Volume 8. Issue 1. Jan/Feb 2015
The Year of Light: the SLL’s role
to the gallery – the new LG8
Secretary Brendan Â Keely Â MSLL email@example.com SLL Â Coordinator Juliet Â Rennie Tel: Â 020 Â 8675 Â 5211 firstname.lastname@example.org Editor Jill Â Entwistle email@example.com Communications Â committee: Iain Â Carlile Â (chairman) Â MSLL Rob Â Anderson Jill Â Entwistle Chris Â Fordham Â MSLL Wiebke Â Friedewald Mark Â Ingram Â MSLL Stewart Â Langdown Â MSLL Leeman Â Robinson All Â contributions Â are Â the Â responsibility Â of Â the Â author, Â and Â do Â not Â necessarily Â UHÃ€HFWWKHYLHZVRIWKHVRFLHW\$OO contributions Â are Â personal, Â except Â where Â attributed Â to Â an Â organisation Â represented Â by Â the Â author. Copy Â date Â for Â NL2 Â 2015 Â Â is Â 26 Â January Published Â by The Â Society Â of Â Light Â Â and Â Lighting 222 Â Balham Â High Â Road London Â SW12 Â 9BS www.sll.org.uk ISSN Â 1461-Â524X Â© Â 2015 Â The Â Society Â of Â Light Â and Â Lighting The Â Society Â of Â Light Â and Â Lighting Â is Â part Â of Â the Â Chartered Â Institution Â of Â Building Â 6HUYLFHV(QJLQHHUV%DOKDP+LJK Road, Â London Â SW12 Â 9BS. Â Charity Â registration Â no Â 278104
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6TXHH]LQJHYHU\WKLQJLQWRDSDJH Newsletter Â can Â be Â something Â of Â a Â quart-Â into-Âa-Âpint-Âpot Â exercise Â sometimes, Â so Â JLYHQWKDWZHKDYHQRZHQWHUHGWKH International Â Year Â of Â Light, Â and Â can Â reasonably Â anticipate Â a Â greater Â degree Â RIOLJKWLQJDFWLYLW\WKDQXVXDOLWPDGH sense Â to Â increase Â the Â size Â to Â 16 Â pages. A Â key Â theme Â in Â the Â newly Â expanded Â issue, Â appropriately Â enough, Â is Â the Â IYL. Â The Â concept Â would Â be Â unthinkable, Â says Â SLL Â president Â John Â Aston, Â without Â the Â LQYROYHPHQWRIWKHVRFLHW\S ,WLVDOVR essential Â that Â the Â lighting Â community Â as Â a Â whole Â puts Â its Â weight Â behind Â wringing Â the Â full Â potential Â out Â of Â it. Â â€˜The Â IYL Â is Â an Â opportunity,â€™ Â he Â says, Â â€˜but Â only Â if Â we Â JUDVSLWHIIHFWLYHO\DQGPDNHVXUHWKDW ZHDUHLQYROYHGDWHYHU\WXUQÂ¶ Echoing Â his Â presidential Â address, Â Aston Â also Â makes Â the Â point Â that Â this Â LVWKHLGHDOSODWIRUPIRUHYDQJHOLVP an Â opportunity Â to Â raise Â awareness Â about Â lighting Â among Â fellow Â design Â professionals Â and Â the Â public Â rather Â Â than Â SUHDFKLQJWRWKHFRQYHUWHG The Â fact Â that Â this Â yearâ€™s Â AGM Â will Â be Â held Â at Â RIBA Â (see Â the Â insert Â in Â this Â issue), Â and Â that Â incoming Â president Â Liz Â Peck Â plans Â for Â the Â SLL Â to Â engage Â more Â closely Â with Â the Â architectural Â body, Â is Â an Â excellent Â demonstration Â of Â this. Â While Â a Â PXFKFORVHUUHODWLRQVKLSKDVGHYHORSHG between Â lighting Â designers Â and Â Â DUFKLWHFWVRYHUWKHSDVWWZRRUWKUHH decades Â as Â awareness Â of Â the Â lighting Â profession Â has Â grown, Â it Â is Â a Â crucial Â
FROODERUDWLRQRQDQXPEHURIOHYHOVÂ±IRU energy Â use, Â for Â the Â greater Â integration Â of Â lighting Â systems Â and, Â of Â course, Â for Â the Â promotion Â of Â daylighting. The Â year Â will Â probably Â comprise Â HYHQWVDFWLYLWLHVDQGLQLWLDWLYHVRIDOO VFDOHVDQGOHYHOVRIDPELWLRQEXWDQ exercise Â such Â as Â the Â IYL Â needs Â its Â â€˜grand Â projetâ€™ Â and Â the Â SLLâ€™s Â plans Â for Â the Â Unesco Â World Â Heritage Â Sites Â certainly Â fall Â into Â that Â category Â (p7). What Â they Â should Â also Â do Â is Â engage Â a Â YHU\ZLGHDXGLHQFHEH\RQGWKHOLJKWLQJ community, Â which Â is Â exactly Â what Â Aston Â is Â talking Â about. Jill Â Entwistle firstname.lastname@example.org
LETTERS...LETTERS...LETTERS..LETTERS...LETTERS...LETTERS...LETTERS I Â was Â delighted Â to Â see Â the Â news Â (NL Â 1RY'HF WKDWD-HDQ+HDS%XUVDU\ Â has Â been Â set Â up Â by Â the Â SLL. Â I Â had Â actually Â considered Â suggesting Â the Â Â idea Â but Â was Â concerned Â about Â the Â Â ORQJWHUPÂ¿QDQFLDOFRPPLWPHQWLW Â ZRXOGLQYROYHIRUWKHVRFLHW\ Jean Â put Â an Â enormous Â amount Â into Â the Â society. Â When Â we Â were Â setting Â it Â up Â in Â the Â late Â 1990s Â she Â worked Â tirelessly Â to Â ensure Â that Â its Â membership Â criteria Â ZHUHZHOOGHÂ¿QHGDQGPHWWKHQHHGVRI the Â profession. Â As Â committee Â chairman Â she Â was Â Â¿UPWKDWRXUVWDQGDUGVRIPHPEHUVKLS were Â sacrosanct Â but Â always Â looked Â at Â DSSOLFDWLRQVLQDFRQVWUXFWLYHPDQQHU There Â were, Â after Â all, Â many Â applications Â WKDWGLGQRWÂ¿WWKHÂµUXOHVÂ¶VLPSO\EHFDXVH
RIWKHYDULHGEDFNJURXQGVRIPHPEHUV of Â the Â lighting Â profession. She Â was Â an Â enormous Â help Â to Â me Â throughout Â my Â time Â as Â secretary Â of Â the Â society, Â not Â just Â on Â education Â and Â membership Â but Â in Â so Â many Â aspects Â Â RILWVDFWLYLWLHV On Â a Â personal Â note, Â when Â we Â decided Â on Â the Â criteria Â for Â honorary Â fellowship Â it Â was Â agreed Â that Â it Â was Â to Â recognise Â major Â contributions Â to Â lighting Â by Â non-Âmembers. Â Imagine Â my Â surprise Â ZKHQ,ZDVJLYHQKRQRUDU\IHOORZVKLS Â on Â my Â retirement Â as Â secretary. Â Jean Â Â had Â persuaded Â the Â education Â committee Â to Â change Â the Â rules Â as Â soon Â as Â I Â was Â out Â of Â the Â door. Jonathan Â David Â HonFSLL
A Â Happy Â New Â Year Â to Â you Â all Â and Â welcome Â to Â the Â International Â Year Â of Â Light Â 2015. Â The Â year Â ahead Â offers Â a Â great Â opportunity Â for Â the Â society Â to Â further Â promote Â learning Â and Â knowledge Â transfer Â WKURXJKHYHQWVLQDOOWKHUHJLRQV We Â had Â a Â great Â time Â on Â the Â stand Â DW/X[/LYHDQGWKDQNDOOPHPEHUV WKDWFDPHDORQJWRVD\KHOORDQGJLYH us Â their Â feedback. Â A Â highlight Â was Â the Â <RXQJ/LJKWHURIWKH<HDUÂ¿QDOZLWKVRPH YHU\KLJKFDOLEUHSUHVHQWDWLRQV:H congratulate Â Janna Â Aronson Â on Â taking Â the Â 2014 Â title Â (see Â p11 Â for Â Jannaâ€™s Â feature Â which Â summarises Â her Â paper). The Â Jean Â Heap Â Bursary Â was Â also Â ODXQFKHGDW/X[/LYHDQGZHLQYLWHDOOWR apply Â for Â the Â funding. Â The Â Â£2000 Â bursary Â ZLOOHQDEOHDQLQGLYLGXDOWRXQGHUWDNH UHVHDUFKLQDSDUWLFXODUÂ¿HOGRIOLJKWLQJ DQGWRWKHQGHOLYHUWKHLUUHVXOWVWRWKH society Â and Â the Â lighting Â community Â at Â large. Â Applications Â can Â be Â downloaded Â IURPWKH6//ZHEVLWHDQGKDYHWREH returned Â to Â us Â by Â 31 Â March Â 2015. The Â CIBSE Â Research Â Fund Â granted Â last Â year Â to Â the Â society Â has Â been Â UHFHLYHGSRVLWLYHO\E\WKHLQGXVWU\7KLV is Â to Â enable Â research Â into Â the Â impact Â of Â LED Â lamps Â on Â health Â and Â wellbeing, Â as Â well Â as Â explore Â issues Â such Â as Â measurement Â of Â colour, Â assessment Â RIWKHUROHRIGHULYHGFRORXUPHWULFV PHDVXUHPHQWRIÃ€LFNHUDQGDVVHVVPHQW RIWKHLPSDFWRIÃ€LFNHURQXVHUVDQG DOVRWRVXUYH\H[LVWLQJUHVHDUFKLQWR WKHHIIHFWVRIORZ/('OLJKWOHYHOVRQ circadian Â rhythms. Â The Â ITT Â documents Â should Â be Â returned Â by Â 5 Â January. The Â new Â LG10: Â Daylighting Â guide Â Â IRUGHVLJQHUVLVQRZDYDLODEOHWR download Â from Â the Â CIBSE Â Knowledge Â Portal. Â The Â publication Â has Â been Â updated Â to Â address Â the Â modern Â techniques Â in Â PDQDJLQJGD\OLJKWDQGYLVXDOLVDWLRQ Â as Â well Â as Â the Â use Â of Â climate-Âbased Â daylight Â modelling Â (CBDM). Â We Â are Â also Â looking Â forward Â to Â the Â SXEOLFDWLRQRIWKHUHYLVHG/*/LJKWLQJ for Â Museums Â and Â Art Â Galleries Â at Â the Â beginning Â of Â this Â year Â (see Â p8). Â Last Â updated Â in Â 1994, Â this Â area Â of Â lighting Â has Â been Â subject Â to Â tremendous Â change Â in Â both Â technology Â and Â thinking Â on Â FRQVHUYDWLRQLVVXHV We Â welcome Â LED Â Linear Â to Â our Â group Â of Â Sustaining Â Members. Â Their Â support, Â and Â the Â backing Â of Â all Â our Â Sustaining Â Members, Â will Â enable Â us Â to Â retain Â and Â GHYHORSHYHQWVGLUHFWHGDWSHRSOHLQWKHLU early Â lighting Â career. Â That Â includes Â Ready Â Steady Â Light, Â of Â course, Â which Â takes Â place Â on Â 24 Â March Â 2015. Â We Â encourage Â HYHU\RQHWRDSSO\HDUO\DVWKLVHYHQW quickly Â gets Â booked Â up.
