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Professional best practice from the Institution of Lighting Professionals

July/August 2018

LONDON CALLING The innovative lighting scheme at the heart of the refurbishment of London Bridge Station NIGHT SIGHT Understanding the urban landscape at night, as part of the International Day of Light TALKING EUROPE What proposed European Union regulations will mean for the future of tungsten halogen and compact fluorescent as light sources

The publication for all lighting professionals

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July/August 2018 Lighting Journal





EU draft regulations have led to dire headlines that tungsten halogen and compact fluorescent will be ‘banned’ as light sources by 2020. Allan Howard looks at what exactly is under discussion, and how lighting professionals can make their voices heard


A cross-European campaign by stage and entertainment lighting designers has led to important concessions from the European Union but, as yet, no firm deal on exempting this important lighting sector from the new rules coming in from 2020, highlights Tim Routledge

12 32


As part of May’s International Day of Light, the London School of Economics’ Configuring Light research group held a night-walk through central London to help lighting professionals gain a better social sense of the urban landscape at night, and lighting’s role within this, as Don Slater reports



The refurbishment of the 180-year-old London Bridge Station has been a key part of Network Rail’s £7bn Thameslink Programme and one of the most complex and ambitious rail station redevelopments in the UK to date. And an innovative lighting scheme is at its heart, explains Sacha Abizadeh


A range of papers looking at the past, present and future of lighting were discussed at the CIE Visibility Symposium in Berlin in May. Nigel Parry reports back


The Institution of Engineering and Technology has published a new guide on the safety requirements of electrical street furniture, backed by the ILP and other industry bodies. Lighting Journal takes a look inside


The term ‘smart’ has become overloaded with different meanings, a catch-all term for different layers and functionality dependent on device. If lighting professionals are truly to understand the opportunity, and potential, of smart lighting, they need to be clear what they’re talking about, says Jeremy Turner

TO 29 IDENTITY POLITICS 39 FAREWELL RICHARD FROST Gender equality and inclusivity are firmly in the political spotlight, thanks to movements such as #MeToo and new gender pay reporting rules for larger employers. Lighting and lighting design is improving in terms of equality and inclusion, but there is still a long way to go, argues Emma Cogswell

After 24 years as ILP chief executive, Richard Frost stood down in April to pursue new ventures. At last month’s Professional Lighting Summit he was granted the ILP’s highest honour, of Honorary Fellowship. Lighting Journal spoke to him to reflect on his time at the helm

Professional best practice from the Institution of Lighting Professionals

July/August 2018

VICTORIAN SPLENDOUR The innovative lighting scheme at the heart of the refurbishment of London Bridge Station NIGHT SIGHT Understanding the urban landscape at night, as part of the International Day of Light TALKING EUROPE What proposed European Union regulations will mean for the future of tungsten halogen and compact fluorescent as light sources

32 BRIDGE OF SIGHTS 42 HEART OF DARKNESS A dynamic, full colour lighting scheme has been used to transform the night-time presence of an iconic pedestrian suspension bridge in Croatia


Last month’s Professional Lighting Summit in Thame saw Alan Jaques hand over the reins as President of the ILP to Colin Fish. Here are abridged versions of their speeches to delegates, as well as a short address by new chief executive Tracey White

Colin Ball used April’s ILP ‘How to be brilliant’ lecture to deliver the third chapter of his mammoth six-part ‘Sacred Light’ series of lectures: ‘The Darkness of the Unconscious’

The publication for all lighting professionals


London Bridge Station at dusk. A new lighting scheme has been at the heart of its refurbishment

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July/August 2018 Lighting Journal

Editor’s letter

Volume 83 No 7 July/August 2018 President Colin Fish IEng MILP Chief Executive Tracey White Editor Nic Paton BA (Hons) MA Email: Editorial Board Tom Baynham MEng MA (Cantab) Emma Cogswell IALD Mark Cooper IEng MILP Kevin Dugdale BA (Hons) IEng MILP Graham Festenstein CEng MILP MSLL IALD Nathan French John Gorse BA (Hons) MSLL Alan Jaques IEng FILP Lora Kaleva MSc Assoc IALD Gill Packham BA (Hons) Nigel Parry IEng FILP Paul Traynor Richard Webster Art Director Adriano Cattini BA (Hons) Email: Advertising Manager Andy Etherton Email: Published by Matrix Print Consultants Ltd on behalf of Institution of Lighting Professionals Regent House, Regent Place, Rugby CV21 2PN Telephone: 01788 576492 E-mail: Website: Produced by

Matrix Print Consultants Ltd Unit C, Northfield Point, Cunliffe Drive, Kettering, Northants NN16 9QJ Tel: 01536 527297 Email: Website: © ILP 2018 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.


or me, last month’s Professional Lighting Summit in Thame was, as ever, a great opportunity to reconnect and chew the fat with ILP members. As we report in this edition, we bade farewell to Richard Frost with an Honorary Fellowship, while new chief executive Tracey White and President Colin Fish set out their stall to delegates. The regional review now moving from consultation to implementation was, of course, one key topic of conversation, with the ILP between now and this time next year moving to a structure based around Lighting Delivery Centres and a new CPD ‘national curriculum’. Another conversation, and one highlighted in both Tracey’s and Colin’s speeches to delegates, was the need for the ILP to become more outward-facing, more confident and proactive in its external communication. I’d argue these two conversations are not unconnected. Profile-raising, to my mind, comes back to two things: skills and confidence. It’s about members being helped at a practical level to gain and develop the skills they need to communicate in accessible ways, even on technical or complicated matters, whether this be to the media, government, the public or other influencers. It’s also about understanding the value and power of good communication and of proactively celebrating and promoting the industry outside the industry. But having the confidence and mindset to put yourself out there – to back yourself, your organisation and your expertise – is arguably even more important. And this, for me, comes back to knowing that, as an ILP member, you’re speaking with total authority. It’s the combination of the experience and knowledge you can bring to the table, your professional engagement with the industry and, crucially, the ongoing access you have to the highest quality CPD. As Tracey mentioned in her speech, the Executive Board will be sitting down over the summer to scope out a new media and communications strategy designed to begin the process of making the ILP a ‘go-to’ organisation for quotes and enquiries. This, of course, won’t happen overnight. But the new regional structure and especially the new CPD national curriculum could be important complementary steps that help to make this change a reality.

Nic Paton Editor


Journalists are often accused of being too London-centric. So I’m happy to set the record straight that it was simply an editing error that led to us transposing London and Bristol on our map of Lighting Delivery Centres in the June edition (page 39), as some members pointed out. The numbers on the key should, of course, have been the other way round.


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


July/August 2018 Lighting Journal

The EU’s Energy-Related Products Directive


EU draft regulations have led to dire headlines that tungsten halogen and compact fluorescent will be ‘banned’ as light sources by 2020. So what exactly is under discussion, and how can lighting professionals make their voices heard? By Allan Howard


ost lighting professionals will be well aware that, under the European Union’s Energy-Related Products Directives, a number of light sources have been removed from the marketplace in recent years. This process is continuing and, under current proposals, the products listed below are being considered for removed from market availability by 2020. •Linear florescent T8 (2, 4 and 5ft lengths) •Halogen low voltage directional lamps (MR11-GU4, MR16-GU5.3, AR111-G53) •Halogen low voltage capsules (G4 & GY6.35) •Halogen mains voltage capsules (G9) •Halogen linear R7s > 2700lm •Compact fluorescent linear integrated In this article, I intend to summarise the effect these changes will have on the industry

but also the behind-scenes lobbying and discussion activity going on to ensure any damaging effects are mitigated. It is not the intention of this paper to go into the full details of the developments being drafted, but simply to raise the awareness of what is being proposed and to encourage a wider industry input and contribution. The principle behind the removal of some products, such as the T8 fluorescent tube, is sound enough. As the lamp has a significant market penetration, by removing it from the market it is considered by the EU that significant energy savings will be achieved. It is however the implementation timescale that requires consideration, plus what available alternatives exist for T8-based luminaires, of which there are many hundreds of thousands. For this reason, it is now being considered that the proposed ban on T8 fluores-

cent lamps in 18 months’ time is really too short. This timescale is being reconsidered in order that current T8 customers are aware, can address this and can consider/replace their current luminaire assets. The key element is that the industry – from product designer to end user – needs to be aware and start planning now. The T8 lamp is not alone in this consideration. Within the press we have seen a lot of debate regarding the light sources used by the theatre and architectural lighting industries, as Tim Routledge highlights on page ten. Here is it not just a matter of a lack of alternative light source but also the associated equipment, in that nothing else exists to deliver the lighting task. In such cases where no LED replacement is available, then the existing technologies and products can be exempted and not removed from the market, and this is currently being considered within these sectors. This will be good news for these industries as well as the likes of Trinity House, where G4 and GY6.35 non-directional halogen low voltage capsules are used within a number of light houses.


Under the European Commission’s (EC’s) ‘ecodesign’ considerations, it is worth just understanding the following two definitions: •Light source. This is defined as the smallest physical unit that can be readily removed from the containing product without permanent mechanical damage of the light source and which meets the defi-

July/August 2018 Lighting Journal

nition of light source. Effectively the light source will be lamps, complete LED modules and not the individual LED chip/unit. •Containing product. This is defined as anything containing a light source, in other words a luminaire, but also anything else containing a light source, such as a household appliance, cooker and so on. These definitions are important when considering the EC’s draft ecodesign review working document, which was issued on 13 November 2017, which centres on a ‘circular economy’ approach for luminaires. The draft text states that:

‘Manufacturers and importers shall ensure that light sources and separate control gears in scope of this Regulation can be readily removed without permanent mechanical damage by the end-user from any product containing them that is placed on the market. Where light sources and separate control gears in scope of this Regulation cannot be readily removed by the end-user, manufacturers and importers shall ensure that the containing product is designed in such a way that light sources and separate control gears in scope of this Regulation can be readily removed by qualified professionals. ‘Containing products shall be accompanied by instructions on how light sources and separate control gears can be readily removed by either the end-user or by qualified professionals’.



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The circular economy approach is seen as improving the serviceability of lighting products, which in turns brings numerous benefits to the customers, the environment as well as the economy. This includes that:

•Luminaires can be ‘future-proofed’ and enjoy a longer economic lifetime. Thanks to regular upgrades, luminaires remain a state-of-the-art infrastructure and respond to the evolving needs of customers

•Luminaires can be repaired and have a longer technical lifetime, thereby improving the material efficiency of the sector and reducing waste •Luminaires can be upgraded to improve their performance resulting in greater energy savings, for example if a more efficient LED module is installed or a presence sensor is added to the luminaire

By improving design for serviceability then the lighting industry can contribute concretely to the EU circular economy agenda. This approach is fully aligned with Lighting Europe’s Strategic Roadmap 2025 (as shown in figure 1). Here, the circular economy supports growth in intelligent lighting systems and human-centric lighting.

July/August 2018 Lighting Journal

The EU’s Energy-Related Products Directive


Figure 2. Under the EU’s proposals it is expected that no products will meet the class A and B requirements


Where a light source cannot be removed from the containing product then the whole product will have to comply with the performance requirements. Subject to specific exemptions this has the potential to put products at a disadvantage and possibly remove the product from the marketplace. In many respects, certain sectors of the lighting industry, such as the road lighting market (where the light source, control gear and control systems are readily removable by the end user) are already meeting these requirements. However, for other sectors and products the luminaire is essentially a single piece and may prove difficult to design to incorporate connectors and mountings such that removal of the required components is possible even by qualified professionals let alone end users. The commission is looking to undertake detailed impact assessment before proposing the new circular economy aspects. The publication of the regulatory text is expected at the earliest in late 2018, with a view to compliance before 01 September 2020. Lighting Europe considers that this timescale is unfeasible and is proposing a detailed industry impact assessment to fully determine the impact and requirements and thus advise on a realistic time scale.


The following EC lighting-related ecodesign regulations currently exist: •(EC) No 244/2009 Non-directional household lamps •(EC) No 245/2009 Products normally used as street lighting and office lighting

•(EC) No 1194/2012 Directional lamps, LEDs and related equipment •(EU) No 874/2012 Energy labelling From 01 August 2017 a new energy labelling regulation (EU) 2017/1369 came into force and this effectively removed energy rating classes A+ to A++ and rescaled the energy labels from an A to G scale. This will be introduced to lighting products by 2020, although recent presentations by Lighting Europe have advised this may happen as early as 02 November 2018. It is expected that no products will meet the class A and B requirements (see figure 2) from 2020 and that, over the following ten years, product development will start to see class A being populated. The EU does not wish to have to introduce A+ etc. This change will require some customer education leading up to the introduction, in that the most efficient light source will be rated as ‘C’. The current consideration is that this will apply to the light source and not the containing product. This caused some concern at a recent briefing meeting, as we know that the performance of an LED – from chip, through mounting, lenses and installation – within the containing product and how heat is managed within it has an effect of the efficacy of the light source.


