Lighting journal nov dec 14

LIGHTING

JOURNAL

November/December 2014

The publication for all lighting professionals

Warranties: are 25-year guarantees realistic?

The complex issues of colour in the city Professional Lighting Summit 2014

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Contents

Lighting Journal November/December 2014 03 EDITORIAL 04 NEWS 08 LIGHT MINDED/

LIGHT HEARTED

10 PAINTING THE TOWN

10

Based on her Bartlett MSc dissertation, Sarah Alsayed looks at the complex issues of using saturated coloured lighting in the urban environment

16 PUTTING LIGHT

INTO BLIGHT

Roger Beckett looks at two schemes carried out by Light Projects that have taken a creative approach to urban regeneration

18 SEA CHANGE

A coastal defence upgrade has brought a splash of colour to the seaboard in South Tyneside

20 SATISFACTION GUARANTEED?

Is it realistic to expect a supplier to offer a 25-year warranty? And is it worth the paper it’s written on? Andrew Brister talks to customers and suppliers

24 TRIALLER PARK

24

Denmark’s new outdoor lab allows cities to test out lighting kit and smart city solutions

26 PIGMENT OF THE

IMAGINATION

Graham Festenstein discovers

some illuminating facts about colour and an interactive lighting experiment at the National Gallery

30 BACK TO SCHOOL

Lighting is again on the curriculum at the Surface Design Show 2015, supported by the ILP

32 FLASH DRESSING

Future concept: responsive lighting that sends a warning message to motorists

34 TRAINING FOR

THE FUTURE

PLS 1 President’s address: education has to be a top priority, says new president Mark Cooper

36 A BROAD AGENDA

PLS 2: Jill Entwistle reports on this year’s Professional Lighting Summit in Solihull

38 A FUND OF KNOWLEDGE

Vice presidents’ column:

Keith Henry, VP technical, on staying in touch with changing demands

40 PRODUCTS 42 WHAT’S NEW

AT LUXLIVE

Product preview

44 CONSULTANTS’ DIRECTORY

46 LIGHTING DIRECTORY 49 DIARY

28 COMING TO TERMS

Howard Crossman looks at contractual commitments to maintenance subcontractors

COVER PICTURE

Global Rainbow by Yvette Mattern, spanning 2km across Toronto from the CN Tower, part of this year’s Scotiabank Nuit Blanche festival

36

Lighting Journal November/December 2014

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Editorial 3 Volume 79 No 10 Nov/Dec 2014 President Mark Cooper IEng MILP Chief Executive Richard G Frost BA (Cantab) DPA FIAM Editor Jill Entwistle Email: jillentwistle@yahoo.com Editorial Board Tom Baynham Emma Cogswell IALD Mark Cooper IEng MILP Graham Festenstein CEng MILP MSLL IALD John Gorse BA (Hons) MSLL Eddie Henry MILP MCMI MBA Alan Jaques IEng MILP Nigel Parry IEng FILP Richard Webster Advertising Manager Julie Bland Tel: 01536 527297 Email: julie@matrixprint.com Published by Matrix Print Consultants 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

C

olour crops up quite a lot in this issue. Sarah Alsayed’s feature, based on her Bartlett dissertation, looks at the complexities of its use in the urban environment (Painting the town, p10). We are

already aware of the issues of coloured-light pollution and the frequent disservice to historical facades (and we thought things were going to get so much better when we saw the back of blanket sodium floodlighting), but colour, and therefore coloured lighting, also carries cultural, social and semiotic messages. It is an area that we have only just scratched the surface of. Who knew that it might be a very bad idea to light a French theatre in green? Graham Festenstein also looks at the cultural background of colour in art following a recent exhibition on the subject, Making Colour, at the National Gallery (Pigment of the imagination, p26). The gallery has also been conducting a bit of research with the public into the science of how colours are perceived. In an experiment that bears some relation to those of Kevan Shaw in this area (see Lighting Journal July/August), people were asked to look at images of paintings under different light sources and colour temperatures, and then to convey their perceptions of the colours represented. The aim was to look at how the human brain ensures that colour perception remains consistent even when the lighting varies. Colour is clearly a profound and subtle subject, and one which, like so many in lighting, merits more research. It would be nice if it were to give some cavalier non-lighting professionals pause for thought next time they feel the urge to colour blitz a building.

Jill Entwistle

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

Editor

© ILP 2014 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 November/December 2014

4 News

Nobel prize for white light pioneer

Professors Shuji Nakamura (pictured), Isamu Akasaki and Hiroshi Amano have been awarded the 2014 Nobel Prize for physics for the invention of blue light LEDs. They made the first blue LEDs in the early 1990s, opening the way for LEDs as a viable white light source for general lighting.

The chair of the Nobel Committee for Physics, Professor Per Delsing, from Chalmers University of Technology in Gothenburg, underlined the dedication of the Japanese team.

‘What’s fascinating is that a lot of big companies really tried to do this and they failed,’ he said. ‘But these guys persisted, and they tried and tried again – and eventually they actually succeeded.’

Gallium nitride was the key to the breakthrough.

Other researchers had been unable to grow large enough crystals of the compound. Akasaki and Amano, working at Nagoya University in Japan, managed to grow them in 1986 on a specially designed scaffold made partly from sapphire.

Four years later Nakamura made a similar breakthrough while working at the chemical company Nichia. However, rather than use a special substrate, he manipulated the temperature to boost the growth of the crystals. He now heads LED company Soraa.

Study light wins LIA 2014 student award

LEDs pass 100,000-hour milestone When LEDs first started creeping on to the market the lifetime claim was invariably 100,000 hours. Following accusations of hype over this hypothetical figure – lab-tested LEDs simply hadn’t been running that long and the calculation was an extrapolation – this gradually became modified to 50,000 hours.

But Pulsar of Cambridge, which supplies LED lighting and control systems for the entertainment and architectural lighting markets, has proved it is possible with its own facade.

All-round video mapping

Lighting Journal November/December 2014

This year two sets of six ChromaPanels featuring the Pulsar name on its factory frontage, running continuously since commissioned in May 2003, passed the 100,000-hour mark.

‘Without a single failure, our LED fixtures have braved over 11 years of Cambridge weather,’ said a spokesperson for Pulsar. ‘LED longevity is typically simulated and projected in laboratory conditions but this is one of the first – if not the very first – real-world installation to meet and exceed the 100,000-hour milestone.’

Arithmetica, the company behind SphereVision, has released a range of software solutions designed to complement its 360-degree video capture systems and services.

The vMap360 and RouteView360 video-mapping software allow for the registration of 360-degree video imagery to floor plans, maps, technical drawings, aerial photography and online mapping systems such as Google Maps.

The LIA’s 2014 Delight in Light national student lighting designer competition has been won by Peter Iveson (pictured below), a recent graduate of Dundee University.

His design, Study Bright, features three very bright LEDs and has very low running costs, allowing students to study in total darkness for the cost of one nightlight candle each evening.

If the user needs to move away from the work space, the light can be folded into a torch and carried around for short periods of time.

Sponsored by Angelpoise, this year’s competition attracted 64 entries, with eight finalists invited to exhibit at 100% Design at Earls Court, London, where visitors to the show were asked to vote for their favourite design.

More than 2000 votes were taken.

The judging panel comprised Peter Hunt of the LIA, Simon Terry of Anglepoise and Alex Taylor of Alexander Taylor Studio.

More information at www.delightinlight.org

News 5

ILP joins with BRE to fill skills gap The BRE Academy and the ILP are joining forces to provide built environment professionals with a series of training courses designed to help them deliver and maintain best practice lighting solutions.

The first, Obtrusive Light: Navigating the Compliance Minefield, will be held on 27 January next year. The aim is to form a longstanding collaboration to address an important skills gap in the built environment industry, said Pauline Traetto, director of the BRE Academy.

‘We believe this will be just the start of a partnership that will develop a number of further training courses on best practice lighting provision for buildings,’ she said. ‘Many industry professionals, such as architects, engineers, facilities managers, planners and environmental health officers, have professional responsibilities for

lighting, but are not always given the specialised training needed to optimise solutions and prevent obtrusive light issues.’

The ILP will provide expert trainers for courses which will be held at the BRE Academy in Hertfordshire. ‘This partnership gives us an excellent opportunity to expand our reach beyond the lighting sector, to the wide range of built environment professionals responsible for designing and operating lighting installations,’ said ILP chief executive Richard Frost.

‘We are delighted to have access to ILP’s outstanding expertise to help meet the lighting skills gap in the industry,’ said Traetto.

For more information go to www.bre.co.uk/

Signature opens UMSUG test lab Highway electrical equipment specialist Signature now has a UKAS-approved UMSUG (Unmetered Supplies User Group) test lab at its head office R&D facility at Oldbury in the West Midlands. Signature is one of the few manufacturers to be accredited to ISO 17025: 2005 Test Lab status, a process which has taken 12 months.

The lab has been refurbished and installed with the latest energy analysis equipment, with all new processes and procedures implemented under the guidance of UKAS. ‘Accreditation to ISO 17025 is very important to us as it takes the quality of our

manufacturing and testing facilities to the next level,’ said Simon Smith, QHSE manager.

As well as being able to test products inhouse, the scope of the accreditation allows Signature to test third-party equipment from any manufacturer, and the company is now offering this as a new service. It will also now offer a verification service to local authorities.

Any additions or modifications to UMSUGcertified equipment will invalidate the original charge code, but Signature can retest this equipment to ensure compliance.

All highway electrical equipment connected to the distribution network must have a method of recording the amount of energy consumed, but an energy meter is not always cost-effective or practical.

UMSUG is able to certify the energy consumption for each piece of equipment by providing a charge code. The owner of the equipment can then use this charge code to calculate the amount of energy the equipment is using. www.signatureltd.com

Wembley arch plays in new colours

Thorn Lighting has replaced Wembley stadium’s iconic arch lighting with a custom RGBW dynamic LED lighting system. As well as being able to create team and corporate sponsor colours, Wembley also wanted to achieve a different colour white.

‘They wanted the new “whiter” LED shade to match the white achieved with the old metal halide system,’ said Kevin Stubbs, Thorn’s UK technical manager.

‘We therefore had to tune the LED white to achieve this consistency.’

The new system features 50 per cent white LEDs, plus equal quantities of red, green and blue.

To speed up installation, carried out by Wembley’s onsite specialist

subcontractor Hollandia, Thorn devised a custom bracket to allow the existing fixings to be used.

The controls were also co-designed by Thorn.

At 133m tall with a span of 315m and a diameter of 7.4m, the arch is the longest single span roof structure in the world. When lit, it can be seen from 13 miles away.

Enlightened governmentx

LEDs have found their way to the heart of government with a recent upgrade for the traditional street light fittings on Downing Street.

The move is expected to give energy savings of at least 45 per cent, with the CMS allowing for a further 20 per cent reduction.

The project involved upgrading the existing heritage Windsor lanterns, by DW Windsor, which replaced the existing 70W (2800K) HID gear trays with retrofit 3000K LED light engines with wirelessly controlled drivers.

‘We are continually reviewing new lighting technologies to ensure we are using the best solutions, so when the Downing Street lighting became due for an upgrade it was an opportunity to make use of LEDs, integrating them with the smart lighting CMS that we are rolling out across all of our public lighting,’ said Dave Franks, service development manager for the City of Westminster’s lighting services department.

Franks said that the street was ‘a unique environment’ that presented a number of design challenges.‘It is not a uniform street, from a lighting perspective, and we also had to ensure that the new lighting would be acceptable to the residents without creating issues for security or media cameras. Because of the high security, access for maintenance can also be quite difficult,’ he said.

Energy consumption has been cut from 7500KWH to 4900KWH and carbon emissions have been reduced from 3934kg to 2570kg.

The projected lifetime of the new light sources is around 20 years, but the fittings will probably be upgraded on a six-year cycle to take advantage of advances in technology.

Lighting Journal November/December 2014

6 News NEWS IN BRIEF Two new vice presidents have been appointed and were announced at this year’s ILP AGM in Solihull.

Stuart Green will take over from Dave Burton as VP education, and Alan Jaques, former VP events, becomes VP highways and infrastructure. Green is senior lecturer and award leader in the foundation degree in Lighting, Sound and Live Event Technology courses at the University of South Wales.

Strict LED come dancing Standing at a pedestrian crossing can get a bit tedious. Nothing to do but stare at a seemingly endless stream of cars and a little red man who takes forever to change green. So an interactive installation in Lisbon is designed to cheer things up a bit, and also stop pedestrians getting impatient and rushing across before it’s safe. The exercise was part of a new car promotion by Smart, which teamed up with advertising agency BBDO Germany to make the little red man dance using motion capture technology.

