Lighting journal october 14

LIGHTING

JOURNAL

October 2014

The publication for all lighting professionals

The UK’s first all-LED major public space

Night watch: are CCTV and street lighting still in conflict?

New lamps for old – LEDs vs the rest

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Contents

Lighting Journal October 2014 03 EDITORIAL 04 NEWS

32 CHEAP AS CHIPS

08 LIGHT MINDED/

LIGHT HEARTED

10 SCENE SHIFTING

10

Lighting designer Declan Randall works in both theatre and architecture. He looks at how each field constantly informs and influences the other

16 SPACE CRAFTING

Tim Downey outlines

StudioFRACTAL’s lighting design for King’s Cross Square, the first all-LED scheme for a major public space in the UK

22 NIGHT WATCH

Are there still conflicts between the needs of CCTV and street lighting provision? Or have we reached a new rapprochement?

Carl Gardner investigates

26 NEW LAMPS FOR OLD

16

Jill Entwistle takes a snapshot of the inroads LEDs are now making on traditional sources

31 THE MAN WHO SAVED

THE INSTITUTION

Obituary: Richard Frost pays tribute to Robin Marques HonMILP, who died earlier this year

Future concept: two new

developments could enable large-scale manufacture and lower prices for LEDs

34 ILP SURVEY:

THE RESULTS The institution recently carried out an online survey of members.

Jo Harding reports on the outcome

37 MIND THE GAP

Vice presidents’ column: Dave Burton, VP education, on plugging the holes in the school system

40 PRODUCTS 42 HIGH FIVE

YLP column: Tom Baynham marks the fifth anniversary of the Young Lighting Professionals this year by talking to the

founders and former chairs

45 CONSULTANTS’

DIRECTORY

46 LIGHTING DIRECTORY 48 DIARY

COVER PICTURE

King’s Cross Square, the UK’s first all-LED scheme for a major public space (see Space crafting, p16)

22

Lighting Journal October 2014

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Editorial 3 Volume 79 No 9 October 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 Keith Lewis Nigel Parry IEng FILP Richard Webster Advertising Manager Julie Bland Tel: 01536 527297 Email: julie@matrixprint.com

P

robably one of the greatest rethinks in lighting in recent years has been the shift in emphasis from the horizontal to the vertical. This capitulation, if it’s fair to call it that, has been driven by more than

one factor. First, our work surface has moved from the lateral plane of the desk to the vertical plane of the computer screen or smart device. Second, the drive to save energy led to a reexamination of exactly how much was being squandered by lighting carpets and empty desks. Third, and perhaps most significant, the realisation that how well or brightly a space is lit is largely a matter of perception – that a scheme that relies on downlighting can actually be overlit while still giving the impression of a murkier environment than one that is punching out far less light but which involves carefully balanced illumination of the walls and ceiling. That thinking has made the transition to the exterior and is well-exemplified by the scheme for King’s Cross Square (see Space crafting, p16), the subject of one of the papers at last month’s Professional Lighting Summit. ‘In the darker areas there is more light than you would think, but in the brighter areas it is not as high as

Published by Matrix Print Consultants on behalf of Institution of Lighting Professionals Regent House, Regent Place, Rugby CV21 2PN Telephone: 01788 576492 Fax: 01788 540145 E-mail: info@theilp.org.uk Website: www.theilp.org.uk

you would imagine,’ says Tim Downey of lighting designer StudioFRACTAL.

Produced by

Jill Entwistle

‘There is much written on horizontal illumination levels, but the key here is vertical illumination and how bright the space feels.’ Our obsession with CCTV (see Night watch, p22) and criminal behaviour has led to a tendency to overlighting. King’s Cross Square is yet another exterior scheme that demonstrates that it really doesn’t have to be that way.

Editor 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 © 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 October 2014

4 News

Nottingham fails to clean up on cost cutting A cost-cutting reactive maintenance approach to street lighting adopted by Nottingham County Council in 2011 is now costing the council money, according to a report to its transport and highways committee.

The Conservative council scrapped routine repairs and switched to a system of only repairing luminaires when they failed. Initially this realised a budget saving of £500,000 in 2011/2012.

However, in 2012/2013 this benefit reduced to £142,800, and in 2013/2014 there was a net increase in the cost of £153,235.

‘As well as a cost implication of continuing with a reactive maintenance approach,’ explains the report, ‘the number of faults is increasing, creating a backlog of repairs, in turn causing a longer time between a report of a fault (lamp out) and its repair.’

Reintroducing a planned maintenance approach, or bulk clean and change programme, will cost an additional £400,000 in the first year and a further £200,000 in the second. Funding has been approved.

Aberdeen follows up on pilot lighting festival

Wigan joins peers in LED programme Wigan Council is investing £11m in a threeyear programme involving the replacement of around 31,000 sodium street lights with Philips SpeedStar LED luminaires. The move is expected to cut up to £1m a year in energy costs and maintenance bills.

Over the past five years Wigan has installed around 5500 LED street lights and fitted LEDs to all of its 3500 illuminated traffic signs. From June 2014 through to March 2017, LED lighting units will be fitted to the remaining street lights

ILP launches PLG06

on around 4900 roads throughout the borough.

According to the council, the use of LEDs will reduce electricity usage by around 55 per cent or 6,500,000 kWh a year. Annual savings in carbon emissions will be around 3500 tonnes.

The policy of installing LEDs was being used as an alternative to switching off street lighting, according to council leader Lord Peter Smith. ‘I know some councils are switching lights off to save money but I don’t think that’s something people would want in Wigan,’ he said.

Professional Lighting Guide 06: guidance on installation and maintenance of seasonal decorations and lighting column attachments has now been released.

It is aimed at any individuals responsible for planning festive lights or other attachments to street lighting columns, furniture or buildings, including local authorities, parish councils, town centre managers, local development groups and lighting professionals.

The original remit of the guide has been expanded

Lighting Journal October 2014

Aberdeen City Council announced in August that it was tendering for an experienced organisation, partnership or consortium to take on the delivery of the 2015 Festival of Light in Aberdeen scheduled for next February. The deadline for submissions was September.

Spectra, Aberdeen’s first festival of light, took place in February this year, and involved a range of light installations, exhibitions and events. This pilot event attracted 17,000 people during the week of the festival.

The programme balanced school and community participation with a series of installations and projections by local, national and international artists.

The aim is to grow and develop the festival over the next five years, building it into a signature event for the north-east region of Scotland. www.aberdeencity.gov.uk/community_life_ leisure/arts/culture/aberdeen_festival_of_light.asp

considerably to deal with the increasing variety and quantity of items attached to street lights, which are not necessarily designed to take the increased loads. The introduction of newer technology such as Wi-Fi access points and radio signal transmitters is also covered.

For a detailed overview of content see Lighting Journal July/August (Forming an attachment, p28). www.theilp.org.uk

News 5

Employee who forged engineer credentials disciplined by ILP The institution’s Professional Conduct Panel has recently completed investigations into an alleged misuse of the title MILP and incorporated engineer, writes Richard Frost.

A certain individual, who cannot be named for legal reasons, obtained a position with a major UK lighting employer on the basis of claiming to have these titles. Apparently the individual forged certificates bearing the bona fide identification numbers of another member of the institution.

A lengthy investigation process has concluded with the person concerned being dismissed from their employment and they are no longer a member of the ILP at any grade.

The Professional Conduct Panel is at pains to point out to all employers of lighting professionals that they should check the credentials of job applicants as part of their interviewing process.

The institution’s membership department is more than happy to confirm membership and Engineering Council registration status, and a quick enquiry can alleviate the potential for later difficulties.

This is an extreme case and a very rare occurrence. Nevertheless it sends a message to employers to ensure that professional competence and standards are maintained for the benefit of all.

Monmouthshire switches off Monmouthshire County Council began switching off its street lights between midnight and 5am in residential areas of Chepstow from the end of August.

The move is part of a wider initiative to save £180,000 on street lighting, which contributes to a budget saving for this financial year of more than £9m.

The council’s street lighting officers have engaged with county councillors as well as town and community councils to determine the areas where they consider street lights cannot be switched off, and fittings in areas of traffic calming, crossings or other high-risk pedestrian areas will not be affected.

Lights have already been turned off

in residential areas of Abergavenny and Monmouth, and other locations in the county were also subject to the switch-off policy from late summer.

‘Until now, we have been able to make significant savings through working more efficiently. But the scale of cuts for this year was such that we can’t avoid making savings that could impact on the communities we serve,’ said Cllr Bryan Jones, Monmouthshire’s cabinet member responsible for street lighting.

‘I understand entirely that many people won’t like the idea of street lights being turned off. But I’m confident that we have done what we can to minimise the impact.’

Eindhoven to become testing ground for intelligent lighting The selection phase of the European tender procedure initiated by the Dutch city of Eindhoven has now been completed. It is looking for a partner organisation which wants to use the city as a testing ground in the coming years for the development of intelligent lighting applications in public spaces.

The four chosen candidates, including three consortiums, will take part in the competitive dialogue rounds through which the final choice will be made: Hoeflake Infratechniek BV/Grontmij Nederland, Philips Nederland BV/Heijmans Wegen BV, Vialis BV/KPN BV, and ZIUT BV. This phase begins this month. The aim is that the company selected will be able to start implementing the test project in mid-2015.

The tender is a result of the 2030 Vision and Roadmap for Urban Lighting in Eindhoven in which the municipality expressed its ambition to implement innovative lighting solutions in the public domain to improve the quality of life in the city.

For more information go to www.eindhoven.nl/slimlicht

Simpson gets double honours

Former ILP president Mike Simpson has been awarded two honours in the space of four days. He has been appointed a fellow of the Royal Academy of Engineering and also awarded an honorary fellowship from Rose Bruford College of Theatre and Performance.

Simpson, technical and design director at Philips Lighting, is also a former president of the SLL and of CIBSE overall.

The citation for the RAeng appointment said that Simpson had been distinguished ‘for his outstanding contribution to the lighting of the London 2012 Olympic Park venues, where his skill and development of novel lighting engineering solutions delivered new standards of broadcast lighting for the first highdefinition Olympic broadcasts’.

As well as lecturing on the BA (Hons) degree lighting design course at Rose Bruford, Simpson was instrumental in setting up the Ready Steady Light event, which is held annually in the grounds.

Both honours came as a surprise to him, said Simpson. ‘I have always gone on with my job and tackled things as they come along, but you look back and maybe see the impact of your actions.

‘In the case of the broadcasting standards, I can really see over the past year the impact of the work we did on the Olympics in the wider world of sports lighting.’

At Rose Bruford he has been able to bring together his passion for theatre lighting and his work in architectural lighting, he said. ‘I see these two professions converging, and I try to bring this to the students so that they see a wider landscape in front of them as career opportunities.’