Regulation (EU) 2017/1369 (also termed the Energy Labelling Framework Regulation) looks to the establishment of an EU product database in which all new products covered by the energy labelling re-

quirements have to be registered in the EPREL database before placement on the market. The target is for the EPREL to be set-up and completely functioning from 01 January 2019. To determine what this means for lighting professionals, Lighting Europe currently estimates that there are between one to three million luminaires and between 200,000 and 500,000 light sources available to the market. This becomes more complex if containing products are also to be considered, as their numbers are just not calculable. The timescale and hence size of task to meet this requirement is really unrealistic, and Lighting Europe is therefore proposing that containing products and luminaires under (EU) No 874/2012 be exempt from EPREL, and that initially it should just focus on end user replacement light sources, thus reducing administrative and evidence-based burden on companies. Lighting Europe members are currently actively contributing to minimise the negative effects of EPREL, which is a mandatory requirement by law.


It is fair to say there is a lot going on within the EU, and it is unclear as to how this may affect the UK post-Brexit. But, realistically, when considering luminaires are a global product, what is required by the EU will have an impact on the UK. The majority of the EU’s considerations do make good long-term sense, but the lighting industry is not adequately aware of their development, and therefore risks coming to the table perhaps too late to express concerns or indeed support. The UK Lighting Liaison Group (LLG) has representation from all UK lighting organisations as well as links to Lighting Europe, and is now looking to understand these discussions, look to consultation and act as a UK industry voice back to Europe. Lighting Europe www.lightingeurope. org also has a range of position papers regarding the current proposals. Please consider them and provide feedback to the LGG through your relevant professional body, whether that be the ILP, Society of Light and Lighting, the International Association of Lighting Designers, Innovate UK, the Highway Electrical Association and so on.

Allan Howard BEng(Hons) CEng FILP FSLL is technical director lighting and energy solutions at WSP

July/August 2018 Lighting Journal

The EU’s Energy-Related Products Directive


A cross-European campaign by stage and entertainment lighting designers has led to important concessions from the European Union but, as yet, no firm deal on exempting this important lighting sector from the new eco rules set to come in from 2020 By Tim Routledge


e have all heard the stories of straight bananas and other such EU edicts, some of which are bizarrely true and others which are a massive exaggeration by the media. Well, to me and the rest of the entertainment lighting community, the EU’s Ecodesign Working Plan 2016-2019 was one that didn’t get massively publicised – and which could cost our industry dearly. We had been aware of the campaign to save tungsten lighting for stage use for some time; tungsten on stage and television is a stunning medium that has a property no modern light source can offer. However, as a modern lighting designer, whilst gutted to lose tungsten, I wasn’t re-

ally onboard with the campaign to save it, as the artistic benefits could no longer be justified against the environment and I felt the argument was weak. Rewind to early spring of this year and it became very obvious very fast that the new regulations were not just about banning tungsten – they were about banning all lighting that did not meet a specific requirement – a minimum efficiency of 85 lumens per watt and a maximum standby power of 0.5W on all light sources (lamps or self-contained fixtures) to be sold in the EU.


Suddenly a penny dropped in the mind of lighting designer Rob Halliday and Paule

July/August 2018 Lighting Journal

The EU’s Energy-Related Products Directive

Constable, who were driving the campaign. Not only did this affect tungsten, it also meant the demise of pretty much all entertainment lighting, including our new LED sources along with discharge spotlights and the majority of our design tools. This means that, if the regulations were to be implemented as currently written, from September 2020: • No tungsten entertainment lamps could be placed on the market. As the stocks in the supply chain were exhausted, all of the tungsten fixtures currently in use in entertainment lighting could no longer be used. • None of the LED fixtures currently available as more efficient replacements for these tungsten fixtures could also be sold. • Manufacturers are suggesting that, because of the optical and performance design requirements of entertainment lighting fixtures, they would not be able to offer equivalent fixtures which did meet the requirements by September 2020, or possibly thereafter. • Switching to LED sources, even if available, is expensive in itself, and requires a new supporting infrastructure, since dim-


mers are no longer required and, if used, may damage new LED fixtures. The cost of this may be unaffordable, particularly to smaller venues. • The overall effect on entertainment lighting, a key part of the design of shows for theatre, television, film and live concerts, in the UK and across Europe, would be devastating. You see, entertainment lighting uses a number of lens, optical gates, filter wheels and various patterns to create the looks you see on stage and its simply not technically feasible yet to create lights that meet these new targets and create the same work onstage. It is pertinent to point out that this directive will not only leave theatres in the dark, but also every music venue, arena, music festival and touring concert production across Europe. As a very well-established lighting designer designing tours for acts such as Beyoncé, Sam Smith, Take That, ELO and many more, the news of this regulation is terrifying. As a designer what I do is inherently not environmentally-friendly per se, as I turn lights on and off for a living. But, as an

July/August 2018 Lighting Journal

Entertainment lighting designs by Tim Routledge. This page, Take That and Sam Smith. Previous page: Sam Smith. All photographs by Kris Goodman


dustry, we have moved massively into LED and other energy efficient sources and the majority of new kit adopts LED sources. But these new sources were going to be banned without us putting up a fight. Lighting in shows helps to convey emotion, drama and energy and while the artist is always at the centre of what we do, performing in the O2 in the stark light of the cleaners’ work lights will not quite offer audiences the same exciting experience. If you multiply the ban out to how enormous the effects of it could be – pretty much every lighting source for television and broadcast will also be dead in the water – leading to a need for new genres of television such as shows like Strictly Come Dancing (In The Dark).


The campaign swiftly changed from #SaveTungsten to #SaveStageLighting with a petition and a projection campaign that posted the image of the hashtag on to the outsides of notable buildings such as the National Theatre. The campaign had to be fast and cover as much ground as possible as by this point there really were only a few weeks to get

this as much exposure as possible, as the EU was closing its public consultation on the proposals on the 07 May. What was needed was an exemption from these targets, much like the one we enjoy currently on tungsten but is being cancelled in 2020. My colleagues from stage, concerts and broadcast – all freelancers – all did as much as humanly possible. I even appeared on Dutch TV news, Radio 4, The Guardian and The Evening Standard. Tens of thousands signed the petition, as many as possible filled out objections and I think our MEPs got sick of us contacting them. But, as a result, a group of professionals from across member organisations, manufacturers and designers in the live entertainment industry. This included the Performing Arts Employers’ Associations League Europe (Pearle), The Society of London Theatre (SOLT/UK Theatre), the Association of Lighting Designers, the Association of Swedish Lighting Designers, the International Association of Lighting Designers (IALD), the German group Österreichische Theatertechnische Gesellschaft in Wien (OETHG), the events body PLASA and VLPT. We had a very productive meet-

ing in Brussels on 17 May with the EU’s Director-General for Energy (DG Energy). These combined efforts have agreed to channel our work into seeking to draft a specific, technically-based exemption for lighting uses in the stage and entertainment industries in the new proposed eco regulations planned for 2020. This work needs to happen quickly, with our collective comments being channelled through Pearle to DG Energy in advance of the next draft of the regulations, which were due late last month. In order to allow for this process to run as smoothly as possible, the campaign’s social media platforms will remain dormant until such a time as we have further updates. But at least, for now, we have the ear of the EU and, hopefully, a draft exemption from these new rules for the stage, concert and broadcast industry. We’ll keep you posted.

Tim Routledge is a lighting designer based in London

July/August 2018 Lighting Journal

The International Day of Light 2018


By Don Slater


he International Year of Light in 2015 was initiated mainly by physicists in order to raise the public profile of photonics. The ILP, of course, marked the celebration with a keynote lecture on circadian rhythms, photoreceptors and lighting by Professor Russell Foster, professor of circadian neuroscience at Oxford University. But it did not end there. Unesco (the United Nations Educational, Scientific and Cultural Organization) decided that year should be followed by a yearly International Day of Light, with the first taking place this year on 16 May. 16 May was chosen because it also marked the anniversary of the switching on of the first successful laser light. The annual day of light is designed to foreground not just science but also ‘art, culture, entertainment’. However, even this still does not quite capture the incredible energy and interest that has been building up around light and lighting among the public, let alone amongst lighting profes-

Pictures by Catarina Heeckt and Don Slater

As part of May’s International Day of Light, the London School of Economics’ Configuring Light research group held a night-walk through central London to help lighting professionals gain a better social sense of the urban landscape at night, and lighting’s role within this

July/August 2018 Lighting Journal

sionals, and which, it is hoped, in time that this day of celebration will tap into. Light not only raises an incredible range of issues – from environmental and economic costs, through to safety and wellbeing, through to atmosphere, aesthetics and emotion – but it is also of course a central component of all human interaction. Lighting is not just about either technical wizardry or cultural creativity; more than all this, light sets the scene for all social life.


You can see this clearly walking down any city street. Looking at the lighting is a way into understanding urban life and how it is organised, how it is order or disordered, how it feels to its many different citizens. Lighting is certainly a complicated marriage of science and technology, culture and entertainment. But it is also a complicated landscape of diverse types of people trying to do things and navigate spaces, to socialise with or avoid each other, to consume an atmosphere while also accom-

plishing everyday tasks. The important questions are about whether the lighting supports the lives that people are trying to live in cities, whether it promotes their wellbeing and comfort, how it organises and orders their lives and relationships. With all this in mind, how best, then, to celebrate the first International Day of Light? For us at the Configuring Light research group London School of Economics, it had to be a nightwalk through central London: Holborn and Covent Garden, to be precise. To that end, we were privileged to be able to host the noted New York lighting and night-time designer Leni Schwendinger to introduce her inspiring, multidisciplinary International Nighttime Design Intiative and lead one of her ‘NightSeeing’ events. Based in LSE sociology and LSE cities, over the past five years Configuring Light has been developing a rolling programme of social research, professional workshops and consultancy projects to explore the role of light in social life, and the ways in which lighting professionals can better understand the social worlds in which they intervene so powerfully. The aim is dialogue and collaboration between leading-edge social research methods and leading-edge design and planning. One of our most productive – and pleasureable – projects was a collaboration with Leni (then at Arup) to develop a pilot project – ‘Smart Everyday Nighttime Design’ – located in the World Hertiage Site of Cartagena, Colombia. Over two years

Leni brought together an exciting interdisciplinary team of social researchers, spatial researchers and designers to engage with a complex and rapidly changing community, to engage with local stakeholders and to produce an adaptable, human-scaled lighting strategy that would support rather than replace their social lives and aspirations. Leni has joined us as an LSE visiting research fellow for two years to develop our collaborations, and to support her larger vision, being developed through the International Nighttime Design Initiative.


Light may be uniquely important and ubiquitous in staging urban life, but it is also a way into something even bigger. It is part of the way in which we design nighttime itself (or fail to design it) so that the many different times of the evening and night have – or don’t have – identity, functionality, cultural form, safety, economic dynamism, comfort and all the other qualities we want from urban life at all times. As in Cartagena, Leni’s approach is to think about night-time – and its many different phases across evenings and seasons – as time and social life that needs its own design principles and expertise. Designing night-time is more than just about lighting a public space. Night-time design principles require a team to fulfill, first, safety and welcome; second, to improve public health; and, third, to enhance local economies. These aims, in turn, mean engaging and bringing together the community and multiple municipal agencies. It also means


July/August 2018 Lighting Journal

The International Day of Light 2018

most of the time, even though every step we take is within a lit scene, on a social stage. Appreciating the vernacular of the urban night rather than focusing just on ‘good’ or ‘bad’ design, Leni endeavours through her Nightseeing events to activate the attendees’ awareness to the way life at night is and to identify individual perceptions. Moreover, particularly for people who plan and design urban space with lighting, a night walk makes you aware of how much incidental light – ‘private’ and ‘found’ light – from cars, shops, screens and the traces of older lighting ‘public’ plans from the past can influence the visual experience of now. Given that we were walking through Holborn and Covent Garden, participants spent a lot of time focusing on what makes for exciting and convivial atmostpheres; what levels of visual confusion and complexity are essential to an urban experience; what kinds of quirks and details are valued and noticed. At the same time, detailed engagement with lighting made participants think more closely about just how we make social sense of a street through its materials

and designs. At times our walkers were not entirely sure what was going on or what to look for. LSE, for example, is currently a building site, so there was a sense of how this is transforming its physical layout and the way people are meant to socialise. Covent Garden, on the other hand, involved expectations about what a theatre district should feel like at night: all sparkles, glitz and busyness. Events such as this are clearly not intended to resolve issues, but to build awareness and conversations around disregarded elements of the urban – just, in fact, like the International Day of Light initiative as a whole. We finished our walk with a strong sense that, not just lighting, but urban nighttime itself, needs to be pushed ever further up the agenda of community and municipal awareness.

Dr Don Slater is associate professor of sociology at London School of Economics NightSeeing™ is a trademark of Leni Schwendinger

14 conducting rigorous research to localise the design of the changing shades of night for diverse urban citizens of multicultural cities and to create sociable and atmospheric places. There is, clearly, a growing convergence around these ways of thinking. The International Year of Light may have started with physicists, but we are always pleasantly amazed by the motley audiences that light can bring together. The NightSeeing event on 16 May, for example, was aimed specifically at those with management responsibility for public and urban space as well as the professionals creating those spaces, including lighting professionals. It attracted 40-plus people, including major lighting designers, architects, journalists, city counsellors and council staff responsible for lighting programmes, representatives from charities and public foundations, and academics from very diverse disciplines.