The dancing movements were created by members of the public, filmed in a nearby booth, with a small dance floor and cameras to capture their actions. These were translated to the red man in the traffic lights in real time. Video screens on either side of the booth showed live reactions to the dancing from the pedestrian crossing.

For a video of the dancing man go to www.dezeen.com/2014/09/17/ interactive-dancing-traffic-lights-installation-smart-car-lisbon/

The Engineering Council has produced a Student Guide to Professional Registration. Available on its website and as a hard copy, it provides students and graduates with information on both IEng and CEng, and the process of achieving each qualification. The council has also updated the Pocket Guide to Professional Registration’ (aka the pink book). It is now available as an eBook and will also shortly be out in a hard copy version.

The Student Guide to Professional Registration: www.engc.org.uk/education--skills/accreditation information-for-students. Pocket Guide to Professional Registration eBook: www.engc.org.uk/about-us/ pocket-guide-to-professional-registration Designplan Lighting has opened new UK headquarters in Sutton. The move is part of a major company expansion planned by the Fagerhult Group, which bought Designplan in 2011. The company specialises in vandal and weather-resistant lighting and has supplied Gatwick Airport, London Overground and St Pancras Station among others. The new purpose-built 6500sqm site, which has doubled the company’s production space, is one of the UK’s first buildings to be awarded a BREEAM Excellent rating.

Lighting is controlled by photocells, sensors and timers, and the factory also has a solar panel on the roof and natural light panels, among other energy efficiency measures.

Exterior lighting specialist Kingfisher Lighting has a new corporate identity which includes a new brochure and website (www. kingfisherlighting.com), designed to be easier to reference and navigate, and with more reference materials.

Konica-Minolta will start full-scale production of OLED sources on flexible plastic sheets this autumn. The company uses rollto-roll processing, quicker and more cost-effective than making OLEDs in batches, the conventional method. The KM factory’s capacity will be a million 150mm-wide panels a month. However, it will take years to bring costs low enough to make OLED lighting widely used, according to Kevin Bullis, senior editor energy of MIT Technical Review. ‘OLED lamps cost as much as $9000 now,’ he said. ‘But Philips aims to introduce OLED products by the beginning of 2017 that cost $600-$1600.’

Lego of my lantern: we couldn’t resist showing you how they go about doing the maintenance down in Bournemouth. Thanks to the town’s lighting engineer and former ILP president Chris Hardy

Lighting Journal November/December 2014

Gloucestershire County Council is using Yotta’s Mayrise Street Lighting as a principal management system as well as in the field on mobile devices. The integrated management solution is also being used to manage the council’s street lighting asset, with condition reports and forward maintenance planning, as well as providing financial control and reporting.

‘We looked at a number of generic asset management systems before making our selection,’ said Ken Pitt, street lighting manager at GCC. ‘The Mayrise Mobile solution is easy to use with far fewer and more intuitive steps that our previous solution.’

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e u s Is 5 1 0 2 y r a u n a J r Features fo Is CMS dead?

Will management systems be overtaken by developing technology?

Glowing on the town

The impact of entertainment lighting technology and techniques in our cities

Sustainable lighting

What does that really mean?

LIGHT Minded...

Are we sure that the future is only about LEDs? asks Lou Bedocs, lighting applications advisor at Thorn, and are we sometimes making misleading comparisons with traditional sources?

Without any doubt, the light source of the moment is the LED. In the past five or so years, LEDs have matured into an efficient and effective light source suitable for most professional lighting applications.

Legislators have been quick to recognise their big energy-saving potential and have already started to specify their use in various energy and environment-related regulations. Many politicians praise and promote LED lighting, and industry capitalises on the cheap publicity. But are we sure that the future is just ‘LED source’-based lighting?

Recently, I read a paper comparing energy-efficient lighting solutions for future schools. The study was thorough, but I found the selection of products disappointing. It appeared to me that the authors wanted to prove that LEDs were the only suitable lighting solution. On closer examination of the performance data of the products, I felt cheated.

For the comparisons, the authors chose low-brightness reflector luminaires using T8 fluorescent tubes with a light output ratio (LOR) of 54 per cent, while the LED luminaire had prismatic optics with an LOR of 82 per cent. The results showed a marginal through-life cost benefit in favour of the LED option. I asked myself why they did not pick a modern reflector luminaire with T5 tubes. There are many on the market with an LOR of more than 84 per cent, and my quick calculation showed that these would be 10 per cent more effective than the LED solution. Let us not condemn fluorescent lamps to history just yet.

Unfortunately, these comparison problems are not confined to indoor lighting.

I frequently read in my local paper about complaining residents in roads relit with LED road lanterns crying, ‘Can we have our lights back?’ The local authority claims that these LED road lights are ‘more efficient, give a better brighter, whiter light with more colours visible’ but fail to note that the light only falls on the road surface and not on the pavement where we walk. The elderly and the visually impaired rely on well-lit pavements and surrounds.

The LED solution may be energy

Lighting Journal November/December 2014

It appeared to me that the authors wanted to prove that LEDs were the only suitable lighting solution. On closer examination of the performance data of the products, I felt cheated efficient just to light the road but many say that the light from Son is friendlier and gives better coverage. Change is needed, but are we taking the public with us?

I am keen to make full use of LED technology, but let us be honest with our claims. I see too many projects where for the LED solution, the installation maintenance factor is taken to be that of the LED. It is obvious that LED luminaires will also collect dirt and will need cleaning, so the luminaire maintenance factor should be applied in lighting calculations.

Also with daily improvements in efficacy and life, the already-installed LED schemes will become obsolete and be seen as inefficient very quickly.

This will create an expensive legacy of old schemes for which some solution will need to be found. Should we consider a novel approach in servicing and have a ‘replace by take back’ scheme on offer?

This was first published as the Opinion piece in Lighting Research and Technology, Vol 46, No 5, October 2014, and is reprinted courtesy of Sage Publications. (www.sagepublications.com)

8 Opinion

LIGHT Hearted Nick Smith of Nick Smith Associates goes back to the drawing board Lighting is something that I have been interested in since I was 13 years old. I could not learn lines for the school play so I moved to the technical side, doing sound and creating the lighting for the productions. The year after I left school, they invested in a stateof-the-art lighting board with new dimming racks and all new luminaires. I was gutted that I never got to play with it.

Some 34 years later I still enjoy bringing a design to fruition. I love sitting down with a blank drawing and preparing a road or sports lighting layout from scratch, then seeing it constructed three or six months later. Lighting design on a blank drawing is not difficult. But redesigning a road, on the other hand, is more challenging because there are existing precedents.

Lighting design is a skill that is learnt over time. It’s about understanding the impact of change in a design and perhaps reversing previous decisions to improve it.

It’s about looking at the photometric performance of a lantern and knowing what needs to be done to make the design compliant or to improve the uniformity. I try to teach this and I’ve found that some people get it and some don’t. My overwhelming desire in life is to help pass on the knowledge I’ve acquired.

People I meet often say that I should employ staff. Why? That would mean not getting to do what I love the most – design.

This will be the last Light Hearted column. From January this page will be devoted completely to opinion on issues affecting the lighting profession and industry. If you have views on any subject you would like to express, either as a short article or as a letter, please email the editor: jillentwistle@yahoo.com

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10 Urban lighting

Painting the town

Based on her Bartlett MSc dissertation, Sarah Alsayed looks at the complex issues of using saturated coloured lighting in the urban environment and outlines a study to determine how its application can be optimised

Lighting Journal November/December 2014

Urban lighting 11

T

he use of saturated coloured lighting can make a positive or a negative contribution to the urban environment. Despite its increasing use, there is currently no consensus or form of design framework that lighting designers can observe. The use of coloured lighting in this architectural context is highly complex with a range of considerations, including the relationship of colour and brightness, subjective perception, effect on human moods and cultural preferences, all of which are examined below.

Colour and brightness It is as important to control both colour and brightness levels in order to create a comfortable urban environment.

Laganier and Pol (2011) describe these terms as follows: Colour: consisting of two features – white light and its varying shades of cool to warm, and coloured light identified in varying shades from saturated to pastel.

Brightness: a subjective approach to the objective physical features of intensity and quantity of light.

In India, green is the colour of peace and used for lighting Islamic architecture. By contrast, green in France is associated with bad luck and should be avoided when lighting theatres Laganier and Pol advise that colour should be either amended to match that of the existing environment, or that light and colour should be specified in relation to one another, taking into account the spectral distribution of the light source in the visual field, the colour shifts that take place, and bearing in mind that different light sources are able to render colours better than others.

Brightness is needed to create a level of hierarchy and allow the space to be better understood. Usually, for outdoor lighting, low levels are favoured, providing a ‘cosy and friendly ambience’ (Laganier and van der Pol, 2011).

The colour temperature of the light source is another aspect that needs to be considered. Studies by Kruithof (1941) have concluded that people favour warm colour temperatures at low illumination and cool colour temperatures at high illumination. He further explains that surfaces and objects will reflect their natural colour appearance when lit according to this principle. It is therefore important, says Kruithof, to understand the spectral quality of light to be able to establish the effect it has on colour.

Colour and the environment Shepherd et al (1996), Kayode (2003) and Meerwein, Rodeck and Mahnke (2007) explain that colour is an important factor in our visual perception and in exploring the environment. The man-made environment is made up of colour, say Meerwein et al, and it is therefore apparent that it has a key role in every aspect of life, providing ‘information, communication and design material’. In other words, colour goes beyond the aesthetic. It enables people to orientate

through optical signals and be informed through the visual messages that different colours convey.

As Pieter Uyttenhoven puts it, cited by Meerwein et al: ‘Colour exists in itself, it connects things with each other and connects things with people.’ In addition, Meerwein et al, and Bright and Cook (2010) explain that human emotions or mood are affected either consciously or subconsciously by colour and what it discloses about the environment.

This has been clarified by various studies put forward

by Kwallek et al (1997) and Hoicowitz et al (2003), who have established a correlation between colour and mood (discussed further below).

Colour perception Many studies have outlined that the perception of colour is due to three fundamental factors: • The spectral distribution of the light • The spectral characteristic of the object, with respect to absorption, reflection and transmission of light • The activity and sensitivity of the eye and the brain (Mikellides and Osborne, 2009) Colour is a subjective sensation that is experienced individually. In the following sections the main focus will be on how colour evokes ‘emotional and aesthetical associations’ (Meerwein, Rodeck and Mahnke, 2007).

Colour and mood The above sections concern the visual effects of light, but there are also non-visual effects, which have an impact on one’s perception of a space and one’s mood, incentive and behaviour. These effects still cannot be predicted with accuracy (Goodman, Gibbs and Cook, 2006, CIE, 2004).

There has been a great interest in the field of colour psychology on the impact of light and colour on emotions.

F Mahnke and R Mahnke (1993) contend that people are aware of colour and texture, and prefer a sense of variation in the urban environment. Various studies – such as a series carried out by the Department of Psychology at the University of Göteborg (Sivik, 1974) – have shown that the availability of colour in the exterior environment has increased positive evaluation while the absence of colour is regarded as negative. It is therefore evident that the use of saturated coloured lighting could be seen as an important element in the urban environment that can potentially affect mood (F Mahnke and R Mahnke, 1993).

Laganier and Pol (2011) suggest that psychological aspects of colour are reflected in the type of lighting used; it is believed that cooler white light has an effect in making people feel ‘better and healthy’, whereas the use of warm white enables a space to appear ‘comfortable and cosy’.

Colour and cultures Cultural responses to colour vary. The book Light and Emotions (2011) presents conversations with lighting designers and explores lighting from different cultures.

Lighting design can be influenced by three cultural constraints: society, religion and geography.

Society verifies the attitude and approach of lighting designers; religious values have different meanings for light, while geographical situations influence the preference for certain colour temperatures. For example, in India, the colour green is a symbol of peace and is often used for lighting Islamic architecture. By contrast, green in France is associated with bringing bad luck and should be avoided when lighting theatres, for instance.

Lighting Journal November/December 2014

12 Urban lighting Colour and preferences Sivik (1974) conducted scientific studies based on the perception of building exteriors with varying colours.

More than 60 colours were applied to two different types of buildings, ‘high-rise’ and ‘low-rise’ using photographic simulation. The colours were expressed using the Swedish Natural Colour System. Interestingly, the results concluded that the colour preference of the buildings varied from common colour preferences.