Lighting Journal October 2014

6 News NEWS IN BRIEF Two recent videos put a fascinating interpretation on the city at night using time-lapse photography and other photographic techniques. Japanese filmmaker Hiroshi Kondo’s night drive through Tokyo, Eye Know, turns the nightscape into a mesmerising experience. Meanwhile Darwinfish105 shows a beautifully executed time-lapse view of Japan after dark.

Hiroshi Kondo: http://cargocollective.com/stnw/Eye-know Darwinfish105: www.youtube.com/watch?v=tBMPMre8uE8 IKEA GreenTech, an IKEA Group venture capital company, has invested in Design LED Products, a Scottish LED company that has created a patented light tile product – LEDs embedded into clear resins and films.

The tiles are very thin, flexible and low cost, and can be joined together in any size or shape up to 1m. They come in a variety of colours and can generate up to 20,000lm a square metre.

Signature and Holophane have joined the LIA Laboratories Unmetered Supply Measurement Certification Scheme.

This provides an assurance of the validity of the power data measured by manufacturers when describing the performance of fittings for use in UMS applications.www.lialabcert.org.uk The submissions deadline for papers for PLDC in Rome 2015 (28-31 Oct) is 14 November. Go to www.pld-c.com

Anyone who spends their life looking at street fittings probably doesn’t want to go home and stare at one in their living room. However, on the offchance there are some of you who just can’t tear yourselves away from the things, a man called Mikeosaurus shows how to whip up a domestic version from a decrepit old model (and let’s face it, they can’t be difficult to come across).

Mikeosuarus found his at some building salvage place – ‘badly damaged, partially warped and missing the glass cover that protects the bulb’ – but a bit of sandblasting and elbow grease knocked it into shape as a floor lamp, he says. It’s mounted on two sheets of plywood, which sounds a bit of a health and safety issue to us, though a heavy plant pot seems to be supplying a degree of anchorage.

Here’s how: www.instructables.com/id/Street-light-floor-lamp/?utm_ content=buffer749ea&utm_medium=social&utm_source=twitter.com&utm_ campaign=buffer

Charles Endirect has appointed Andy Scott area sales manager for the north of England and Scotland.

Scott has more than 20 years sales experience in the electrical industry.

A New Jersey man recently celebrated his 100th birthday at the lighting company where he has worked for 73 years in the same job. Herman Goldman has worked at Capitol Lighting in East Hanover since 1941.

Erratum: The biography for BIM: the next level (p36), a feature in the September issue, should have read: Howard Crossman 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 (www.greenwoods.co.uk)

Switch-off could mean speeding loophole, says Essex lawyer

A motoring law expert has suggested that a recent decision by Essex County Council to switch off street lights in Harlow may offer speeding drivers a loophole. According to local paper the Harlow Star, Essex barrister Antony Hook (pictured left) says that the switch-off may mean some 30mph speed limits might not apply.

‘Many, or even the majority of, residential roads do not have speed limit signs and are legally restricted to 30mph if they have working street lights up to 200 yards apart,’ Hook told the Harlow Star. ‘The courts have ruled that speed limits may not apply if street lights are broken, too far apart or illuminate the pavement instead of the road. It follows that there is a strong legal argument that switching off street lights can also remove a speed limit.’

However, a spokesperson for the Department of Transport refuted the argument. ‘The Road Traffic Act is clear that street lighting indicates the speed limit, and in our view this applies even when the lights are off, for example during the day. It is the presence of a system of street lighting that indicates the limit – the wording of RTRA section 82 makes no reference to times of illumination...The Highway Code makes clear in rule 124 that the presence of street lights means a 30mph limit, as does advice in Know Your Traffic Signs. It is for drivers to make sure they are aware of what signs mean and what is expected of them.’

Lighting Journal October 2014

e u s Is r e b m e c e D / r e b m e Features for Nov Painting the town red Saturated colour in the urban environment

Lanterns

The preliminary results

Warranties

Are specifiers demanding too much?

LIGHT Minded...

8 Opinion

LIGHT Hearted

The current approach to disposal of LED luminaires with nonremovable light sources is potentially expensive and does not add up, argues Simon Cook, head of sales at Lumicom

The emergence of LEDs as a mainstream lighting technology has clearly delivered significant benefits in terms of energy efficiency and cost of ownership. However, the ways in which these luminaires and light sources are dealt with at the end of their life is currently presenting a challenge for the waste management industry.

The situation with retrofit LED lamps (in other words those designed as a replacement for a traditional lamp type using the same luminaire) is, in our view, pretty straightforward. They are designed to look like the more familiar light sources and it would be unreasonable to expect non-specialists to be able to differentiate between the two types. Therefore, it makes sense that these should be disposed of with other lamps, which puts them in Category 13 under the WEEE Directive.

Not so straightforward is the situation with LED luminaires that have nonremovable light sources, as luminaire and light source need to be disposed of together.

Given that LED light sources are nonhazardous it would seem logical that these types of LED luminaires would be included with other types of luminaires in Category 5.

Nevertheless, LED luminaires with non-removable light sources are to be included in Category 13, which also includes discharge lamps that are classified as hazardous waste. The reasoning behind this move is a concern that there might otherwise be an ‘orphan waste stream’ for discharge lamps.

Actually, this doesn’t make any sense.

More than 90 per cent of the lamps that are put on the business-to-business market are from companies that pay upfront for their disposal at the end of their life.

Consequently, the funding is already in place for the disposal of these lamps and there should be no risk of creating an orphan waste stream. Furthermore, including this type of LED luminaire with discharge lamps would inevitably lead to increased disposal costs, which would have an impact on the entire supply chain. There are a number of reasons for this.

The first of these is that such an arrangement would lead to these LED

Lighting Journal October 2014

luminaires being put in the same skip as discharge lamps such as fluorescent, sodium and mercury light sources. As a result, despite the fact that LED luminaires are not hazardous waste, they would be contaminated by the discharge lamps and the entire batch would have to be treated as hazardous waste. This is considerably more expensive than the cost of disposing of nonhazardous waste such as luminaires.

An alternative might be to collect LED luminaires and gas discharge lamps in separate containers on site. However, increasing the number of waste receptacles on a busy and crowded construction site may not always be feasible and it probably increases confusion and, therefore, the chance of lighting WEEE being put in the wrong container.

It’s also important to note that an electrical contractor removing large volumes of luminaires from a building cannot be expected to differentiate between those with removable LED light sources and those with non-removable sources.

If these two types of LED luminaire are classified into different categories there is a very clear risk of some of the luminaires ending up in the ‘wrong’ waste stream. When this mixing of different waste types happens it is also classed as ‘contamination’ and that batch of waste has to be sorted manually – which again adds to the overall cost of disposal.

In both of these potential cases of ‘contamination’ the conditions under which upfront payments are made to compliance schemes are breached, so that the manufacturer is likely to be faced with additional costs over and above those that have already been paid. In most cases, given the long life of LED lighting, these additional costs will be imposed five to 10 years after sale and are very unlikely to have been anticipated. This could have a dire effect on budgets as it would not have been covered in the cost at time of sale.

Lumicom (www.lumicom.co.uk) is a not-for-profit producer compliance scheme that is part of the Lighting Industry Association

Neil Knowles, director of Elektra Lighting Design, on pushing buttons What I love about lighting is the ability to completely transform a space at the push of a button (or, increasingly, at the tap of a screen).

One minute I am standing in an airy, spacious restaurant, with bright walls, coves providing high light levels, sunlight streaming in through the windows. The food is laid out on the buffet counter, tempting and colourful, while coffee steams in jugs.

Then I push a button and the bright, uniform lights go out (slowly at first, then dimming rapidly as the dimming curve algorithms kick in). For an instant we are in darkness, but the machine still runs behind the scenes – like the moment in a theatre when the stage goes black, but you know that there are 20 people shifting scenery around.

Then the lights start to come back on, more dramatic ones this time. Narrow spots pick out tabletops. Subtle uplights from the floor give a warm glow, resonant of the fireplaces humans huddled around in ancient times. The ceiling remains dark, and the space becomes intimate, moody; a space suitable for romance or laughter with friends as we gather round a communal fire and relate stories of monsters.

The lights do not come up very far, the space stays dim. Candles render skin tones beautifully. Outside our circle of light the walls are dark; they might not be there. Smoke from the grill is caught in narrow beams of spotlights, coiling in and out like a snake.

Then I tap the screen again, and the bright restaurant is back.

Scene one (breakfast setting) returns. But I know that scene six (late evening setting) is still stored in the machine, biding its time.

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10 Architectural lighting

Scene shifting As a lighting designer, Declan Randall has created both theatrical and architectural schemes. He looks at how each constantly informs and influences the other

Lighting Journal October 2014

Architectural lighting 11

L

ight is so much more than just illumination. We can use it to enhance, to narrate, to highlight, to beautify and to entertain. I began my career in lighting design in the theatre and have over the years broadened my field to also include architectural lighting design. I believe that my career and training in the theatre has stood me in good stead for my work in architecture.

While I have tried to focus mainly on architectural projects that require a slightly more theatrical approach (theme parks, museums, casinos and the like) I have also worked on numerous other projects, including retail outlets and boutique hotels. I find that irrespective of the project, I apply the techniques and skills I employ in the theatre in the built environment as well.

Likewise, there have been stage shows that have called for a more ‘out of the box’ treatment and I have drawn on my work in architecture to help find solutions to some of those more interesting challenges.

I find that the basic principles of light remain the same – whether it’s for a permanent installation or for a temporary one. A backlight will have the same effect on a sculpture or work of art as it does on an actor or dancer.

The tools and instruments we use may well be different, but I try to approach each project in a similar way as if it were a theatre show.

That said, there is also a huge primary difference in our general starting points. In theatre we tend to spend our days intentionally creating dark, light-tight environments (the general ethos being that ‘before you can have a light, you must have a dark to stick it in’), whereas there is a huge drive in architecture to incorporate as much natural light into the designs as possible.

But that aside, one of my first questions on an architectural scheme would be, for instance, is there a narrative to the building (as in the case of a themed environment)?

If so, how can the lighting help to support that and enhance the storytelling that is inherent in the architecture and displays? Is there a flow to the space that the architect has intended the public to follow, or particular lines or features that they want us to notice – these are all the key items that I look for when setting out to design a new project.

Theatre lighting is dynamic –

constantly changing intensity, colour, focus – whether that animation is to help suggest the passage of time, or whether it is simply an effect. Similarly, the light we encounter in our everyday lives is dynamic – the sun’s position changes through the day and the resulting light changes angle and colour and diffusion along with it. I look for opportunities to introduce dynamic elements and light environments in the projects that I work on. As humans we are used to (albeit on a subliminal level) constantly changing light – to have a space that is static feels wrong.