We built the event around a night walk because we felt it had the power to get a group of people to tune into the detailed play of light and shadow, of colour and temperature, that makes up the complex feeling of a street; one that we – even lighting professionals – pass through without noticing or conscious thought. Light is, paradoxically, invisible

FOCUS ON RESEARCH AND TECHNOLOGY The Configuring Light nightwalk was not the only event held to mark the International Day of Light, writes Nic Paton. The day saw conferences, displays, exhibitions, workshops and children’s events taking place up and down the country (as well as, of course, globally), all designed to showcase to the public the role of light and lighting in our environment, and to help educate and raise awareness around the power of lighting. One notable CPD event was held by the Society of Light and Lighting. Its ‘Lighting Research & Technology’ symposium had a dual pur-

pose: to celebrate the International Day of Light, but also to celebrate 50 volumes of its Lighting Research & Technology journal. The event included high-level presentations from academics from both the UK and internationally. To cite just some of the speakers, Professor John Mardaljevic of Loughborough University reviewed the basis for daylighting codes and guidelines and outlined some key advances. Professor Mark S Rea, of the Lighting Research Center at Rensselaer Polytechnic Institute in the US, spoke about new thinking within vision lighting research. And Peter

Thorns, head of strategic lighting applications at Thorn Lighting, discussed the evolution and future development of luminaires and light sources. Professor Mariana Figueiro delivered a wide-ranging presentation on the non-visual effects of light, and how light can be used to promote circadian entrainment and elicit alertness. Professor Steve Fotios, of Sheffied University, analysed some of the constraints of current design guidance around road lighting for pedestrian. A number of these presentations will be followed up within Lighting Journal in the coming months.

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July/August 2018 Lighting Journal

Transport lighting: lighting London Bridge Station


esigning and constructing major infrastructure projects is far from easy, and the redevelopment of the 180-year-old London Bridge Station was no mean feat. Upgrade work which began in 2013, has included a major track upgrade, a new rail underpass on the approach to the station and platform widenings and extensions, all of which means 30% more trains can use the station than before. The most challenging aspect of the project was the fact that the station has needed to remain operational at all times, for 76 million commuters and hundreds of thousands of trains pass through the station every year. As Mark Middleton from Grimshaw Architects has described it, it is like doing an open-heart surgery on someone who is jogging at the same time. In a five-year build, the Thameslink programme has created the largest street-level station concourse in the UK – big enough to lay The Shard down inside – for passengers to make their connections smoothly and efficiently. And this wouldn’t have been possible without the work of all teams involved, including WSP, Arcadis, Costain, Grimshaw and our client Network Rail.



The refurbishment of the 180-year-old London Bridge Station has been a key part of Network Rail’s £7bn Thameslink Programme and one of the most complex and ambitious rail station redevelopments in the UK to date. And an innovative lighting scheme is at its heart By Sacha Abizadeh


One of the key aims of the proposed lighting strategy was to optimise natural light so as to improve the passenger experience and to minimise artificial lighting, in turn of course helping to reduce energy consumption. Glare from The Shard towards train drivers and passengers within the station was also considered as part of our natural light studies. The architects understood the need for buildability and maintenance, and this became an important part of the project culture and design considerations, not just for the provision, operation and maintenance of the lighting but for all the elements within the project. The proposed terminus level concourse adjoins the existing Shard forecourt, which is naturally lit by overhead skylights and clerestory windows. The ticket gates and concourse leading to the platforms borrow light from the glazed canopies and the roof voids. The street level concourse (which is the main circulation zone) receives daylight via ceiling voids and the external vertical glazing facing Tooley Street and St Thomas Street. The escalator shafts also allow daylight from the terminus rooflights to reach the circulation zone at the street level.

July/August 2018 Lighting Journal


The new-look London Bridge Station. This page: The Wedge Void and, left, The Western Arcade.


Dawn and dusk scenes were incorporated to transition the entire station from natural to artificial light, with the use of intelligent sensors to balance out the existing natural light with artificial lighting, thereby reducing operational costs whilst providing the appropriate task lighting. The lighting control system collects real-time information, for example energy usage, faults, emergency testing and so on, which is then sent back to a maintenance computer. LED technology, naturally, has been used extensively to enhance the building and its concrete, tiling and brickwork architectural features, both internally and externally. At the time of the design (seven years ago) LEDs were not ready for the tasks required on this project. Therefore, there had to be a process of balance and consideration with suppliers to incorporate and install LED products when available. We consulted with the suppliers to ensure the luminaires’ size remained constant, with a change from lamp to LED source providing the same performance.


As part of the project, the station staff accommodation blocks (offices and control rooms), required special consideration as the 2.4m ceiling heights were quite low. A continuous lighting system was designed, incorporating smoke detectors and presence detectors. Because of the low ceiling height constraints, a cable management system was integrated throughout the mezzanine level. The lighting solution was such that it accommodated the various task requirements within the different rooms. For example, some rooms required higher levels of light. These included glare rating studies which identified luminaire diffuse with a unified glare rating (UGR) value below 19 as a minimum requirement. The lighting design required coordination of structural and buildability checks of furniture layouts and access hatches in the ceiling, which supported the platform bridge decks above.

The lighting solution kept the ceiling clean and free from conduits whilst meeting all relevant codes and standards for all services. Throughout the design process, we worked closely with other design teams to fully understand their requirements, which were then turned into shop drawings in coordination with the lighting manufacturer. A mock-up was then built to satisfy the design, prove buildability and provide safety assurance to the design team and client.


The Western Arcade area of the station currently provides pedestrian access to and from the London Underground. There are also retail units either side of the central circulation vaults. In the new station design, this arcade has more than doubled in length and its width has increased by approximately three times. The emphasis in this area has been to provide passengers with a pleasant experience and to make their journey through

July/August 2018 Lighting Journal

Transport lighting: lighting London Bridge Station



Clockwise from top: platform lighting at sunset; platform lighting at night; the station concourse

FRONT-OF-HOUSE AREAS •Designplan – Flair Square and Terminus •Selux – M125 •Schreder – SCULPflood URBAN REALM, FACADES AND FEATURES •iGuzzini – iRoll, Woody, iPro, Delphi, linealuce ACCOMMODATION BLOCKS •White Croft – Duo3 •XAL – MIRA round •Selux – M100 BACK OF HOUSE AREAS – FUNCTIONAL LIGHTING •Thorlux •White Croft HIGHWAYS •CU Phosco – P850


the building effortless thanks to a combination of indirect and direct lighting. The functional lighting fixtures are integrated with motion detectors within a communications boom system, offering cable management advantages. The boom is centrally suspended and mounted to each vault. We progressed the lighting design through numerous iterations and reviews and worked closely with the clients and the architects to deliver this project. As part of the design, we also used 3D lighting software to create models that were subsequently realised as full-size mock-ups. The design team developed a comprehensive lighting strategy that enhanced and delivered Grimshaw’s architectural vision. The result is a contemporary and cost-effective lighting solution for public areas that optimises buildability, maintenance and safety, and provides a pleasant experience for passengers.

Sacha Abizadeh MSLL MCIBSE is architectural lighting leader at WSP

LED FLOODLIGHTS FOR PLATFORMS AND CONCOURSE The London Bridge station redevelopment has been a massive project, involving multiple partners, parties, suppliers and contractors, writes Nic Paton. One manufacturer involved in the project has been Schréder, which supplied 410 SCULP floodlights for the main platform and concourse lighting, replacing the old high-intensity discharge (HID) lanterns. In total, 386 SCULPflood 60 luminaires and 24

SCULPdot luminaires were supplied. These provide the average required lumen output of 200 lux on all 15 of the new platforms, as well as the central concourse and, with a lifespan of more than 100,000 hours easily outperform the previous HID solution. The units were also provided with a made-tomeasure bracket to suit the existing infrastructure and design requirements of the project. Each lantern is also fitted with a diffuser that

eliminates direct glare for the visual comfort of passengers and staff. Installation of the lighting was completed in November 2017 by electrical engineering firm NG Bailey. Ranjit Reehal, area sales manager at Schréder UK, said: ‘The SCULP luminaires play a central role in the new look of London Bridge Station by providing high-quality LED lighting for customers and significant energy savings for Network Rail.’

Lighter lower safeR Lighter

Lightweight design due to patented V-Max modular chevron concept (V4: 11kg & V8: 17kg)


Low profile design achieves exceptionally low windage. V-Max chevron concept permits free movement of air reducing mechanical stress on fixing points (V4: 0.043m2 & V8: 0.051m2)


Safety assured. V-Max has successfully passed independent vibration testing to the 4.20 Rough Service Luminaires section of the UNE-EN 60598-1:2009 standard and section 5. Luminaire Vibration Test of the ANSI C136.31-2010 standard. Additionally, V-Max has successfully passed independent environmental salt spray testing to BS EN ISO 9227 NSS standard.


July/August 2018 Lighting Journal

The CIE Visibility Symposium, Berlin


A range of papers looking at the past, present and future of lighting were discussed at the CIE Visibility Symposium in Berlin in May. Lighting Journal reports back By Nigel Parry


he Technical University of Berlin has a venerable history, having been founded in 1879 and boasting notables such as Fritz Haber, Wernher von Braun and Konrad Zuse among its alumni as well as ten Nobel Prize winners. In May, it was the venue for the CIE Visibility Symposium, where some 20 papers were presented plus a number of technical workshops held looking at the university’s technical laboratories and the outdoor lighting test track. What follows is a review of a few of the fascinating papers that were presented and discussed over the two-day event. As a caveat, however, an article like this is very much only able to present a snapshot summary of each paper.


Adjacent to the university there is a large park and within it there is an avenue of rescued working gas lights from around Germany. That made the university a very apt destination for lighting consultant Wout van Bommel’s presentation. Wout reminded us that the very first gas lamps date back to 1802 with a Dutch researcher, followed by the carbon arc lamp 1810 and the tungsten lamp about 1879. He highlighted how lighting application started from 1918, primarily focused on ‘where should the light go’ and visibility. He also discussed the

work of Jack Waldrum around silhouette vision and glare. Wout then took us from visibility of objects in the 1920s up to 1960s, including the introduction of the concept of ‘visual comfort’, one of the keys to the creation of a safe environment. He highlighted Smax (the relative maximum luminance slope) and its use to give appraisal of uniformity, and questioned why the industry has largely ignored this measure. Perhaps we should use a Ul gradient measure, he questioned. His talk highlighted the creation in 1932 (by Philips) of the first discharge lamps, with the very first ones being installed in a tunnel in Belgium in 1933. By 1970, CIE 93 was looking at the relationship between light levels and accidents (including the Hargreaves study on this within London) and questions such as driving tasks and vehicle deceleration. Finally, his talk moved on to the LED revolution, covering both the early concerns about this new form of lighting and some of the more recent research being done around the neurological aspects of exposure to LED. One intriguing area he raised was the issue of ‘micro sleeps’ on unlit roads, citing a study that looked at a 415-km journey at night and noted that all participants had micro sleeps during the driving task. Individually, these were all of a very short time-span but over the whole journey totalled six minutes of being asleep. The researchers were looking for a similar distanced lit road to compare their findings, but had yet to find a continuous section, he concluded.


From past research Ron, director of the Center for Infrastructure Based Safety Systems at the Virginia Tech Transportation Institute in the US, had shown how light can and does reduce accidents. In his latest presentation in Berlin, he outlined his most recent research

July/August 2018 Lighting Journal

and how sometimes too much uniformity isn’t always a good thing. For example, we know there is a correlation between lighting and accidents, but don’t actually know what exactly it is! Ron therefore looked at what causes crashes. With 250 lorries and 3,000 personal vehicles, his research has looked at how a driver behaves in traffic, with typically three things causing accidents: •Speeding, tailgating, unsafe actions •An unexpected event •Behaviour such as using a phone Colour and target detection showed 4100k worked best, he showed, and detection early rates are better under 4000k-5000k light sources. Are we therefore getting close to knowing what is the right light at the right time in about the right place, he questioned.


P r o f e s s o r Jo a n n e Wo o d o f Queensland University of Technology in Brisbane looked at visual impairment and how ageing impacts mesopic vision. She advised that visual acuity from standard eye-tests do not work for the real world.

Contrast sensitivity, she highlighted, is worse when in mesopic levels, and glare sensitivity tests are common but difficult to relate to night-time driving tasks. Also, movement sensitivity is worse under mesopic levels. Joanne cited testing done on a closed test track in Brisbane. Volunteers were given tasks to do and recognise objects as they drove around the track, but then were fitted with goggles with increasing blur and with astigmatism added. How this affected their ability to carry out the tasks was then assessed. Another arm of her research looked at pedestrian visibility. Older drivers recognised pedestrians at half the distance compared to young drivers, and this emphasised the importance of reflective materials at night. This included testing for cyclists, with the conclusion that reflective points for biomotion works even better than reflective vests. The testing suggested that there is a marked improvement when we can see movement resembling a human. Her research compared a static ‘standard’ reflective vest against one that highlighted joints (elbows and knees etc), and proposed that this would increase visibility of pedestrians to drivers by a substantial step.