/LJKW\HDUÂ·VDKHDG 2015 is the International Year of Light. John Aston looks at why lighting bodies must get behind the initiative 0DNLQJKLVWRU\FRPHDOLJKW Liz Peck explains how the SLL will mark the IYL in a unique and memorable way :HDUHSOHDVHGWRFRQÂ¿UPWKDWWKH society Â will Â partner Â VIA-ÂVerlag Â for Â the Â PLDC Â student Â speaker Â competition, Â The Â Challenge. Â The Â society Â is Â the Â Knowledge Â Partner Â of Â the Â competition Â which Â culminates Â at Â the Â PLDC Â in Â Rome Â this Â October. Â The Â next Â round Â of Â The Â &KDOOHQJHLVDW1DSLHU8QLYHUVLW\RQ )HEUXDU\UHJLVWHUDWZZZHYHQWVYLD YHUODJFRP :HHQFRXUDJHDVPDQ\RI \RXDVSRVVLEOHWRDWWHQGWKLVHYHQW /DVWPRQWK3DXO5XIÃ€HVVWHSSHG down Â as Â chair Â of Â the Â technical Â and Â publications Â committee. Â Paul Â joined Â the Â FRPPLWWHHLQDQGWRRNRYHUWKH chair Â from Â 1990-Â94. Â He Â then Â took Â on Â the Â role Â again Â from Â 2011 Â to Â December Â 2014. Â Many Â of Â us Â in Â the Â society Â thank Â Paul Â for Â KLVLQYROYHPHQWDQGGLUHFWLRQLQVRPDQ\ of Â the Â Lighting Â Guides, Â Fact Â Files, Â Codes Â DQG+DQGERRNRYHUWKH\HDUV7KHJRRG news Â is Â that Â Paul Â will Â remain Â on Â the Â committee Â with Â Simon Â Robinson Â (WSP) Â taking Â on Â the Â role Â of Â chair. :HDUHORRNLQJIRUYROXQWHHUVWRMRLQ the Â technical Â and Â publications Â committee Â whose Â current Â remit Â includes Â the Â rewrite Â of Â the Â Code Â for Â Lighting Â and Â Handbook. Â Please Â contact Â me Â by Â the Â end Â of Â January Â for Â more Â details. )LQDOO\ZHSD\WULEXWHWR'DYLG/RH who Â has Â stepped Â down Â from Â the Â Lighting Â Research Â and Â Technology Â editorial Â board Â /5 7 'DYLGKDVEHHQDPHPEHURI the Â LR&T Â board Â for Â 14 Â years, Â chair Â for Â Â¿YH\HDUVDQGLQVWUXPHQWDOLQSURGXFLQJ WKH/5 7&':HWKDQN'DYLGIRUDOO his Â work Â on Â behalf Â of Â the Â society, Â the Â members Â and Â the Â world Â of Â lighting Â research Â and Â education. Â The Â LR&T Â journals Â will Â increase Â from Â six Â to Â eight Â editions Â in Â 2015 Â and Â are, Â of Â course, Â free Â to Â download Â to Â all Â members. Â Â Brendan Â Keely, Â MSLL email@example.com
3OD\LQJWRWKHJDOOHU\ 7H\S9\MÃ…LZHUK2L]HU:OH^ outline the new LG8 on museum and gallery lighting
6HWWLQJWKHVFHQH YLOTY Janna Aronson looks at how natural light can be translated from visual art 0HDVXUHIRUPHDVXUH Lighting metrics is a key topic in the latest LR&T, discovers Iain Carlile
&RYHUSURMHFW The Lux Award-winning Reid Building at the GSA (Arup)
Artful paper wins Young Lighter of the Year award
1HZOLJKWLQJ FDWHJRU\IRU &,%6(DZDUGV )RUWKHÂ¿UVWWLPH&,%6(Â¶V%XLOGLQJ Performance Â Awards Â will Â include Â a Â lighting Â category. Â The Â following Â projects Â KDYHEHHQVKRUWOLVWHG Â â€¢ Â â€¢ Â â€¢ Â
-DQQD$URQVRQRI7HO$YLYEDVHG57/' Lighting Â Design Â won Â the Â Young Â Lighter Â of Â the Â Year Â title Â following Â a Â close Â contest Â EHWZHHQWKHIRXUÂ¿QDOLVWV$URQVRQ whose Â paper Â was Â entitled Â Daylight-ÂArt-Â Atmosphere Â (see Â p11 Â for Â her Â summary), Â was Â presented Â with Â her Â trophy Â at Â the Â Lux Â $ZDUGVDW/RQGRQÂ¶V7UR[\RQWKHHYHQLQJ RIWKHÂ¿QDOLQ1RYHPEHUDERYH 9HURQLND/DEDQFRYDRI,VRPHWUL[ZRQ WKH%HVW:ULWWHQ3DSHU$ZDUGJLYHQE\ the Â ILP, Â for Â Possible Â Impact Â of Â Ageing Â ,QÃ€XHQFHRQ/LJKW4XDOLW\3HUFHSWLRQE\ Human Â Beings. Â James Â Duff Â of Â Arup Â was Â awarded Â Best Â Presentation Â Award Â for Â his Â paper, Â Any Â 2EMHFWLYH0HWULFWR'HWHUPLQH6XEMHFWLYH
/LJKW$GHTXDF\"7KHIRXUWKÂ¿QDOLVWZDV Katerina Â Konsta Â of Â Atkins Â Global Â who Â looked Â at Â daylighting Â in Â schools. 7KHÂ¿QDOVZHUHKHOGDW/X[/LYHDW Londonâ€™s Â ExCel. This Â was Â the Â 20th Â year Â of Â the Â competition, Â open Â to Â anyone Â under Â 30 Â years Â of Â age Â working Â in Â light, Â design, Â architecture, Â manufacturing, Â research Â or Â healthcare, Â or Â studying Â a Â lighting-Ârelated Â HGXFDWLRQDOFRXUVH$OOWKHÂ¿QDOLVWV UHFHLYHDFDVKSUL]HDORQJZLWKD\HDUÂ¶V free Â membership Â of Â the Â SLL. Â Â Â Â )RUPRUHGHWDLOVDQGWRUHJLVWHUDQ LQWHUHVWIRUWKHFRPSHWLWLRQHPDLO VOO#FLEVHRUJ
â€¢ Â â€¢ Â â€¢ Â
Belfast Â City Â Hall Â facade Â lighting, Â Belfast Â (Arup) Â &XQGDOORIÂ¿FHV%LUPLQJKDP (Cundall Â Light4 Â ) +RDUH/HDÂ¶VKHDGRIÂ¿FH:HVWHUQ Transit Â Shed, Â Kingâ€™s Â Cross, Â London Â (Hoare Â Lea Â Lighting) Â Tate Â Britain Â Millbank Â Project, Â London Â (Max Â Fordham) Â London Â School Â of Â Economics Â (Mott Â MacDonald) Â Sainsburyâ€™s Â Project Â Graphite Â LED Â lighting Â programme Â Â (Sainsburyâ€™s Â Supermarkets) Â Wm Â Morrissons, Â Thornbury, Â Bradford Â (Thorn Â Lighting, Â Zumtobel Â Group)
The Â winners, Â and Â recipient Â of Â the Â Carbon Â Champion Â of Â the Â Year Â Award Â 2015, Â will Â be Â announced Â at Â the Â Building Â Performance Â $ZDUGVHYHQWRQ)HEUXDU\ Â www.cibse.org/bpa
Ogus only ninth lighter to get CIBSE Gold Medal Hugh Â Ogus Â has Â been Â awarded Â a Â rare Â CIBSE Â Gold Â Medal, Â the Â institutionâ€™s Â highest Â honour. Â It Â is Â only Â the Â 30th Â Gold Â Medal Â WREHJLYHQVLQFH 1912, Â and Â only Â the Â ninth Â to Â be Â awarded Â to Â a Â lighter. Â
Made Â an Â MBE Â in Â 2012, Â last Â year Â he Â was Â also Â made Â an Â Honorary Â Fellow Â of Â the Â 6//DQGJLYHQDQ+RQRUDU\)HOORZVKLSRI the Â City Â and Â Guilds Â of Â London Â Institute. $IRUPHU&,%6(YLFHSUHVLGHQWDQG /LJKWLQJ'LYLVLRQQRZ6// FKDLUPDQ DPRQJQXPHURXVDFWLYLWLHV2JXVKDV become Â best Â known Â in Â recent Â years Â for Â his Â work Â with Â the Â Lighting Â Education Â Trust Â (LET), Â latterly Â with Â attempts Â to Â establish Â a Â graduate Â degree Â in Â lighting Â design, Â now Â
WHFKQRORJ\UHVSRQGVWRDQREVHUYHUÂ·V gaze by activating tiny motors to move parts of the dresses. One dress is covered in strands of photoluminescent thread, while the other has a base layer of glow-in-the-dark threads with fabric ribbons bunched over the top. :KDWQRRQHKDVH[SODLQHGLVZK\ www.dezeen.com/2013/06/24/nowhere-Â nowhere-Âtwo-Âgaze-Âactivated-Âglow-Âin-Â the-Âdark-Âdresses-Âeye-Âtracking-Âying-Âgao/