The basic principles of light remain the same – whether it’s for a permanent installation or for a temporary one. A backlight will have the same effect on a sculpture or work of art as it does on an actor or dancer One of the aspects of light that I find most interesting is colour. It plays a huge role in theatre and is often used intentionally to help elicit certain moods and reactions from audiences.

We can also use colour to enhance the set and costumes, and even make our leading actors look younger.

There are many different filter ranges and colours at our disposal, and obviously the introduction of LED lighting is opening up a new set of possibilities too. Most of the filters have exotic names – from Skelton Exotic Sangria to Chocolate, Lavender and even Damp Squib – although the full colour filter range is rarely available for permanent installations.

Whether it’s nothing more complex than shifts in colour temperature through to using bolder strokes of colour for effect, I always start the same way – by establishing a ‘base light’ of what I want ‘white’ to be.

Often, our use of colour in architecture

is minimal so by readjusting what our eye deems to be white, we open up a range of possibilities with colour with a relatively small palette. LED technology has helped to move this forward in quite a significant way, but I still stick to my general philosophy that just because it can change colour does not mean it has to.

I am also a huge fan of texture in light – whether it’s as a result of shadows that we have cast (or caused to be cast) or through the use of gobos, texture plays a huge part in all my designs. My final dissertation as a student was a study on how the classic artists used light in their paintings to capture mood, emotion and so on, and how we as theatre lighting designers can employ similar techniques and approaches. Of the various periods I covered, I think it was the Impressionists that left the biggest, well, impression. It’s something that I still use today – the light in our world is not shadowless and flat, it is full of nuance and variation.

Another area where I think that a theatrical background has been hugely beneficial is in learning to work with people – and more particularly creative people. Dealing with directors, designers, choreographers has stood me in good stead and taught me a lot about how to manage people and personalities – an important part of any job, but particularly one where creativity and engineering have to be in unison.

They say that everyone has two jobs – their own, and lighting. I think this is true to a certain extent, but ultimately it’s about collaboration and everyone working towards the same goals. However, while as theatre designers we do plan and prepare to the nth degree, I feel that there is slightly more pressure to get things right in the world of architectural lighting design. In the theatre, if a light is in the wrong place, or you need to add one in, you go to the lighting store, run in a new cable and it’s job done.

Not always that easy to do where there is reinforced concrete in the way.

(See case studies p12-14) Declan Randall is an award-winning lighting designer with more than 20 years’ international experience in opera, dance, drama, musicals, film and television. Declan also practises architectural lighting design and teaches at several colleges in the UK and abroad

Lighting Journal October 2014

12 Architectural lighting

South African Breweries (SAB) World of Beer, Johannesburg: walk-through attraction The SAB project takes visitors on a tour through the history of beer and South African Breweries, and called for some of the areas to have an old-world sense of nostalgia.

As with most attractions, it all starts at the welcome desk and visitors’ centre. A brief introduction zone, followed by a trip to ancient Egypt, Europe, Africa and then on to Johannesburg, City of Gold. This is followed by a walk through the ‘factory’, both 180-degree and 3D cinema presentations, and several other displays before ending up in the gift shop. Created in conjunction with AV design consultant Digital Fabric, this was a great project to make use of both slightly more conventional display lighting systems, as well as bringing in some theatrical elements, effects projectors, colour and, of course, gobos. Each area was programmed as a stand-alone show that could be triggered by the guides as required. Having guides is a bit like having a stage manager who is responsible for making sure the cues are played back as designed.

Adding drama to architectural lighting Lighting Journal October 2014

Architectural lighting 13

Freedom Park, Pretoria: museum and monument Freedom Park is not a guided tour – here there is more of a museum-type approach where visitors walk through the space and experience it at their own pace. Here, again working with Digital Fabric, the emphasis was slightly more on creating a unique look and feel for each epoch or zone, which also helped to identify the era and subject matter. There were more interactive displays that were triggered by the visitors, calling for a different design approach altogether.

Again, colour played an important role in establishing the tone for each area and, while we did use gobos as a source of texture in some zones, we also used them here to project relevant lines of text as a part of the display narrative.

Adding drama to architectural lighting

Lighting Journal October 2014

14 Architectural lighting

Bringing architectural lighting to the drama Marriage of Figaro, Guildhall School, Barbican

Director Martin Lloyd-Evans had decided to set the production in modern America, in Texas. The set, designed by Bridget Kimak, was essentially a floating white cube that would be dressed differently for the various locations. It was three walls and a ceiling – always a challenge – added to which the upstage wall was to be a mirror finish for two scenes.

Having recently been appointed to a new hotel development, architectural applications and fittings were fresh and floating in my mind, so I set about looking at alternative, more ‘real-world’ ways of getting light into the box. There was much discussion about how deep it should be to accommodate the fittings, while avoiding making it too chunky and ruining the aesthetic.

The solution that I came up with was to make the two side walls into light boxes. That way, the light would come from the room, which was an important aspect of the design, but it would also mean that we could achieve a soft, diffused light as a base for some of the scenes that would be really helpful.

We also created two channels for light fittings in the ceiling and in this we packed in a row of dimmable fluorescent fittings. I wanted to have two solid lines of light without any dark spots, as this added to the modern feel of the set and architecturally suited the design as we were able to align these with the door frames that were set in the walls on either side.

I am still a huge supporter and advocate for retaining the use of tungsten light in theatre, and this was no exception. Even though we had installed a load of dimmable fluorescent into the walls and ceiling, I added in another two rows of low voltage downlights into the ceiling. These were all on individual circuits and they doubled up as a warm light source, but also as specials within the box when we needed to isolate.

In addition to all the fluorescent and LV downlights, I also added some RGB LED ribbon into the side walls and the two light channels in the ceiling. This would allow me to shift the colour and mood of the room slightly to adjust for the changing mood and tones of each scene. Fluorescent can be quite a brutal and unforgiving light source (one of the reasons I like it) and the LEDs meant that we would be able to make it slightly more malleable and user-friendly.

Lighting Journal October 2014

The dimmable fluorescent fittings were two-tube, two-circuit fittings, so I opted to use two different colour temperature lamps here – warm white and cool white.

This allowed further tonal shifts within the opera, but also meant that we could have a cooler light in the ‘basement’ and a warmer light in the ‘bedroom’ scenes.

Tubes were from the Philips MasterColour range.

When dealing with light boxes, particularly with fluorescent, the general rule of thumb is that to avoid seeing lines of light from each source the distance between the fittings should be equal to the distance from the fitting to the acrylic (or whatever face the light box is using). Due to the number of fittings, this would have meant that the box would need to have been more than 600mm deep, which was not practical and would not have looked good either.

The solution was to mount them on the side walls and floor so that they were effectively cross lighting the light boxes. We painted the inside of the boxes white for maximum reflection to ensure the most even distribution of light possible. We sacrificed a bit of output this way, but the result was an evenly lit wall of light that cast a diffuse light into the space.

The dimming curve of fluorescent is not great and the fittings that we were using were not latest generation dimming, so we had to spend a bit of time writing a new dimmer curve for them. However, once we had that sorted out, we were able to do 30-second cross fades between the warm white and cool white tubes that were near seamless.

To supplement the lighting in the box we also used some ETC Revolutions automated light fixtures, some other generic fittings, two Pani BP5 projectors with static slide projection carriages, as well as some digital projection upstage.

Each scene presented its own unique set of challenges, but through careful use of the fluorescent, LED and LV sources, we were able to solve each one in turn. I think the trick to any design is ensuring that you have enough flexibility built into the rig to be able to cope with any situation that may arise.

It was challenging but also rewarding to blend the two worlds of architectural and theatrical lighting into one unified design.

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16 Urban lighting

crafting

There is much written on horizontal illumination levels – but the key here is vertical illumination and how bright the space feels

T Tim Downey outlines StudioFRACTAL’s lighting design for King’s Cross Square, the first all-LED scheme for a major public space in the UK Lighting Journal October 2014

he busiest transport interchange in London, serving around 140,000 people a day, King’s Cross Square is a gateway to the massive regeneration of the King’s Cross area. The aim of the square’s redevelopment was to restore its original integrity and give it a greater civic importance, comparable to that of other public realms in the city such as Trafalgar Square, Leicester Square and Tower Hill Square.

There have been major structural changes to the space. Architect Stanton Williams replanned the station entries and exits to ease movement, and incorporated three large London Underground services structures within the square. Clad in the same granite as the plaza, these merge with the surrounding urban

landscape and incorporate a variety of service functions and retail activities, enlivening and animating the square.

Lighting was designed from the outset to create a strong visual identity, support wayfinding and encourage commuters to linger and appreciate the space. The area had to be highly flexible, which entailed achieving the right balance between functional and aesthetic lighting. It had to be easy to use when people were in a hurry – most are on their way to a mainline or underground station – but also a great place to pause and enjoy the surroundings.

The strategy concentrated on incorporating lighting into the built

‘

Urban lighting 17

‘The redevelopment of the station and the square has made a real difference to the area and is an excellent example of place-shaping in practice. Lighting was an integral and important part of the redevelopment of the square and in showcasing the historic facade of the station which for many years was hidden away and unnoticed’ – David Reidy Camden City Council

environment wherever possible, highlighting the historic facade to create a three-dimensional space, and emphasising materials and textures. The warm brick facade and the grey-toned granite were lit in different colour temperatures to produce the most natural effect.

We tried very hard to use every possible structure to integrate lighting, so that each building element had its own identity but still contributed to the overall space.

The scheme involves many layers of lighting from a number of directions.

This is deliberate and ensures the vertical and horizontal lighting is as even as possible – and yet the

appearance is that it varies greatly.

This is a good trick – in the darker areas there is more light than you would think, but in the brighter areas it is not as high as you would imagine.

There is much written on horizontal illumination levels, but the key here is vertical illumination and how bright the space feels.

Despite the level of integration, there were large areas where we had to add light. The majority of the plaza illumination is delivered from three 20m bespoke stainless steel columns, each housing an array of individually focused LED spotlights.

Strategically positioned to align with the historic station frontage, the LED

arrays have been carefully designed to provide a low glare, crisply functional appearance against the warmly glowing facade. Great effort went into placing and scaling them correctly, and then conducting an exhaustive and detailed design process to ensure they had the right feeling of permanence, solidity and elegance.

Glare was a concern for our clients where the columns were concerned.