Sheffield University’s Professor Steve Fotios reminded us of the purpose of road lighting, including looking at the 1992 standards, how they got to the values, how they deemed 10 lux was good, 5 lux OK, and 2.5 lux poor to adequate, findings that set the BS5489 1992 – 3.1, 3.2 and 3.3 levels. Steve considered the current standards P1-P6 and questioned where these levels came from. He also addressed the current point-scoring CIE system of starting from the lowest lighting class and adding points based upon road conditions (such as parked cars) to raise the lighting class to the ‘appropriate’ level. Steve argued that, to him, it seemed quite arbitrary to the points and values chosen. Previous research testing had shown 2 lux is enough for trip hazards, and additional light makes no difference to our performance. For our feeling of safety/reassurance, research has shown 10 lux is enough, and above 10 lux it seems to make no difference, Steve argued. While the source of current standards levels is unknown, new empirical data is emerging and will be included in TC4-52 report due out next year. Let’s


July/August 2018 Lighting Journal

The CIE Visibility Symposium, Berlin


therefore see if it will influence the next set of international standards!



Dr John Bullough, director of the Transportation and Safety Lighting Program at Rensselaer Polytechnic Institute in Troy, New York, presented a paper on behalf of his colleague Professor Mark Rea, of the institute’s Lighting Research Center. John advised of a recent study in Minnesota which had found that urban locations had the best improvement from improved or new lighting, although this was more like 10% than the earlier 30% benefit/cost ratio established. He discussed the benefit/cost ratio and significant benefit for urban intersections, and even for rural junctions arguing the case had been proven (although admittedly based on limited data) that lit junctions were a cost benefit to society.


Berlin University’s Professor Stephen Völker looked at the benefits of visibility concepts, especially the question of how using different lighting styles can have different results even when us-

ing same flux. Stephen proposed a new design process, as we see luminance and not illuminance. He suggested that designers really need to know the road reflectances and surround luminance. In Berlin, for example, they could test all the main roads’ reflectance and that could be advised to LED luminaire manufacturers, and therefore appropriate lens designs could be made for each reflectance variation footprint. Stephen concluded that, as there are so many variables that are beyond the control of the lighting manager, the safest option is to reduce the speed limits in our urban centres. On dipped beam, we can only see 60-70m ahead, and this equates to 60km/hr!

Ron Gibbons returned with a second paper looking at how colour is starting to become more prevalent in recognition of pedestrians and also how movement highlights the pedestrian. He highlighted a test that had been carried out to illuminate a junction box and from there to study how we ‘see’ with the car’s headlamps and static road lighting, and how a subject’s visibility changes as the vehicle travels through the lit box. So, for a detection distance at 90th percentile detection distance, it would probably be 21 lux for a safe stopping distance, he highlighted. Existing visual performance models are still not adequate and require more research, which is always good news for researchers, Ron also concluded.


As highlighted in last month’s Lighting Journal, Italy allows a dimming/ dynamic lighting approach based on environmental and traffic conditions and Giuseppe Rossi of the Italian National Research Council highlighted a study looking at a comparison between the object visibility factor and small target recognition. Giuseppe advised in detail on the test methodology and noted how much impact headlamps have on the targets. The results of this study will be proposed to the Italian national standards body next year

If any lighting professionals wish to be involved in this research with the CIE please contact the UK CIE committee. To do this, simply contact Allan Howard (, Nick Smith ( or myself (

Nigel Parry IEng FILP is CIE Division4 Editor and honorary treasurer CIE UK as well as principal at OrangeTek

July/August 2018 Lighting Journal

Electrical street furniture


The Institution of Engineering and Technology has published a new guide on the safety requirements of electrical street furniture, backed by the ILP and other industry bodies. Lighting Journal takes a look inside By Nic Paton



e all know the pace of change when it comes to street furniture is immense at the moment. New technologies and systems are coming on to the market all the time, whether we’re talking public lighting, illuminated signage, bollards and infrastructure, architectural lighting, electric vehicle (EV) charge points, smart city technologies or even just equipment for, say, bus shelters or market traders. Much of this equipment, of course, requires an electrical supply. To help raise awareness and improve understanding of the electrical safety requirements for such electrical street furniture, the Institution of Engineering and Technology (IET) has published a new guide, backed by the ILP, the Highway Electrical Association (HEA), and London Lighting Engineers Group. The Guide to Highway Electrical Street Furniture is available online through the IET website. It is designed to ‘walk’ readers through the process, requirements and

risks that need to be considering when it comes to electrical safety requirements. It has been written by Allan Howard and Mark Moscrop of WSP, Gareth Pritchard of the HEA and Dave Franks of Westminster City Council. Its aim is fourfold: • To ensure a client can assess the competency of the designers, installers and other duty-holders involved, including ensuring that they meet their legal obligations under the Construction, Design and Management Regulations • To understand the approach to be followed over the full lifecycle of the equipment, covering from the point of identifying the need for new services through to evaluating the capacity of the existing network to ensure it can accommodate the required electrical loading to design, through to the installation, operation and maintenance of the equipment • To enable the competent assessment of the structural loading, for example of lighting columns, as other items of equip-

July/August 2018 Lighting Journal

ment are attached to them. The specific requirements of relevant different forms of electrical supply and earthing to such equipment are also discussed • To understand the requirements for those wishing to use third-party supply points So, what does the 85-page guide cover? The guide is split into eight chapters, covering: legal considerations, highway and electrical supplies, planning and design for additional highway electrical equipment, lighting equipment, market trader electrical supply pillars and event pillars, other equipment, and considerations for the future. Each chapter is broken down into a range of key areas, meaning it is presented in accessible, bite-sized chunks. Each chapter is also illustrated and includes graphics and diagrams to aid understanding. For example, to highlight the ‘lighting equipment’ chapter, the guide covers areas as diverse as private cable networks, supply/feeder pillars, passively safety, unmetered supplies, and EV as well as standalone and incorporated charging points, among others. Or, for ‘highway electrical supplies’, topics include an understanding of service requirements and connection types, the characteristics of supply, highway electrical installations connected to a DNO service, earthing systems, the types and characteristics of highway electrical supplies, and inspection and testing.


When it comes to considerations for the future, the guide argues that a designer of any system should consider the question: ‘what must I take into account when planning and/or designing existing equipment to make it ready for possible future additional applications?’. This should include earthing requirements but also, increasingly, smart city technologies. As the guide states: ‘As part of early adoption of smart city strategies, many authorities are considering how a city-wide system can be deployed. Due consideration is being given to the use of the street lighting furniture forming the backbone of the infrastructure through its ability to provide location, height, power and communications – i.e. lighting columns that not only act as sources of illumination but also as information hubs to help monitor and control services delivered by the municipality.’ This, in turn, can include technologies such as parking and air quality monitoring, monitoring of drainage and waste col-


lection, and adaptive lighting. However, it also states: ‘One of the barriers to this is the current “silo” mentality that exists in some local authorities, as departments do not tend to communicate well between themselves and look to share revenue incomes. For example, a team managing parking for a local area may use the lighting infrastructure for their system but may not share any of the revenue generated from their parking services to the lighting department, who have to look after the additional equipment on their columns.’ Beyond this, there are still questions around what can actually be achieved through the application of sensors on lighting columns as well as the most appropriate networking technology to use. ‘Certain smart city technologies mounted on columns may have associated safety requirements/safety zone limits. The designer must ensure that the client is fully aware of the manufacturer’s guidance, who in turn must advise their contractors and operatives who may need to attend to such equipment,’ the guide recommends. When it comes to future-gazing column

design, the guide suggests the two key requirements to consider will increasingly be: • That the column can structurally support the additional loading of these technologies in terms of weight and windage. The current consideration to meet this requirement is for the column design to include both a factor of safety for the intended or existing luminaire and an additional consideration of a 0.3 m2 sign plate located at the top of the column • The provision of a direct current electrical supply at the top of the column/at the luminaires to ensure that at least one LED driver supplier now produces a driver with a separate dedicated DC output for such a purpose. It then concludes: ‘Consideration should also be given to any equipment that may need to be located within the base compartment of the column and if the size and access details are adequate.’ To download the Guide to Highway Electrical Street Furniture go to www. theiet.o rg /reso urc es/stan d ard s/ street-furniture-guide.cfm

July/August 2018 Lighting Journal

Smart cities and connected lighting


The term ‘smart’ has become overloaded with different meanings, a catch-all term for different layers and functionality dependent on device. If lighting professionals are truly to understand the opportunity, and potential, of smart lighting, they need to be clear what they’re talking about By Jeremy Turner


hat is smart lighting? Our industry is full of buzzwords, of which smart lighting has perhaps been the most ubiquitous over the past 18 months to two years. But, as lighting professional, do we really understand what it means and its ramifications for clients, consumers, industry and ourselves? As Lighting Journal highlighted in February, (Disrupted Design, vol 83 no 2), there is a fear in some quarters of the industry that the big IT companies are going

to muscle in and monopolise an industry currently serviced by lighting manufacturers. As an industry we must adapt; like all progression those that progress survive and those that don’t die away. We only need to look at the growth and evolution of the mobile phone. Not so long ago the market was dominated by Nokia (and who remembers when your ‘mobile’ did little more than make and receive calls on the go, with a battery that lasted a week?). Then along came Apple and said ‘let’s do this differently’. Nokia failed to adapt, lost mar-

ket share and suffered the humiliation of being bought by Microsoft, and even that has not exactly been a success. So, how are we going to prevent this scenario happening within lighting? Most lighting companies are excellent design houses; this is why, historically, customers return to purchase more of the same. While this remains true today, the overriding market force is now probably more price. With an increase in competition price will fall, simple supply and demand. New technology has offered a real boost

July/August 2018 Lighting Journal

ware and software to drive technological advancement within the controls space. IT like every other industry doesn’t stop progressing. We are seeing a shift from traditional data centres to the public cloud (other companies’ data centres where you only pay for what you use). I am a Google-certified Cloud architect and data engineer. So I have a foot in both camps: lighting and IT. So, let’s return to our opening question: what really is smart lighting/IoT? Smart lighting, at its very simplest, (as most lighting professionals undoubtedly will not need reminding) is lighting that connects to the internet and which should produce insight. IoT, in turn, simply means a device with an internet connection – this could be lighting but could also be, say, your refrigerator or TV. However, the term ‘smart’ has become overloaded with different meanings when we look at lighting applications. Smart gets used to cover all or some of the following terms: physical load, control plane, monitoring, transport layer, user interface, and power supply. Let’s examine therefore what we mean when we talk about ‘smart’ in relation to each:

in the fortunes of the lighting industry. This has come in two waves, first LED and now smart or connected lighting. With LED, customers have returned to upgrade or replace most of their existing infrastructure. With smart lighting, there is a huge potential for growth. As an industry we must therefore see this next wave as an opportunity and not a threat from those ‘big bad’ IT companies. However, to implement smart lighting we do need to recognise we are going to need to partner with an IT company and

each focus on what we do best. It is through such strategic partnerships that we can embrace the technological revolution that is connected lighting and move forward without fear that we could become the next Nokia. But why should you listen to me? I have worked in the lighting control industry since its early inception, and worked alongside many luminaire manufacturers delivering projects. But I also have a strong background in IT. In fact, one of the USPs of FAB Controls is the fact we develop both hard-

•Physical load. This can mean plug-in relays, plug dimmer modules, in-wall dimmers, integrated electronics, and LED drivers. •Control plane. This refers to mobile phone applications, internet portals, wall switches, presence detectors, voice assistants (such as Alexa or Google Home). •Monitoring. To monitor lighting devices we need them to be able to retrieve ‘state’. As Wikipedia describes it, a computer program is described as ‘stateful’ ‘if it is designed to remember preceding events or user interactions the remembered information is called the state of the system.’ Without state, a lighting solution therefore cannot really be defined as smart. In simple terms we need information to make informed decisions. The same is true in lighting system. Nevertheless, some of the simplest systems (which don’t even know if the source is on or off ) still get classed as smart! •Transport layer. This is the connection between physical load, control plane and user interface (which we are coming to). Transport layer technologies are commonly what people mean when they’re referring to smart lighting, for example lamps that can use Bluetooth as the transport layer. •User interface. The is the way in which the control plane is presented to the user.


July/August 2018 Lighting Journal

Smart cities and connected lighting

28 This could be, for example, the way you navigate the application on your device, the website you visit or even the voice commands you issue. User Interface (UI) is the first and maybe even the last impression a client will get of your product. Most products now provide the UI as SAAS (software-as-a-service). To properly understand smart lighting the industry must become aware of the UI layer. Is the interface secure, for example? Can it be hacked? Who owns the code? Does your interface application meet modern era software design practices? To that end, as well as understanding lighting, it is going to become increasingly important that lighting professionals to be aware of, and understand, methodologies such as the ‘twelve-factor app methodology’ which underpins how SAAS apps are built. •Power supply. What what does the power supply have to do with being smart? Short answer is ‘a lot’. Let me explain. For a device to be smart, it’s going to need to be powered on all of the time. If you are replacing legacy lighting you therefore need to ensure a permanent supply. That, however, is just one part – and the easy bit. A smart device will require a power supply to run the microprocessor carrying out the smart tasks. Therefore, as lighting professionals, we will need to ensure any

vice has the necessary safety certifications for this. There have been a number of different solutions developed recently to offload the power supply to a remote location. The most prominent is Power over Ethernet (POE). This uses computer data cabling CAT 5/6 to pass power and control to the light fitting. However, POE is only the power aspect. Control will also now need to be done using ethernet. Power can then be provided using a computer networking switch. Therefore, when someone says ‘I have POE lamps’, what they mean is the light fitting is powered using approximately 48V and doesn’t require a direct mains supply.