2015 has been declared as the International Year of Light by the UN. SLL president John Aston looks at why lighting bodies must get behind the initiative We Â all Â take Â light Â far Â too Â much Â for Â granted. Â The Â sun Â rises Â in Â the Â morning Â and Â sets Â in Â the Â HYHQLQJRQDFRPSOHWHO\ predictable Â and Â reliable Â basis. Â When Â there Â is Â QRGD\OLJKWZHÃ€LFND VZLWFKDQGÂ±YRLODÂ±ZH JHWDUWLÂ¿FLDOOLJKW6RZH QHYHUWKLQNDERXWKRZ we Â get Â it, Â what Â it Â does Â for Â us Â and Â how Â life Â could Â not Â exist Â without Â it. Â 4XLWHZK\ZHKDYH QHYHUKDGDÂµ<HDURI Lightâ€™ Â before Â escapes Â me Â but Â it Â can Â only Â be Â EHQHÂ¿FLDOLQUDLVLQJDZDUHQHVVRIDOOWKHDVSHFWVRIOLJKWÂ± IURPQDWXUHWKURXJKWRLWVPDQ\GLYHUVHXVHVZKHQJHQHUDWHG DUWLÂ¿FLDOO\,I,</FDQPDNHSHRSOHWKLQNPRUHDERXWOLJKWLWV EHQHÂ¿WVDQGDOOLWVPDQ\IRUPVWKHQLWZLOODFFRPSOLVKPXFK But Â it Â can Â only Â accomplish Â anything Â if Â it Â is Â successfully Â promoted Â and Â supported;Í¾ Â all Â lighting Â bodies Â need Â to Â be Â behind Â it Â ZKDWHYHUWKHLULQWHUHVW7KDQNJRRGQHVVWKHULVNRISRZHUFXWV in Â the Â winter Â is Â being Â addressed Â in Â terms Â of Â â€˜can Â we Â keep Â the Â lights Â on?â€™ Â or Â â€˜expect Â the Â lights Â to Â be Â dimmed Â this Â winterâ€™. Â The Â more Â we Â all Â know Â about Â light Â the Â more Â wisely Â it Â will Â EHXVHG,EHOLHYHWKDWZHKDYHIRUJRWWHQWKDWOLJKWDQGIUHVK air Â used Â to Â be Â an Â essential Â part Â of Â sanatorium Â design;Í¾ Â the Â old Â Department Â of Â Health Â guides Â for Â hospital Â designs Â used Â to Â insist Â RQPLQLPXPGD\OLJKWIDFWRUVLQFOLQLFDOZDUGVÂ±GRWKH\VWLOO" 0DQ\KHDOWKLQVWLWXWLRQVKDGKXJHFRQVHUYDWRULHVRUYHUDQGDKV where Â patients Â were Â put Â to Â get Â better Â quicker. Â 7KLVZDVSDUWLFXODUO\HYLGHQWZKHQ\RXORRNDWROGSKRWRV taken Â between Â the Â two Â world Â wars. Â Yet Â today Â we Â are Â looking Â at Â YLWDPLQ'GHÂ¿FLHQF\DQGRWKHUKHDOWKLVVXHVEHFDXVHFKLOGUHQ no Â longer Â play Â outside...
IYL: Â the Â background The Â Unesco Â International Â Year Â of Â Light Â and Â Technology, Â Â WRJLYHLWLWVIXOOWLWOHLVWKHLQLWLDWLYHRIDFRQVRUWLXPRI VFLHQWLÂ¿FERGLHV,WVURRWVWKHUHIRUHOLHYHU\PXFKLQ technology Â and Â academia Â with Â an Â initial Â bias Â towards Â more Â UDUHÂ¿HGWHFKQRORJLFDOGHYHORSPHQWVVXFKDVQDQRSKRWRQLFV and Â quantum Â optics, Â and Â applications Â of Â light Â in Â spheres Â such Â as Â medicine Â and Â communications. Â +RZHYHUOREE\LQJIURPERGLHVVXFKDVWKH6//ZKLFK has Â subsequently Â become Â a Â Gold Â Associate Â sponsor, Â has Â SXWWKHOLJKWLQJRIWKHEXLOWHQYLURQPHQWRQWKHDJHQGD7KH ball Â is Â now Â in Â the Â court Â of Â the Â lighting Â community Â to Â create Â HYHQWVDQGDFWLYLWLHVWKDWZLOOSURPRWHOLJKWLQJDQGUHODWHG issues Â under Â the Â IYL Â banner. According Â to Â the Â prospectus, Â IYL Â will Â â€˜promote Â the Â central Â
role Â of Â light Â in Â science Â and Â culture, Â the Â importance Â of Â light-Â EDVHGWHFKQRORJLHVIRUWKHHTXLWDEOHGHYHORSPHQWRIJOREDO VRFLHW\Â¶7KHDLPLWVD\VLVWREULQJWRJHWKHUDYDULHW\ RIVWDNHKROGHUVLQFOXGLQJVFLHQWLÂ¿FVRFLHWLHVDQGXQLRQV HGXFDWLRQDOLQVWLWXWLRQVWHFKQRORJ\SODWIRUPVQRQSURÂ¿W RUJDQLVDWLRQVDQGSULYDWHVHFWRUSDUWQHUV Â â€˜An Â International Â Year Â of Â Light Â is Â a Â tremendous Â opportunity Â to Â ensure Â that Â international Â policymakers Â and Â VWDNHKROGHUVDUHPDGHDZDUHRIWKHSUREOHPVROYLQJ SRWHQWLDORIOLJKWWHFKQRORJ\Â¶VD\V-RKQ'XGOH\YLFH president Â of Â the Â European Â Physical Â Society Â and Â chairman Â RIWKH,</VWHHULQJFRPPLWWHHÂµ:HQRZKDYHDXQLTXH opportunity Â to Â raise Â global Â awareness Â of Â this.â€™ For Â full Â details Â go Â to: Â www.light2015.org/ V
Clothes with LEDs that light up is so 2010, but dresses that writhe around and light up simply because you stare at them is something else. Fashion designer Ying Gao has made a pair of GUHVVHVWKDWGRH[DFWO\WKDWÂ¶:HXVH an eye-tracking system so the dresses PRYHZKHQDVSHFWDWRULVVWDULQJÂ·<LQJ *DRWROGGHVLJQZHEVLWH'H]HHQÂ¶>7KH system] can also turn off the lights, then WKHGUHVVHVLOOXPLQDWHÂ· 7KHHPEHGGHGH\HWUDFNLQJ
SDUWLDOO\DFKLHYHGDW%UXQHO8QLYHUVLW\ Âµ,I,JHWLQYROYHGZLWKVRPHWKLQJ,JLYH it Â my Â attention Â or Â thereâ€™s Â no Â point Â in Â being Â there,â€™ Â commented Â Ogus, Â who Â said Â he Â ZDVYHU\SURXGWRUHFHLYHWKHKRQRXU â€˜If Â thereâ€™s Â a Â job Â to Â be Â done Â Iâ€™m Â SUREDEO\WKHRQHWKDWZLOOYROXQWHHUWR do Â it. Â I Â think Â itâ€™s Â something Â in Â the Â blood. Â Youâ€™re Â here Â in Â this Â world Â and Â you Â may Â not Â change Â it Â but Â you Â can Â help Â make Â it Â better Â for Â other Â people.â€™ Â
Light yearâ€™s ahead
,IHHOWKHRULJLQDORPLVVLRQRIOLJKWLQWKHEXLOWHQYLURQPHQW Â on Â the Â IYL Â agenda Â was Â largely Â a Â symptom Â of Â the Â fact Â that Â we Â Â all Â take Â light Â for Â granted. Â ,WLVQRZXSWRXVDQGVLPLODUERGLHV WRGHYHORSWKH RSSRUWXQLW\JLYHQWKDWWKLVKDVEHHQDGGHGRQO\DWWKHHQGRI
$<HDURI/LJKWZLWKRXWRXU LQYROYHPHQWZRXOGEHXQWKLQNDEOH ,WLVDQRSSRUWXQLW\Â²EXWRQO\LIZH JUDVSLWHIIHFWLYHO\DQGPDNHVXUH WKDWZHDUHLQYROYHGDWHYHU\WXUQ
2015 Â will Â we Â know Â whether Â the Â balance Â was Â suitably Â addressed. Â Â :HDOUHDG\KDYHSODQVWKURXJK/L]3HFN WRHQJDJHPRUH closely Â with Â RIBA Â and Â if Â we Â can Â make Â some Â progress Â with Â them Â FRQFHUQLQJWKHXVHRIOLJKWÂ±QDWXUDODQGDUWLÂ¿FLDOÂ±LQIXWXUH buildings Â and Â the Â IYL Â can Â help, Â so Â much Â the Â better. Â But Â we Â need Â WRHQJDJHZLWKDZLGHUDXGLHQFHVRWKDWHYHU\RQHVHHVOLJKWDV being Â important Â in Â all Â its Â guises. Â Where Â our Â role Â as Â a Â sponsor Â is Â concerned, Â for Â an Â International Â Year Â of Â Light Â to Â be Â promoted Â without Â the Â LQYROYHPHQWRIWKHVRFLHW\ZRXOGEHXQWKLQNDEOH,KRSHLWZLOO IRFXVXVRQRXUFRQWLQXLQJREMHFWLYHWRSURPRWHJRRGOLJKWDQG OLJKWLQJHGXFDWHDQ\RQHZKRZLOOOLVWHQDQGÂ±E\UDLVLQJ Â LQWHUHVWLQWKHVXEMHFWRIOLJKWÂ±SRVVLEO\KHOSXVDWWUDFWOLNH minded Â people Â to Â our Â membership. 7KH,</LVDQRSSRUWXQLW\Â±EXWRQO\LIZHJUDVSLWHIIHFWLYHO\ Â DQGPDNHVXUHWKDWZHDUHLQYROYHGDWHYHU\WXUQ
Brendan Â Keely, Â SLL Â secretary, Â outlines Â some Â of Â the Â societyâ€™s Â plans Â for Â IYL Â 2015
What is Light? Light plays a vital role in our daily lives and has become an important tool in meeting the needs of our 21st century world. Light-based technologies protect health and safety, provide sustainable energy, enable space explorations, advance lighting options in rural areas, enable communication via the Internet, and hold the promise of limitless possibilities to improve the human condition and protect the earth.