Views of the newly revealed facade were sacrosanct – and local residents, businesses and hotels also had to be considered. We designed the columns to have dual sources – one to provide focused, controlled downward illumination and one to

Lighting Journal October 2014

Photography: StudioFRACTAL; Stanton Williams; Will Scott

18 Urban lighting

Completion 2013-2014 Client: Network Rail Lighting design: studioFRACTAL: Tim Downey (senior partner), Chris Sutherland, Ben Hollands, Alex Lang Architect: Stanton Williams Station architect: John McAslan and Partners Engineer: Arup Contractor: Murphy and Sons

Lighting Journal October 2014

‘

Urban lighting 19 ‘The three large lighting masts address the majestic scale of the station facade, whose profile is now enhanced even at night through the integrated lighting scheme. All the structures and landscape elements glow at night, with lighting subtly incorporated into the granite cladding, transforming King’s Cross Square from a neglected site into an exemplary public urban square – already well used both day and night’ – Alan Stanton, director at Stanton Williams Architects

provide a backlighting element to reduce contrast and also even out the appearance. All lighting elements were specially made for the project and we viewed a number of mock-ups from iGuzzini before we were happy. Each spotlight on each column has been specifically aimed so that we created a very soft field of illumination across the square – without the glare often associated with these types of exterior lighting installations.

Smaller columns are positioned to guide commuters to the ticket concourse, and a variety of low-profile lighting elements have been designed into the various structures and forms – such as the benches and trees – to provide supplementary illumination and localised accent.

We had a number of clients on this project – Network Rail, London Underground, Camden City Council, Islington City Council, Transport for

London and English Heritage – each of which had a different set of lighting standards. All of these vary in terms of luminance, illuminance, permissible colour appearance and colour rendering, adding to the complexity.

In addition, we proposed from the outset to design an all-LED scheme – we knew from the beginning this was the right route for the client in terms of energy, cost and maintenance cycles – which meant that most of these required ‘proof’ that LEDs would provide the quality, quantity and longevity of lighting. We made sure that all products were robust, could be maintained easily and came complete with five to seven-year warranties.

As well as collaborating with the architect from an early stage – essential for the seamlessness of the

Suppliers • 19.5m and 6.5m bespoke stainless steel lighting columns (iGuzzini and PROstainless) • Bespoke LED luminaires, Master 55, LED Bar C5: integrated linear LED lighting within canopies, benches, ventilation shaft cornices, curved lighting to the egg and rotunda, backlighting to clock face (Kemps Lighting) • Iglu (inground) and Integrex (wall-mounted) linear wallwash luminaires: historic station facade and link canopy soffit (ACDC Lighting) • 7701 projector, 7501 projector, custom LED 6598 pendant, 7003 uplights: ventilation shaft granite slots, historic facade arches and southern colonnade (Bega) • LED Linealuce linear wallwashers: southern colonnade (iGuzzini) • ETC 130 LED inground uplights: trees (We-ef Lighting) • LED Compact+ LU, LED Tentec recessed downlights (Wila Lighting) • LED M125 linear fittings: LU staircases (Selux Lighting)

Lighting Journal October 2014

Urban lighting 20 scheme – we worked very closely with manufacturers to select luminaire types that could provide the right lumen outputs and be small enough to successfully integrate into the architecture – elements such as the granite slots in the ventilation shafts are particularly small and we had a set opening (due to airflow and aesthetics) to work with. This lighting was needed to contribute to the ambient lighting

levels while providing visual interest across the square.

The project led a number of the manufacturers to create new LED luminaires and we pushed them to speed up their LED development.

Aside from iGuzzini creating bespoke LED modules for the lighting columns, Selux introduced the LED M125 for the London Underground entrances and Kemps Architectural Lighting produced

Inside track

newly developed linear LED fittings.

The attention to detail is impressive across the square, the result of the close cooperation with the architect throughout the design phases and across the phased construction programme. The project has transformed King’s Cross Square from a neglected site into an exemplary public urban space – already well used both day and night.

‘

‘A fantastic open space which has led to the creation of a whole new vibrant district’ – Boris Johnson Mayor of London

King’s Cross Square is part of the £550m redevelopment of King’s Cross. The Stanton Williams scheme reveals the brick facade of Lewis Cubitt’s 1852 railway station behind a 7000sqm plaza. The scope of work included the main square; new entrances to the western concourse; entrances to the Underground Station; exits and colonnades from King’s Cross platforms; highway illumination to surrounding roads, architectural definition to the existing historic facade, as well as new service and retail structures within the square. The King’s Cross project is the largest area of urban redevelopment in Europe and will include the largest new street in London since Kingsway in 1904 and the largest public square since Trafalgar Square in 1845. The project has generated 50 new buildings; 2000 new homes; 20 new streets; 10 new public squares; 27 hectares of public space.

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22 CCTV

Night watch

The UK is anything but CCTV camera shy with huge growth in their use. But are there still conflicts between the needs of cameras and street lighting provision?

Or have we reached a new rapprochement?

Carl Gardner investigates

Lighting Journal October 2014

T

welve years ago two Home Office studies1 into the effectiveness of public lighting and CCTV in reducing crime concluded that street lighting was far more effective as a crime reduction measure than the installation of CCTV cameras. Overall street lighting reduced crime by 20 per cent on average, whereas CCTV in all public spaces, apart from car parks, only lowered the incidence of crime by around four per cent.

It seemed like an open-andshut case – and if public policy was based on evidence, rather than political expediency, prejudice and personal whim, the report should have sounded the death-knell for UK authorities’ obsession with CCTV and substantially increased public lighting investment.

But, sadly, as we know, it was not to be. The British Security Industry Authority (BSIA) recently estimated that there are now somewhere between 4.1m and 5.9m closedcircuit television cameras in the country, including 750,000 in ‘sensitive locations’ such as schools, hospitals and care homes. Anna Minton, in her excellent book Ground Control, claims that this figure is more than the rest of Europe put together and that the UK buys one-fifth of the global total of CCTV cameras.

If we take a mid-way estimate of 4.9m cameras in the UK, that is a horrifying one camera for every 14 people. Big Brother is watching you – and according to a recent YouGov

CCTV 23 survey, a depressingly high 67 per cent of Britons don’t think CCTV poses a privacy problem. This finding compares starkly with Spain, where 67 per cent think CCTV invades privacy. But then the Spanish have experienced fascism – just think how Franco would have adored the capabilities of CCTV. Obviously the vast majority of UK cameras are mounted in interiors or in private spaces – the 70,000 cameras on our roads and streets, run by the British police and local authorities, constitute only about 1.5 per cent of the overall total. However, this is an important fraction. Since 2002, the uses of CCTV cameras have diversified – once confined to crime and public disturbance prevention, they have become revenue earners in their own right, most notably through the monitoring of parking enforcement and congestion charge monitoring in central London.

The other major change is the improvement in quality of CCTV technology – a decade or more ago, I remember, lighting engineers and CCTV contractors were sometimes at loggerheads, with demands from CCTV contractors for lighting levels to be increased to allow cameras to ‘see’ a scene. Today, with modern cameras that is almost a dead issue.

‘People rarely ask us to up the lighting levels these days,’ says Dave Franks, service development manager at Westminster City Council, ‘and there are no quality issues with lighting.

Cameras have improved and using white light sources, such as Cosmo, uniformity has improved as well, which always helps CCTV.’ Paul Phillips, technical officer of the BSIA is slightly more cautious. ‘Yes cameras are technically better and are able to deal with a much wider range

of light levels, but there are situations where it is more difficult, where you have to take into account the direction of lighting and their shadows…and, of course, today many cameras also have their own additional arrays of lighting, including infrared. Certainly lighting for fixed cameras is much easier than with cameras which move,’ Phillips adds.

Another variant is whether the camera is monochrome or colour – colour cameras (the best option for facial recognition) require higher lighting levels than monochrome and the APCO/ILP Lighting Against Crime guide (2011) recommends a minimum illuminance of 15 lux for colour cameras and five lux for monochrome, both with a uniformity of 0.4. Clearly a 15 lux minimum is well above many current lighting standards for all but city centre areas and trunk roads.

‘CCTVs are important pieces of equipment for community protection,’ argues Franks, ‘particularly for the Metropolitan Police, to enable facial recognition. It has helped in convictions of people for offences in Leicester Square, for example. So we always have to consider CCTV in designing street lighting.’ One of the key issues stressed by Franks and others is the coordination of cameras when they are mounted on street light columns. ‘Getting camera cables into existing columns can be difficult,’ Franks admits.

This is a theme echoed by Guy Harding, lighting development manager of Woodhouse: ‘Integration of the camera with the column can be challenging. There was one case where we had to produce a stronger, more rigid design to prevent movement of the column and the camera in the wind. Often we also have to supply a larger door, and

Excerpt from BS5489-1: 2013 – Code of Practice for the Design of Road Lighting (BSI 2013) ‘In areas of high crime or where CCTV is present, lighting designs should be based on semi-cylindrical illuminance or vertical illuminance classes in addition to horizontal illuminance classes.

NOTE: Areas that are monitored by CCTV might need a higher level of overall uniformity of illuminance for the surveillance of individuals to maintain the image while panning across a scene. Poor overall uniformity can lead to lack of image resolution and delays in the re-formation of the picture.’

a second door in the column for the camera connections is again quite common. In other projects, we have had camera brackets specially designed, matched and coordinated to the column. We even obtained drawings from the camera company to integrate it carefully with our equipment,’ Harding explains.

However, coordination and integration has another dimension too, as pointed out by Allan Howard, technical director lighting at WSP: ‘One continuing problem with CCTV within local authorities is the installation of other equipment which might block their view. For example, one year in Newham, London, Christmas decorations were installed which interfered with the sightlines of some cameras.’

All of this confirms Howard’s crucial advice: ‘The key thing today is that people should not think of CCTV and lighting as separate entities – they need to be considered together.’

This principle is embodied in recent and forthcoming guidance, such as the ILP’s Lighting Against Crime (2011), BS5489-1(2013) and the institution’s forthcoming PLG08 on the use of adaptive lighting.

Howard continues: ‘Where cameras are used for prosecution purposes, lighting engineers and consultants always need to consult with the various authorities involved, including the police, and semicylindrical illumination may be required for facial recognition. This will always require a higher overall illuminance,’ Howard adds (see boxed excerpt from BS5489).

Another current trend in street lighting – adaptive lighting – also has considerable implications for CCTV recordings. Obviously, a standard lux level in mid-evening may be fine for visibility and facial recognition, but the dimmed-down state at 3am may not – see boxed excerpt from the forthcoming PLG08 guide.

So what of the future? Already the police are using more flexible, Wi-Fi operated cameras for parking supervision, for example, in London’s Covent Garden. ‘But of course they still require the integration of power cables,’ explains Franks. However, as the police increasingly require CCTV cameras to be put up overnight, for example, for special events, Howard explains that the next step will be ‘future ready’ columns which have extra NEMA sockets to enable power to be accessed more easily.