Janssens (2001) also looked at colour preferences for building facades. Different styles of building, ranging from houses and offices to industrial buildings, were photographed with their surroundings and then imported into a computer; their colours were altered systematically.

The results concluded that some buildings were preferred regardless of colour. For example, an old family house was most favoured followed by a modern office.

However, the colours had an impact on preferences.

Based on this study it became possible to compare the preferences for buildings with general colour preferences.

The colour blue is commonly liked by itself, for example, but when applied to the buildings it was less favoured. Similarly, soft yellow and white are least preferred on their own, but when applied to the buildings they were highly favoured.

It is interesting that Birren (1978) cites studies on colour vision by Ferree and Rand that identified yellow light as being more comfortable for the eyes, followed by orangeyellow, yellow-green and then green.

So where saturated coloured lighting is concerned, from the research presented above and a summary by Janssens and Küller (2009), one can conclude that the relationship between the building and its surroundings are important.

The colour applied to the building must make the building stand out, but neither too much so it sticks out disproportionately, nor so subtly that it becomes undistinguished. Similarly the type of building must be considered in relation to the colour applied to provide a harmonious result – for example, with traditional architecture lighting colours that deviate from the original colours of the building materials might result in dissatisfaction, whereas the opposite may apply to modern structures.

Colour and aesthetics Saturated coloured light can be used simply to beautify, as Ojo and Kayode (2006) discuss. They consider the role of colour in urban aesthetics, identifying environmental beautification as ‘the creative enhancement of the furnishing of an environment’. The incorporation of bright intense colour can provide an ‘aesthetic facelift’ for the particular environment, they argue.

However, Ojo and Kayode acknowledge that there are disagreements and vagueness surrounding the psychological response to colour and human emotions, and it has been found difficult to measure.

Impact of coloured lighting Gardner (2005) looks at the negative implications of coloured lighting in the urban environment, referring to it as ‘colour blight’, a term that relates to aesthetics, public identity and perception.

He explains that the increasingly widespread phenomenon of coloured lighting has derived from three main causes: the increased development of new lighting technology, the increased demand for coloured lighting to be used for promotional reasons and the increase in theatre

Lighting Journal November/December 2014

lighting designers moving to the field of urban lighting.

The main reason for the increased use of exterior coloured lighting is because ‘it can be done,’ he says.

In some ways, though, as Chepesiuk (2009) explains, artificial lighting has a positive impact on the urban environment. It allows the productive day to extend, enabling more time not just for work but for entertainment activities.

However, outdoor lighting can become ‘inefficient, annoying and unnecessary’. This is recognised as light pollution.

Negative issues associated with coloured exterior lighting have been noted by the lighting designer Major (2001): ‘My foreboding...relates to the “outbreak” of coloured lighting throughout our cities and towns on a much more arbitrary and haphazard basis, where any sense of responsibility to the visual environment is thrown to the wind. It is like some sort of “disease” that, at first, appears quite benign but, as it spreads, the full force of its ability to disfigure becomes clear.’

Gardner argues that the main problem is due to the fact that there is no consensus or form of design framework for lighting designers.

In addition, property owners, developers and local authorities need to recognise that the practice of lighting design requires skill and knowledge that non-specialists lack. The failure to recognise this results in an increase in the poor application of lighting.

However, he also underlines the positive implications. If done well, coloured lighting is ‘visually pleasing’ and makes a strong contribution to the urban environment.

Friedman et al (1982) agree; they emphasise that it is down to the experienced designer to create a successful, exciting environment with the incorporation of colour.

Guidelines and recommendations Phillips (2002) concludes that the application of coloured light on to the exterior facade is ‘a question of aesthetic judgement’. He argues that there are two parameters when considering colour: the nature of the materials of the building, and the fact that the use of coloured lighting should be limited to temporary installations.

Simpson (2012) suggests six basic considerations when taking into account techniques for lighting buildings and structures: • • • • • •

Style Form Shadows Contrast Colour Impact of equipment

All the above factors go hand-in-hand; it is therefore recommended that the style of the building must be determined to establish whether the use of saturated coloured light is appropriate.

It is further recommended that a ‘static approach’ should be considered when lighting old or grand structures or those with historic significance, for example a church, whereas for more modern buildings a ‘more fun’ approach is possible.

However, it is important that whatever the style, the architectural quality of the building form is not distorted when using saturated coloured lighting.

Clearly when it comes to visual pollution, and light pollution, nuisance and trespass, the same considerations apply to coloured lighting schemes as to white light designs.

Urban lighting 13 Study: how to optimise the use of saturated coloured lighting in the urban environment This study was designed to explore subjective responses to the exterior lit environment to provide measures that could optimise the use of saturated coloured lighting. The type of building, the context and the psychological aspects of colour were the main focus. The aim of the methodology was to assess the following parameters: . . . .

Appearance Lighting quality Visual discomfort Mood

County Hall Fig 1: Is there part of the facade if any, where the materials are well rendered by the coloured lighting?

Left to right: Somerset House, St Paul’s Cathedral, Royal Festival Hall (top), County Hall (bottom) and Shell Mex House

Case study A real-world case study of five architectural typologies was undertaken in the same location – Southwark in London – the proximity of buildings being both for the convenience of participants and to allow a comparison of results.

The experiment involved observation and a survey. The controlled group of observers completed a questionnaire while participating in the study.

The buildings and architectural styles were as follows: St Paul’s Cathedral (Baroque ) Somerset House (Neoclassical) Royal Festival Hall (Modern) Shell-Mex House (Art Deco) County Hall (Victorian/Edwardian)

County Hall Fig 2: Is there part of the facade, if any, that is too saturated/not saturated

The facades have been lit using different techniques, lighting equipment and colour. The five buildings were examined individually and then assessed within their wider urban context, allowing for the assessment of 10 different conditions.

Methods The research used a mixed-method approach. The attitudes of the observers were tested using semantic differential scales (Osgood et al, 1957). The scale was responsible for assessing the subjective responses of observers and determining which lighting installations were more favoured, and whether or not the overall context had an impact on the general impression of the lighting schemes. This in turn determined how consistent the lighting needs to be within its surroundings.

Participants were asked to give their impressions in terms of, first, brightness and shade, and, second, colour.

They were then asked to rank the facades in order of preference using an ordinal scale, both individually and in their wider context. (See Figs 1-3 for examples of questions).

Using a luminance meter, spot luminance measurements were taken at different points of the facades to provide an accuracy check (Fig 4). This allowed a direct comparison between the technical measurements of the facade and how they were rated by observers in the study.Design statements were also obtained from the lighting designers responsible for the five selected facade schemes. These identified what they were trying to achieve and convey to the viewers. They were then assessed against the results to find out whether the design intent was communicated to the observers.

Lighting Journal November/December 2014

14 Urban lighting Context It was clear that the use of saturated coloured lighting must be considered with respect to both the facade and the surrounding buildings. A good example was Shell-Mex House where the lighting scheme was sensitive to the adjacent buildings so that the overall appearance of the facade looked appropriate and integrated. However, a poor example was Somerset House where the saturated coloured lighting was too subtle so that the building became almost undistinguished in relation to its wider context. This is in support of theories by Janssens and Küller (2009).

County Hall Fig 3: Is there part of the facade, if any, that is appropriately/ inappropriately coloured?

Conclusions It was clear from the results of the study that the majority of the observers agreed that the use of saturated coloured lighting is a benefit to the urban environment. However, it was apparent from the different methods employed in the study that different parameters need to be considered in order to optimise its application.

Appearance, lighting quality, mood and visual discomfort were assessed using the semantic differential scales, and the brightness and colour patterns. These methods suggested that it is important to consider the application of saturated coloured lighting with regards to the architectural typology of the building, the materials of the building fabric, and the context in which a building lies, and that the use of colour should perhaps be limited to modern-style buildings.

The results also showed that observers’ responses differed when the facades were assessed in isolation and in

Fig 5: Average rank of the five facades in isolation in descending order

Fig 6: Average rank of the five facades in wider context in descending order

County Hall Fig 4: Luminance values in cd/sqm

relation to the wider context. They were clear about which exterior lighting they preferred and which they did not when assessing the facade in isolation. However, looking at the wider context, the results varied – some were preferred more in isolation and some in context with their surroundings. Therefore it was notable that the context in which a building sits has an impact on the overall impression of the exterior lighting.

Level of contrast It was evident that observers were sensitive to areas of contrast in the field of view. The study determined that contrast could be achieved without the need to use high levels of luminance. A great example is St Paul’s Cathedral where the overall luminance values are relatively low, but contrast is achieved by the use of difference in colour temperature compared to its surroundings.

Lighting Journal November/December 2014

Architectural typology The research confirmed that the style of the building is an important parameter when determining whether saturated coloured lighting is appropriate or not. For example, the use of coloured saturated lighting on County Hall, a Victorian/ Edwardian style building, was negatively perceived by many of the observers; however, Royal Festival Hall, a modern building that incorporated the use of saturated coloured lighting, was in fact rather liked. Therefore it is important to be sensitive to buildings that have historic significance.

Specialist lighting designers It is important to use an experienced lighting designer when applying lighting to exterior facades. St Paul’s Cathedral is again a good example as it was evident from the results that it is a successful scheme that communicated well to the observers. However, a poor example is County Hall, in which the client determined the lighting scheme of the building; this had a negative impact according to the observers.

For a PDF of the full dissertation, including detailed methodologies and outcomes of the study,and complete list of references, please contact the editor (jillentwistle@yahoo.com).

16 Urban regeneration

Putting the light into blight Roger Beckett looks at two schemes carried out by Light Projects that have taken a creative approach to urban regeneration

O

ver the past several years, there has been a subtle yet persistent trend to use lighting as a tool for urban renewal and regeneration. The positive shift away from traditional sodium/high pressure sodium lighting, which was used purely for illumination, to ‘painting with light’ and lifting architectural features out of the dark street scene has had a marked impact on communities and civic design.

A good example of this is the Westway project in London. Here, the elevated A40(M) motorway slices through the West London communities of Paddington, Notting Hill and Ladbroke Grove. Several bridges were involved in the project, the most

Ladbroke Grove: before and after

Lighting Journal November/December 2014

significant being Ladbroke Grove.

After 30 years of exposure to city pollution, the surfaces of the flyover had blackened and the structure was generally perceived as oppressively dull. The areas beneath it were blighted by crime and dereliction.

For local communities it all felt unsafe and intimidating. The areas under the bridges were dark, foreboding and dangerous, and serious crimes had been committed in the immediate vicinity. ‘Using the walkway is a real lottery,’ said one local resident before the upgrade. ‘I prefer to use it only during the market or in the daytime. It is a criminal opportunist’s dream.’

The scheme was inspired by Miles

Watson of Urban Eye, the Londonbased art and design group formed in 1998, which plans and implements environmental improvements to neglected spaces. Watson worked in conjunction with Light Projects, Kensington and Chelsea Council, and Transport for London.

All fittings (apart from new tunnel lighting) are mounted on the bridge supports. A key element was the clever use of adapted Francis marine searchlights (70W and 150W CDM-T) with spreader optics to graze light across the repainted underside of the bridges. This lifted the lux levels and created a glare-free lighting gateway.

The optics of existing Meyer fittings mounted lower down on the supports

Urban regeneration 17 were changed to a 10-degree beam, which transformed the previous Colditz-bright blanket wash into a rhythmic series of light pools to the pavement. A DMX-controlled 36W RGB colour-changing projector system was also installed to create different moods according to the time of night.

The innovative combination of art and lighting has transformed the oppressive and uninviting area into a safer, warm and visually appealing street scene. Crime has been radically reduced, graffiti and vandalism all but eliminated, businesses are thriving, and people are taking more pride in their community.

Lighting plays an integral part in urban regeneration and renewal, and undoubtedly leads to safer, brighter and more aesthetically pleasing environments. As technology advances, increased energy efficiency and performance, coupled with minimal maintenance and long-life cycle performance, make a good case for increased specification.

Roger Beckett is commercial director at Light Projects and presented a paper on both schemes at the ILP’s Lightscene at Ecobuild earlier this year

‘

‘I think Portobello Green has improved massively and is a much friendlier place than previously’ – local resident ‘Coming out of the tube at night feels very safe, particularly the bus stop’ – local resident ‘At night, the lighting assists pedestrians entering the Portobello area to visit the many bars, cafes and restaurants. It reduces the fear of crime on a busy thoroughfare, which can be dark and has hidden, recessed entrances. This scheme has also helped reduce social exclusion among minority ethnic groups in the Royal Borough’ – Peter Vincent, police inspector, Notting Hill Police Station

Since the Westway was completed, several other areas around the borough have enjoyed a similar makeover, including Latimer Road, Portobello Road, St Mark’s Road and Bramley Road.