This still image was taken from a new NASA movie of the sun based on data from NASAâ€™s Solar Dynamics Observatory, or SDO, showing the wide range of wavelengths â€“ invisible to the naked eye â€“ that the telescope can view. By examining pictures of the sun in a variety of wavelengths, scientists can track how particles and heat move through the sunâ€™s atmosphere. In this image, the various invisible wavelengths are each colorized differently to show the range of components on the sunâ€™s surface, helping scientists to paint a complete picture of our star.
Light is part of the electromagnetic radiation spectrum and is a form of energy. Light is usually considered to be the visible part of the spectrum. However, in physics, light can be defined as all portions of the electromagnetic scale, including invisible forms such as infrared, ultraviolet, X-rays, radio waves, and more. Electromagnetic waves can be described by their wavelengths, energy, and frequency.
Wavelength ()-Light waves are vibrations in the electromagnetic field. The wavelength of a light
wave is measured as the distance between two wave crests. Light wavelengths can vary greatly; for example, radio waves can be about the size of small buildings, while gamma rays are subatomic size.
Frequency ()-The number of wave crests passing by a fixed point in a given time periodâ€”usually
one secondâ€”is called frequency. Frequency is measured in hertz (Hz). Higher-frequency waves have shorter wavelengths.
Energy ()-The greater the energy, the higher the frequency and the shorter (smaller) the wavelength. Given
the relationship between wavelength and frequencyâ€”the higher the frequency, the shorter the wavelengthâ€”it follows that short wavelengths are more energetic than long wavelengths.
The Â society Â is Â supporting Â the Â Unesco Â International Â Year Â of Â Light Â 2015 Â in Â recognition Â of Â the Â role Â light Â plays Â in Â society, Â to Â promote Â awareness Â of Â lighting Â in Â the Â EXLOWHQYLURQPHQWDQGWRSURPRWHWKHOLJKWLQJGHVLJQ profession Â and Â industry Â as Â a Â whole, Â as Â well Â as Â the Â members Â of Â the Â society. 9DULRXVHYHQWVZLOOWDNHSODFHWKURXJKRXWWKH\HDU in Â liaison Â with Â the Â Institute Â of Â Physics Â (IoP), Â the Â UK Â Steering Â Committee Â and Â the Â European Â Physical Â Society Â (36 7KHVRFLHW\Â¶VSURÂ¿OHDQGHYHQWVZLOOEHLQFOXGHG on Â the Â website Â of Â the Â IYL Â 2015 Â along Â with Â educational Â PDWHULDOLQFOXGLQJIUHHIDFWÂ¿OHVIRUSXEOLFGRZQORDG This Â will Â enable Â the Â society Â to Â reach Â further Â than Â its Â PHPEHUVKLSEDVHWRRWKHUVRIIHULQJDGYLFHDQGVXSSRUW 7KHVRFLHW\ZLOODVVLVWLQHYHQWVDUUDQJHGWKURXJK /LJKWLQJ5HODWHG2UJDQLVDWLRQV/52 Â±DJURXS organised Â by Â Italian Â lighting Â designer Â Chiara Â Carucci Â ZKRLVFRRUGLQDWLQJZLWKDOOSURIHVVLRQDOERGLHVÂ±DV ZHOODVGHOLYHULQJHYHQWVXQGHUWKH,</EDQQHU (YHQWVSODQQHGIRULQFOXGHWKH<HDUVRI Fresnel Â lecture Â at Â the Â Royal Â Institution Â in Â March, Â and Â an Â LQLWLDWLYHWROLJKW8QHVFR:RUOG+HULWDJH6LWHVLQWKH8. DQG,UHODQGVHHRSSRVLWHSDJH ,WLVKRSHGWKDWHYHQWV will Â be Â jointly Â hosted Â by Â the Â professional Â lighting Â bodies Â operating Â in Â the Â UK. One Â of Â the Â IYL Â 2015 Â themes Â is Â the Â Empowerment Â RI:RPHQ&RLQFLGHQWO\WKHVRFLHW\ZLOOKDYHDIHPDOH president Â half Â way Â through Â the Â year, Â Liz Â Peck, Â as Â will Â the Â ILP, Â IALD Â and Â RIBA. Â This Â will Â help Â reinforce Â the Â role Â of Â women Â in Â lighting. Â The Â society Â will Â also Â continue Â to Â strengthen Â links Â with Â RIBA Â and Â encourage Â collaboration Â between Â the Â lighting Â and Â architectural Â professions. All Â professional Â bodies Â will Â promote Â light Â and Â lighting Â applications Â to Â schools Â through Â Stem Â (science, Â technology, Â engineering Â and Â maths) Â and Â other Â LQLWLDWLYHV,Q0D\DWWKH$*0WKH6//ZLOOFRQÂ¿UP the Â winner Â of Â the Â Jean Â Heap Â Bursary, Â which Â will Â enable Â DQLQGLYLGXDOWRIXUWKHUWKHLUUHVHDUFKIRUWKHEHQHÂ¿WRI the Â industry Â and Â the Â societyâ€™s Â members.