Lighting Journal October 2014

24 CCTV Lastly, something which is not often considered in this relentless charge to capture the entire population on camera, is the cost. One alarming figure that emerged during my interviews is that each street-mounted CCTV camera costs somewhere in the region of £7000-8000 a year to manage and monitor.

Even if we use the lower figure, this means that the 70,000 cameras on our streets and roads cost something in the region of half a billion pounds a year to run, before we even consider the initial capital cost of the cameras (again, according to Minton, the Home Office has spent 78 per cent of its budget for crime prevention on CCTV in the past decade).

Given the findings of the 2002 reports quoted at the beginning of this article, has anyone ever done a serious cost-benefit analysis of this outgoing? Surely, with investments of that magnitude in these times of public sector cut-backs, someone should…or is public surveillance now exempt from such considerations?

References 1 Effects of Improved Street Lighting on Crime: a Systematic Review (Home Office, August 2002) and Crime Prevention Effects of Closed Circuit Television (Home Office, August 2002)

Excerpt from forthcoming PLG08: Guidance on the Application of Adaptive Lighting within the Public Realm , Presence of CCTV

‘Where CCTV has been installed within an area it has been done so for a reason, eg evidence for prosecution purposes. The application of any form of switch-off should be very carefully considered with due consultation with all appropriate parties. When looking to the application of profiling/adaptive lighting levels, due consultation must be undertaken with the appropriate stakeholder to ensure that the cameras operate as required under the reduced lighting conditions/levels.’

Lighting Journal October 2014

CCTV cameras on Woodhouse fittings at the O2

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26 Sources

New lamps for old?

F

ive years ago CU Phosco was not selling any LED fittings. But that’s all changed. ‘Our LED sales are now well in excess of our conventional luminaire sales,’ says William Marques, company chairman.

‘It is becoming harder and harder to justify not using LED luminaires when taking whole-life costs into account.’

Capital cost, quality of components and future proofing remain important issues when it comes to the decision of whether to make the leap to LEDs, but it seems the transition is gaining serious momentum.

‘Our customers are still buying

Lighting Journal October 2014

HID products but it’s more on the decorative side of the market where energy isn’t necessarily the key driver,’ says Alan Grant, design and development director at DW Windsor.

‘We have seen roughly a 30 per cent increase year-on-year in LED sales and all our new product development is currently in this area. We believe that the LED playing field is now starting to level off.’

Urbis Schréder’s range is now 70 per cent LED and also growing yearon-year. HID is slowly being phased out. ‘Five years ago it was almost the opposite ratio, with HID still dominating

Jill Entwistle takes a snapshot of the inroads LEDs are now making on traditional sources

the market place,’ says marketing manager Adam Rice. ‘It’s like any new technology, people are understandably cautious and need time to absorb, understand and embrace before making an informed decision. The LED boom has definitely started now.’

Boom or not, there remains a preoccupation with capital cost (despite funding schemes such as those provided by the Green Bank) and concern in some quarters that whole-life cost is not being considered carefully enough in making the decision on whether or not to switch to solid state. However, there is a

Sources 27 complicated calculation to be made that is dependent on a number of different factors. ‘Often there is a focus on capital cost but this may not be the best long-term approach,’ says Richard Webster, electrical services manager at Suffolk County Council.

‘The probable escalation of energy costs can mean that a product with a

proposals, time has to be invested to consider the capital against energy to ensure best value is achieved.’

Capital costs remain significantly higher for good LED products, however, says PFI policy and communications team leader Julian Higgins of Hampshire County Council.

HCC’s predominant sources at the

DW Windsor’s Kirium

P850 LED road lantern from CU Phosco

Ampera Mini by Urbis Schréder

shorter payback period has a greater whole-life cost and a relatively poor return on investment compared to higher capital cost, higher-efficiency versions. Therefore to evaluate any

moment are PLL and Cosmo, for residential and industrial areas, and HPS for main traffic routes. LEDs are being installed in national parks – in support of their Dark Skies campaigns

If LED technology were not available today, and we needed to save the amount of energy that we do, the real question would be, could it be achieved with conventional light sources?

– and will be standard for all new housing developments from 2015.

‘The difference in capital costs between LED and more traditional lanterns is still in the region of 200 per cent-plus for a good quality lantern from a reputable manufacturer who is prepared to offer a sound warranty,’ says Higgins. ‘There may be others which offer much cheaper solutions but, ultimately, you get what you pay for.

‘From a whole-life point of view, the main savings are going to be on lamp replacement and energy,’ he continues. ‘These will enable better payback for those replacing less energy efficient equipment, but those who’ve already invested in modern energy saving lanterns, and CMS, will find it difficult to justify the additional expense.’

A lot depends on the approach adopted by the local authority, says Webster. ‘The authority I am employed by favours an LED lantern that attracts a higher capital cost and a greater number of LEDs, but delivers greater energy savings, whereas others may pursue a route of a lower capital cost, less LEDs and with less energy savings.

‘Some of the costs that we are aware of are indeed lower than comparable HID. However, some do not have the required energy savings and are not always from the wellknown manufacturers – not that this is a negative point.’

Whole-life cost savings are exceeding the predicted levels from when LED fittings were first introduced, but this appears

Lighting Journal October 2014

28 Sources to have slowed recently, says Webster. ‘Placing a value on the maintenance cost saving is not straightforward and will depend on the maintenance arrangements that are in place. Energy savings are often the main contributory factor in residential streets, but on traffic routes, while energy saving is important, it is not the only factor.

Where traffic management is required for cyclical maintenance, fault diagnosis and repair and so on, maintenance savings can become greater even than energy, and it is difficult to attribute a cost to less disruption experienced by the road user.’

Ultimately, whatever factors are put into the equation, it still all comes down to basic quality and trust in the product, says Higgins. ‘Irrespective of whether capital cost is lower, equal or higher, any whole-life cost analysis is based on the assumption that the product will perform as anticipated and where any failures occur, the manufacturer is still able to honour any guarantee and ensure the authority is not subject to any risk.

‘LEDs are new and so always have an element of the unknown,’ he continues. ‘However, we have limited that exposure by using a highquality product from an established manufacturer.’

One of the problems is nailing the specification, an issue that was a key discussion point at the last ILP PIP Forum (see Lighting Journal September). ‘Our concern is that there’s still an education gap with regards to LED specification,’ says Grant. ‘Low drive currents are often specified and religiously stuck to due to lack of understanding – with

efficacy now being linear, droop characteristics are no longer at the levels seen two or three years ago, for example. Some specifications are based on products that are two to three years old, in other words what is now old technology.’

Moving to solid state should not be problematic if certain criteria are fulfilled when fittings are specified, says Marques. ‘I have no concerns with the transition to LEDs if the correct colour temperature is specified, first-class components from major global suppliers are used, the correct glare category is specified, and the luminaires are tested by UK laboratories.

The question remains though, says Webster, does it make more sense at this point to go for LEDs or can traditional options achieve the same results for a lower outlay? ‘New technology has changed the market completely in the past six years and a considerable amount of contracts in place did not have access to viable LED technology. If LED technology were not available today, and we needed to save the amount of energy that we do, the real question would be, could it be achieved with conventional light sources?

‘The answer is perhaps it could, but undoubtedly it would have to involve strategies such as partnight operation, deep dimming, downgrading of light levels and potentially decisions to no longer light certain areas.

‘I sometimes struggle with this as I personally liked the Cosmopolis.

However, compared to the LED units we currently use, the energy savings are lower as it is less energy efficient and the associated maintenance

The US Transportation Research Board (TRB) recently initiated a project to evaluate new lighting technologies and identify new metrics for comparison. Lighting Research Center (LRC) scientists John Bullough, principal investigator, and Leora Radetsky co-authored the report, Analysis of New Highway Lighting Technologies.

One of the problems in assessing new roadway lighting technologies is that comparisons are difficult because information for different systems is given in different forms. Bullough and Radetsky systematically analysed the performance of a number of representative luminaires of each type, and developed a consistent data sheet format, allowing direct comparisons.

They found that many commercially available LED, ceramic metal halide and plasma discharge roadway lighting systems can meet existing standards for lighting the US equivalent of link roads and motorways, achieving

Lighting Journal October 2014

costs can be considerably higher.’

Manufacturers, committed to investment in solid state technology, are understandably less ambivalent. It is about the long-term view, says Rice.

‘LED technology, particularly LED luminaires, are designed to provide years of trouble-free performance.

When built correctly an LED luminaire is designed to be more or less maintenance free.

‘The LEDs, and drivers, all operate on significantly lower power outputs than HID – while the trend to use power controls significantly increases the lifetime of the LEDs further because they only operate on full power for a short time, with the introduction of more lighting control, dimming and PIR operation. They are also easy and safer to recycle, containing less hazardous waste such as mercury.’

However, says Rice, the reality is that often local authorities are adopting a pragmatic, piecemeal approach. ‘We have to appreciate that this is still a relatively new technology and some may see it as prudent to observe rather than to invest in a full change over. What is happening is LAs will coordinate LED lighting trials in a particular street or roads within a town...Where a local authority decides to completely change over to LED they may do this over a set period of time, so often when an HID unit fails they may only use a direct LED replacement.’

Which reflects the case in Suffolk, says Webster. ‘Often there is a mixture of light sources as technology develops and funding is not in place to keep abreast – especially when existing lanterns are not at the end of their serviceable life.’

comparable or greater pole spacing than HPS systems and, in many cases, resulting in lower energy use.

An important factor, says the report, was that not all systems of each type performed equally well, underscoring the importance of consistent data-reporting formats.

The authors found that pole height was an important factor in the overall effectiveness of roadway lighting.

Luminaire system application efficacy (LSAE), a metric developed by the LRC, can be used to optimise pole height and spacing for optimal economic performance of different schemes. Bullough and Radetsky also recommend that transportation agencies consider new benefit metrics for roadway lighting, including photometric quantities based on mesopic vision, brightness perception and visual comfort. http://onlinepubs.trb.org/onlinepubs/nchrp/docs/ NCHRP20-07(305)_FR.pdf

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Before your first module, we’ll contact you with everything you need to know and some helpful tips and resources for getting the most from your experience. Of course during each module, you’ll be supported by course staff and lecturers available on site.

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When you have submitted your Module 4 project, it will be assessed and we’ll contact you to let you know the outcome. We really enjoying celebrating our students’ successes and everyone who is awarded the ILP Exterior Lighting Diploma is included in our newsletter and on our website.