Another recently completed project is Golborne Bridge, the iconic Victorian structure in London’s Kensington and Chelsea. Here, a mix of decorative and task lighting has been installed to provide a safe, well-lit road and walkways, using fibre optic fittings, a linear LED system and spotlights. The aim of the scheme, again designed by Miles Watson of Urban Eye and developed in conjunction with Light Projects, Network Rail, and Kensington and Chelsea Council, was to create a visual spectacle when viewed from all angles, while minimising light spill and glare to the surrounding areas.

Exterior mounted Roblon LED fibre optic fittings with Beespot end points were used together with a blue linear LED system which highlights the graceful sweeping curve of the trusses. Beespots are small, subtle and elegant IP68rated, surface-mounted fibre optic fittings. These are installed throughout the structure, uplighting individual ironwork girders with narrow beam angles to highlight individual architectural features.

The correct lux levels were determined using Roblon’s Lux Calculator.

This free and useful programme offers lighting designers and specifiers a simple method of calculating lux values for any of their fibre optics, including the correct specification of light generator and fittings, together with fibre type, length and quantity. This information can then be exported as an IES file. The LED fibre optic projectors were chosen to minimise any necessary maintenance work due to their impressive life-cycle performance.

Lighting Journal November/December 2014

18 Coastal regeneration

Sea

change A coastal defence upgrade has brought a splash of colour to the seaboard in South Tyneside The need to replace the old coastal defences at Littlehaven in South Tyneside presented an opportunity for South Tyneside Council to upgrade and augment the area, creating a stronger identity and making it a more attractive proposition for locals and visitors alike. Incorporating colourchange lighting into the scheme has been an important ingredient in achieving those aims.

The £5m scheme involved creating a new and more effective sea wall along a 500m stretch between the South Groyne and the South Pier of the River Tyne, and at the same time developing a broader (by

Lighting Journal November/December 2014

50m) amenity beach and a wide coastal promenade with meandering pathways. Areas of interest along the promenade include bespoke seating, street furniture and public artworks.

LEDs were selected for the entire scheme at an early stage. ‘It

was clear that LED lighting would meet our criteria for reducing energy consumption, carbon emissions and life-cycle costs while enabling us to make use of colour-changing effects,’ says George Mansbridge, the council’s head of development services.

Coastal regeneration 19

Balfour Beatty Living Places, South Tyneside’s PFI street lighting contractor, took the council’s concept design and produced a detailed lighting design, working with Philips.

Milewide LED lanterns have been used to provide general lighting along the length of the promenade and adjacent car parks. These are mounted on curved columns – also supplied by Philips – designed to recall the waving movement of seagrass.

Each of the Milewide luminaires has been fitted with dimmable drivers so that the general lighting can be dimmed during light shows and also at quieter times of the night.

ColorBlast colour-change luminaires are also attached to the columns, allowing the council to adapt the lighting to particular events or times of the year with different scenes, or let them run on a preprogrammed sequence.

Two works of art, the Eye (pictured right) and the Sail (left), were specially commissioned for the promenade.

Each has its own dedicated lighting, Philips Decoscene and Recessed ColourGraze fittings respectively.

Client: South Tyneside Council Location: Littlehaven, South Tyneside, UK Project partner: Balfour Beatty Fittings: Milewide LED with bespoke column solution, Decoscene, ColorGraze, ColorBlast (all by Philips)

20 Warranties

Satisfaction

guaranteed?

Is it realistic to expect a supplier to offer a warranty of 25 years on LED street lighting? And is such a warranty worth the paper it’s written on? Andrew Brister talks to customers and suppliers, and ponders whether the problem is down to irresponsible selling or irresponsible buying

B

uy a new Rolls Royce and you’ll get a four-year unlimited mileage warranty – excluding tyres and glass, of course. Buy new LED street lighting and you can get a 25-year warranty, covering all components. Either the quality of today’s electronics in the lighting sector is putting Rolls Royce to shame, or something is not quite right in the marketplace.

‘The market is divided at the moment,’ explains William Marques, chairman of CU Phosco. ‘There are some customers where the warranty is the only thing that matters to them and they will give anybody an order if they can get a 20 or 25-year warranty, without caring about the quality.

There are others that have completely the opposite point of view – who study the market, study the products, analyse those which perform the best, have the best quality LEDs and drivers in them, and judge it on that basis.’ For Marques, the considered engineering approach is the way to go.

‘When new HID sources were being introduced, no one was asking about warranties,’ says Mark Cooper, national sales manager, public realm at iGuzzini, and ILP president.

‘Now people are asking for a 25-year warranty on a product with a 25-year design life. It doesn’t stack up.’

So what is a realistic warranty when it comes to LED

Lighting Journal November/December 2014

street lighting? If you consider that an upgrade to a lowenergy LED solution might pay for itself in seven years, surely that should be enough, or perhaps 10 years to give added security? ‘We offer a five-year warranty and will go up to 10 years in large contracts, but we won’t go any further than that,’ says Cooper.

Others will: ‘We back our systems for six years, including LEDs and drivers, and will go up to 12 years on the basis that should a driver fail, for example, the customer covers the cost of getting the fitting back to us for replacement,’ says Marques. ‘We have been pushed to offer extended warranties, but we try and relate that back to the warranties that we are offered for the LEDs and drivers from the component manufacturers. We can’t take responsibility for what the driver is going to do; you are betting the company on something that you don’t know about.’

Any warranty worth the paper it’s written on should take into consideration the conditions that the lighting will be operating in – high ambient temperatures, for example, will have an adverse effect on the expected lifetime.

‘The customer has to be informed; they should be driving the warranty that they require from the manufacturer, then it’s a negotiated commercial process,’ says Alasdair

‘Some local authorities are asking for warranties that call for a contribution to the cost of replacement of the lanterns. I’ve been in this industry for 25 years and that has never happened before. People are getting carried away’

‘

‘

McRury, VP and managing director of European operations at Holophane Europe, and president of the Lighting Industry Association. ‘The good manufacturers will also be asking a lot of questions – what are the ambient conditions, how will you be running it, how long are you operating it for, how many times will you be switching it – to help build a picture that’s important for the warranty.’

Mark Cooper argues that education is required on warranties, even some standardisation. ‘Perhaps within the ILP we need to be explaining what people should look for in a warranty; perhaps provide something that the industry can stand behind, that lays down the minimum standard to be achieved,’ he says.

Not everyone agrees. ‘The warranty on offer is a commercial decision by the company making the products.

That’s their decision and I wouldn’t want to see any industry standards imposed on warranties,’ argues McRury. ‘Not all warranties are equal, however – you can get a five-year warranty that’s much better than a 25-year one when you look at the wording.’

Have lighting manufacturers brought this on themselves by promising customers the holy grail of a fit-and-forget, zero-maintenance product that will slash energy bills and is capable of up to 100,000 hours of life? ‘What end users weren’t made aware of was that, while the LED chip might last 25 years, that’s not true for the driver and wiring,’ says Eddie Henry, operations manager at Southwark Council. ‘We knew where we were with the more traditional light sources – the expected lifetime, the frequency of changing the lamp and so on, and that’s not true of LEDs. When they were introduced, directors were targeted and they were spun a yarn, telling us that no maintenance would be required. A few years later, we realised that parts do fail and will need to be replaced. So when it comes to warranties, you need to know which parts are covered, and how long each part is covered for, to enable realistic whole-life costs to be analysed.’

Chris Hardy, lighting engineer at Bournemouth Borough Council, is part way through a project to change all of the borough’s lighting stock to LEDs – 16,500 units in all. He is happy with his 15-year warranty. ‘There’s going to be a progression with LED technology, so after 15 years you are probably going to want to change the units to take advantage of new developments. Our warranty only covers

Warranties 21

Clockwise from top left: Mark Cooper, William Marques, Alasdair McRury and Eddie Henry: ‘You need to know which parts are covered, and how long for’

the equipment, not the cost of replacing it, and the warranty rests with us, not the contractor.’ Hardy can sleep safely at night, knowing that the fees he has paid for the extended warranties are held in a secure fund should the lighting supplier get into financial difficulties in the future.

LED technology has exposed the lighting industry to a whole host of new suppliers. Some have used extended warranties as a way of gaining a foothold in the market.

Can these new entrants offer the secure warranty that Hardy has in place in Bournemouth? And is a 20-year warranty from a company with a two-year trading history worth anything anyway?

‘Some of these warranties are too good to be true and clients need to be very careful and read the small print.

Often, there’s not a lot you’re actually covered for,’ says Cooper. ‘Any company worth its salt should put its warranty on its website for everyone to have a look at. Yet, some companies are asking for non-disclosure agreements to be signed before issuing a warranty. You’ve got to wonder what’s in there if they don’t want anyone else to see.’

Yet, it’s not just new entrants to the market that are responsible for these new breed of warranties. ‘Some local authorities are asking for warranties that call for a contribution to the cost of replacement of the lanterns.

I’ve been in this industry for 25 years and that has never happened before. People are getting carried away,’ says Cooper. He calls for warranties that are fair to both parties.

‘It’s just a piece of paper covering everyone’s backside,’ says Marques. ‘It’s just a box-ticking exercise. Often, you

Lighting Journal November/December 2014

22 Warranties will get marked down on quality for not offering a longer warranty, which is a bit of a joke. The fact is that we are using LEDs and drivers that are often far superior to the company that is giving a 20-year warranty.’

McRury, while no fan of standardisation, does believe in education of the customer. ‘The customer needs to be

informed to ask the right questions and compare apples with apples against several manufacturers: what is your warranty on a driver operating at 35 degrees.’

When it comes to splashing the cash on your lighting, whether it’s at the Rolls Royce end or a more cost-effective Ford Focus, it pays to know what you are buying.

‘It’s just a piece of paper covering everyone’s backside...

It’s just a box-ticking exercise’ Recruitment The Highways Agency operates, maintains and improves the road network across the UK. These exciting roles let you apply and develop your abilities by putting you at the heart of the innovative projects taking place on our roads.

Senior Road Lighting Specialist £39,790 - £43,770 Bristol Ref: 1427942 We’re looking for a professional with extensive experience in the lighting industry. You’ll be taking the lead on policy direction, team performance and electrical safety as well as using the latest technologies and innovations to achieve your goals.

Road Lighting Specialist £33,009 - £36,310 Bristol, Leeds, Manchester, Birmingham, Bedford, Guildford, or Exeter Ref: 1430001 We’re also looking for a professional with experience in a relevant technical area, such as road lighting, sign lighting, telecommunications or electrical safety.

You’ll be at the centre of developing, implementing and maintaining a diverse range of road lighting solutions.

Both roles give you the opportunity to make an impact on the nation’s road network and you’ll be a key player in some of our biggest projects. To discover more and apply online, please visit www.civilservice.gov.uk/jobs/index.aspx quoting the appropriate reference number.

Closing date: 17th November 2014.

The Highways Agency is an equal opportunities employer. We value diversity and we positively encourage applications from all sections of the community. We operate a guaranteed interview scheme for disabled people who meet the minimum criteria.

Recruitment

AREA SALES MANAGER VACANCY

Simmonsigns Limited are looking to recruit an Area Sales Manager for the London and South East Area.

All candidates should be based within the region, have a good knowledge of the road lighting/signage marketplace, associated industry standards and requirements and would be expected to be able to, •

Maintain and increase sales of the company’s products

•

Establish, maintain and expand their customer base

• • • •

Reach and exceed the targets and goals set for their area Service the needs of existing customers

Increase business opportunities through various routes to market

Be willing and able to produce reports, data and presentations where relevant to customers and senior management within Simmonsigns

Interested candidates should forward a copy of their current CV to HR@simmonsigns.co.uk

23

24 Smart cities

TRIALLER PARK Denmark’s new outdoor lab allows cities to test out lighting equipment and solutions

W

hile a number of companies have the facility to showcase their own fittings, the opportunity for specifers to compare the latest luminaires from a range of competitors in a realistic outdoor context is rare. The new Danish Outdoor Lighting Lab (DOLL) allows local authorities to do just that, as well as offering the technology to test and develop smart city solutions.

Located in Hersted Industrial Park in Albertslund, outside Copenhagen, DOLL was jointly established by the Technical University of Denmark (DTU), the municipality of Albertslund and Gate 21, a public-private partnership developing and promoting primarily LED solutions for cities.