We have seen that ‘smart lighting’ has become a catch-all, umbrella term for different layers and functionality dependent on device. In common English, too, smart has a number of different meanings. Personally, I think the most appropriate is ‘having or showing a quick-witted intelligence’. Ultimately, we need to have intelligence to have a smart device. However, there is one final hugely important factor that should not be overlooked, and which I touched on earlier: insight. Typically most smart devices will con-

nect to the internet, with data being sent to a server. We can use data centre computing power to process this data and produce insight. But even this isn’t as straightforward as you might initially think, because insight can be a layered process, encompassing simple, intermediate and advanced insight. Here are some examples of each. Simple. The lighting fitting in the meeting room has failed, send someone to fix it. Intermediate. Lighting fittings have failed at company A, B and C. These are all in the same business park. The users have confirmed your engineer can attend at 10am on Tuesday next week. Advanced. We can use machine learning (ML) (or where computers have the ability to learn without being explicitly programmed) to build prediction and recommendation into our solution. For example: ‘Based on our user base of the same size last week, this week you will use x Kwh of electrical power.’ Or: ‘Light fittings made by A typically require a service every 24 months, but fittings made by B will only require this every 60 months. This could be key in the further procurement of product B and assist product A’s manufacturer to improve service duration.’ ML therefore has the potential to make a ‘smart’ solution, whether based around lighting or some other application, truly smart.


If you have been following so far you will realise that all smart devices produce data and require the analysis of this data to operate. Therefore, the real value in any type of smart solution is the data produced. As an industry we must be aware of this and control who owns the data. Without data there is no insight and without insight there is no data. What we really have when we talk about ‘smart light fittings’ are data collection nodes that, with the right software and data retention solution, can provide real value to the industry and any future business proposition. I will leave you with this thought on the opportunity this therefore offers. Customer: ‘How long does your product last and how much energy does a typical installation use?’ You (supplier): ‘I can give you that data right here. Here is a real-time report on energy consumption and longevity.’ You have hard facts, not a guesstimate. Can your competitor offer that to the same question?

Jeremy Turner is director of FAB Controls

July/August 2018 Lighting Journal

Gender equality in lighting design



Gender equality and inclusivity are firmly in the political spotlight, thanks to movements such as #MeToo and new gender pay reporting rules for larger employers. Lighting and lighting design is improving in terms of equality and inclusion, but there is still a long way to go, argues Emma Cogswell By Emma Cogswell

s gender equality having what we might term something of ‘a moment’? Certainly, on the one hand there’s the #MeToo movement, and the images of disgraced film mogul Harvey Weinstein coming to court in handcuffs or Hollywood stars wearing black on the red carpet have certainly been powerful. More prosaically, since April large organisations in the UK (those employing more than 250 people) have had to report publicly on any gender pay gaps in their organisations, leading to embarrassing headlines for some. But are things changing, really? As the government’s Hampton-Alexander Review into the lack of gender diversity in boardrooms highlighted in May, there is a still a long way to go before we achieve full gender equality. This sharply criticised some of what it termed the ‘pitiful’ excuses many FTSE-350 companies put forward as to why they had no women in boardroom

July/August 2018 Lighting Journal

Gender equality in lighting design


positions. These included such classics as: ‘most women don’t want the hassle or pressure of sitting on a board’, and ‘we have one woman already on the board, so we are done – it is someone else’s turn’. The Financial Times newspaper also recently reported that nine out ten women still work for companies where they are paid less than their male counterparts. And in April, the Office for National Statistics calculated that the UK’s gender pay currently stood at 18.4%, making it one of the worst in Europe, with (of European countries) only Estonia, Portugal, Latvia and Finland having a wider gap.


How, then, is the lighting industry faring in this context? How is lighting doing in terms of being, and becoming, more gender equal in terms of equality of pay but also in terms of encouraging greater diversity, inclusivity and tolerance more generally? The first thing to recognise is that there are many in our industry, both in the UK and globally, who recognise this is an issue and are working hard to address it. In the US, for example, there is now a ‘Women in

Lighting Design’ group (WILD) with its own website The RIBA, too, has noted publicly that diversity and inclusion needs to be addressed within our industry, and not just men and women but for the whole spectrum of the LGBTQ+ community. On its website, for example, it states: ‘Homophobia is rife in the construction industry; last year the AJ [the Architects’ Journal] published the shocking results of its survey that 59% of architects and 83% of LGBT contractors have encountered homophobic comments at work. The same survey revealed that 30% of LGBT architects are not out at work. The LGBT charity Stonewall publishes an annual ‘Equality Index’ of the 100 most inclusive firms in Britain, this year topped by MI5, and no construction or architecture firm has ever made the list.’ Multidisciplinary architectural, design and engineering practice and IALD member BDP recently carried its own diversity survey internally and fully concedes its results were not what it was hoping for – in other words that it had a gender pay gap – as lighting director Colin Ball tells me. ‘Women and men doing the same job in BDP are paid the same. Our gender pay gap reflects the simple fact that at BDP there

are more men at senior level than women. This is something we are committed to changing and we aim to accelerate our understanding of those issues that impede the progress of women in practice and to take action to break down those barriers,’ he explains. ‘At intake level we have a fairly equal gender balance. We aim to provide a level playing field for everyone across the practice to ensure that women who choose to make a career with BDP will succeed on merit alone. ‘Actions taken to date include equal opportunities and unconscious bias awareness training, clear guidance on steps to promotion, mentoring and leadership programmes and enhancements to our flexible working policy. It has also been helpful to actively support and partner wider initiatives which raise awareness about gender inequality such as the AJ/AR Women in Architecture programme. ‘We are also progressing this much further with the LGBTQ+ community where we have a core group from junior to director level actively working as a visible forum in conjunction with the RIBA and IALD,’ Colin adds.


It’s unscientific but, from my own experi-

July/August 2018 Lighting Journal

31 ence as a woman in the lighting industry, I do get the sense that things are changing, if slowly, and the industry is becoming more diverse and less male-centric. The number of women in lighting design is increasing – I meet more women at the meetings I attend and the number of female students I present to at workshops both in the UK and overseas has definitely increased over the last decade. Larger UK firms, too, do increasingly recognise the benefits of having a cohesive diverse workforce and even the merits of having posts such as ‘inclusion officer’ to push and promote this agenda. To get another perspective of what it is like to be a woman in lighting design, I spoke to Helen Loomes, business development director, international projects, at Trilux Lighting, who has recently set up a women in lighting networking group. ‘As a female working for many years in the lighting industry I have seen things change,’ she told me. ‘To start with I was doing the job and accepted the conditions that came my way without necessarily questioning them. I think that is the crux of the matter, we are all indoctrinated from childhood to accept the norms of our society, so I found a way to work around them,’ she says. ‘I smiled when I had to and turned a blind eye to some comments – but that was the

easy bit. Juggling the work/life balance was harder. I would never ask for time off for a child-related reason; that was taboo. So, my daughter would be shaken out of her bed and deposited at school at ridiculous hours of the morning because I would not ask to start a meeting just half an hour later. ‘I do think things have changed and now both men and women will happily take time off work to look after a sick child and attending a school parents’ evening is considered important for everyone,’ Helen adds.


So, are we getting there as an industry, are we becoming more equal, accepting and inclusive? ‘We still aren’t totally equal, not until men are obliged to take compulsory maternity leave as a shared benefit will women have equal footing in the workplace. If men also have to take a career break we will find that it is easier to get back into a corporate structure,’ argues Helen. ‘Until these changes happen I feel it is important to support young women coming through in the lighting industry; maybe we can just provide a small shoulder to lean on. We have a rather unique situation

in the lighting world as we have a good mix of men and women. The majority of females are still slightly biased towards the design side, with more men being involved in the lighting technology or engineering part. But let’s not be picky! ‘The small group of women that I regularly meet with do not have a formal agenda. We just want to meet, talk and share experiences. Sometimes this is exploring a technical aspect, sometimes we like to give a platform to a young woman who has done some interesting work. But it could also be a general chat and support network. ‘I am hopeful for the future and feel women can now contribute in their own way without having to apologise for anything. But we should be moving on to the next question: the gender pay gap. The rewards should be equal and we need to raise our voices to make sure this happens. This argument will be getting louder!’ Helen says. In sum, progress is being made but, as an industry, we could be doing better and, especially in terms of gender pay, must work a lot harder to close down inequalities and any gender pay gaps.

Emma Cogswell Assoc IALD is IALD UK projects manager

July/August 2018 Lighting Journal

Bridge lighting


BRIDGE OF SIGHTS A dynamic, full colour lighting scheme has been used to transform the night-time presence of an iconic pedestrian suspension bridge in Croatia By Nic Paton


sijek in eastern Croatia is the Balkan country’s fourth largest city, with a population of well over 100,000. Running through its centre is the River Drava which, since 1981, has been spanned by a pedestrian bridge that is considered one of the city’s most iconic landmarks. Although renovated in 2007, the 215m-long and 35m-high suspension bridge was barely lit at night, something that Coca-Cola – which operates major manufacturing plants in the country – wanted to address. As part of a campaign to mark 50 years of production in the

try, Coca-Cola last year funded a spectacular lighting transformation of the bridge, with lighting supplied by acdc and the scheme designed and installed by its parent company Zumtobel Group. The goal was to install dynamic, full colour lighting to highlight the bridge’s beauty, reinforce its status and make it a nighttime as well as a daytime landmark.


So, what has the scheme involved? The scheme is based around three layers of light, illuminating the height, length and curvature of the bridge.

For height, surface-mounted narrow-beam floodlights have been mounted at the very top of the two towers to emphasise the height of the suspension bridge, both increasing the viewpoints from greater distances along the riverbank and helping to define the bridge as a point of destination. The RGBW surface-mounted Fusion 48 luminaires provide a focused narrow beam graze down each of the 35m-tall structural pillars of the bridge at each side, with eight dynamic floodlights installed on each pillar. This also has the effect of helping the bridge to dominate the skyline by increasing how

July/August 2018 Lighting Journal


far away it can be seen from along the riverbank and on the approach to the city. When it comes to length, 102 surface-mounted linear high-output IP67 RGBW LED luminaires have been installed in a regular array. These graze light up the suspension cables from the deck of the bridge, picking out the suspender soffit at the top. Every second luminaire is centred upon the fixing position to the deck of each suspension anchor cables. The IP67 linear fitting was supplied with a 0-100% DMX RDM dimmable driver to enable a full suite of colours and ‘scenes’ to be created.


Finally, to accentuate the curvature of the deck of the suspension bridge from the riverbank, so that it was not left in the dark, it was essential to light the underside of the bridge. Surface-mounted high-output Fusion 48 dynamic floodlights have been installed on each anchor on either side of the riverside to, again, graze the underside of the bridge. The architectural lighting to the side and underside of the bridge is separately controlled to enable a different colour to be projected to create contrast. Two Fusion 48 floodlights with a 10deg beam are carefully focused to ensure the

centre of the beam is highlighted on the centre of the suspension bridge. A single power and data cable from the Fusion ensures a seamless integration and ease of installation with the small Fusion Hub at each end of the bridge. Zumtobel vice president for Benelux and Eastern Europe Saša Pajdic' said: ‘We were delighted to accept Coca Cola’s invitation to partner with this exciting lighting campaign. The installation of the new lighting had a tight time-frame of just one week. More than 20,000 people attended the ceremony to celebrate the switch on of the lights.’

July/August 2018 Lighting Journal

Financing street lighting



The business case for upgrading street lighting to LED is compelling, not least that such schemes will normally pay for themselves within a matter of years. The difficulty for many local authorities, however, can be finding the upfront cash to make the investment. Schemes such as Salix Finance can help, and here is what you need to know about how to apply By Jack Saunders


he vast majority of local authorities recognise in principle the potential to make considerable energy and carbon emission savings through the installation of energy-efficient technologies, including more energy-efficient street lighting. Upgrading street lighting allows councils to reduce their long-term energy and maintenance costs, while at the same time improving the quality of light. Such upgrades will often repay their initial capital cost within just a few years, so making a compelling business case as well as eventually providing councils with additional funds to use in other areas. But, of course, the reality for many local authorities on the ground is that, while the long-term benefits may be clear enough, the obstacle is an absence of available budget or finance right now to effect the upgrade. This can be a key factor in preventing local authorities from investing in such upgrades, even though the financials stack up. Fortunately, there are numerous funding options available to lighting

sionals working within the public sector if internal capital is not available. Various bodies and schemes, including government loans, are available to support public sector organisations and help them to overcome the limitations that access to finance can present. One such scheme is via ourselves, Salix Finance. We’re a not-for-profit, government funded organisation that provides 100% interest-free loans to the public sector for energy efficiency projects, including street lighting. We’re funded by the Department for Business, Energy and Industrial Strategy, the Department for Education, the Welsh Government and the Scottish Government. What we do is simple: we’re dedicated to improving the UK public sector’s energy efficiency and reducing its carbon emissions and energy bills. Our funding is available to local authorities wishing to pursue energy-efficiency schemes and covers a range of technologies, including street lighting replacements, indoor LED lighting upgrades, lighting controls and floodlight replacements, in addition to general heating, ventilation and insulation improvements. The upfront capital is repaid through the project savings, so making this a cost-neutral approach. Since 2008, we have funded more than £75.5m worth of street lighting projects, working with over 57 local authorities across England, saving an estimated £16.8m and reducing carbon emission by approximately 70,000 tC02e. This is all well and good but, for the hard-pressed local authority officer, how do actually access this money? This is what this article is about and, happily, it is a very simple five-stage process.