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Obituary 31

The man who

saved the institution

Richard Frost pays tribute to

Robin Marques HonMILP, who died earlier this year

T

he policy of the institution is to publish only the obituaries of past presidents unless there are exceptional reasons for doing otherwise.

Robin Marques, former chairman of CU Phosco Lighting and former institution honorary treasurer, who died earlier this year, was an exceptional man who made an exceptional contribution to the organisation.

It is difficult for me even to attempt to pen this meagre tribute. Robin had just left the council of what was then the ILE when I arrived, most of his contemporaries have also passed on and those that remain have not been able to throw much light on a significant period of the institution’s history. A few dusty afternoons in the ILP archives have also failed to produce much in the way of documentation. This tribute is therefore by nature anecdotal and may contain inaccuracies for which I can only apologise. However, I am confident that, in substance, it is correct and highlights how much we all owe to Robin Marques.

In the late 1970s the then Association of Public Lighting Engineers leased a basement office in Buckingham Gate in London with a small staff and scant resources. Tales from that time are apocryphal: the financial shenanigans and the mysterious burglary that took place the night before an audit, the only stolen items being the account books.

There was also the hollowing out of the president’s badge in order to make it easier to wear. No one seems to know what happened to the surplus precious metal.

What is certain is that at that time the association very nearly disappeared. Robin Marques became the new honorary treasurer, although even this has an air of mystery as there seems to be no record of his actual election. Be that as it may, he put in place a rescue plan. The existing staff ‘left’, the lease on Buckingham Gate was sold and the organisation was relocated en bloc to Lennox House in Rugby, which was in fact the converted half of a semidetached house, fitted out and decorated largely by the members of the Midland Region.

Secure in its own premises, the association appointed Dorothy Barnes as secretary with a couple of support staff (one of whom, Chantal O’Sullivan, remains with the institution to this day) and, in a short space of time, the future for the organisation looked far more secure.

However, the story doesn’t end there for, with the remaining proceeds from the disposal of the Buckingham Gate lease, Robin made a number of extremely shrewd investments which benefit the institution to this day.

It wouldn’t be possible under modern charity law, but at the time he was able to spread the investments widely in a variety of funds and deposit accounts, all managed professionally by well-known investment managers. Over the years the investments grew and were diversified, and enabled the institution to fund the purchase and development of its current headquarters, Regent House.

As CEO at the time, I can well recall raiding various building society accounts in order to meet the builder’s payments at the end of the month.

Even after this the legacy lived on. The institution’s investments have sustained us through the most recent recession, the worst in living memory. Like many professional bodies we had a falling membership and declining income during this dark period, and it has been investment income that has kept the ship afloat and enabled the ILP to develop even during this age of austerity. None of this would have been possible without the wisdom and foresight of Robin Marques.

On a personal note, Robin was extremely kind and supportive to me when I was the new boy at Lennox House.

A generous host with a keen wit I enjoyed his company and his advice; advice which I always heeded.

These few lines do little to pay tribute to an unsung hero of the institution but I hope that they in some way acknowledge the debt we all owe to the person who, in the words of one past president, ‘was the man who saved the institution’.

Lighting Journal October 2014

32 Future concept

Cheap as chips

Two new developments could enable large-scale manufacture and lower prices for LEDs

F

irst it was graphene that caused a frisson in the LED field and now it’s a hybrid form of perovskite, a general term used to describe a group of semiconducting materials that have a distinctive cuboid and diamond crystal structure.

Researchers from the University of Cambridge, University of Oxford and the Ludwig-Maximilians-Universität in Munich have demonstrated a new application for the materials in creating high-brightness LEDs. They have used perovskite to make low-cost, easily manufactured LEDs, which they say could potentially open up a wide range of commercial applications in future, such as flexible colour displays. The results of their research are published in the journal Nature Nanotechnology.

Known for their superconducting and ferroelectric properties, the materials’ efficiency at converting light into electrical energy has opened up a range of possible applications in recent years. Following the discovery

by Professor Henry Snaith’s group at Oxford University that they were remarkably efficient at converting light to electricity, the same type of material has also recently been found to make highly efficient solar cells that could potentially replace silicon. In just two years, perovskite-based solar cells have reached efficiencies of nearly 20 per cent, a level that took conventional silicon-based solar cells 20 years.

The perovskites used to make the LEDs are known as organometal halide perovskites, and contain a mix of lead, carbon-based ions and

MoO3/Ag

F8 CH3NH3Pbl3Cl3 TiO2

lTO Glass substrate

halogen ions (halides), the red layer on the diagram below. These materials apparently dissolve well in common solvents, and assemble to form perovskite crystals when dried, making them cheap and simple to make.

Once the perovskite solution is prepared, it is spin-coated on to the substrate, a process that does not require high-temperature heating steps or a high vacuum, and is therefore cheap to manufacture on a large scale. Conventional methods for manufacturing LEDs make the cost comparatively prohibitive for many large-area display applications.

‘These organometal halide perovskites are remarkable semiconductors,’ says Zhi-Kuang Tan, a PhD student at the University of Cambridge’s Cavendish Laboratory and the paper’s lead author. ‘We have designed the diode structure to confine electrical charges into a very thin layer of the perovskite, which sets up conditions for the electron-hole capture process to produce light emission.

‘It’s remarkable that this material can be easily tuned to emit light in a variety of colours, which makes it extremely useful for colour displays, lighting and optical communication applications,’ continues Tan. ‘This technology could provide a lot of value to the ever growing flat-panel display industry.’

The next goal is to increase the efficiency of the LEDs and use them for diode lasers, which have applications in the scientific, medical and industrial fields. The first commercially available LEDs based on perovskite could be available within five years, says the research team. www.cam.ac.uk/research/news/ leds-made-from-wonder-materialperovskite#sthash.EdiYzUaT.dpu

Lighting Journal October 2014

Future concept 33 ‘The big surprise to the semiconductor community is to find that such simple process methods still produce very clean ‘The big properties, surprise tothethe community to find that semiconductor without need semiconductor for the complex purification procedures required foris traditional semiconductors such as silicon’ such simple process still produce very clean semiconductor – Professor Sir Richard Friend of methods the Cavendish Laboratory, leader of the Cambridge programme properties, without the need for the complex purification procedures required for traditional semiconductors such as silicon’

– Professor Sir Richard Friend of the Cavendish Laboratory, leader of the Cambridge programme

I

n the meantime, Osram says its researchers have for the first time succeeded in manufacturing a 3D nano LED for white light. It has different surface characteristics to standard LED chips – rather than being smooth it consists of many adjacent, microscopically small columns with a three-dimensional structure, thus increasing its lightgenerating area.

The surface of the prototype chip is five to ten times larger on the same substrate than current LED chips, which is how it generates significantly more light than conventional LEDs in relation to the base area. In addition, the luminous efficacy will be increased by around 10 per cent in the future.

‘If you look at the surface of a 3D nano LED chip under a microscope it looks as if lots of skyscrapers have been built on a flat piece of land,’ explains Martin Strassburg, innovation manager at Opto Semiconductors, a business unit of Osram. ‘Put basically, this achieves more facade surface on the same plot of land.’

To achieve the 3D geometry, a particular masking layer is applied to the wafer above the first deposited semiconductor layers, which are like an ultra-thin glass panel covering the chip itself. Holes with diameters of just a few hundred nanometers are then applied to this and through them the characteristic columns of the nano LED develop.

These columns are then coated with a transparent contact material to ensure that the driving current can spread across the entire surface.

This surface has already been applied with phosphor material that, as with the vast majority of white LEDs, transforms the intrinsic blue light of an LED into white light.

Osram says it has developed a new type of extremely efficient

phosphor that is especially finegrained for optimal distribution on the lateral surfaces of the nano columns.

Following completion of the prototype, the next step will be to reduce the colour deviations on the lateral surfaces of the columns so that the colour quality of the spectrum can be better controlled, according to the company.

A key implication of the technology is that it would enable Osram to make significantly more LED chips with its existing production plant. The current determining factor for the capacity of an LED chip factory is the wafer size. Resembling something slightly larger than a DVD, the wafer acts as a substrate on which semiconductor materials are applied as thin layers

and which is then divided into tens of thousands of single chips.

The quantity of chips per wafer is limited by the fact that a specific LED chip surface is required for a certain quantity of light, otherwise efficiency is adversely affected.

The new approach would enable the production of several thousand additional chips from each wafer.

‘We believe that in coming years we’ll be seeing nano LEDs for the first time in large-volume products,’ says Strassburg. www.osram.com/osram_com/ news-and-knowledge/innovation/ innovation-news-greater-productivityand-luminous-efficacy-withnanotechnology/index.jsp

Creating a 3D nano LED: two tiny, energised needles are pressed on to the contact surfaces of the chips. The distance between the contact points corresponds roughly to the thickness of three sheets of stacked writing paper

Lighting Journal October 2014

34 ILP survey

ILP survey: the results As part of its strategy to improve communication within the institution, the ILP recently set up a questionnaire to get feedback from members. Jo Harding of Harding Consult reports on the outcome The Our ILP strategy is part of an overall process to improve communication within the institution.

The starting point for this was to set up a questionnaire to enable members to give us their feedback.

This questionnaire was fully promoted both on the ILP website and through social media forums (Twitter and LinkedIn) in order to encourage as many people as possible to complete the survey.

The questions centred around the quality of communication, its relevance to the audiences, whether information is available to local members and

Q: Are you a member of the ILP?

Answered: 80 Skipped: 4

Lighting Journal October 2014

whether they have the opportunity to relay back their ideas and feedback.

There was also an option to provide more qualitative details on how the ILP could improve and achieve its vision of promoting excellence in all forms of lighting for its members. The campaign was launched in April this year and ran until the end of June, for three months.

A total of 84 responses was received and generally the feedback was positive and constructive. A large proportion of respondents agreed that the ILP’s communication of events and education is very clear, and also that

communications in general are suited to members’ needs.

Members were also able to voice opinions on how the ILP could improve its services, and suggestions included the provision of more online training and faster-tracked Professional Lighting Guides.

The encouraging conclusion to all this is that people obviously have a passion for the ILP and are keen to provide constructive feedback.

The key findings are below.

The board will analyse all the responses and use these to help formulate future strategy.

ILP survey 35 Q: ILP communication relayed on events, education, publications and membership is very clear Answered: 84 Skipped: 0 Average Rating

Q: The communication is suited to my needs and interests Average Rating

Answered: 84 Skipped: 0

Q: The ILP’s social media communication is relevant and of interest to me Average Rating

Answered: 83 Skipped: 1

Lighting Journal October 2014

36 ILP survey Q: There are plenty of opportunities and events to relay my ideas about the ILP

Average Rating

Answered: 84 Skipped: 0

Q: My local ILP keeps me informed Average Rating

Answered: 84 Skipped: 0

Q: My feedback is listened to Average Rating

Answered: 80 Skipped: 4

Lighting Journal October 2014

37 VPs’ column

Mind the gaps Dave Burton, VP education, on plugging the holes in the school system

W

e’re just past that time of year when GCSE and A-level results are in the news and the thoughts of aspiring teenagers and their hopeful parents turn to the next levels of education.