DOLL has four focus areas

Lighting Journal November/December 2014

– outdoor lighting; smart city technologies; indoor lighting, and biological effects of lighting – and actually comprises three laboratories: •

•

•

Living Lab, which allows lighting solutions and smart city technologies to be tested in a fullscale setting Quality Lab, a facility providing impartial lighting measurements for manufacturers and buyers Virtual Lab, which provides 3D simulations of lighting solutions

The Living Lab features 10km of roads, paths, cycle lanes and park space. With 25 partner companies involved it offers 50 different lighting solutions. These are controlled in the

DOLL Visitor Center, at the heart of the Living Lab, where data is also collected and analysed. It is also involved in the qualitative testing of indoor mock-ups in settings such as senior housing, hospitals and schools.

All columns are connected by a Cisco system to a central network.

Among other uses, the embedded network-connected sensors can be used to gather and transmit data on UV radiation from the sun, acoustic qualities and noise, humidity, temperature, traffic and air pollution.

It’s perhaps not surprising that Philips, Osram and Thorn number among the companies participating but the lab is open to both large and small lighting solution companies, says DOLL director Flemming Madsen.

Smart cities 25 Suppliers and manufacturers: Delux Denmark Fagerhult Focus Lighting Hella HeSa Light Louis Poulsen Lighting Luminex Osram Philips Riegens S-Light Swarco Danmark Thorn Lighting X-Light Suppliers and manufacturers showing sustainable CO2 neutral and Smart City solutions: Alfred Priess Plasma Tech Energy Scotia Light Tvilight Thorn Lighting

‘We focus a lot on offering the small and medium-sized enterprises an opportunity to be equal to [the larger companies] and show their products under the same conditions.’

The Quality Lab is based at DTU, and is one of Europe’s largest research environments for photonics, with facilities for testing

and characterising light sources, sub-components and complete lighting solutions (total flux, colour temperature, spectral analysis, power consumption and colour coordinates).

It can provide a neutral assessment of manufacturers’ claims.

The Virtual Lab is also at the DTU and can test, develop and validate

virtual 3D models. Manufacturers and designers can develop lighting products and systems using virtual models, also allowing them to show specifiers pre-production concepts.

Living Lab: Kim Brostrom, CTO kb@lightinglab.dk www.lightinglab.dk/UK

Lighting Journal November/December 2014

26 Independent lighting design

Pigment of the imagination

Graham Festenstein discovers some illuminating facts and an interactive lighting experiment at the National Gallery’s recent Making Colour Exhibition

I

was lucky enough to have an opportunity to catch the Making Colour exhibition at the National Gallery in the last few days before it closed. I was very glad I did. While I enjoy going to see exhibitions this one was rather special. As someone who works in the museum environment from time to time I always look at exhibitions with half an eye on the

Lighting Journal November/December 2014

lighting – a professional hazard.

This one, however, had the added attraction that it included an interactive experiment on lighting, in particular with respect to colour consistency and colour rendition.

As well as an amazing collection of beautiful paintings, the exhibition charted the history and use of colour in painting through the ages, discussing

the progression from naturally occurring pigments and their extraction through to the synthetic dyes and pigments used today. For example, from ultramarine, a blue pigment made by grinding lapis lazuli, a semiprecious stone mined in Afghanistan from as early as 7000BC, through to William Perkin’s aniline purple first made in the late 19th century.

Independent lighting design The exhibition demonstrated how green was used as a base colour for faces and flesh during the 13th to 15th centuries, with the flesh tones added over the top. As the fugitive top layers faded over the years, the faces in many Renaissance paintings have taken on a green tint which will be familiar to anyone with an interest in art of this era. The exhibition showed how adding egg yoke to pigments to create egg tempera creates a matt finish, whereas pigments bound with oils such as linseed or walnut produce the glossy finish of oil paint.

It also showed the range of insects used to create the red pigments – before and after grinding – and finally how gold and silver were used either as a base to which paint was applied, or actually ground up and added to the paint, giving a true metallic reflectance from within the painting.

Another fascinating aspect of this exhibition was the science that the National Gallery uses to analyse samples taken from paintings within their collection. This can be used to show how colours have degraded over time and to identify the colours and pigments that were originally used. It is interesting to know how a painting would have looked before exposure to light has taken its toll, but these investigations are also used to identify ways in which the collection can be conserved, ensuring colours in particular can be preserved for many years to come.

The National Gallery’s highly specialised laboratories use techniques such as energy-dispersive X-ray spectroscopy and electron microscopy to identify the molecular components of pigments within the paint, and hence the pigments and techniques used by the painter.

The gallery’s science department undertakes research into other topics in conservation, but of particular interest to us is the impact of light on the conservation of materials, and the best conditions under which the paintings, drawings and sculptures can be viewed.

This work has included research into the comparable spectral power distributions for a number of light sources including that of LEDs. There has been concern that the increased blue component in the spectrum of LEDs could increase the damage caused to artwork, and consequently if it is appropriate for them to be used in this sensitive environment. In simple

Work has included research into the comparable spectral power distributions for a number of light sources including that of LEDs terms, however, the research found that even with an increased blue component of light within the spectrum of LEDs (in the range of colour temperatures to be used and with respect to the particular LED sources tested) the increased risk of damage was of a similar magnitude to that of tungsten halogen.

This work informed the gallery’s decision to convert the exhibition lighting to LEDs, which as we know has the benefit of lower bills and less heat (another enemy of the conservators) and, most important in my view, allows colours to be rendered more accurately, in particular greens and blues, eliminating the exaggerated

27

warmth that tungsten halogen brings to the gilt frames so commonly used.

This was particularly apparent at this exhibition due to the selection of many of the pieces being based on the use of vivid and bold colours.

Interestingly, the unusual choice of black painted walls in my view also helped render the colours more accurately, as well as creating a focus on the works by introducing more contrast than in most galleries, routinely painted in white or grey (it is worth noting, however, that this space contained no natural light which would have influenced my perception).

The science of how colours are perceived was the subject of the research programme which visitors were asked to take part in, as mentioned at the beginning of this piece. Participants were asked to respond to images of paintings under different light sources and colour temperatures, and to answer questions on their perception of the colours represented.

The primary aim of these tests was to investigate colour consistency – how the human brain ensures the perception of colours remains relatively consistent under varying conditions of illumination.

Now that the exhibition has closed the results will be analysed and published on the National Gallery’s Research web page. http://research.ng-london.org.uk/ wiki/index.php/Main_Page

Lighting Journal November/December 2014

28 Legal issues

COMING TO TERMS

Howard Crossman looks at contractual commitments to maintenance subcontractors

A

contractor carrying out highways maintenance work under a framework contract will sometimes subcontract the street lighting element to one or more specialists. This work will invariably be carried out for a fixed period of years, often six or seven (known as ‘the term’). There may also be subsequent annual reviews for extensions. The term will often be back to back with the same fixed period of years under the contractor’s framework contract. Sometimes the work may start before a contract documenting all the detail is signed.

This article (which looks at the position of a contractor and subcontractor but applies equally to an employer and contractor) explores the interesting topic of contractual commitments in relation to a street lighting maintenance subcontract – and what happens if a contractor tries to terminate the subcontract during the duration of the term.

Agreeing terms and getting started Usually, an invitation to tender is sent out by the contractor to the subcontractor. The latter will then price for the relatively predictable workflow of maintenance, repair and emergency response work, often on an annual lump sum. Scheme works, other one-off instructions and compensation events are frequently priced separately by reference to bills of quantities/ schedules of rates. The subcontract should contain conditions of contract governing the operation of the subcontract, and there will usually be further appendices containing, for example, fees and specifications. Importantly, there needs to be agreement to a start date and commitment to the term.

Lighting Journal November/December 2014

There may well be a pre-start meeting between the parties which records (often by way of minutes) agreements and actions. It is possible that at this stage the parties have not carried out the paper exercise of producing all the contractual documentation in one place for execution.

Indeed, the parties could start work based on a letter of intent with the subcontractor being paid on the agreed lump sum and schedule of rates. It is not unknown for there never to be a signed contract incorporating all the relevant documents and appendices that should ideally constitute the subcontract.

Is there a contract?

Ordinarily, a contract will be signed by the parties as clear evidence of the existence of a contract and an acceptance by the parties that they will be bound by the agreed terms.

In the absence of a signed contract there are often disputes as to whether the parties agreed to be contractually bound or not. Case law suggests that when considering whether a contract has been agreed, the courts will look at the intentions and conduct of the parties, as contracts can be formed both in writing and by conduct. The absence of a signed agreement does not automatically preclude the existence of a contract.

In RTS Flexible Systems Ltd v Molkerei Alois Muller GmbH and Co KG (UK Production) [2010] 1 WLR 753 (‘RTS’) the court considered whether there was a contract between the parties in the absence of express agreement.

In reaching its decision the Supreme Court looked at the conduct and intentions of the parties and found it unrealistic to assume that the parties did not intend to create legal relations. The parties had started work on the basis of a letter of intent but had failed at that point to finalise the agreed terms and sign a written contract. The court found the conduct of the parties was sufficient to assume that they intended to be bound by a contract. As a result a contract did exist between the parties, and their rights and liabilities under the contract were enforceable.

Applying this to the street lighting scenario, if a formal contract was not documented or signed, it is easy to see why a contractor could think that work being done by a subcontractor was on an ad hoc basis and so it was entitled to end the arrangement at any time. However, caution should be exercised. If work was being carried out under

Legal issues 29 a letter of intent, payment was being made on agreed pricing of lump sums and rates, and there was evidence of agreement to the term, then there could be an argument that the parties have entered into a binding subcontract, in other words a term contract.

Commitment to the term If the term has been agreed between the parties and is evidenced, for example in meeting minutes, and then referenced in a letter of intent, this may be sufficient to prove agreement to be bound by a term contract. A subcontractor may also be induced to enter into long-term commitments in the belief that it has secured a term contract. This in itself could be persuasive when deciding whether the term exists as it demonstrates a level of resource and financial commitment consistent with there being a formal term contract, for example: • Significant commitments may be made by the subcontractor to TUPE (Transfer of Undertakings [Protection of Employment] Regulations) over existing staff • A subcontractor may need to provide substantial additional resources at great expense at the request of a contractor during the course of the term • The subcontractor may invest in site accommodation to deal with the work load • The subcontractor may be asked to procure longterm lease commitments on vehicles at considerable investment cost • The subcontractor could be required to price within the lump sum payment schedule for items that would only ever be required, for example, once every year, two years, three years or even six years All of these points can be seen as evidence to demonstrate a term contract.

Consequences of early termination If a contractor sends a letter during the term evincing an intention to end the term contract without reason and replace the subcontractor for the remainder of the term, this could be seen as a fundamental act of ‘repudiatory breach’, there being no intention to be bound by the terms of the term contract. This repudiatory breach could then be formally accepted in writing by the subcontractor. The subcontractor may suffer losses which are claimable in law as damages for breach of contract. There may well be direct costs and claims made against the contractor.

Further, if a subcontractor carrying out the works was the only subcontractor providing the street lighting maintenance services it could be stated that all scheme work in relation to street lighting would be passed down to the subcontractor. Consequently, there could be an argument that the subcontractor was denied the opportunity and lost the chance to carry out further scheme instructions that would be passed down to the subcontractor during the remainder of the term.

Conclusion A contractor must think very carefully about the consequences of trying to remove a subcontractor during the course of the term, even if a term contract has not been formally documented and signed. A word of warning from the Supreme Court in RTS – ‘agree terms first and start work later’.

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

The absence of a signed agreement does not automatically preclude the existence of a contract

Loss of profit and opportunity There could also be claims for loss of profit and for loss of chance for the remainder of the term, in other words from demobilising and leaving site until the end of the term. This could be based on the lump sums and bills of quantities agreed at the outset, thereafter factoring in projections for the remainder of the term. In relation to any loss of profit calculation, the subcontractor could argue that year on year it will improve its profitability as a result of: • Greater knowledge over the passage of time of the condition of the lighting columns • Improved network knowledge allowing more efficient planning of travel routes • Improved working methods • Better utilisation of workforce

Lighting Journal November/December 2014

30 Events

Back to school

Lighting is again on the curriculum at the Surface Design Show 2015, in a programme supported by the ILP

T

hirteen leading lighting designers have signed up to present lectures at next year’s Light School event in February. The first Light School was launched at the 2014 Surface Design Show in conjunction with the ILP, which is again supporting it. The idea is to promote awareness and provide education for architects and designers about lighting and lighting design.