To be eligible for funding in England, projects are required to meet certain criteria, including payback periods and costs per tonne of carbon saved. As part of the application process, Salix’s project compliance tool, available on our website (https://, allows candidates to check that their project applications meet our criteria. But even if your project falls outside the compliance criteria, we are always happy to discuss options with the candidate, such as part-funding of projects. To apply for funding, you simply submit an expression of interest outlining your ideas, again via the Salix website.

July/August 2018 Lighting Journal


Grendon Parish Council in Northamptonshire: the council has been able to undertake a street lighting upgrade partly thanks to funding from Salix

Once this has been done, we will make contact to discuss the project in depth, assess its eligibility and run through the process in detail. An application is then submitted (again through the website) with our technical team on hand to offer guidance with any queries. Once the application has been received, we then undertake a technical assessment, awarding finance when successful. This process typically takes around two weeks, and so is pretty swift. In addition to the above, projects of more than £100,000 must also submit a business case. We, again, can provide a template along with detailed guidance. Successful applicants will be provided with a dedicated client support officer for the duration of the project, and will have access to an online client support area. This offers additional information, including technology guides, presentations and general guidance documents.



Let’s finally look at this process in action, using as an example Grendon Parish Council in Northamptonshire. The parish council has invested more than £9,500 into an energy-saving LED street lighting upgrade as part of a wider programme to reduce its spend and carbon emissions. The improvements have included the replacement of 34 outdated mercury lanterns with LED fittings that are six times more efficient. The existing lights ran a wattage of 94W, compared with the new LED fittings of between 37-26W. The scheme is generating annual savings of around £970, so paying back the upfront investment in just over five years. The switch has also helped to reduce the parish council’s energy consumption by an estimated 9,431 kWh a year, equating to almost 70%, and achieved annual carbon savings of approximately 424 tonnes of CO2e, in line with its emissions’ reduction targets. The council was able to make these improvements thanks to part-funding of a

£4,800 interest-free loan from Salix. This will be paid back over the course of five years from the savings recouped from the reduced energy bills. Once the council has paid off the loan, it will of course be able to reinvest the ongoing savings in other areas. The Salix funding covered more than half of the total £9,500 cost of the programme, and provided the financial capital kickstart to allow Grendon Parish Council to be able to undertake the scheme in the first place. As council chairman Ian Denton has put it: ‘This project has had a fantastic impact

for the village as a whole. It has been a winwin situation for all – not only have residents benefitted from better lighting of the footpaths within the village, but the funding from Salix and the resulting savings achieved have meant the council has not had to dip into reserves. This has allowed us to continue to channel resources into supporting local clubs and associations, along with enhancing the environment of the village.’

Jack Saunders is client support officer at Salix Finance

July/August 2018 Lighting Journal

The ILP Professional Lighting Summit


Last month’s Professional Lighting Summit in Thame saw Alan Jaques hand over the reins as President of the ILP to Colin Fish. Here are abridged versions of their speeches to delegates, as well as a short address by new chief executive Tracey White


So much has happened in the 12 months since I was privileged and honoured to become the Institution’s President in Glasgow, said outgoing President Alan Jaques. My year has involved significant changes within the Institution. The regional review has progressed well and, throughout the review process, the Executive Board

July/August 2018 Lighting Journal

has been working hard with the regions to ensure the membership are informed, consulted and listened to throughout the whole process. Following the ballot held during March, we are now progressing the review and it will become effective from the AGM in June 2019. After 24 years of providing stewardship of the Institution, Richard Frost decided that March was the right time for him to stand down as CEO and to put his skills to use on different opportunities. Richard’s main achievements have been the diversification of our membership, primarily brought about by transforming the Institution of Lighting Engineers into the Institution of Lighting Professionals. We all wish him well.


We are now looking forward to the next chapter of the ILP with our new CEO Tracey White, who will be revitalising the Institution and bringing in fresh ideas and approaches. I am sure that Tracey will bring many new opportunities to develop. Twelve months ago, in my presidential address in Glasgow, I said that I wanted us to be better at promoting ourselves to the outside world. I, along with the Executive Board, believe that, in Tracey, we have found the ideal person to do this. For example, the draft London Plan, published by the London Assembly and mayor Sadiq Khan, all but ignored lighting and the wide-ranging benefits that good lighting can bring to a city. We have written to Mr Khan raising our concerns and have offered to assist them in refining their document before the final version is published in April 2019. I am hopeful that, if we can raise our profile sufficiently over the next two years, being overlooked by organisations such as the London Assembly will become thing of the past. I feel honoured to have played a small part in modernising our Institution. We have put the building blocks in place to ensure the importance of artificial light, our profession, and our Institution is recognised and appreciated.


It is an honour and a privilege for me to be able to accept the role of President, and I am grateful to the support and encouragement of so many of you. I will to the best of my abilities represent you, the members, and this great Institution over the coming



New President Colin Fish (left) with outgoing President Alan Jaques at the ILP Professional Lighting Summit

year of office, said incoming President Colin Fish. It has been said time and time again but every new President cannot believe they have obtained the presidency of this great Institution. I am no different. I’ve often sat in the boardroom at Rugby looking at the past presidents’ board dating back to 1924, thinking ‘never did I think I would be joining that list one day’. Now it is my turn at the helm to steer the Institution onwards and into the future. Our industry is unique and over the last decade has changed significantly, with the introduction of new technologies such as LEDs, Central Management Systems, and smart technologies. Our members are being asked to embrace this technology while

facing continued funding pressures. They are being asked to deliver ever-more savings with a continued lack of investment and an ageing support infrastructure. Politicians are putting little value on the public lighting service that we strive to deliver. We need to reverse this trend and, to do this, we as an Institution need to change. So, what’s my theme for the year? It’s simple: deliver the continued evolution the Institution needs to benefit the membership and the profession.


During my term of office, I will work with the CEO, Executive Board, Vice Presidents, vice chairs and members to deliver three key objectives. These are: successful

July/August 2018 Lighting Journal

The ILP Professional Lighting Summit

we’ll be further developing our relationship with government to demonstrate how our industry plays a pivotal role in developing a thriving economy, whether that’s through being a key partner in the delivery of an efficient road infrastructure or supporting the night-time economy in the UK by providing well-lit urban areas. Apart from the obvious role our members play in the delivery of world-class lighting solutions, our industry plays a vital role in the wider economy, not least by training and employing thousands of employees.



transition into the new Lighting Delivery Centres (LDCs); the development and the implementation of a CPD ‘national curriculum’; and raising the profile of the Institution, both with professional bodies and at local and national government levels. On LDCs, we will be agreeing the local needs of the LDCs within the framework and completion targets of September this year. Then we will prepare a draft national and local events programme, with a completion target of December 2018. The implementation panel will then come together with the board and Vice Presidents and the events team to refine the programme and secure bookings and venues in readiness for next year’s AGM. On the national curriculum, as you’re no doubt aware, the Engineering Council is making a requirement of CPD for engineering registrants mandatory from next year. With this in mind, we intend to form a national curriculum with the purpose of delivering timely and on trend subject matter. This will be presented at the LDC meetings as an agreed programme with associated CPD hours published, in addition to local content each LDC wishes to deliver. In the new structure, it will be the responsibility of the council to ensure the national curriculum topics are relevant and cover the latest trends, standards, publications, innovations and new sectors. I urge you to engage with the programme and feed in any ideas or suggestions you may have for subjects you would like to see

covered. Please contact your local implementation panel member, any of the Vice Presidents, board members or myself. Finally, communications. For far too long now we as an Institution have been good at communicating internally but not so externally. To grow our Institution so we can become influential with the appropriate government bodies, we need to be smarter with our communications. I along with the rest of the Executive Board and Vice Presidents will be working closely with Tracey, our new CEO, to ensure that every opportunity to engage with other organisations for the mutual benefit of our members and industry.


My first two months at the ILP as your new CEO have flown by, and I am honoured to have this opportunity to speak to you and share some of my thoughts on this fantastic Institution, said chief executive Tracey White. The ILP’s vision is to unite the skills of engineering, design and technology in order to deliver quality lighting for the built environment and to achieve public benefit. From the very beginning of this Institution, since 1924, we have promoted and represented the very best in the lighting industry, both here in the UK and beyond. While you should, rightly, be very proud of the ILP’s history, I’m even more excited about our future prospects. That’s why

So we’re going to work closely with decision-makers to set and establish standards for good practice, ensuring our members attain and develop the professional knowledge, education and skills necessary to meet competencies and, of course, to enhance their careers. And we will work to promote these standards to both the public and private sectors, demonstrating that ILP members continue to deliver excellence in light and lighting. Everyone in the industry recognises that we face new challenges. And the ILP strives to meet them in various ways. One way is to work in partnership with others. In the next few weeks we will be launching a President’s Dinner, held in the House of Lords in September. The dinner will bring together chairmen, presidents and CEOs from other representative bodies within our industry. We will be discussing items of interest to us all. What I hope is that this develops over time into an informal collaborative group for our industry, allowing us to come together to speak with a strong and unified voice at key moments. I will also be looking outside our industry to identify charities and not-for-profit organisations with whom we can align our voice. During August, members of the Executive Board will be meeting to agree a media and communications strategy for our Institution. This will have the aim of raising our profile, particularly within the mainstream media; setting the ILP as the go-to organisation for quotes and enquiries. We will continue to respond on members’ behalf to government consultations and will work to build our relationship with the Local Government Association and other third sector organisations. After 94 years there is still much for the Institution to do. I believe that our strong, committed, experienced and, not least, vocal membership makes us ideally placed to rise to the challenges and become the leading body for our industry. I look forward to working with you all.

July/August 2018 Lighting Journal

Inside the ILP

FAREWELL TO RICHARD FROST After 24 years as ILP chief executive, Richard Frost stood down in April to pursue new ventures. At last month’s Professional Lighting Summit he was granted the ILP’s highest honour, of Honorary Fellowship. Lighting Journal spoke to him to reflect on his time at the helm By Nic Paton


ighting Journal April-May 1994 – and, as we show overleaf, a rather dapper, upright and pinstriped 40-year-old stares out from page 95. Under the heading ‘New faces’, the journal reports that ‘Further to the announcement which appeared in the last issue, Richard Frost has now taken up his appointment as Secretary following the retirement of Dorothy Barnes.’ Would that 40-year-old ever have imagined it would only be in 2018 that he’d finally wave goodbye, having been at the helm for 24 years? Probably not. Even less so, as Richard settles down to reflect and chat, could he have imagined that, having handed over to chief executive Tracey White in April, he would be back at this year’s Professional Lighting Summit to be made an Honorary Fellow of the Institution.


‘There can only be six Honorary Fellows at any one time. It was suggested to me when I first came along that I should join the Institution as an Affiliate. But I’d always seen that as a clash of interests. How can you be chief executive, responsible to the members, and be a member yourself? So I deliberately never did it. ‘It is the highest honour you can get from the Institution, so I am very proud of it. It is a great honour,’ Richard says. What was the Institution, then of course the Institution of Lighting Engineers (ILE), like when he first joined? ‘It was an enormous culture change from the association I had been running before, the Society of Local Authority Chief Executives, whose idea of a wild night out was two Campari and sodas rather than one. All of sudden I was coming into what was a very engineering-orientated environment in those days, much more so than now. But it was very refreshing from what I was used to,’ Richard laughs.


Perhaps the biggest change, of course, during his tenure was the transition from the ILE to the ILP we know today. And it was not exactly seamless or easy, Richard concedes.