Unfortunately for many pupils, by the time these exams are taken our present system will have already constrained them to follow a path that for many will lead to a failure to realise their full potential.

This year the media focused on changes in the examination system, with few commentators analysing the root of an ongoing problem.

Unfortunately, our education system simply doesn’t develop young people by showing the career paths that could be open to them, so any chance of informed course selection is limited.

Indeed, few children leave school with any understanding of the link between what they are taught at school and what they may end up pursuing as a career.

Fortunately there are several initiatives trying to address this gap, one of which is the Primary Engineer scheme, which was the subject of the keynote speech at last year’s ILP summit in Glasgow. Primary Engineer aims to take the practicalities of applied science into schools to reach pupils in their most formative years.

The scheme relies on volunteers from different engineering disciplines to inspire and motivate young people and show them how what they learn in school is applied in the real world.

The ILP supports the Primary

Engineer project – there was another presentation on the scheme at this year’s summit in Solihull – and several ILP members are already active supporters. Please let me know if you would like further information about it.

Professional bodies such as the ILP are no longer just a means of providing access to lifelong learning – we are needed more than ever before to ensure this is available and to plug any gaps left by the traditional education route The press coverage of this year’s school exam results has inevitably been slanted to the political issues, but one particular item caught my attention. It was reported that many young people applying for jobs found that prospective employers did not even ask about GCSE and A-level grades at interview.

I can’t say that I’m entirely

surprised by this. As an employer, I am unclear about what the grades mean.

What do students have to do to get a particular grade? If the lowest grade is achieved by scoring an overall mark of just 30 per cent, what knowledge gaps does a student gaining that grade have? I am not suggesting that standards are necessarily lower than they used to be, merely that they are different, and many of us are unclear as to what that difference means.

For a start, I would like to see more transparency in the entire qualification process – even up to degree level – so that I can reset my levels of expectation in line with what the educational establishments are delivering.

The corollary of all this is simple: professional bodies such as the ILP are no longer just a means of providing access to lifelong learning – we are needed more than ever before to ensure that this is available but also to plug any gaps left by the traditional education route. Education does not stop after school, college or university – these establishments merely provide a foundation on which all of us subsequently build throughout our careers.

So, it’s down to us all to support initiatives across all stages of education, from the earliest school years to ongoing professional development. If you are able to offer any time to support ILP educational activities, we’d like to hear from you. vp.education@theilp.org.uk

Lighting Journal October 2014

38 Advertorial

LuxLive, 19-20 November 2014 at ExCel in London, is set to be the most innovative lighting event the UK has ever seen. As well as all the latest technology in this fast-moving sector, there will be shedloads of talks, debates, demonstrations, workshops and masterclasses.

check out Philips, Kosnic, Havells Sylvania, Megaman, Aurora and Soraa. For designer luminaires, check out the latest ranges from iGuzzini, Wila, Erco, Concord and Microlights. For LED retrofit luminaires for office, retail and outdoor there’s Tamlite, Aurora, Thorlux, Vestel and Luxonic.

For wireless controls, visit Rako, Helvar and Harvard.

For architectural lighting controls see Nicolaudie, Artistic Licence, Hamilton Litestat and Pharos. For street lighting and outdoor innovations, there’s Abacus, Holophane, CU Phosco, DW Windsor, Harvard, Kingfisher, AEC and OrangeTeK. Emergency lighting is covered by Thomas and Betts, P4, Mackwell, Luxonic and Tamlite. It’s not all LED, either: you’ll be able to learn about induction lighting technology on the QL Lighting stand.

LuxLive’s exhibition is supported by an extensive programme of free-to-attend talks which has been divided into the key sectors that are feeling the effects of the LED revolution: retail, education, healthcare, industrial, transport, hospitality and leisure, commercial and outdoor. Additionally, there’ll be streams on financing, emergency lighting, lighting and health, and lighting for the rail industry.

As you’d expect, the big names will be out in force and will have massive presences at the show, which attracted more than 6500 visitors last year. Philips, Osram, iGuzzini, Tamlite, Erco, Lumenpulse AlphaLED, Megaman and Kosnic will be joined by up-and-coming players with hot kit.

There’s something for every lighting application. So for instance, if you’re interested in LED replacement lamps,

Lighting Journal October 2014

In each sector, we’ll look in depth at some of the best exemplar projects, drill into some of the key technologies and debate the issues in that sector in a dedicated panel discussion. And all the events focusing on any one sector will be on the same day, to create a must-attend day’s programme packed with content that’s relevant to you.

In addition to these, there’ll be streams on OEM issues, such as warranties, in LuxLive’s dedicated Tech Theatres.

The presentations and talks take place in no fewer than two arenas and three theatres at Excel London.

Advertorial 39

The organisers of LuxLive believe that the best way to learn is by enjoying yourself. That’s why they’ve created two stunning arenas on the floor of the show which will have a series of interactive content hosted by some of the most engaging and informed personalities on the lighting beat, including tech experts and Team Lux. It’s a rolling programme, so whatever time you rock up, there’ll be something engaging and interactive. For details of the full programme visit www.luxlive.co.uk, and in the meantime check-out some of our top picks.

Named and shamed The Lux team look at some of the UK’s worst lighting installations that have been featured over the year and will be asking: what on earth were they thinking?

Product demos You don’t learn that much about a product from the advertisements. So Lux has compiled a list of the most interesting kit – and asked the manufacturers to come and explain it in person.

LuxLive top picks Lux Cool Wall What’s seriously cool and what’s distinctly average? Leading product and lighting designers and manufacturers pass judgement on the stand-out luminaires made possible by LED and OLED designs, and discuss how to maximise the design possibilities of solid-state technology to give specifiers new solutions to old problems.

Dragons’ Den In this ever-popular format based on the massively successful BBC television programme, entrepreneurs pitch their innovative lighting ideas to the Lux panel of seasoned industry professionals. Who’ll get the thumbs up, and who’ll be told to think again?

Lighting Spy Exposing the worst excesses of lighting energy waste in the UK – by visiting new and existing projects and checking. But it’s not just about criticism – the Lux Lighting Spy team will propose alternatives which will save energy and improve the quality of the lighting.

LuxLive is free to attend, you just need to register for your free pass at www.luxlive.co.uk/register

Register now for your free pass!

Dates: 19-20 November 2014 Venue: ExCel, London For more information visit www.luxlive.co.uk

Lighting Journal October 2014

40 Products

What’s new GE Lighting

Spinella The Spinella Low Watt Roadway LED IP68 fixture is designed for robustness with an IK09 rating, and capable of withstanding an impact energy of 10 joules. It has a range of output levels, from 19W -91W, and with an advanced optical reflector the ability to control direction and level of illumination.

The fixture is designed to accommodate a variety of intelligent devices and control systems – Dali, 0-10V, step dimming, astro-dimming and photocell – and is compatible with GE Lighting’s LightGrid technology. With a rated service life of 50,000 hours at L90, it has tool-less entry and clip-in gear tray with pre-cabling options. www.gelighting.com

LUXeXceL

Outdoor printed optics LUXeXceL, the 3D printing service for optical components, has introduced an outdoor coating for its LUX Standard material. The coating protects against the influence of UV and rapid temperature changes (thermal shocks -15 degrees C and +60 degrees C).

The protection is guaranteed for at least three years. The outdoor coating must be specified during the order process. One of the first applications is a linear optic lens structure with a 20-degree tilt for Paviom’s Lo-Foot inground uplight. www.luxexcel.com

RZB

Lightstream Lightstream LED Mini and Midi fittings, with a luminous flux of 2240lm and 4360lm respectively, are designed to replace halogen floodlights up to 300W and metal halide projectors up to 70W. The narrow spot, medium spot and flood beam widths are available in the same housing. For path and entry lighting, emergency lighting, accent lighting, highlighting architectural elements, as well as advertising and facade lighting, the fittings have fixed and mobile installation versions.

The Lightstream LED module is available in 3000K and 4000K options. A Gore membrane valve prevents condensation from forming. www.rzb.de

Lighting Journal October 2014

Products 41

8point3 LED

Sabre Claris The Sabre Claris exterior IP65 remote phosphor LED luminaire has a standard colour temperature of 4000K (other colour temperatures are available on request) and a range of lumen packages. Colour rendering is 80+ (consistency is 3 SDCM). The fitting features a patented, award-winning technology to deliver uniform, glare-free light with a diffuse luminance and appearance, even when dimmed. According to the company, life is 100,000 hours to L70. www.8point3led.co.uk

Luxonic

Teardrop LED Luxonic, which has recently completed a 10-month, £0.75m investment programme to expand its Basingstoke production facilities, has added a new fitting to its retail range.

Teardrop LED is designed for integration with the Linearlux extruded aluminium trunking system, which allows fittings to be suspended in areas without ceilings. Measuring 47mm deep, Linearlux can be used for single runs or complex grid patterns with corner, T and cross sections, and can incorporate linear lighting with spotlights. With a soft opal-appearance lens, Teardrop LED achieves up to 110llm/cW. Translucent end caps provide an unbroken lit appearance when installed in a continuous line. www.luxonic.co.uk

Meyer

Ecoscape The Ecoscape range of exterior LED fittings has a series of different optics, including a specially designed ‘comfort optic’, for open space, street and path lighting. Available in two sizes, each has a range of pole and wall mounts, according to the application. Versions range from 32W to 90W, in warm and neutral white, and luminous output can be regulated by external control system or by programmable components integrated into the fixture. www.commercial-lighting.co.uk

Lighting Journal October 2014

42 YLP column

High

five

The Young Lighting Professionals group celebrates its fifth anniversary this year. Tom Baynham talks to past and current chair people The YLP was founded at the end of 2009 by two aspiring lighting engineers, Rebecca Davis (now Hatch) and Scott Pengelly. After joining Atkins as trainee technicians they were encouraged to join the institution (then the ILE). They experienced the great training courses it offers, such as the Exterior Lighting Diploma, and attended regional and national events, but always felt that there was something missing and weren’t sure who to turn to for career advice. They felt supported by their employers but were in need of something in between a friend and a mentor.

Convinced they weren’t the only two in the industry feeling this way they approached the ILP’s membership manager Chantal O’Sullivan to enquire about a membership level specifically for younger members early in their careers – and the YLP was born.