The relationship between light and surface materials is clearly a crucial one and the aim is for the audience to leave the show having learned something that will change the way they see light, says the organiser.

Like the first year, Light School will be presented by Light Collective and will comprise three parts: School Room, Product School and School Newspaper. School Room will be the focal point of the three-day event and will feature lighting designers among the lecturers.

Light and Surfaces Awards Entries into the Lighting and Surfaces category of the 2015 Surface Design Awards have grown by 71 per cent in just a year. The category, introduced into the Surface Design Awards in 2014, has attracted 24 entries.

International projects feature highly with schemes from five different countries, including the US and the UAE. More than 180 entries have been received in all, a 62 per cent increase, with projects from 21 countries.

Co-chairing the judging panel will be Sarah Featherstone, founder of architect’s Featherstone Young, and FX magazine editor Theresa Dowling. Other judges are Ralph Courtenay of Jonathan Dunn Architects; Nicola Osborn of MoreySmith; Adam Richards of Adam Richards Architects; Annalie Riches of Riches Hawley Mikhail; Maria Smith of Studio Weave,

Lighting Journal November/December 2014

and Sharon Stammers and Martin Lupton of Light Collective.

The awards presentation will take place on Thursday 12 February 2015 at Surface Design Show/Light School.

Product School Product School is the lighting exhibitors’ showcase.

Participants so far include Concord, Commercial Lighting and Wila Lighting, and the ILP will also have a stand. Other supporters will include the School Newspaper sponsor, Deltalight, and after-show party host and sponsor Atrium.

‘We are really delighted with the way that Light School and lighting have increased in importance alongside the Surface Design Show,’ says Light School project manager Philippa Christer. ‘The concept of lighting designers helping architects and interior designers to understand lighting better has really appealed.’

Events 31 Speakers: 1. Tim Burrell-Saward, freelance 2. Carl Gardner, ILP 3. Michael Grubb, Michael Grubb Studios 4. Douglas James, Minds Eye 5. Paul Nulty, Paul Nulty Lighting Design 6. Mark Ridler, BDP 7. Iain Ruxton, Speirs and Major 8. Jeff Shaw, Arup 9. Sally Storey, Lighting Design International 10. Paul Traynor, Light Bureau 11. Peter Veale, Firefly Lighting Design 12. Joe Vose, Light Bureau 13. Rebecca Weir, Light IQ

Exhibitors so far: Anolis Commercial Lighting Concord Applelec

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2

3

4

5

6

7

8

9

10

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12

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LED Linear Optelma Spectral Wila Lighting

Lessons to be learned: • Lighting cultural buildings • Lighting urban environments • Design technology • The internet of things • Creating the emotional context for your home • Lighting the workplace • Landscape lighting • Gorgeous bars and restaurants • Hotel lighting • Saving the high street

Light School at Surface Design Show When: 10-12 February 2015 Where: Business Design Centre, London N1 www.surfacedesignshow.com/light-school

Lighting Journal November/December 2014

32 Future concept

Flash dressing Responsive lighting that sends a message to motorists

I

t might seem a long way from a puffer fish to a safer cyling experience but the link lies in deimatic behaviour in animals.

In short, the natural mechanisms to produce threatening or startling behaviour – such as suddenly displaying conspicuous eyespots – that creatures use to scare off or momentarily distract a predator, allowing it an opportunity to escape.

London-based designer Will Verity started exploring this area to see if the same principle could be applied to cyclists’ clothing to create a deterrent, warning effect to motorists. His solution was not just an LED jacket that lights up, but a garment that actually responds to cars.

According to statistics cited by Verity, people, especially women, regard cycling in an urban environment as dangerous, so that while government and local authorities are examining ways of encouraging more people to take to their bikes, the perception of it being unsafe is militating against their policies.

And perception is the issue, says Verity, as statistically the dangers of cycling are apparently low – data from Transport for London shows that in 2011 there were 182m trips by bicycle in London, and 16 cyclist deaths. ‘Only one cycle journey in every 32,800 ended in serious injury, and the odds of being killed were 11m to one. On a strict average, you would have to cycle in London every day for 900 years to come to serious harm.

Lighting Journal November/December 2014

Future concept 33

‘It became clear that despite the statistical evidence the experience of cycling – or perceived experience – was poor, especially in urban environments like London,’ he continues. ‘From this starting point I wanted to understand why levels of female participation in cycling were so low, and what design opportunities there were to address this issue.’

Which is where the deimatic behaviour comes in. In the early stages of the project Verity began developing responsive textiles that could change shape in response to an input, such as a car being too close.

‘Mimicking, for example, a puffer fish [pictured left] that artificially inflates its size to ward off a predator. These were developed using a smart wire that can change shape in response to an electrical input.’

However, the ultimate solution lay in lighting. The jacket, made from waterproof lightweight technical fabrics, works by using proximity sensors embedded into the back of the garment that controls the LED back panel.

If a vehicle is approaching too close to the cyclist, the jacket responds with intermittent flashing. Because the sensors can produce accurate readings of distance, the jacket can assess how fast a vehicle is approaching, and can adjust the light pattern accordingly.

Verity also wanted to change current perceptions of and associations with the high-vis jacket.

‘The aim was also to not only develop a responsive garment but also to change the visual language of cycling jackets,’ he says.

‘The current visual language of high-visibility jackets is similar to that of road signs, highway maintenance works and other general barriers found in the built environment.

‘This has contributed to cyclists being perceived as obstacles and not as people. The jacket is trying move away from the standard visual language and develop a garment that is perceived in a new way, with the aim of giving cyclists more space on the road and a much safer experience.’

The recent all-party government report Get Britain Cycling says that the long-term vision should be to ‘increase cycle use from less than two per cent of journeys in 2011 to 25 per cent by 2050. The report points out that existing cyclists in the UK are overwhelmingly white, male and between the ages of 25-44. This female/male divide is also reflected in data collected by the cycling charity Sustrans. Its data showed that only four per cent of women were cycling more than once a week and that only 25 per cent of the journeys made by bike in the UK were made by women. In the Netherlands, by comparison, where levels of cycling are much higher, women undertake 55 per cent of the journeys made by bicycle. www.willverity.com/Deimatic-Clothing (includes Vimeo of jacket in action)

Talking cars

And on the subject of using LEDs for communication on the roads, Intel research scientist Richard Roberts says that he is looking into visible light communication (VLC) as part of the quest to develop intelligent, responsive cars, according to IEEE Spectrum (Institute of Electrical and Electronics Engineers). Intel has been working on VLC since 2008 and Roberts is developing the technology as a low-cost, car-to-car communication platform, using the visible light emitted by LEDs in car headlights.

The proposed system would use a series of rapid pulses of visible light to relay information from one car to another. The flashes would be too fast to be visible to the human eye, but could message other cars.

‘We envision car lights transmitting messages that your eyes can’t see,’ says Roberts. ‘They’re blinking out messages to be used by other automobiles for safety reasons: positioning, collision avoidance, cooperative driving – maybe even someday for autonomous driving.’

VLC could be cheaper for vehicleto-vehicle communication than other costly options such as radar or lasers.

At least 10 per cent of cars on the road would need to be equipped with radar/laser systems to make a basic mesh network a viable solution.

However, it does rely on line-of-sight which could be a drawback in adverse weather and low ambient lighting conditions, making it more problematic as a solution for driverless cars. http://spectrum.ieee.org/ transportation/advanced-cars/ leds-bring-new-light-to-car-to-carcommunication

Lighting Journal November/December 2014

34 PLS 1: President’s address

Training for the future

Education, acquiring skills and creating clear career paths have to be top priorities, says new president Mark Cooper

A EDUC TION Lighting Journal November/December 2014

PLS 1: President’s address 35

E

ducation, education, education: the now-famous phrase taken from Tony Blair’s 2001 speech would sum up his plan for the year ahead, said Mark Cooper in his president’s address.

‘This phrase was a promise to promote training and education above all else, and I can make the same pledge,’ he said. ‘Education for all of those members that wish to upgrade their membership status, education for clients and employers so that they may recognise the benefits of investing in competent lighting designers and engineers, and education for the outside world at large to recognise lighting as a valid profession and career choice.’

Competency for lighting engineers and designers is of increasing importance, maintained Cooper, ‘Yet we still do not give enough prominence to training and membership among our colleagues, their employers and clients.’

To help address this, he said, the ILP would be producing new leaflets explaining the benefits of membership

On green shootsand growth

and a welcome letter for the regions to send to new members. A new leaflet will be produced for employers and clients, explaining the benefits of employing and training competent designers and engineers.

This was especially important in light of the fact that there has been a shift in the ILP’s demographic, he said. ‘It is a frightening thought that many of what are considered to be our core audience – directly employed local authority engineers – are not actually members of the institution.

This has to change.

‘We will target recruitment at these individuals, and also from the infrastructure areas of rail and airports, and continue our growth within the design community.’

Cooper said he intended to work alongside the new VP education, Stuart Green, to overhaul the Exterior Lighting Diploma and integrate it as closely as possible with the LET Diploma, harmonising course entry procedures and, ‘hopefully creating an ongoing education path from our ELD to the LET Diploma and through

to the degree courses being offered around the UK’.

He also aimed to collaborate with the ILP’s Primary Engineer and STEM coordinator Steve Anderson to develop a series of workshops, presentations and lesson plans that can be rolled out across the institution. ‘This will enable members to join up as STEM ambassadors and take these lessons direct to the classroom, reaching schoolchildren directly and letting them know about lighting as a career. I urge all of you to consider signing up as a STEM ambassador.’

It was the long-term aim of the institution to provide a clear career path for all, he said, either through a technician/apprentice route, graduate route through a national recognised degree course in lighting design, or through on-the-job training and experience.

‘This will take time, but we have to have an ultimate goal,’ concluded Cooper. ‘Gone will be the days of “I just fell into lighting”. We will welcome the days of career guidance teachers recommending lighting as a vocation.’

‘It is now four years, since the most radical change in the institution’s 90 year-history and the transformation from ILE to ILP. This unfortunately coincided with the financial downturn and things have been tough. It has taken time for members, and the outside world at large, to work out what the aim of the ILP was. However, we have seen new green shoots of growth and a reverse of downwards trends.

More than 317 new members have joined us this year and membership numbers are heading back towards our peak of 2000-plus members, with a 20 per cent growth in corporate membership.

Under the guidance of our VP architectural, Mark Ridler, we have grown our design community to a healthy 56 members. We have 78 international members and the new MENA [Middle East and North Africa] region is attracting a lot of attention.

‘We have held more training days this year with more than double the number of delegates attending various courses over the past year than previous years. There are many more to be planned and delivered over the coming year. Training has

been carried out not only for those in the lighting profession. We are planning further training schemes with delegates from the Landscape Institute, planners and environmental health. Those members that attend training courses save 40 per cent on the cost of a non-member – just another reason to join.’

More than 317 new members have joined us this year and membership numbers are heading back towards our peak of 2000-plus members, with a 20 per cent growth in corporate membership Lighting Journal November/December 2014

36 PLS 2: Summit report

A broad agenda

Jill Entwisle reports on this year’s Professional Lighting Summit

M

ore than 300 delegates visited this year’s Professional Lighting Summit in Solihull for a conference programme that managed to be both wide-ranging in subject matter but also dig deep into the detail of topical technical issues.

Topics ranged from smart cities and the real implications of sustainability (a particularly lively presentation from independent lighting designer John Bullock) to a nitty gritty analysis of a supplier’s bill and a dissection of strategies for public realm lighting.

The workshops which ran parallel

Lighting Journal November/December 2014

to the sessions offered a chance for more intimate discussion and practical advice on subjects as diverse as the key considerations when retrofitting, converting existing equipment to CMS, and the reasons why any old lux meter won’t do when measuring LED installations.

This year’s speaker at the formal dinner was BBC political correspondent John Pienaar who gave an incisive insider’s view of Westminster. Most admired political figures after 20 years as a parliamentary commentator? Dennis Skinner and Edwina Currie.