Making history come alight The SLL will mark the IYL in a unique and memorable way. Liz Peck explains the plan to light UK Unesco sites One Â of Â the Â things Â I Â enjoy Â most Â about Â being Â part Â of Â the Â SLL Â is Â WKDWLWEULQJVWRJHWKHUSHRSOHLQYROYHGLQZLGHO\GLIIHULQJDUHDV RIOLJKWLQJEXWZLWKDVKDUHGORYHRIWKHVXEMHFWPDWWHU At Â SLL Â council, Â we Â also Â formally Â bring Â together Â UHSUHVHQWDWLYHVIURPDOOURXQGWKH8.DQG,UHODQGZLWKPLQXWHV RIWKHPHHWLQJJHWWLQJGLVWULEXWHGWR6//UHSUHVHQWDWLYHVLQ Hong Â Kong, Â Australia Â and Â the Â Middle Â East. Â Itâ€™s Â an Â opportunity Â for Â sharing Â ideas Â and Â for Â our Â members Â to Â feed Â into Â the Â H[HFXWLYHERDUGZKDWWKH\Â¶UHH[SHULHQFLQJLQWKHLUUHJLRQVVR WKDWZHFDQGRWKHEHVWZHFDQIRUDOORXUPHPEHUVZKHUHYHU they Â are Â based. Â Itâ€™s Â fair Â to Â say Â council Â is Â an Â eclectic Â mix Â of Â different Â skills Â and Â experience. :LWKPHPEHUVWUDYHOOLQJIURPDOOSDUWVRIWKHFRXQWU\DQG trains Â pre-Âbooked, Â it Â usually Â means Â thereâ€™s Â time Â for Â a Â drink Â DIWHUZDUGVZKHUHWKHFRQYHUVDWLRQFRQWLQXHVWRÃ€RZ1RZZKHQ \RXOHWWKUHHSDVVLRQDWHOLJKWLQJGHVLJQHUVJHWWRJHWKHURYHUD beer, Â crazy Â ideas Â are Â sure Â to Â arise Â and Â so Â it Â was Â last Â autumn Â when Â Dan Â Lister, Â Rhiannon Â West Â and Â I Â started Â discussing Â the Â possibility Â of Â doing Â something Â amazing Â for Â the Â Unesco Â ,QWHUQDWLRQDO<HDURI/LJKWÂ±VRPHWKLQJWREULQJSXEOLFDWWHQWLRQ to Â how Â light Â transforms Â and Â can Â breathe Â life Â into Â our Â history. Â Perhaps Â we Â could Â illuminate Â historic Â sites Â across Â the Â whole Â of Â the Â UK Â and Â Ireland, Â for Â one Â night Â only? Â After Â all, Â the Â SLL Â has Â DELWRIKLVWRU\ZLWKHYHQWVVXFKDV5HDG\6WHDG\/LJKWKHOSLQJ young Â people Â to Â understand Â lighting Â equipment Â and Â lighting Â HIIHFWVLQYDULRXVHQYLURQPHQWVVRGRLQJLWRQPXOWLSOHVLWHV shouldnâ€™t Â be Â too Â hard, Â should Â it? Â After Â some Â research Â on Â sites Â which Â are Â less Â well-Âknown, Â WKHSURYHUELDOOLJKWEXOEPRPHQWDUULYHGZKHQFRQWHPSODWLQJD suitable Â site Â in Â Northern Â Ireland. Â We Â were Â thinking Â how Â cool Â it Â would Â be Â to Â light Â up Â Giantâ€™s Â Causeway Â and Â then Â remembered Â WKDWLWÂ¶VD8QHVFR:RUOG+HULWDJH6LWH$TXLFNVHDUFKUHYHDOHG far Â more Â WHSs Â in Â the Â UK Â and Â Ireland Â than Â we Â had Â realised. Â While Â they Â may Â differ Â in Â architecture Â and Â location, Â the Â common Â theme Â of Â being Â Unesco-Âprotected Â should Â inspire Â plenty Â of Â interest Â and Â enthusiasm. 1RZREYLRXVO\ZHZDQWWRWDNHWKLVFKDOOHQJHRQLQD SURIHVVLRQDOZD\ZHDUHORRNLQJIRUGHVLJQHUVWRRYHUVHHHDFK site, Â suppliers Â to Â help Â out Â with Â equipment Â and, Â in Â some Â cases, Â weâ€™re Â going Â to Â need Â some Â power Â as Â well Â as Â distribution. Â Most Â important, Â though, Â we Â want Â the Â industry Â to Â engage Â with Â the Â project, Â be Â a Â part Â of Â it, Â help Â us Â to Â create Â something Â truly Â special Â to Â capture Â the Â publicâ€™s Â imagination Â and Â attention. So, Â the Â plan Â is Â to Â illuminate Â 10 Â sites Â next Â autumn. Â These Â will Â QHHGVRPHUHVHDUFKDQGÂ¿QDOLVLQJDVZHDSSUHFLDWHWKDWWKHUH may Â be Â some Â reticence Â from Â certain Â parties Â about Â allowing Â SHRSOHWRFODPEHURYHUWKHLUSUHFLRXVVLWHVZLWKDORWRIOLJKWLQJ equipment Â and Â electricity. Â Personally, Â I Â canâ€™t Â wait Â to Â read Â the Â health Â and Â safety Â statement Â for Â Giantâ€™s Â Causeway. 6SHDNLQJWRSHRSOHDW/X[/LYHODVW1RYHPEHUKDVDOUHDG\ brought Â pledges Â of Â support Â from Â a Â number Â of Â designers Â and Â PDQXIDFWXUHUV$IHZSHRSOHKDYHDOVRPHQWLRQHGSRVVLEOH FRQWDFWVDWYDULRXVVLWHV:HZLOOQHHGWRPD[LPLVHRXU FROOHFWLYHDELOLWLHVQRWMXVWRXUFRUHVNLOOVH[SHULHQFHDQGORYH
List Â and Â locations Â of Â potential Â sites
RIOLJKWEXWDOOWKHFRQWDFWVZHKDYHEHWZHHQXVZKRZLOOKHOS IDFLOLWDWHWKLVEULOOLDQWHYHQW Being Â the Â SLL, Â we Â also Â want Â this Â to Â be Â an Â experience Â and Â RSSRUWXQLW\IRUOHDUQLQJVRZHÂ¶OOEHORRNLQJWRKDYH\RXQJ SHRSOHLQYROYHGLQWKHSODQQLQJDQGH[HFXWLRQRIHDFKVLWH Â DQGSRVVLEO\DOVRVRPHOD\SHRSOHZKRKDYHQRH[SHULHQFH Â LQOLJKWLQJZKDWVRHYHU Each Â site Â will Â present Â different Â issues Â and Â some Â will Â be Â Â more Â challenging Â than Â others, Â but Â there Â was Â a Â method Â in Â Â RXUPDGQHVVÂ±ZHNQRZZHKDYHOLJKWLQJGHVLJQHUVDQG H[SHUWLVHFORVHWRPRVWLIQRWDOOWKHVLWHVZHÂ¶YHLGHQWLÂ¿HG Â for Â possible Â inclusion Â (currently Â 18). Â We Â know Â that Â some Â will Â restrict Â access, Â and Â weâ€™ll Â only Â include Â one Â of Â the Â four Â sites Â in Â /RQGRQVRXWKHDVW:HÂ¶YHDOVRHOLPLQDWHGVLWHVZHNQRZWR be Â already Â lit, Â such Â as Â Durham Â Cathedral, Â along Â with Â the Â more Â extreme Â sites Â on Â the Â coasts Â of Â Scotland, Â Ireland Â and Â south-Â Â west Â England. Â The Â sites Â are Â all Â eminently Â do-Âable;Í¾ Â we Â just Â Â need Â some Â people Â and Â some Â kit Â and Â someone Â to Â be Â willing Â Â to Â project-Âmanage Â each Â site. Â 6RKRZFDQ\RXJHWLQYROYHG"2XUÂ¿UVWMRELVWRJHWVRPHRQH WRYLVLWHDFKVLWHDQGHVWDEOLVKLIWKHUHLVOLJKWLQJDOUHDG\LQ place Â (or, Â in Â the Â case Â of Â the Â cities, Â identify Â some Â buildings Â not Â FXUUHQWO\OLW ,I\RXKDYHDFRQWDFWDWDQ\RIWKHVLWHVOLVWHG please Â let Â us Â know Â as Â we Â want Â the Â process Â to Â be Â as Â smooth Â DVSRVVLEOH,I\RXZDQWWREHLQYROYHGLQDQ\ZD\DWDQ\RIWKH sites, Â just Â let Â Brendan Â know Â (firstname.lastname@example.org). Â Now Â weâ€™re Â into Â 2015, Â weâ€™re Â looking Â to Â get Â things Â rolling Â as Â weâ€™ll Â need Â to Â identify Â the Â kit Â weâ€™d Â like Â for Â each Â site Â and Â then Â chat Â up Â some Â manufacturers Â to Â help Â us Â out. Â Itâ€™s Â all Â exterior Â lighting Â but Â if Â you Â work Â for Â an Â interior Â product Â manufacturer, Â you Â can Â VWLOOEHLQYROYHGÂ±PD\EH\RXKDYHVRPHFRQWDFWVRUFDQKHOS with Â designing Â one Â of Â the Â sites. Â Thereâ€™s Â lots Â to Â be Â done Â but Â by Â uniting Â the Â industry, Â we Â know Â we Â can Â create Â something Â that Â truly Â symbolises Â how Â we Â can Â use Â the Â IYL Â to Â draw Â public Â attention Â to Â the Â brilliant Â medium Â of Â light. I Â canâ€™t Â wait. Â Whoâ€™s Â joining Â us?
Playing to the gallery 7H\S9\MĂ…LZV\[SPULZ[OLJVU[LU[ZVM[OLUL^3.VUT\ZL\THUKNHSSLY` SPNO[PUN^OPSL2L]HU:OH^SVVRZH[OV^[OLSH[LZ[[LJOUVSVN`HUKUL^ thinking have radically reshaped guidance in this sphere 3DXO5XIĂ HV7KHREMHFWRIWKHH[HUFLVH :KHQYLVLWLQJDQDUWJDOOHU\RUPXVHXPQRRQHOLNHVWRJRLQWR a gloomy space, no one likes not being able to read information labels and, we hope, no one wants objects so brightly lit that they fade away before the next generation has a chance to see and appreciate them. 6RWKHĂ€UVWFKDSWHURQOLJKWLQJSULQFLSOHVEHJLQVE\ORRNLQJ at why it is important to consider the objects, the display space and the operation of the building when creating a successful lighting strategy. 7KHQH[WFKDSWHUFRQFHQWUDWHVRQGHVFULELQJWKHZD\WROLJKW the interior of the room or display space where the exhibits are to be viewed. Some spaces are plain and simple white boxes â€“ a more recent trend, with their own lighting problems â€“ but many are architecturally interesting spaces or historic rooms that deserve to be well lit in their own right. 7KHKHDUWRIWKHJXLGHRIFRXUVHLVWKHFKDSWHURQOLJKWLQJ the exhibits. Here the guide examines ways to select and SRVLWLRQWUDFNVĂ€[LQJVDQGOLJKWVWREULQJRXWWKHEHVWLQ GLIIHUHQWW\SHVRIREMHFW7KLVFRYHUVQRWRQO\PRGHOOLQJ contrast with background and lighting levels, but also glare and practical issues such as access for maintenance. 7KHLVVXHRIOLJKWLQJOHYHOVLVFRYHUHGLQPRUHGHWDLOLQWKH material degradation chapter where we go through how light and heat can fade and physically degrade material types within REMHFWVRQGLVSOD\:HH[SODLQZK\IRULQVWDQFHLWLVQRORQJHU UHFRPPHQGHGWKDWĂ€QHVLONVDQGVLPLODUIXJLWLYHPDWHULDOVFDQ be on permanent display, even at the minimum lighting level for good perception of detail and colour: 50 lux. Daylight and electric lighting are the subject of the next two chapters, both as individual light sources and when combined. 7KHGD\OLJKWVHFWLRQORRNVDWELJFRPSOH[URRĂ LJKWV\VWHPV and at the control of daylight through typical side windows in KLVWRULFURRPV7KHHOHFWULFOLJKWLQJFKDSWHUFRYHUVDOOW\SHVDQG varieties of lighting equipment and lamp types in common and sometimes not so common use.