The process started out as a formal merger between the ILE and the Society of Light and Lighting, something first broached in 1999 and then again in 2008. ‘We got within a hair’s breadth of it before politics got in the way, which I felt was a great opportunity missed,’ Richard recalls. ‘After that there were, of course, a lot of noses out of joint. So I said “let’s not panic, let’s go into a holding pattern and work out what we’re going to do”. And that process probably took a good year. There was a lot of change going on in local authorities and many fewer lighting engineers coming into membership. It was generally recognised the ILE title was a disincentive to some people to join – “I work in lighting but I’m not an engineer so I can’t be a member”. We had a campaign around you didn’t have to be an engineer to join but it didn’t really work. ‘Inevitably some members got hung up on the change of name and colours – we were blue and white and moved to purple and gold – and some die-hard engineers were up in arms about it; there was a lot of blood on the carpet and an awful lot of consultation with the regions. ‘But, to my mind, there were much more important changes, such as restructuring the governance – we went from a traditional

July/August 2018 Lighting Journal

Inside the ILP


council of 20-plus people to a much smaller focused board. We set up the vice presidential system, did away with two of the standing committees. It was about effecting a cultural change that was more about the future of the lighting profession, bringing lighting designers and young lighting people – through the new YLP – under the Institution’s umbrella. ‘It finally all kicked off in September 2010. It took us two years of work to come out of the depressing scenario with the SLL. But quite a lot of people, quite a lot of engineers, have said to me since that, if we hadn’t done that, the ILE would just have been on a long, slow decline. So I’m totally convinced it was the right thing to do.’ Richard decided more than a year ago that the time had come to move on and he is now looking forward to new ventures, notably establishing a business called Association Support which (as it says on the tin) provides support to professional and member associations. He is also working as an adviser for the ILP’s insurance broker Kensington. But he still expects to retain close links to the ILP, not least through his new status as Honorary Fellow. And he still maintains a passionate belief in the potential of the ILP to effect change, and provide leadership, for the industry. ‘My one frustration as CEO, I suppose, was that the Institution has not been able to become a focal point to the extent I hoped it would. The ILP holds all the cards really – it is the only independent lighting organisation in the UK. We have our own premises, our own staff and some money in the bank.

RECOLLECTIONS OF RICHARD It was an honour and privilege to be the President who presented Richard with his Honorary Fellow, which I did on behalf of the Institution. I thank him for all the support he has given to the membership, board members and past Presidents over the last 24 years. I wish him well in his future ventures and hope to see him at some ILP events in the future. Colin Fish Current President

I’d always seen the establishment of the ILP as being ‘here’s a flag in the ground, come on lighting people gather round’. It has worked to a certain extent; for example, we now have the biggest group of lighting designers within our membership within the UK. The YLP, too, has been a tremendous success. But the frustration has been “why don’t you all come and join us?”. ‘Just as I was 24 years ago, Tracey is on a very steep learning curve. I think her style will be very different to mine, which is a good thing. I think it is a healthy thing for the Institution to have someone different at the helm with a different approach, and I wish her every success. ‘It is overdue; it is good for me to be moving on. It is good for someone new to be coming in, and I shall be watching keenly from the sidelines,’ Richard adds.

Most of us who are appointed to the Executive Board have little or no experience of being a trustee of a charity or taking on a non-executive director role. Richard was able to guide the Board and, in particular, the incoming President to ensure we got through our Presidential year with limited damage. He always achieved this with great skill and diplomacy. Maybe the secret of his success was in ensuring that all the important strategy discussion was done in the bar after a meeting! Alistair Scott President 2010-11

Richard has been a good friend and guide for many of us past Presidents. I found my year rewarding and a pleasure, visiting many places and meeting many people made all the easier with Richard’s help. It was during my Presidency that we took the ILE into the Institution’s next phase as the ILP. This was in no small way due to Richard’s hard work. Finally, I always enjoyed travelling to London with Richard, who appeared to have an encyclopaedic knowledge of the city’s good-quality watering holes! Chris Hardy President 2009-2010

Richard was always behind the promotion of the YLP, pushing this as the ILP’s future. He was always adapting to change. He offered great support when I was moving from being YLP chair on to the Executive Board. Fiona Horgan Honorary Treasurer The International Association of Lighting Designers would like to wish Richard all the best for his next adventure. The IALD and the ILP work closely together in the UK to promote excellence in lighting design. Our joint desire in this has been furthered by the valuable work and dedication

July/August 2018 Lighting Journal


Richard has shown as chief executive. His happy outlook and willingness to listen has made him a pleasure to work with, as well as enjoying his company socially. Marsha Turner Chief executive, IALD Richard inspired me and convinced me to go down the route to President, and I cannot thank him enough. He truly had the Institution at his heart and will be missed by all. Richard always ensured I was briefed and up to date. I don’t class him as a work colleague; he is a true friend. Kevin Grigg President 2016-2017

Gareth [Pritchard] and I had the dubious responsibility of interviewing Richard for the position of ILE chief executive. I believe we made a good choice – he developed the Institution over the years through the many changes in the sector. Mike Simpson President 1994-95 Richard was extremely supportive of the President, making the job much simpler. Always professional, kind, courteous, dignified, good-humoured and charming. Also, the soul of discretion. Patrick Baldrey President 1998-999

Over the years Richard has offered support to everyone who takes an active role in the ILP but, for me personally, if he hadn’t supported my and Scott Pengelly’s idea to form and launch the YLP, then it might not have happened, and we wouldn’t have a thriving group within the Institution of young, enthusiastic members encouraging new people into the industry and into membership. Rebecca Hatch VP Infrastructure

Richard is a very generous soul. At an ILP council meeting prior to me becoming President, he presented me with a pair of gold ‘Red Dragon’ cufflinks, as the Summit was in Cardiff for the first time and I’m Welsh. He also gave the outgoing President Bob Stevenson a painting of the ‘Flying Scotsman’ steam engine. I was touched by his generosity, but slightly bemused by the gift to Bob, as I hadn’t appreciated Bob was a keen trainspotter! Nigel Parry President 2002-03

July/August 2018 Lighting Journal

The ILP’s ‘How to be brilliant…’ lectures


Colin Ball used April’s ILP ‘How to be brilliant’ lecture to deliver the third chapter of his mammoth six-part ‘Sacred Light’ series of lectures. ‘The Darkness of the Unconscious’ took his audience on an esoteric journey through modernism, popular culture, the evolution of street lighting and even back to the darkness that sits at the very beginnings of art – and human consciousness – itself By Nic Paton



his time last year, Colin Ball, lighting director at BDP, used the platform of the ILP’s ‘How to be brilliant…’ lecture series to talk about ‘Archetypes of Night’, or how the lack of light at night has been almost as important throughout history as its opposite (‘Night Vision’, Lighting Journal, October 2017, no 9 vol 82). That talk was the second part of his magnum opus eight-part ‘Sacred Light’ series of lectures. In April, he returned to ‘How to be brilliant’ with his next instalment, part three, entitled ‘The Darkness of the Unconscious’. The lecture, although not completely new (in that it had its first public outing in Madrid back in 2011) followed on closely from many of themes discussed within ‘Archetypes of Night’. It was presented in two 45-minute halves and ranged fascinatingly through topics as diverse as Freud, Jung and the development of modern psychoanalytics; modernism, mythology, Victorian slums and the genesis of electric lighting; Harry Potter, Star Wars and prehistoric cave paintings. From the outset, it was clear we would need to strap ourselves in for something of an intellectual helter-skelter ride, one that would challenge our preconceptions about light, consciousness and, in particular, darkness. Colin opened his lecture with T S Eliot’s famous ‘handful of dust’ stanza from The Wasteland:

 hat are the roots that clutch, what W branches grow Out of this stony rubbish? Son of man, You cannot say, or guess, for you know only A heap of broken images, where the sun beats, And the dead tree gives no shelter, the cricket no relief, And the dry stone no sound of water. Only There is shadow under this red rock, (Come in under the shadow of this red rock), And I will show you something different from either Your shadow at morning striding behind you Or your shadow at evening rising to meet you; I will show you fear in a handful of dust. For those unfamiliar with this seminal work of 1920s’ modernist poetry, Colin explained how it was in part Eliot’s fully-intended unconscious response to the trauma and collapse in belief and familiar structures; where the presence of shadow within consciousness becomes apparent, with every phrase steeped in centuries of symbolic belief – swept away by the First World War. ‘It is when psychology became normal in many ways, and part of everyday language. We use the words “unconscious”, “introvert”, “extrovert” in an everyday

way. These are just normal words, but they were all invented by one person – Jung. He was a colleague of Freud until they famously went their separate ways creating what we know as psychology now. At this same time in many ways across world society there was, with the First World War, a focus on the horror and darkness of what “man” was actually capable of, a sweeping away of what had gone before,’ Colin outlined.


Colin then brought up an image of Picasso’s famous ‘Guernica’ (shown overleaf ), again a response to trauma – the first total bombing of a civilian population during the Spanish Civil War. ‘The painting would not fit inside this room. Standing in front of it you feel the colour almost draining from you. There was a new idea of darkness. And Picasso painted this in three months – this, again, was his unconscious response to Guernica. ‘Our unconscious is full of symbolism and strange dreams and things that don’t match. But the important thing – which you very rarely hear about with this painting – and one of the reasons why it is so important is: what’s killing the horse, the hero, the bull? It’s a lightbulb. The hope and the future coming in is a handheld lamp, in position from above, versus the handheld individuality of man. ‘Another reason why this painting is so special – and I think we are able to

July/August 2018 Lighting Journal


July/August 2018 Lighting Journal

The ILP’s ‘How to be brilliant…’ lectures


declare it the most important painting of the 20th century – is that a copy of it sits at the entrance of the United Nations Security Council. So, every time a decision is made in the UN, they walk past this painting. It became even more famous when then US secretary of state Colin Powell announced they were going to start bombing in Iraq. A blue curtain was covered over the painting, because they felt it was “bad PC” to talk about violent policy in the world in front of it,’ he added. Colin then roamed around discussions of fear, of getting old, of darkness, of denial. Was the bull in Guernica derived from Picasso’s ‘Vollard Suite’, where the Minotaur is depicting an act of violence or tenderness? He discussed how Jung developed his theories and his split from Freud; our unconscious connection to the ‘heroic journey’: stories of children who discover they are born to a greater destiny – King Arthur, Luke Skywalker, Harry Potter – the role and impact of myths in our cultural canon and the role and power – yet often muffled or diluted in our modern age – of our emotional, unconscious response to environmental triggers – images, shadows and monsters – darkness and light among them. ‘We can’t understand these emotions that we have, and immediate reactions to light – they’re not biological, they’re immediate, they are unconscious – our fear of the dark, for example, we don’t have an understanding of it. You can’t relate fear of the dark to lux levels. But that fear sits in the background in our conscious, pushing up light levels. Every one of us, when we’re

looking at a calibration for light, we’re looking at a lux calculation – “ooh not too sure, I’ll put it up a bit”. Every time we’re not too sure, an entropy increases, and light levels increase, and we can actually see this over decades,’ Colin articulated. ‘There is the physical light outside and there is an internal light, a spiritual light, which is entirely separate. That’s the thing that makes the light of man. We don’t get light transmitting into us; we’re actually emitting light. We can have a point of view that is either outwards, to the outside world, or we can gain the independence of thought, belief or soul, if we’re aware of our own inner light. ‘You see yourself through the prism your ego. But everyone else sees your complete self, including your shadow. You can’t see your shadow. But the self, the permanent you, remains the same as when you were born. The acorn grows into an oak tree. How well an acorn grows into an oak tree will depend on its environment, but it is always an oak tree,’ he added.


Colin discussed the concept of ‘individuation’ (or where the personal and collective unconscious is brought into consciousness, often through dreams or free association or imagination). He discussed how archetypes are often ‘hardwired’ into our unconscious cultural and fundamental belief systems, in the process discussing Plato, Buddhism, Rothko, Joyce, Blake, Dan-

te, Wagner, Milton, Hindu iconography and Christian symbolism. The work of the painter Gustav Doré came firmly into his sights. ‘His work has a photographic quality to it; it balances light and dark, white and black. There is a distinct difference, a heaven and hell relationship to London at this time. The seedy night-time East End areas are all shown in pitch black. ‘Doré was also recording lighting, as it was just being installed at that time. You’re seeing in these darker episodes of the underbelly of the city lots of people gathered together; the city gains its own unconscious. Here is an opium den; Limehouse used to be the centre of the opium trade. But for those above there is still this dark, unconscious, unpleasant underbelly. But lighting will show the way. The educator has the lamp. Those giving money to the poor will be on the lighter side more than the dark,’ said Colin. ‘There is this inherent belief, just as lighting is appearing – one of his aims for publishing his work was to bring lighting to the poor, to bring inspiration and support to them. You see darkness and gas lanterns in east London but when you go over to wealthier west London the images become much whiter and brighter. You have this inherent belief that those in the light, in the daylight, are living a better and a cleaner life. Until they’re being instructed, being given religion or faith or being “lit” from “the Book”, not from the lanterns,’ Colin argued. After a short interval, we returned for the second instalment which, Colin

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July/August 2018 Lighting Journal

The ILP’s ‘How to be brilliant…’ lectures


promised to laughter, would contain ‘more buildings and architecture’. For this section of the lecture, he examined the birth of modernism, the Great Exhibition of 1851 and the development of The Crystal Palace. ‘It was the basic inspiration for Norman Foster and most modern architects today. 1851 – but at that time it wasn’t recognised as architecture. This beautiful glass structure was seen as the future; the showroom of the British Empire, our modernism, our technology, our future bathed in light. ‘You see this vision of the future, this hope, this myth of progress, of a bright future. Under Doré, the cities are filthy, fully of soot. The new city, the vision of the future, shiny, crystal, gothic, full of light, full of colour.’ he explained. By 1885 the first electric streetlight appeared. ‘It’s a surprising fact where this electric street lighting is. Here in Paris, it’s installed for the retail centres. It’s like Doré, the wealthy they’re bathed in light, the poor they’re in hideous darkness, or with a single lamp on a street corner. It’s the retail areas that are getting the lighting installed,’ he pointed out. ‘What we find at this time is that the street lighting and the provision to increase the street lighting is not to increase the security. It doesn’t turn up in the poor areas, it turns up in the streets that have already invested in expensive windows, in the shopping streets. They’re extending their retail hours; that is what brings street lighting into our streets. But gradually the message transformed into “but it’s for your security”. ‘But the public weren’t very happy about lanterns up until this point. It is only when

it is sold as this future, this positive future in lightness, in richness and wealth, up until then, until the 1850s street lighting is seen as an imposition of authority, of those in power “watching” you. That’s what lighting was for,’ he added. Indeed, a key element of the French Revolution of 1792 was lantern smashing by the mob, which broke the ability of the police or military – or ‘the Sun King’ King Louis XIV for that matter – to ‘impose’ light upon them.