From two to 200 members In the first year the YLP committee structure was established; each of the seven ILP regions was appointed a YLP regional representative

Lighting Journal October 2014

and national positions to cover membership, education and technical.

Recruitment was in overdrive and members were joining from all parts of the industry and from the UK, Ireland and overseas.

With the change from ILE to ILP in 2010 the YLP committee adapted to suit the new structure. As the ILP evolved, the YLP grew, mimicking the institution model and recruiting additional members to the committee to cover roles such as councillor and, most recently, architectural, and highway and infrastructure.

Over the first two years the YLP built awareness by touring the regions giving presentations in London and South East, Midlands, Ireland and Western, as well as at the national conference where it promoted its vision and upcoming events. All members were issued with badges displaying the distinctive YLP orange logo. The committee worked hard to host and attend a vast array of technical and social events including the YLP Social Media event at the Apple Store in London’s Regent Street, Module 4 project study groups,

competing in Ready Steady Light three times (winning the Technical Award twice), charity sporting events, and YLP Back to Basics technical day.

The YLP has always received great support from companies within the industry, many providing sponsorship of events, arranging technical visits to factories and allowing free use of office space for meetings, which we are always extremely grateful for.

Since 2009, the YLP has grown not only in terms of membership numbers but in terms of outputs. It now has a fully functioning committee which is making contributions to all regions and national committees. YLP members are producing regular articles for the Lighting Journal. It is also promoting lighting through social media with nearly 600 followers on Twitter and active discussions on LinkedIn. YLP members have progressed into further roles on ILP committees, which shows how being an active YLP member prepares you for taking on bigger roles within the lighting industry.

The YLP committee past and present is extremely proud of what has been achieved over the past five years, and with continued contribution from our members and supporters we will continue to grow and develop.

Rebecca Hatch (née Davis), principal lighting engineer, WSP Chair 2009–2011

As co-founder I became the first chair of the YLP. It was an honour when I was asked to continue as chair for 2010-2011 while we consolidated the committee and a succession plan was put in place.

Presenting the YLP to a large audience at the National Conference in 2010 was a huge high for me, and the positive reaction we received was overwhelming. The massive amount of support at the celebration networking event that evening at the YLP Beach Party gave us the positive start needed to take the group to where it is today.

YLP column 43

Young Lighting Professionals Kevin Dugdale Honorary Treasurer Rebecca Hatch Councilor

Fiona Horgan Chairman

James Duffin Honorary Secretary Tom Baynham Lighting Journal Editorial

Robert Blackburn Education

Kevin Dugdale Vice Chairman

Alison Gallagher Architectural

Rebecca Hatch Membership

Brendon Airey L&SE

Stewart Thomson Western

Vacancy Midlands

Building a committee was a challenge at first, and during the early days of the YLP, with only a few members, filling the positions was tough. As with all ILP roles they are voluntary and are in addition to our hectic day jobs, so time is always hard to find, and it is the nature of the group that our members are often junior within their organisation, making it difficult to attend meetings and events.

We took this issue as a challenge and used our position within the ILP to promote the benefits not only to potential YLP members but also to managers and senior engineers, encouraging them to allow their junior members of staff to be involved and promoting the importance of CPD. The addition of social media to our marketing toolkit has been brilliant, with the use of Twitter and LinkedIn we have built a great base of contacts from within and outside the lighting industry. The YLP championed the use of social media from the beginning and, following our Social Media event at the Apple store in London, we set the president up with a Twitter account and The President’s Blog which has been a great addition to the ILP’s communications.

My current role within the YLP is membership representative and council representative. Being part of the membership committee allows me to help our members with their professional qualification applications and generally support them with their career progression. It’s very rewarding to receive thanks from members who I’ve helped, whether it’s completing

Chris Rayner Northern

Vacancy North Eastern

Calum McGregor Scottish

their Module 4 projects and following the fast track route to EngTech AMILP, or informal chats over LinkedIn about how they should best approach their membership upgrades.

Scott Pengelly, product manager, DW Windsor

As one of a few people involved in the creation and early years of the YLP, it gives me great pleasure to see how it has moved on over the five years it has now been up and running. Like many brilliant discoveries in life, the idea for the youth wing of the (then) Institution of Lighting Engineers all came from a conversation among friends...

For a few years both myself and a few other colleagues had been attending events hosted by the London and South East region, including the popular technical seminars. After a while, it soon became apparent that few of the younger members of the industry attended these events.

One day, after discussing the idea in the office, we decided to

Vacancy Irish

ILP National Committee Representatives

contact Chantal O’Sullivan to offer up the idea of a sub-group of the ILE specifically for younger members and ask if this had ever been considered previously. Chantal took to the idea with enthusiasm and asked us to put down some thoughts on paper so she could pursue the idea further. One day later, and with lots of scribbling between myself and Rebecca, we had created an overview of the group, a mission statement and even the first draft of a logo.

By this time, Chantal had managed to bounce the idea around the staff in Rugby and get a huge amount of support. One main supporter who does need mentioning is Tom Webster who, at the time, was membership committee chairman and another key player in the formation of the YLP. The time from conception to acceptance from the executive board took around two months and before we knew it we were out and about on the road promoting the YLP organisation to all of the other regions, gathering support and buy-in whenever we could.

We received a huge amount of support and suggestions, including Paddy Craven’s not entirely serious idea to create the ODLP for the Old and Decrepit Lighting Professionals.

He was a great promoter for the YLP within the Irish Region and at executive board level.

Within 18 months of sending the idea over to Chantal, the update to the ILP was launched at the AGM in Warwick bringing a breath of fresh air to the institution and fully incorporating the YLP into the organisation.

Lighting Journal October 2014

44 Independent YLP column lighting design Dan Robinson, managing director, TMP Chair 2011-2012

Having been one of the first members of the YLP it has given me great pleasure to see the group going from strength to strength under the guidance of the committee over the past five years. During my time as chair we achieved a great deal, but there are two things from my year that stand out for me.

First is the charity bike ride from London to Amsterdam that raised more than £3500 for Help for Heroes, EEIBA and Diabetes UK. The second was setting up mentoring workshops for anyone who was working on Module 4 of the ILP diploma. These were a great success and were attended by members of all ages.

The workshop not only offered guidance and coaching but also gave an opportunity for students to talk to people who had completed the ILP diploma and share ideas with each other. One of the workshop attendees went on to become student of the year. It is this that highlights the need for a good support network not just from your peers but also your contemporaries.

James Wright, head of sales, Indo Lighting Chair 2012-2013

Being my first role as chair on a committee I was naturally a bit nervous and a little unsure how best to serve the YLP. The group is a great

Lighting Journal October 2014

vehicle for bringing members into the ILP, and as such these members are more likely to be seeking to increase their experience and education. With this in mind, I decided to focus on building a strong committee, asserting ourselves as the first point of call where education is concerned within the industry.

During my time as chair, my vision of the young lighting professional developed from more than just someone ‘young’ in age, but also ‘young’ to the industry. I felt this opened us up to a wider audience of people who would benefit from becoming a member and in turn ensure we continue to move forward with purpose and a growing membership. Joining the YLP and being active in its operations is a fantastic way to gain valuable experience, meet new people and support your industry.

Fiona Horgan, design engineer, Doncaster Council Chair 2013-2014

Having joined the YLP as regional representative for the Northern region it felt only natural after a couple of years to take on the challenge and progress to vice chair and then chair. I felt the YLP’s profile could be improved and on becoming chair I set myself the challenge of further increasing membership and ensuring that the YLP be the face of young people within the industry.

The first task was to get the YLP a direct link with the ILP executive board so that we could work more in support of one another. This was achieved by the executive board adding the then immediate past president as the direct link to the YLP. Pete Lummis has been a great asset to the committee in his year with the YLP, and having a role model who has been a previous president has been invaluable.

The next priority was to grow

the committee to mirror that of the vice presidents, again to support and work more closely together on the real subjects that our industry faces. So far we have succeeded by adding YLP highways and infrastructure, and architectural, which aim to deliver work alongside their corresponding VPs. One of the most important challenges in the past year, and possibly one of the most important for the future, is the requirement for the YLP to continually reach out to potential new members. Over the past year, the group strengthened itself within each region and we are now working closely with regional chairs as ambassadors of the YLP to deliver suitable technical events for all. I believe this will be an area that will continue to grow, with YLP regional representatives becoming valuable to each regions’ future growth and by becoming the link to the heart of the YLP/ILP community.

Overall my year as chair has been a great learning experience and one that has helped me to develop and grow. I would also say behind every great chair is a great team and that is certainly what the YLP is, a great team. I would encourage any young new member within the industry to get involved in the YLP. I will be handing over to Kevin Dugdale at the AGM in November and from speaking to him it sounds like he has a great year planned to keep the YLP strong. I wish him the best of luck.

Would you like to have your voice heard by the lighting community?

The YLP column is dedicated to articles, information and news about YLP members. If you’ve attended an event, or would like to write an article, or share your experiences from within the lighting industry, please contact Tom Baynham: ylp@indolighting.com

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.

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

Diary 2014 13-17

28

20

Urban Lightscapes, Social Nightscapes (Five-day workshop organised by the Configuring Light research programme) Venue: Peabody’s Whitecross Estate, Islington, London N1 http://lsecities.net/media/objects/events/ urban-lightscapes-social-nightscapes

How to be Brilliant: at photometrics, light meters and lux levels (Organised by the ILP) Speaker: Joe Vose Venue: ACDC Studio, London N1 Time: 6.30pm jo@theilp.org.uk

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

October

16-18

October

IALD Enlighten Americas Venue: Hilton San Diego Resort and Spa, San Diego, California www.iald.org

20-24

October

11

November

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

October

11

20-24

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

Exterior Lighting Diploma Module 2 Venue: Draycote Hotel, Nr Rugby jean@theilp.org.uk

October

Rethink the Night (International lighting design workshop organised by the Hellenic Illumination Committee) Venue: Kea Island, Greece www.rethinkthenight.com/

21

October

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

23

October

SLL Masterclass Location: Birmingham www.sll.org.uk

23-25

October

Light in the City Location: Eskilstuna, Sweden www.cityoflight.jyvaskyla.fi/english/ projects/lic/activities/eskilstuna

November

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

24-28

November

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

25

November

How to be Brilliant: (Organised by the ILP) Details to be confirmed Venue: ACDC Studio, London N1 Time: 6.30pm jo@theilp.org.uk

27

November

SLL Masterclass Location: 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

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

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

November

December

November

20

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

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

16

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 Booking essential: jrennie@cibse.org

13-17 October: Urban Lightscapes, Social Nightscapes, Peabody’s Whitecross Estate, London N1

R the egiste r fo UK’ r s g ligh r e a 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