Water Â Hall, Â Birmingham Â Museum Â and Â Art Â Gallery: Â a Â purpose-Âdesigned Â lighting Â structure Â is Â suspended Â below Â the Â historic Â ceiling Â (Arup)
Wallace Â Collection: Â the Â chandelier Â is Â the Â visible Â source Â of Â ambient Â lighting, Â while Â illumination Â to Â the Â wall Â and Â objects Â is Â hidden Â in Â the Â ceiling Â detailing Â (KSLD)
.HYDQ6KDZ.HHSLQJDEUHDVWRIFKDQJH 8SGDWLQJ/*KDVWDNHQDORQJWLPH7KHSDVWĂ€YH\HDUV have seen so many changes in museum lighting that it has EHHQYHU\GLIĂ€FXOWWRNHHSXSDVGUDIWDIWHUGUDIWKDVEHFRPH overtaken by various transitions and transformations before it has made it through the editorial and approvals process. 7KHODVWHGLWLRQRI/*ZDVSXEOLVKHGLQDQGZRUN KDVEHHQJRLQJRQWRUHYLVHLWVLQFH7KHĂ€UVWFKDOOHQJH ZDVWRĂ€JXUHRXWKRZWRLQFRUSRUDWHWKHUHYLVHGJXLGDQFHRQ lighting in the conservation environment published by the CIE Â˛&,(&RQWURORI'DPDJHWR0XVHXP2EMHFWVE\ 2SWLFDO5DGLDWLRQ7KLVGRFXPHQWUHIRFXVHGDWWHQWLRQRQWKH IDFWWKDWLWLVH[SRVXUHRYHUWLPHDQGQRWWKHVSHFLĂ€FOLJKWOHYHO that causes damage. It also introduced a new category of objects to allow for those that are so sensitive that even at the low lighting levels used for very vulnerable exhibits they cannot be left on permanent display without suffering unacceptable levels of damage. 7KURXJKRXWWKHSHULRGRIZULWLQJWKLVHGLWLRQRIWKHJXLGH we have seen the extraordinary development of LED lighting technology. Back in 2005, LEDs were an interesting gadget that had very limited application in museums with the exception RIVSHFLĂ€FFRORXUHGOLJKWLQJDQGG\QDPLFGLVSOD\V(DFKRI the subsequent drafts has entailed a total rewrite for the
/('VHFWLRQXQWLOWKHĂ€QDOGUDIWZKHUHWKH\DUHULJKWO\GHDOWZLWK as the principle light source that is now likely to be considered for museum lighting. Conversely, we have seen a succession of European EcoDesign legislation that has changed the landscape of the ODPSVDQGOLJKWVRXUFHVWKDWDUHDYDLODEOH,QWKHURDGPDS for withdrawal of conventional incandescent lamps was set. 7KLVSDUWLFXODUO\DIIHFWVEXLOGLQJVZLWKKLVWRULFOLJKWLQJVXFKDV historic houses, which are also covered in LG8. In 2013 the amusingly named DIM2 regulations started to deprive us of the low voltage tungsten halogen lamps that have been our weapon of choice for museum lighting over the past 30 years. 7KHUHVXOWLVWKHLQIRUPDWLRQLQWKHJXLGHRQWKHVHODPSVLV now more of a historical note than the detailed and currently XVHIXOJXLGDQFHLWZDVLQWKHHDUO\GUDIWV7KLQJVZLOOFRQWLQXH to change and this edition of LG8 is very likely to have a considerably shorter life than its long-lived forebear. LG8 has to serve a broad audience. Although widely considered to be the prime source of information for professional lighting designers it also has to provide approachable and useful information for a broader audience. It is also a primary resource for people in many professions spanning the museum world who are looking for a sound basis on which to develop lighting strategies and briefs for
Âś$ORWRIOLJKWLQJGHFLVLRQVE\ PXVHXPVDUHEHLQJGULYHQE\ IDFLOLWLHVPDQDJHPHQWORRNLQJDW FRVWEHQHĂ€WDQDO\VLVRQFKDQJLQJ OLJKWVRXUFHVDQGEHLQJSUHVVXUHG LQWRFKDQJLQJWKHPUHODWLYHO\ TXLFNO\ZLWKRXWUHDOO\EHLQJDZDUH RIWKHFRQVHTXHQFHVÂˇ Â˛6WHSKHQ&DQQRQ%URRNHV
7KHUHLVDYHU\XVHIXOFKDSWHURQZD\VWROLJKWVKRZFDVHV either from outside the case or from within. Often the standard lighting solutions offered by some case manufacturers leaves a lot to be desired and we hope this chapter will encourage all involved in showcase lighting to improve the situation. 7KHJXLGHFRQFOXGHVZLWKNH\FKDSWHUVRQOLJKWLQJFRQWURO DQGWKHLVVXHVDURXQGPDLQWHQDQFHHQHUJ\HIĂ€FLHQF\DQG running costs. Easy control leads to better use of the lighting, as well as happier clients and room attendants. It also leads to good energy and running cost savings with unnecessary lighting avoided when the public are not using the space. Access for maintenance is particularly important in museums and galleries as not only do you have the normal safety issues with working at height but you also have to consider possible danger to the exhibits themselves.
DGPLQLVWUDWRUV:HH[SHFWWKDWWKHJXLGDQFHZLWKLQZLOOKHOS prevent any really poor decision-making that would result in bad lighting or, even worse, potentially increasing damage to objects by inappropriate lighting
/LJKWLQJ*XLGH/LJKWLQJIRU0XVHXPVDQG $UW*DOOHULHVZLOOEHSXEOLVKHGLQHDUO\ Kevan Shaw (chair) 7DG7U\OVNLWHFKQLFDOHGLWRU
John Fitzpatrick (technical secretary) 3DXO5XIĂ HVĂ€QDOXSGDWHV
History Â Gallery, Â Birmingham Â Museum Â and Â Gallery: Â LED Â lighting Â within Â cases, Â structures Â and Â at Â high Â level Â provides Â low-Âenergy, Â low-Âmaintenance Â lighting Â throughout Â (LD&T)
PXVHXPVJDOOHULHVDQGSULYDWHFROOHFWLRQV7RDFKLHYHWKLVWKH guide covers all the aspects of lighting in museums with due reference to other Lighting Guides where appropriate. Museums have not escaped the challenges of the current HFRQRPLFVLWXDWLRQ$OODUHQHHGLQJWRĂ€QGLQFUHDVHGVRXUFHV of revenue. As budgets and grants are put under pressure, operating costs are under increasing scrutiny. Lighting is, of course, a major energy user in most museums so again we anticipate LG8 will be referred to by facility managers and
7DVNJURXSDQGFRQWULEXWRUV Linda Bullock (Linda Bullock Conservation) $QG\&DOYHU6W$OEDQÂˇV0XVHXP
Stephen Cannon-Brookes (CB Lighting) Christopher Cuttle (consultant) Arfon Davies (Arup Lighting) David Loe (consultant) Boris Pretzel (Victoria and Albert Museum) Devki Raj-Guru (LittleFish Lighting, USA) John Roles (Leeds Museums) 3DXO5XIĂ HV/LJKWLQJ'HVLJQDQG7HFKQRORJ\
David Saunders (British Museum) Mike Simpson (Philips Lighting)
Manchester Â Art Â Gallery: Â mixed Â media Â are Â lit Â at Â appropriate Â lighting Â levels Â between Â 50 Â and Â 150 Â lux Â (LD&T)
Based on her winning paper, Daylight-Art-Atmosphere, Young Lighter of the Year Janna Aronson looks at how natural light can be translated from visual HY[[VJYLH[LHUHY[PĂ„JPHSHUKKH`SPNO[PUNKLZPNUJVUJLW[MVYHT\ZL\TMV`LY Imagine entering a museum in Berlin, Germany, displaying an art exhibition from another part of the world, and giving visitors DQLOOXVLYHIHHOLQJRIGD\OLJKWDWPRVSKHUHLQWKHPXVHXPÂˇVIR\HU 7KLVVSDFHDOD\HUEHWZHHQÂśUHDOLW\DQGUHODWLYLW\Âˇ1 â€“ a physical and spiritual transition zone â€“ could act both as an introduction and homage to the art exhibition itself. Unique architectural lighting design for museum buildings is of great importance for any art collection. Of course the art exhibition space is the main focus of attention. But to create an outstanding experience, the transition zone between outside and inside can be used as an important mediator. Daylight-art-atmosphere â€“ these three important terms combined as one expression developed into the following research question: is it possible to interpret daylight atmospheres, captured in visual art, as a lighting design concept for a museum foyer? Daylight has a strong impact on human beings because it is essential for life and living. Our traditions, habits and cultures are strongly connected to natural light and this LQĂ XHQFHVWKHZRUOGZHOLYHLQDQGHYHU\LQGLYLGXDOSHUVRQDOO\ Since the beginning of humanity we have strived to capture DVSHFLĂ€FGD\OLJKWDWPRVSKHUHLQYLVXDODUWVH[SUHVVLQJLW by sketches, paintings, sculptures and the more modern photographic medium. 'D\OLJKWSHUFHSWLRQDQGDWPRVSKHUH +XPDQSHUFHSWLRQRIDUW As stated by Dr Margaret Livingstone, a professor of QHXURELRORJ\DW+DUYDUG8QLYHUVLW\Âś7KHDSSHDUDQFHRIEOXH and red can change so dramatically that you might wonder ZKLFKYHUVLRQLVFRUUHFW7KHUHLVQRDEVROXWHFRUUHFWEXWLI you want to see what an artist saw while painting a picture, you should view the painting under the same level of light he ZRUNHGLQÂˇ27KLVPHDQVWKDWWKHJHRJUDSKLFDOORFDWLRQZKHUH the artist worked is worth considering due to the different appearances of natural light. 7KHWZRFRPSRQHQWVFRORXUDQGOXPLQDQFHFDQEHGLIĂ€FXOW to separate because even if the brightness is the same in terms of contrast, our visual system perceives colours differently when it comes to brightness. One example is given in the painting Impression, Soleil Levant (Impression, Sunrise) by Claude Monet (Fig 1). Our attention is driven to the perceived brighter spots in a scene, in this case the sun. Looking at the same painting in grey scale (Fig 2), it is surprising that the actual level of brightness of the grey-blue sky and the orange sun is exactly the same. Âś,WWKHVXQ DSSHDUVVREULOOLDQWWKDWLWVHHPVWRSXOVDWHÂˇ3 7KHODFNRIOXPLQDQFHFRQWUDVWPDNHVWKHVXQGLVDSSHDUIRU that part of our visual system that processes information about movement and position. Monet was aware of this process in visual perception, which made him use the exact same amount of pigments for the different colours in his painting to create the effect of a vibrating sun â€“ the impression he experienced.
