68 9LD Tel: 01236 458000 Fax: 01236 860555 email: steve.odonnell@maclean.co.uk

Unit 5 Prime Park Way Prime Enterprise Park Derby DE1 3QB

CUT OUTS & ISOLATORS

Tel 01332 383333 Fax 01332 602607 cmtenquiries@kiwa.co.uk www.kiwa.co.uk

METER ADMINISTRATION

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

01525 601201

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

Meadowfield, Ponteland, Northumberland, NE20 9SD, England Tel: +44 (0)1661 860001 Fax: +44 (0)1661 860002 Email: info@tofco.co.uk www.tofco.co.uk Manufacturers and Suppliers of Street lighting and Traffic Equipment • Fuse Units • Switch Fuse Units • Feeder Pillars and Distribution Panels • The Load Conditioner Unit (Patent Pending) • Accessories Contact: Kevin Doherty Commercial Director kevindoherty@tofco.co.uk If you would like to switch to Tofco Technology contact us NOW!

FESTIVE & DECORATIVE LIGHTING Specialists in supply and installation of high quality decorative and festive lighting for City centres, shopping centres, towns and villages.A full range of equipment is available for purchase or hire including column motifs, cross road displays, IP68 festoon lighting, and various tree lighting systems.Our services range from supply, hire, design, installation, and total management of schemes.

More information is available from: Head Office City Illuminations Ltd Griffin House, Ledson Road, Roundthorn Ind Est Manchester M23 9GP

Non-destructive testing at the root, base, swaged joint and full visual inspection of steel lighting columns.

Techniques employed include the unique Relative Loss of Section meter and Swaged Joint Analyser in addition to the traditional Magnetic Particle inspection and Ultra Sonics where appropriate.

Web site: www.maclean.co.uk

The most approved system by Highways Engineers

0208 343 2525 baymedia.co.uk

COLUMN INSPECTION & TESTING

Tel: 0161 969 5767 Fax: 0161 945 8697 Email: dave@cityilluminations.co.uk

LIGHTING Designers and manufacturers of street and amenity lighting.

319 Long Acre Nechells Birmingham UK B7 5JT t: +44(0)121 678 6700 f: +44(0)121 678 6701 e: sales@candela.co.uk

candela L I G H T

fresh thinking trusted technology

- Direct LED retrofit lamps - LED gear tray retrofits

TRAINING SERVICES

- Induction Lighting

CPD Accredited Training • AutoCAD (basic or advanced) • Lighting Reality • AutoluxLighting Standards • Lighting Design Techniques • Light Pollution • Tailored Courses please ring Venues by arrangement Contact Nick Smith

Nick Smith Associates Ltd 36 Foxbrook Drive, Chesterfield, S40 3JR t: 01246 229 444 f: 01246 270 465 e : mail@nicksmithassociates.com w: www.nicksmithassociates.com

0203 051 1687 www.indolighting.com

LIGHT MEASURING EQUIPMENT HAGNER PHOTOMETRIC INSTRUMENTS LTD Suppliers of a wide range of quality light measuring and photometric equipment.

HAGNER PHOTOMETRIC INSTRUMENTS LTD PO Box 210, Havant, PO9 9BT Tel: 07900 571022 E-mail: enquiries@ hagnerlightmeters.com

www.hagnerlightmeters.com

LIGHTING DIRECTORY LIGHTING DIRECTORY LIGHTING DIRECTORY LIGHTING

DIRECTORY

19 July

How to be brilliant – Peter Veale, director of Firefly Lighting Design Venue: Printworks Kitchen, Clerkenwell, London www.theilp.org.uk/events

5 May

Lighting Design Awards (Supported by the ILP) Venue: London Hilton, Park Lane http://awards.lighting.co.uk/

11 May

How to be brilliant – Paul Jones, editor of mondo*arc Venue: Printworks Kitchen, Clerkenwell, London www.theilp.org.uk/events

12 May

YLP and Western Region Joint Technical Session Venue: SSE Enterprise, Heron Road, Exeter http://awards.lighting.co.uk/

14 May

Midlands Region gala dinner Venue: Leicester Marriot www.theilp.org.uk/events

6 June

Exterior Lighting Diploma – module 3 (Organised by the ILP) Venue: The Draycote Hotel, Thurlaston, Warwickshire www.theilp.org.uk/events

15 June

ILP Annual General Meeting Venue: Jury’s Inn Waterfront Hotel, Brighton (immediately before the Professional Lighting Summit) www.theilp.org.uk/events/

15-16 June

2016 Professional Lighting Summit Venue: Jury’s Inn Waterfront Hotel, Brighton www.theilp.org.uk/events/

For full listings of all regional and national ILP events go to: www.theilp.org.uk/events

11 May and 19 July – ‘How to be brilliant’, at Printworks Kitchen in Clerkenwell. Watch this space or go online for details of more ‘How to be brilliant’ talks during September, October and November

JUNE

ISSUE TEAM TALK

Sports lighting: what to consider when specifying lighting for school sports halls and swimming pools

PUBLIC MOOD

PLG08: inside the ILP’s new guidance on the application of adaptive lighting within the public realm

KNOTTY PROBLEM

The challenge of creating and installing wooden-clad lighting columns to illuminate, and regenerate, a tree-lined avenue in Peterborough

LED for everyone Aura Light EASY S election

fresh thinking trusted technology

Technical Lectures 2016

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www.indolighting.com/lectures