Having progressed as far as street lighting, Colin then swung his argument back full circle, to the darkness at the heart of many ancient divine and religious structures, including the Pantheon in Rome, the temples of Greece, Jericho, Hindu and Buddhis architecture and the influence of Alexander the Great. Tumbling back through history, he brought us screeching

to a halt at the famed cave paintings of Lascaux and Chauvet (shown left). Here, he argued, we see not only the very first representations of light – stars and the constellations – but to see these works of arts, to experience these sacred spaces, you had to venture deep into the dark of the cave systems. These sacred spaces were not, in fact, about light but darkness. ‘So how do we utilise this, how does it work? It’s something we’re working with all the time. Rather than being afraid of the dark, there is an acknowledgement that, by going into the dark, in the peace and quiet, understanding there are monsters and creatures there and our own fears. If we can communicate that, we can find things that are very special; we can find true inspiration, the inward inspiration,’ argued Colin. ‘There is an ability to use darkness as a design tool. But not just through lack of light or isn’t this terrible, poor or depraved, no, this is luxurious, special, a hallowed space.’ As Colin concluded on what had been a whirlwind, humbling journey: ‘You can use darkness and effective light from the sky. You balance the space and your iris adjusts, the space never appears dark, yet there is no light on the floor. ‘Referencing this continual request from not just the lighting industry, from society, to constantly be aware of the flickering light in front of you and the danger of not looking at or listening to the light within. There was a warning about this 2,500 years ago [in the caves of Lascaux and Chauvet], I think we should start listening to it.’

Colin Ball IALD, MSLL, ILP, BSc (Hons) Architecture is lighting director at BDP

THE ‘HOW TO BE BRLLIANT…’ LECTURES The ILP’s ‘How to be brilliant…’ lecture series, in association with acdc lighting, is now well underway for 2018. It is aimed at students, interns, apprentices and new entrants to the lighting profession and is a free, fun, friendly talk in London.

The next lecture will be by Rebecca Hutchison, of John Cullen Lighting, on 19 September. She will be followed by Lauren Lever, of LightIQ, on 17 October; and Magdelena Gomez, of Elektra Lighting Design, on 28 November

All ‘How to be brilliant’ lectures this year will take place at Body & Soul, on Rosebery Avenue, London. Doors open from 6pm. For more information go to


July/August 2018 Lighting Journal


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

Steven Biggs

Allan Howard

Alan Tulla

Skanska Infrastructure Services


Alan Tulla Lighting


Peterborough PE1 5XG

T: +44 (0) 1733 453432 E:

BEng(Hons) CEng FILP FSLL London WC2A 1AF

T: 07827 306483 E:


Winchester, SO22 4DS

T: 01962 855720 M:0771 364 8786 E:

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

Professional artificial and daylight lighting services covering design, technical support, contract and policy development including expert advice and analysis to develop and implement energy and carbon reduction strategies. Expert witness regarding obtrusive lighting, light nuisance and environmental impact investigations.

Simon Bushell

Alan Jaques

Michael Walker

SSE Enterprise Lighting


McCann Ltd


Portsmouth PO6 1UJ T: +44 (0)2392276403 M: 07584 313990 E: Professional consultancy from the UK’s and Irelands largest external lighting contractor. From highways and tunnels, to architectural and public spaces our electrical and lighting designers also provide impact assessments, lighting and carbon reduction strategies along with whole installation packages.


Nottingham, NG9 2HF

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

Professional consultancy providing technical advice, design and management services for exterior and interior applications including highway, architectural, area, tunnel and commercial lighting. Advisors on energy saving strategies, asset management, visual impact assessments and planning.

Lorraine Calcott

Tony Price

it does Lighting Ltd

Vanguardia Consulting


T: 01908 560110 E:

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


BSc (Hons) CEng FILP MIMechE Winchester SO23 7TA

T: 0118 3215636 E:

T: 01962 855080 M: 07790 022414 E:

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

Professional lighting design consultancy offering technical advice, design and management services for exterior/interior applications for highway, architectural, area, tunnel and commercial lighting. Advisors on lighting and energy saving strategies, asset management, visual impact assessments and planning.

John Conquest

Anthony Smith

4way Consulting Ltd

Stainton Lighting Design Services Ltd

Stockport, SK4 1AS

T: 0161 480 9847 M: 07526 419248 E:


Stockton on Tees TS23 1PX

T: 01642 565533 E:

Providing exterior lighting and ITS consultancy and design services and specialising in the urban and inter-urban environment. Our services span the complete Project Life Cycle for both the Public and Private Sector

Specialist in: Motorway, Highway Schemes, Illumination of Buildings, Major Structures, Public Artworks, Amenity Area Lighting, Public Spaces, Car Parks, Sports Lighting, Asset Management, Reports, Plans, Assistance, Maintenance Management, Electrical Design and Communication Network Design.

Stephen Halliday

Nick Smith


Nick Smith Associates Limited


Manchester M50 3SP


Chesterfield, S40 3JR

T: 0161 886 2532 E:

T: 01246 229444 F: 01246 270465 E:

Public and private sector professional services providing design, technical support, contract and policy development for all applications of exterior lighting and power from architectural to sports, area and highways applications. PFI technical advisor and certifier support, HERS registered personnel.

Specialist exterior lighting consultant. Private and adopted lighting and electrical design for highways, car parks, area and sports lighting. Lighting Impact assessments, expert witness and CPD accredited Lighting design AutoCAD and Lighting Reality training courses Design for all types of exterior lighting including street lighting, car parks, floodlighting, decorative lighting, and private lighting. Independent advice regarding light trespass, carbon reduction and invest to save strategies. Asset management, data capture, inspection and testing services available.

Peter Williams EngTech AMILP

Williams Lighting Consultants Ltd.

Specialists in the preparation of quality and effective street lighting design solutions for Section 38, Section 278 and other highway projects. We also prepare lighting designs for other exterior applications. Our focus is on delivering solutions that provide best value.

Designs for Lighting Ltd


Nottingham NG9 6DQ M: 07939 896887 E:

Chartered engineer with wide experience in exterior and public realm lighting. All types and scales of project, including transport, tunnels, property development (both commercial and residential) and sports facilities. Particular expertise in planning advice, environmental impact assessment and expert witness.

MMA Lighting Consultancy Ltd


Bedford, MK41 6AG T: 01234 630039 E:

Alistair Scott

Reading RG10 9QN

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

T: +44(0) 1883 718690

Oxted RH8 9EE

Mark Chandler EngTech AMILP

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

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

Go to: for more information and individual expertise

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


Directory CPD Accredited Training • AutoCAD (basic or advanced) • Lighting Reality CPD Accredited Training CPD Accredited Training Standards CPD Accredited Training CPD Accredited Training • AutoluxLighting • AutoCAD (basic or advanced) • Lighting Design Techniques • •AutoCAD (basic or advanced) • AutoCAD (basic or advanced) •• AutoCAD (basic or advanced) Lighting Reality Light Pollution • Lighting Reality • Lighting Reality • Lighting Reality • AutoluxLighting Standards CPD Accredited Training • Tailored Courses please ring CPD Accredited Training • •AutoluxLighting Standards • AutoluxLighting Standards • AutoluxLighting Lighting Design Techniques Standards Accredited Training • •Lighting Design Techniques •CPD Lighting Design •Venues Lighting Techniques AutoCAD (basicTechniques or advanced) by Design arrangement Light Pollution • •Light Pollution • Light Pollution • Light Pollution Lighting Reality • AutoCAD (basic or advanced) Tailored Courses please ring Nick Smith • Tailored Courses please ring please ring • Tailored CoursesStandards please ring •Contact Tailored Courses • Lighting Reality •AutoluxLighting AutoCAD (basic or advanced) Nick Smith Associates Ltd • Lighting Design Techniques Venues by arrangement 36 Foxbrook Drive, •Reality AutoluxLighting Standards Venues by arrangement Venues by arrangement Venues by arrangement Lighting ••Light Pollution Contact NickChesterfield, Smith • Lighting Design Techniques • Tailored Courses please ring Contact Nick Smith S40 3JR Contact Nick Smith

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Nick Smith Associates Ltd Nick Smith Associates Ltd t: 01246 229 444 • Light Pollution Nick Smith Associates Ltd 36 Foxbrook Drive, • AutoCAD (basic or advanced) Venues by arrangement • Foxbrook Lighting Design Techniques 36Chesterfield, Foxbrook Drive, f: 01246 588604 36 Drive, 36 Foxbrook Drive, • Tailored Courses please ring Chesterfield, e : Chesterfield, Chesterfield, S40 3JR • Light Contact NickPollution SmithReality • Lighting S40 3JR 229S40 w: S40 3JR 3JR t: 01246 444 Nick Smith Associates Ltd t:by 229 444 t:•01246 229 444Venues Tailored Courses please ring 229 444 t: 01246 arrangement f:01246 01246 588604 36 Foxbrook Drive, f: e01246 588604 f: 01246 588604 • AutoluxLighting Standards f: 01246 588604 : Chesterfield, HAGNER PHOTOMETRIC e w: : e : Contact Nick Smithe : S40 3JR w: w: w: arrangement • Lighting Design Techniques t:Venues 01246 229by 444Nick INSTRUMENTS LTD Smith Associates Ltd f: 01246 588604 36 Foxbrook Drive, eContact : Nick Smith • Light Pollution Suppliers of a wide range of quality Chesterfield, w: Nick measuring Smith Associates Ltd light and photometric S40 3JR • Tailored Courses please ring equipment. 36 Foxbrook Drive,229 444 t: 01246

f: 01246 588604 Chesterfield,

HAGNER PHOTOMETRIC INSTRUMENTS LTD e : S40 PO Box3JR 210, Havant, PO9 9BT Tel: 07900 571022 w:

Venues by arrangement t: 01246 229 444



f: 01246 588604 e : Contact Nick Smith w:

Nick Smith Associates Ltd 36 Foxbrook Drive, Chesterfield, S40 3JR t: 01246 229 444 UK Lighting Division f: 01246 588604 e : w: Ÿ

Road Lighting


Feeder Pillars


Hazardous Area Lighting


Distribution Panels


Industrial & Commercial


Cable & Cable Joints



Lighting & Electrical


Decorative Lighting

Design Services

Barry Morrison UK Lighting Manager

Tel Email

01236 458000

The new 2018 ILP Lighting Journal Media Pack is now available. Please call Andy on 01536 527297 or email for more details

July/August 2018 Lighting Journal

Kiwa CMT Testing Meter Administrator Inspection and Non-destructive Testing of Lighting Columns on vulnerable areas including the root, base and swaged joint connection. Techniques used include the Relative Loss of Section Meter and Swaged Joint Analyser supported by Ultrasonics where appropriate. Other services include full visual inspection of concrete columns, data capture of highway assets with GPS capability and structural calculations for the installation of column attachments. All test data is recorded and reported electronically with recommendations on each column tested in accordance with guidance given by TR22. Kiwa CMT Testing are UKAS accredited (ISO 17025) for the Structural Testing of Lighting Columns

Kiwa CMT Testing Unit 5 Prime Park Way Prime Enterprise Park Derby

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July/August 2018 Lighting Journal


THE DIARY 06 September

North East region committee and technical meeting Venue: Thorn, Spennymoor

13 September

LSE regional afternoon technical seminar Venue: Garry Weston Library, Southwark Cathedral, London


17-21 September p

13 September – The LSE regional afternoon technical seminar will be held at the Garry Weston Library at London’s Southwark Cathedral

Exterior Lighting Diploma module A Venue: Draycote Hotel, London Road, Rugby

18 September

Landscape industry trade show Venue: Battersea Park, London

19 September

‘How to be brilliant’, with Rebecca Hutchison, of John Cullen Lighting Venue: Body & Soul, Rosebery Avenue, London

26 September

Lighting for Health and Wellbeing Conference Venue: Cavendish Conference Centre, London

08 October

Exterior Lighting Diploma module B Venue: Draycote Hotel, London Road, Rugby

17 October

‘How to be brilliant’, with Lauren Lever, of LightIQ Venue: Body & Soul, Rosebery Avenue, London

25-27 October

Professional Lighting Design Convention (PLDC) Venue: Marina Bay Sands, Singapore For full details of all events, go to:


How the ILP’s update to TR22 will help to improve the management of lighting supports


Understanding competency, and what it means to be ‘competent’ as a lighting professional


Report from the 16th International Symposium on the Science and Technology of Lighting

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