Fig Â 1: Â Claude Â Monet, Â Impression, Â Sunrise, Â 1872, Â original Fig Â 2: Â Painting Â in Â grey Â scale Â (Livingstone, Â M. Â Vision Â and Â art, Â the Â biology Â of Â seeing. Â Abrams, Â New Â York, Â 2002)
/LJKWDQGLWVTXDOLW\5LFKDUG.HOO\ÂˇVOLJKWLQJSULQFLSOHV 5LFKDUG.HOO\ LVEHOLHYHGWREHWKHIDWKHURI PRGHUQTXDOLWDWLYHDUFKLWHFWXUDOOLJKWLQJGHVLJQZKRGHĂ€QHG three basic lighting principles â€“ ambient luminescence, focal glow and play of brilliants â€“ that are still in use nowadays. Kelly describes the three principles by a mixture of observations from nature during the day and applications of DUWLĂ€FLDOOLJKWDWQLJKW57KHSULQFLSOHVFDQWKHUHIRUHEHDSSOLHG WROLJKWLQJGHVLJQZLWKQDWXUDORUDUWLĂ€FLDOOLJKWRUDFRPELQDWLRQ RIERWK7KH\FDQDOOEHGHĂ€QHGLQRQHDQGWKHVDPHOLJKWLQJ situation but also separately. 7KHVHSULQFLSOHVDOWKRXJKFRPLQJIURPQDWXUHDQG constantly changing through the day, were translated by Kelly into static qualities. But today, due to technological GHYHORSPHQWLQDUWLĂ€FLDOOLJKWLQJDQGOLJKWLQJFRQWUROV,ZRXOG probably consider a fourth lighting principle which could be called dynamic light. 1RZDGD\VLQWKHĂ€HOGRIHOHFWULFOLJKWLQJOLJKWFRQWURODQG dynamic scene setting is part of the design job. Dynamic light is always present in natural light, which is never static; changes of intensity and colour temperature DUHFRQVWDQWÂś0RVWSHRSOHGRQRWFRQVFLRXVO\UHJLVWHUWKLV change because daylight is so all-pervasive there is little GLIIHUHQWLDOUHIHUHQFHÂˇ6
Setting the scene
&ODXGH0RQHWÂ˛LPSUHVVLRQLVWSDLQWHU 7KHRUDQJHVXQLQ0RQHWÂˇVSDLQWLQJLVLQWHUSUHWHGDVIRFDO JORZDQGWUDQVIHUUHGLQWRVWURQJDUWLĂ€FLDORUDQJHFRORXUHGOLJKW coming from the exhibition entrance into the foyer, symbolising the importance of the exhibition room behind the wall. 7KHEOXLVKVN\OLJKWLQWKHSDLQWLQJLVGHĂ€QHGDVDPELHQW OXPLQHVFHQFHDQGLVFUHDWHGE\QDWXUDOOLJKWĂ€OWHUHGWKURXJKWKH VN\OLJKWVRIWKHIR\HU7KHVXQOLJKWUHĂ HFWHGLQWKHZDWHUSOD\RI EULOOLDQWVLVUHSUHVHQWHGE\UHĂ HFWLRQVRIWKHRUDQJHOLJKWRQWKH JORVV\Ă RRULQWKHIR\HU 7KHDLPZDVWRWUDQVIRUPWKHDSSOLHGDUWLĂ€FLDOOLJKWLQWKH IR\HULQWRWKHGD\OLJKWDWPRVSKHUHIURP0RQHWÂˇVSDLQWLQJLQDQ Focal Â Glow
7KHVLJQLĂ€FDQWGLIIHUHQFHEHWZHHQWKHWZRGLPHQVLRQDO visual art and the three-dimensional space is that the foyer gives more than just one impression. It is also necessary to FRQVLGHUDQRWKHUIDFWRUWLPHVHTXHQFH:LWKG\QDPLFOLJKWLQJ design, shifting colours and increasing brightness, the painting can become alive and the visitor is able to experience the art in a new dimension. 1LFN%UDQGWÂ˛FRQWHPSRUDU\SKRWRJUDSKHU For the exhibition of Nick Brandt, the lighting design for the foyer picks up on the visual language Brandt uses in his photographs â€“ layers of light, shadow and texture. 7KHVHOD\HUVRIOLJKWDQGVKDGRZFDSWXUHGLQ%UDQGWÂˇVDUWZRUN are interpreted by a combination of light and contrasting DUFKLWHFWXUDOHOHPHQWV'HSHQGLQJRQWKHYLVLWRUÂˇVSRVLWLRQ in the room, layers of bright and dark surfaces interact in different ways with each other. 0\DQDO\VLVLVEDVHGRQFRPSDULQJWKHOLJKWLQ%UDQGWÂˇV photographs to seven lighting techniques derived from nature DQGDSSOLHGLQDUFKLWHFWXUDOOLJKWLQJGHVLJQGHĂ€QHGE\'U Karolina M Zielinska-Dabkowska (Fig 8). Backlighting in the photographs is interpreted in the
Fig Â 7: Â Claude Â Monet, Â Impression, Â Sunrise, Â 1872, Â analysed Â with Â Richard Â Kellyâ€™s Â lighting Â principles
Fig Â 12: Â Diagram Â indicating Â layers Â of Â interpretation Â of Â daylight Â atmospheres Â in Â the Â museum Â by Â artist, Â lighting Â designer Â and Â visitor
foyer as a backlit wall with diffused light. People passing by in front of the wall are reduced to silhouettes â€“ the same effect %UDQGWKLJKOLJKWVLQKLVDUWZRUN7KHVWDJH%UDQGWFUHDWHVIRU the animals and landscapes is abstractly transformed into the movement of visitors in the gallery space but also the factor of time is considered: the picture of the stage depends on the visitors acting in the foyer space. From different positions in the foyer the visitor will experience GLIIHUHQWGLUHFWLRQVRIOLJKW7KHEDFNOLJKWLQJVKLIWVWRVLGH OLJKWLQJZLWKWKHQHZYLHZSRLQW)LJ 7RH[SHULHQFHVXQOLJKWLQ(DVW$IULFDIURPDYHU\KLJK angle creates a completely different impression of natural light compared to Berlin, where the sun is at a lower angle. 7RFKDQJHWKHOHQJWKDQGGLUHFWLRQRIWKHERG\ÂˇVRZQVKDGRZ when entering the foyer from the external environment, a strong direct light from the ceiling can create the effect of top lighting/ downlighting (Fig 10). ,QWKHSKRWRJUDSKÂś(OHSKDQWZLWKH[SORGLQJGXVWÂˇWKHDLU particles are captured. A similar sense of light bouncing behind translucent surfaces in the air can also be created by smoke LQVLGHWKHIR\HU)LJ 5LFKDUG.HOO\EHOLHYHGWKDWÂś6SDFHLV nothing until interrupted. Light is invisible until interrupted by a VXUIDFHOLQHRUSRLQWWKXVPDGHYLVLEOHÂˇ7 &RQFOXVLRQV 7KURXJKP\UHVHDUFKZRUNDQGSKRWRJUDSKLFUHVXOWVP\ conclusion is that such translations from the visual arts into a OLJKWLQJGHVLJQFRQFHSWDUHGHĂ€QLWHO\SRVVLEOHFUHDWLQJYDULRXV OD\HUVRILQWHUSUHWDWLRQ7KH\FRXOGVHUYHDOLJKWLQJGHVLJQHUDV well as an exhibition visitor (Fig 12). I believe that the creation of daylight atmospheres in a PXVHXPÂˇVIR\HUFDQOHDGWRDGHHSHUXQGHUVWDQGLQJDQG emotional connection between visitor and art.