‘

‘I work in an industry which I am passionate about and feel the support of the ILP is crucial to my development’ ‘It’s good companionship with others in the profession’ ‘Very interesting, the summit provided good knowledge and insight’ ‘I am proud to be a lighting engineer and have a passion to see the ILP fulfil its goals’

The Professional Lighting Summit was held at the St John’s Hotel, Solihull, on 24 and 25 September 2014

PLS 2: Summit report 37

AWARDS • • •

•

Student of the Year: Gregory Hall Best PLS Presentation from Glasgow 2013: Dr Peter Hughes Best Lighting Journal Article: Thomas Paterson – Maintaining a sense of proportion (LED cost analysis), LJ March 2014 (also a special mention to Laura Arroyo Rocha and Scarlett Taylor for the research on which the article was based) The ILP Special Recognition Award: Atrium (presented to MD Ulysse Dormoy, left, by Mark Cooper and Elizabeth Thomas)

Lighting Journal November/December 2014

38 VPs’ column

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he shape of the lighting industry continues to change and develop as local authorities review the service they offer the public and replace their lighting stock to reduce energy costs. The vast majority is being replaced with LED luminaires.

The technical committee and professional services team therefore needs to stay in touch with the changing demands for relevant advice on lighting, and develop documents to match the requirements of local authorities, consultants, contractors, designers and end users.

The technical committee is supported by the Professional Services Team (PST) under the guidance of Stuart Bulmer, professional services manager.

He is regularly called on by both members of the institution and also by members of the public to provide advice and guidance on lightingrelated matters. Where Stuart is unable to provide an answer from his own knowledge, he regularly requests advice and guidance from a range of other sources, including consultants, manufacturers and local authority lighting engineers.

As with any other role within the ILP the composition of the PST is regularly reviewed and a succession plan is in place for the unexpected.

With this in mind the ILP is always looking for willing volunteers to contribute and further other members’ knowledge of lighting.

A key part of this education process is the Professional Lighting Guides. Already published this year is PLG06: Attachments and seasonal decorations. This document has developed from its original intention of providing guidance for seasonal decoration attachments to now include all attachments to lighting columns and building structures.

Also scheduled for publication this year is PLG08: Adaptive lighting, which will provide lighting professionals with guidance on the selection of part-night switch-off, dimming, trimming and dynamic control of lighting to suit each authority’s individual requirements.

The document references PLG01: CMS, also due for publication this year, as there are similarities in approach where dynamic and adaptive lighting need control other than through the use of photocells. This document will provide professionals with a clear understanding of the systems available to date and the

Fund of knowledge Keith Henry, VP technical, on staying in touch with changing demands areas to take into consideration when selecting a CMS. These two PLGs will provide both decision makers and end users with the tools to help in the management of lighting installations, as well as reduction in energy and maintenance costs.

It is encouraging that the regions have become champions of and more involved in the production of PLGs Another forthcoming guide is PLG05: Illuminated advertising displays. This will provide guidance for both lighting professionals and planners in assessing illuminated advertising sites. The document is a revision of TR05 which has now taken into consideration the increase in the use of video-wall type advertising.

It is encouraging that, following the technical committee meeting in April this year, the regions have become champions of and more involved in the production of PLGs. The London and South Eastern region under the chairmanship of Al Tanriverdi has undertaken the review and rewriting of TR22. Two workshops have been arranged to assist with the

scoping of this document and will be held at the following venues: 19 November 2014: Scotland workshop at the Grosvenor Hotel, Edinburgh 26 November 2014: L&SE workshop at Westminster Archive Centre The Midlands region has undertaken a review of the requirements for car park lighting, which is covered in a multitude of different standards, the majority of which do not have a consistent approach or rationale with regards to the provision of lighting. The scope of the document will cover pedestrian and vehicle movements, along with lighting requirements specific to entry and exit points, and pay stations.

The YLP is also actively involved in the technical committee and has recently set up a Linkedin group, the Institution of Lighting Professionals technical forum, to exchange technical views and queries with regards to lighting. This group is moderated by Chantal O’Sullivan.

The regional technical liaison officer (RTLO) in each area is key to disseminating information to members, and I would encourage all members to channel questions and queries through their region’s RTLO. If you have an interest in any of these areas and can contribute to the preparation of the documents mentioned, please get in touch. vp.technical@theilp.org.uk

Lighting Journal November/December 2014

Design

Internally moulded struts ensure that the bollard shell does not compress which means no cracking or creasing of the rigid reflective material.

…and performance

FROM

Still working after being crushed by cement mixer in Malta.

SignPost

SO LUTIO N S LT D

Unit 5, Clarendon Drive, The Parkway, Tipton DY4 0QA United Kingdom

t: +44 (0) 121 506 4770 f: +44 (0) 121 506 4771 e: traffic@signfix.co.uk www.signfix.co.uk

40 Products

What’s new Signature

PED-X pedestrian crossing lantern Part of Signature’s OP Lantern range of LED street lighting, the PED-X highlights pedestrians using the crossing.The optics are designed to illuminate the pedestrian laterally against the flow of traffic, creating contrast, and enabling each pedestrian to become fully identifiable as a person and not just as a silhouette. The whole OP Lantern range uses a combination of high-power LEDs with a lens reflector system to give high photometric values. The PED-X is available in 3000K-5700K colour temperatures and is compatible with the optional onboard OP dimmer, switched phase and CMS. Delivering 6184lm at 5700K, it has a system efficiency of 76.3lm/W. www.signatureltd.com

Reggiani

Splyt Designed by LAPD, Splyt is a system of interior projectors.

The optics range from very narrow through to wallwashing (seven, 22 and 42 degrees), while limiting the thickness of the optical compartment to just 40mm. For use with LED sources ranging from 18W-32W, the system includes semi-recessed, track, and surface and wall-mounted options. Output is up to 3025lm (LOR up to 91 per cent).

The styling reflects the geometric theme of all Reggiani’s latest luminaires. www.reggiani.co.uk/

Megaman UK

Versa-LED Versa-LED is an integrated fire-rated downlight with a serviceable LED module for full control. The 8W fitting includes Megaman’s latest highefficiency LED module, easy click connectors and large push button terminals. It also has loop in, loop out features to save on installation time.

Its honeycomb lens gives a beam angle of 36 degrees, which matches the company’s GU10 range. With integrated driver, the module can be upgraded or replaced with another colour temperature or a higher performing option. Available in three bezel finishes – white, chrome and satin chrome – Versa-LED comes in warm white (2800K) or cool white (4000K), and in fixed or tilt versions.

With a life of 30,000 hours, it has a four-year warranty. www.megamanuk.com

Lighting Journal November/December 2014

Products 41

Ingo Maurer

Brick Brick comes in a range of options: the body and diffusers are available in three colours and freely combinable. Each element can be rotated through 360 degrees and used as an uplight or downlight. Diffusers have a lacquered fluorescent surface and the light at the edges is slightly tinged with red or yellow. The base can be used alone or with up to two Brick Plus elements. www.ingo-maurer.com

Telensa

PLANet system enhancements Telensa has added an onboard GPS module and the new NEMA 7-pin connector to its telecell options for its PLANet SmartGrid street light control system. It has also introduced a range of new features including adaptive lighting controls for traffic flow monitoring, an enhanced user interface, built-in constant light output, multiple dimming levels, override functionality and a new-look, low-profile telecell node. www.telensa.com

Etap

US LED The US range of LED â&#x20AC;&#x2DC;softlightsâ&#x20AC;&#x2122; is available in three mounting depths: 120mm, 80mm and 40mm. The use of microprisms and diffuser foil result in low glare (UGR < 19), uniform illumination.

Light is diffused directly through the primary or indirectly through the secondary optics. There are versions available with higher luminous fluxes (up to 4000lm with UGR <19 or <22).

Efficiency is up to 120lm/W and the LEDs have a 97 per cent LLMF after 50,000 burning hours. www.etaplighting.com

Lighting Journal November/December 2014

42 Preview

What’s new at LuxLive Megaman

DesignLED

Following the recent investment

by IKEA Greentech, DesignLED is launching the Clan range, claimed to be the world’s thinnest backlighting solutions. Using the company’s patented light guide technology, the products feature LEDs embedded into clear resins and films. The Edinburgh undershelf luminaire (pictured top) measures 6mm x 2mm, while Ness is a high-density customisable, double-sided and curvable backlighting solution (above).

Stand H43 http://designledproducts.com

Tamlite Lighting

Tamlite will be launching its 2020 range of interior and exterior lighting, including the British-designed and made Prima and Micro-LED (pictured) linear systems. MicroLED is designed for both industrial and retail areas, and uses the latest Philips Fortimo LED boards. The diffuser optic controls glare while providing a high lumen output.

With a click-fix installation method, it is also available as a continuous linear system.

Stand D11 www.tamlite.co.uk

Lighting Journal November/December 2014

Megaman UK has a variety of newly launched products.

The dimming room area of the stand will have the full range of decorative and reflector LED lamps including a new 6W dimming candle, the new 5W dimming IncandaLED candle in extra warm white, the Crown Silver range (including 3.5W and 6W dimming lamps) and a new Crown Brass (pictured).The LightwaveRF lounge will feature lighting, power and heating product ranges all controlled by a giant iTab, also controlling all the lighting throughout the stand.

Stand E30 www.megamanuk.com

Preview 43

Kosnic

Kosnic will show its next generation mains voltage LED lamps and new luminaire ranges including next generation GU10 and GLS LED equivalents, LED DD and CoB (Chip on Board) LED lamps. Also on the stand will be the Lumi range of architectural and commercial luminaires, Bluetooth and RF LED lamp ranges, plus Kosnic’s first UK designed and manufactured LED fitting, the Kurve modular luminaire range, a 600mm x 600mm retrofit solution

Luxonic Lighting

The Skylux pendant (pictured) will be among a range of fittings launched at the show by Luxonic. A new decorative architectural fitting, the fitting is a horizontal acrylic disc edge lit by LEDs.Also designed for office interiors are new direct/indirect versions of Slimlux and Skylux LED luminaires. Both are designed for suspension mounting and have 4000K Ra80 LEDs. The larger Skylux has an output of 2900lm and Slimlux, 66mm wide, produces 1590lm.

Stand G10 www.kosnic.com

Stand H20 www.luxonic.co.uk

DW Windsor

The company will launch a number of LED products this year for traditional street lighting in the public realm, as well as rail and infrastructure markets. Among them will be a new compact LED road lantern optimised for P lighting classes (residential and minor roads); the Zeppa slim profile architectural LED road lantern (pictured) and a highperformance LED floodlight for high light output area lighting.

Stand D40 www.dwwindsor.com

MHA Lighting

MHA Lighting is introducing BrightStar 209 featuring its new LED lighting technology, which the company describes as a ‘fundamental step change’ in performance. MHA’s solution uses Total Internal Reflection to transmit and direct the light into the workspace. Powerful CoB LED modules are located at each end of acrylic tubes, hiding the LEDs from view, to reduce glare and create an even light distribution similar to that of a T8 array.

Stand G11 www.mhalighting.co.uk

Lighting Journal November/December 2014

Consultants Carl Ackers

MSc CEng MCIBSE MILP MSLL Built Environment Consulting Ltd 5 Redwing Court, Long Acre Willow Farm Business Park Castle Donington DE74 2UH

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

BEC are Chartered building services consultants based in Castle Donington in the East Midlands.

Our location allows us to serve the whole of the UK from our central base. With many years’ experience we are able to bring a wealth of knowledge and experience 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.

Steven Biggs IEng MILP

These pages give details of suitably qualified, individual members of the Institution of Lighting Professionals (ILP) who offer consultancy services.

Listing is included on main ILP website with logo (www.theilp.org.uk)

John Conquest

MA BEng(Hons) CEng MIET MILP 4way Consulting Ltd Fernbank House, Tytherington Business Park, Macclesfield, SK10 2XA.

T: 01625 348349 F: 01625 610923 M: 07526 419248 E: john.conquest@4wayconsulting.com W: www.4wayconsulting.com 4way Consulting provides exterior lighting and ITS consultancy and design services and specialises in the urban and inter-urban environment. Our services span the complete Project Life Cycle for both the Public and Private Sector (including PFI/DBFO).

BEng(Hons) CEng FILP

Technical Director (Lighting)

WSP WSP House, 70 Chancery Lane, London WC2A 1AF

T: 07827 306483 E: allan.howard@wspgroup.com W: www.wspgroup.com Professional exterior lighting and electrical services covering design, technical support, contract and policy development including expert advice regarding energy and carbon reduction strategies, lighting efficiency legislation, light nuisance and environmental impact investigations. Registered competent designers and HERS registered site personnel.

IEng MILP

Team Principals

Skanska Infrastructure Services

WSP

Dodson House, Fengate Peterborough PE1 5FS

Unit 9, The Chase, John Tate Road, Foxholes Business Park, Hertford SG13 7NN

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

Alistair Scott

BSc (Hons) CEng FILP MIMechE Designs for Lighting Ltd 17 City Business Centre, Hyde Street, Winchester SO23 7TA

T: 01962 855080 M: 07790 022414 E: alistair@designsforlighting.co.uk W: designsforlighting.co.uk Professional lighting design consultancy providing technical advice, design and management services for exterior and interior applications including highway, architectural, area, tunnel and commercial lighting.

Advisors on lighting and energy saving strategies, asset management, visual impact assessments and planning.

Anthony Smith

Colin Fish

Technical Lead for Lighting Design

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

Allan Howard

IEng FILP

Are you an individual member of the ILP? Do you offer lighting consultancy?

Make sure you are listed here

Director

Stainton Lighting Design Services Ltd Lighting & Electrical Consultants, Dukes Way, Teesside Industrial Estate, Thornaby Cleveland TS17 9LT

T: 01642 766114 F: 01642 765509 E: enquiries@staintonlds.co.uk Specialist in all forms of exterior lighting including; Motorway, Major & Minor Highway Schemes, Architectural Illumination of Buildings, Major Structures, Public Artworks, Amenity Area Lighting, Public Open Spaces, Car Parks, Sports Lighting, Asset Management, Reports, Plans, Strategies, EIA’s, Planning Assistance, Maintenance Management, Electrical Design and Communication Network Design.

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

Professional services providing design and technical support for all applications of exterior lighting and power from architectural to sports, area and highways and associated infrastructure. Expert surveys and environmental impact assessments regarding the effect of lighting installations and their effect on the community.

Lorraine Calcott

Stephen Halliday EngTech AMILP

Alan Jaques

Nick Smith

It Does Ltd

Team Principals

Sector Leader – Exterior Lighting

Milton Keynes Business Centre, Foxhunter Drive, Linford Wood, Milton Keynes, MK14 6GD

WSP

Atkins

Nick Smith Associates Limited

IEng MILP MSLL MIoD

T: 01908 698869 M: 07990 962692 E: Information@itdoes.co.uk W: www.itdoes.co.uk Professional award winning international lighting designer Lorraine Calcott creates dynamic original lighting schemes from a sustainable and energy management perspective. Helping you meet your energy targets, reduce bottom line cost and increase your ‘Green’ corporate image whilst still providing the wow factor with your interior, exterior or street lighting project.

Mark Chandler EngTech AMILP

The Victoria,150-182 The Quays, Salford, Manchester M50 3SP

T: 0161 886 2532 E: stephen.halliday@wspgroup.com W: www.wspgroup.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. PFI technical advisor and certifier support. HERS registered site personnel.

Philip Hawtrey BTech IEng MILP MIET Technical Director

MMA Lighting Consultancy Ltd

Mouchel

99 Old Bath Road, Summer Field House Charvil, Reading RG10 9QN

Severn House, Lime Kiln Close, Stoke Gifford, Bristol, BS34 8SQ

T: 0118 3215636, M: 07838 879 604, F: 0118 3215636 E: mark@mma-consultancy.co.uk W: www.mma-consultancy.co.uk MMA Lighting Consultancy is an independent company specialising in Exterior Lighting and Electrical Design work.

We are based in the South of England and operate on a national scale delivering street lighting and lighting design solutions.

T: 0117 9062300, F: 0117 9062301 M: 07789 501091 E: philip.hawtrey@mouchel.com W: www.mouchel.com 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.

Call Julie on 01536 527295 for details

IEng MILP

Broadgate House, Broadgate,Beeston, Nottingham, NG9 2HF

T: +44 (0)115 9574900 M: 07834 507070 F: +44 (0)115 9574901 E: alan.jaques@atkinsglobal.com The consultancy offers a professional exterior lighting service covering all aspects of the sector, including design, energy management, environmental impact assessments and the development of lighting strategies and policies. It also has an extensive track record for PFI projects and their indepedent certification.

IEng MILP

36 Foxbrook Drive, Chesterfield, S40 3JR

T: 01246 229444 F: 01246 270465 E: nws@nicksmithassociates.com W: www.nicksmithassociates.com Specialist exterior lighting design Consultant.

Private or adoptable lighting and cable network design for highways, car parks, area lighting, lighting impact assessments, expert witness.

CPD accredited training in lighting design, Lighting Reality, AutoCAD and other bespoke lighting courses arranged on request.

Tony Price

Alan Tulla

Capita

Alan Tulla Lighting

BSc (Hons) CEng MILP MSLL Capita House, Wood Street, East Grinstead, West Sussex RH19 1UU

T: 01342 327161 F: 01342 315927 E: tony.price@capita.co.uk W: www.capita.co.uk/infrastructure Chartered engineer leading a specialist lighting team within a multi-disciplinary environment. All aspects of exterior and public realm lighting, especially roads, tunnels, amenity and sports. Planning advice, environmental assessment, expert witness, design, technical advice, PFIs, independent certification.

IEng FILP FSLL

12 Minden Way, Winchester, Hampshire SO22 4DS

T: 01962 855720 M:0771 364 8786 E: alan@alantullalighting.com W: www.alantullalighting.com Architectural lighting for both interior and exterior. Specialising in public realm, landscaping and building facades. Site surveys and design verification of sports pitches, road lighting and offices. Visual impact assessments and reports for planning applications. Preparation of nightscape strategies for urban and rural environments.

CPDs and lighting training.

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

Everybody wants one, it’s the thing you put on your CV Lorraine Calcott, director, It Does Lighting

Thursday 19 March | London Hilton on Park Lane

Book your table today to ensure the best position in the room on the night Don’t miss the opportunity to: Win new business Network with your industry peers Raise your company profile and product awareness Establish face-to-face relationships with potential clients Support and celebrate the industry’s achievements

Book online now at lightingawards.com Or call us on +44 (0) 203 033 2660 Please quote VIP code ILP when booking

Table bookings Francesca Verdusco +44 (0) 203 033 2660 francesca.verdusco@emap.com

brougHT To you by:

SPoNSorED by:

Sponsorship opportunities Martin Arnold +44 (0) 207 391 4521 martin.arnold@emap.com

SuPPorTED by:

SocIAL MEDIA SPoNSor:

@LDAwards #LDawards Lighting Design Awards

MEDIA PArTNErS:

LIGHTING DIRECTORY ARCHITECTURAL LIGHTING

COLUMN INSPECTION & TESTING

CUT OUTS & ISOLATORS

ELECTRICAL DISTRIBUTION

Kiwa CMT Testing 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.

Unit 5 Prime Park Way Prime Enterprise Park Derby DE1 3QB Tel 01332 383333 Fax 01332 602607

BANNERS WIND RELEASING

cmtenquiries@kiwa.co.uk www.kiwa.co.uk

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!

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 Web site: www.maclean.co.uk

EXTERIOR LIGHTING

LUCY LIGHTING

CONTACT JULIE BLAND 01536 527297

Lucy Zodion manufactures and supplies a complete range of Electrical/ Electronic products for Streetlighting: • Vizion CMS • Feeder Pillars • Pre-Wired Pillars • Photocells • Cutouts/Isolators

LIGHTING COLUMNS

• Electronic Ballasts • Cutouts/isolators • Lighting Controls Lucy Zodion Ltd, Station Road, Sowerby Bridge, HX6 3AF tel: 01422 317337 Email: sales@lucyzodion.co.uk

www.lucyzodion.com

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

SHATTER RESISTANT LAMP COVERS

FESTIVE & DECORATIVE LIGHTING

Specialist in high quality decorative and festive lighting.

A full range of equipment is available for direct purchase or hire including unique firework lights, column motifs, cross road displays, festoon lighting and various tree lighting systems.

Our services range from supply only of materials, hire, design and or total management of schemes.

More information is available from: Head Office City Illuminations Ltd Griffin House, Ledson Road, Roundthorn Ind Est Manchester M23 9GP Tel: 0161 969 5767 Fax: 0161 945 8697 Email: dave@cityilluminations.co.uk

CONTACT JULIE BLAND 01536 527297

LIGHTING CONTROLS

LIGHTING LUCY LIGHTING Lucy Zodion manufactures and supplies a complete range of Electrical/Electronic products for Streetlighting: • Vizion CMS • Feeder Pillars • Pre-Wired Pillars • Photocells • Cutouts/Isolators • Electronic Ballasts • Cutouts/isolators • Lighting Controls Lucy Zodion Ltd, Station Road, Sowerby Bridge, HX6 3AF tel: 01422 317337 Email: sales@lucyzodion.co.uk www.lucyzodion.com

METER ADMINISTRATION

Holscot Fluoroplastics Ltd Fluorosafe shatter resistant covers – Manufactured from high molecular weight Fluoroplastic material whose lifespan exceeds all maximum quoted lifespans for any fluorescent Lamps.

Holscot supply complete covered lamps or sleeves only for self fitting.

Alma Park Road, Alma Park Industrial Estate, Grantham, Lincs, NG31 9SE Contact: Martin Daff, Sales Director Tel: 01476 574771 Fax: 01476 563542 Email: martin@holscot.com www.holscot.com

TRAINING SERVICES

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

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

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 862690 info@PowerDataAssociates.com www.PowerDataAssociates.com Wrest Park, Silsoe, Beds MK45 4HR

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

R the egiste r fo UK ligh ’s grea r tin te luxl g even st ive. t

co.

uk

19 - 20 November 2014 | ExCel, London

Packed full of new features, the UK’s biggest and best lighting event ...

... is on the move to its new home of ExCel! LuxLive 2014 : • • • •

more exhibitors new features free talks and demos late night opening and much more including the new Great British Light Off!

Register now for your FREE entry pass: www.luxlive.co.uk/register LuxLive | ExCel | London | 19 - 20 November 2014 Contact: T +44 (0)1905 724734

@Lux_Live for #LuxLive updates

Diary 2014-15 9-11

24-28

IALD Enlighten Europe Venue: Andel’s Hotel, Berlin www.iald.org

Exterior Lighting Diploma Module 3 Venue: Draycote Hotel, Nr Rugby jean@theilp.org.uk

November

November

11

25

Fundamental Lighting Course (ILP course) Venue: Regent House, Rugby jo@theilp.org.uk

How to be Brilliant: at everything (Organised by the ILP) Speaker: Iain Ruxton, Speirs and Major Venue: ACDC Studio, London N1 Time: 6.30pm jo@theilp.org.uk

November

11

November

Lighting and Energy Efficiency (Mid Career College) Location: CIBSE, London SW12 www.cibsetraining.co.uk/mcc

12

November

TR22: Managing a vital asset (ILP course) Venue: Regent House, Rugby jo@theilp.org.uk

13

November

New British Standard for lighting: BS5489 (ILP course) Venue: Regent House, Rugby jo@theilp.org.uk

19-20

November

LuxLIve Venue: ExCel, London E16 www.luxlive.co.uk

20

November

Young Lighter of the Year LuxLive Venue: ExCel, London E16 www.sll.org.uk

20

November

Lux Awards Venue: The Troxy 490 Commercial Road, London E1 www.luxawards.co.uk

November

27

November

SLL Masterclass: Light for Life Location: Guinness Storehouse, Dublin www.sll.org.uk

27(-18 January) November

Amsterdam Light Festival Water Colours (boat route) throughout the festival. Illuminade (walking route in city centre) from 11 December to 4 January www.amsterdamlightfestival.com

5-8

December

Fête des Lumières (Lyons Festival of Lights) Featuring light artworks and installations by international artists www.fetedeslumieres.lyon.fr

16

December

Light Graffiti (Organised by the SLL) Photographer and light artist Michael Bosanko will create a light graffiti artwork at St John’s with the people attending; playback will be at ACDC Venue: St John’s Hoxton and ACDC Studio, London N1 (meeting point) Booking essential: jrennie@cibse.org

19-20 November: LuxLive, ExCel London

21

January

24:00:00 (SLL event) Private preview of Arup’s latest foyer exhibition on light and light technology in the modern world Venue: Arup, Fitzroy St, London W1 www.sll.org.uk

27

January

Obtrusive light: navigating the compliance minefield (ILP/BRE) Venue: BRE, Bucknalls Lane, Watford www.bre.co.uk

29

January

SLL Masterclass: Light for Life Location: St James’s Park Newcastle upon Tyne www.sll.org.uk

10

March

200 years of Fresnel: why everything we light and look at today depends on what he said (SLL event) Venue: Royal Institution, London www.sll.org.uk

19

March

Lighting Design Awards Venue: London Hilton, Park Lane https://www.awards.lighting.co.uk

9-14 April

Euroluce Venue: Milan Fairgrounds, Milan www.cosmit.it/en/euroluce

Full details of all regional events can be found at: www.theilp.org.uk/events/