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DEVWUDFWZD\7KHOLJKWLQWHQVLW\DQGWKHLQWHQVLW\RIFRORXULV dynamically decreasing and then increasing, so the effect of the pulsating sun is created by means of the architectural OLJKWLQJGHVLJQ)LJ :LWKWKHULVLQJVXQWKHEULJKWQHVVRI OLJKWZLOOLQFUHDVHLQ0RQHWÂˇVVFHQH7KHFRORXUWHPSHUDWXUH of natural light changes from a cold, bluish sky light and a warm orange sunlight to a more neutral white light towards the break of day.
Fig Â 3-Â6: Â Foyer Â scheme Â showing Â dynamic Â lighting Â â€“ Â pulsating Â sun
3URMHFWOLJKWLQJFRQFHSWIRUIR\HURI%HUOLQDUWPXVHXP From an architectural point of view, a foyer in a museum can be seen as the link connecting outside and inside as well as a geographical location and the exhibition. 7KHOLJKWLQJGHVLJQFRQFHSWIRUWKHPXVHXPÂˇVIR\HUZDV developed for two different exhibitions, featuring two very different artists: Claude Monet, the impressionist painter, DQG1LFN%UDQGWDFRQWHPSRUDU\SKRWRJUDSKHU7KHIROORZLQJ lighting design concepts are based on two-dimensional SDLQWLQJSKRWRJUDSK\7KH\LQWURGXFHP\SHUVRQDOLQWHUSUHWDWLRQ of daylight atmospheres into the three-dimensional space RIWKHPXVHXPÂˇVIR\HU
Fig Â 8: Â Four Â of Â seven Â lighting Â techniques Â (Zielinska, Â KM. Â Techniques Â for Â enhancement Â and Â visual Â change, Â understanding Â the Â experience Â and Â effects Â of Â lighting Â design. Â PLD Â Magazine, Â Jan/Feb Â 2006)
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)ULHEH,Âś7KHUHODWLYLW\RIWKHVRFDOOHGUHDOLW\Âˇ3/' magazine, Jul/Aug 2006, No 50, p57. 2. Livingstone, M. Vision and art: the biology of seeing. $EUDPV1HZ<RUNS 3. ,ELGS Ibid. 5. 1HXPDQQQ'7KHVWUXFWXUHRIOLJKW5LFKDUG.HOO\DQG the illumination of modern architecture. Yale University Press, New Haven and London, 2010, p31. 6. .HOO\5Âś/LJKWLQJDVDQ,QWHJUDO3DUWRI$UFKLWHFWXUHÂˇ &ROOHJH$UW-RXUQDO9RO1RS 7. Kelly R. Statement to Mrs Edward Emerson, editor of the Bulletin, after a talk at the Garden Club of America )RUXPLQ1HZ<RUN&LW\1RY
<RXQJ/LJKWHURIWKH<HDU -DQQD$URQVRQ57/' Daylight-Art-Atmosphere %HVWZULWWHQSDSHUVSRQVRUHGE\WKH,/3 Veronika Labancova, Isometrix ,PSDFWRIWKHDJHLQJLQĂ XHQFHRQOLJKWTXDOLW\ perception by human beings %HVWSUHVHQWDWLRQ James Duff, Arup An objective metric to determine subjective lighting adequacy? 7KH<RXQJ/LJKWHURIWKH<HDUĂ€QDOZDVKHOGDW LuxLive, ExCel on 20 November
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Artful illumination The Lux Award-winning Reid Building at the GSA is a study in lighting technique
3PNO[PUNTL[YPJZPZHRL`[VWPJĂ„UKZ0HPU Carlile, along with circadian rhythms, road lighting and daylight Light distribution is an important element in creating interest, HQKDQFLQJVDIHW\DQGLQĂ XHQFLQJEHKDYLRXU\HWLWLVDOLWWOH researched variable. In his editorial, Boyce calls for more research to be undertaken into this area, suggesting possible funding by large-scale end users. Discussions on daylighting standards are currently concerned with replacing daylight factors with climate-based GD\OLJKWPRGHOOLQJ&%'0 QRWHV7UHJHQ]DLQKLVRSLQLRQ Instead of concentrating on numerical methods, daylight simulation should be investigating new, non-numerical measures, he argues, providing the power to look at varying luminance patterns, extreme values and complex control systems behaviour, providing a creative tool for daylight design. )ROORZLQJRQIURPODVW\HDUÂˇV/5 76\PSRVLXP%R\FHDQG Smet look at the desirable attributes of a metric, summarise proposed new lighting metrics, and consider whether they may lead to better lighting if adopted. Barroso et al propose a set of metrics for characterising lighting conditions from a circadian perspective, with a direct application in clinical studies investigating light and health. In the same area, Bellia et al evaluate the circadian impact of DOLJKWVRXUFHE\SUHGLFWLQJFLUFDGLDQVWLPXOXV&6 7KH\IRXQG that above 600 lux the CS increase is small, while between 50OX[DQLQFUHDVHRIOX[FDXVHVDVLJQLĂ€FDQWULVH6RXUFHV EHWZHHQ.DQG.KDGVLPLODUHIIHFWV :DQJHWDOORRNDWWKHHIIHFWRIG\QDPLFFRORXUHGOLJKWRQD SHUVRQÂˇVSHUFHSWLRQRIDWPRVSKHUH'LIIHUHQWYDULDEOHVFUHDWHG different perceived atmospheres, they discovered, and they also found marked gender differences for some of the scales used. 7RDSSO\WKH&,(V\VWHPIRUPHVRSLFSKRWRPHWU\IRUURDGV \RXQHHGWRGHĂ€QHWKHUHOHYDQWYLVXDOĂ€HOGDQGDGDSWDWLRQ luminance in night-time driving conditions. Investigating the visual DGDSWDWLRQĂ€HOGRIWKUHHSDUWLFLSDQWVLQOLWDQGXQOLWVHFWLRQVRI URDG&HQJL]HWDOIRXQGDQLQFUHDVHLQWKHYLVXDOĂ€HOGUHVXOWHG in a decrease in the variation in the mean luminance. Also on road lighting, Davoudian et al studied the effects of disability glare from veiling luminance. Using a target detection WDVNWKHOXPLQDQFHFRQWUDVWWKUHVKROGRIVXEMHFWVZDV PHDVXUHG'HVSLWHDVLJQLĂ€FDQWHIIHFWRQSHUIRUPDQFHWKHHIIHFW of veiling luminance was lower than expected from contrast loss. 7KHUHFDQEHODUJHGLIIHUHQFHVLQGD\WLPHKRUL]RQWDO illuminance levels between external and internal spaces. For people with special lighting requirements, such as the elderly, WKLVGLVSDULW\FDQEHDÂśYLVLRQEDUULHUÂˇ/DVDJQRHWDOIRXQGWKDW ROGHUSHRSOHÂˇVYLVXDODGDSWDWLRQZDVVORZHUZKLFKPD\PDNH WKHPPRUHSURQHWRWULSSLQJRYHUREVWDFOHV7KHLUĂ€QGLQJV suggest the design of transitional spaces needs to consider removing visual barriers, taking into account factors such as the XVHUVÂˇDJHFOLPDWHEXLOGLQJRULHQWDWLRQDQGVSDWLDOFRPSOH[LW\ Becker and Becker propose a sky vault, intended for use LQGD\OLJKWDYDLODELOLW\DQGHQHUJ\EXGJHWHVWLPDWLRQV7KHLU sky vault model has 20,000 cells making it suitable for use in massive computational assessments. Nehdi et al investigate the dimming of an HPS lamp through
WKHXVHRIDYDULDEOHIUHTXHQF\EDOODVW7KHLUH[SHULPHQWV showed a 50 per cent dimming level could be achieved with stable operation and no observed acoustic resonance. 0HDQZKLOH1VLELHWDOLQYHVWLJDWHGWKHEHKDYLRXURID: HPS lamp with a pulsed power supply in order to improve the ODPSOLJKWTXDOLW\7KHLUVWXG\VKRZHGWKHHPLWWHGVSHFWUXPRI the lamp could be widened, offering an improvement to the CRI. Cai et al demonstrate a novel LED bicycle headlamp with DVSHFLDOO\GHVLJQHGUHĂ HFWRUWRSURYLGHDSSURSULDWHWDUJHW illuminance, meeting the K-mark regulation, while also providing additional ground illuminance . ,DLQ&DUOLOH06//LVDQDVVRFLDWHRI'3$/LJKWLQJ'HVLJQ Lighting Research and Technology Vol 46, No 5, Oct 2014 Contents Editorial: Light distribution â€“ a missing variable Peter Boyce Opinion: Climate-based daylight modelling or daylight factor? Peter Tregenza /5 76\PSRVLXPÂś%HWWHUPHWULFVIRUEHWWHUOLJKWLQJÂˇÂ˛D summary PR Boyce and KAG Smet Metrics of circadian lighting for clinical investigations A Barroso, K Simons and P de Jager ,QGRRUDUWLĂ€FLDOOLJKWLQJ3UHGLFWLRQRIWKHFLUFDGLDQHIIHFWV of different spectral power distributions L Bellia, A Pedace and G Barbato A study of atmosphere perception of dynamic coloured light HH Wang, M Ronnier Luo, P Liu, Y Yang, Z Zheng and X Liu Combined eye-tracking and luminance measurements while driving on a rural road: towards determining mesopic adaptation luminance C Cengiz, H Kotkanen, M Puolakka, O Lappi, E Lehtonen, L Halonen and H Summala Disability glare: a study in simulated road lighting conditions N Davoudian, P Raynham and E Barrett 7UDQVLWLRQDOVSDFHVIURPH[WHULRUWRLQWHULRUDVIXQFWLRQDO vision barriers in ageing CM Lasagno, LA Issolio, AE Pattini and EM Colombo Sky vault partition for computing daylight availability and shortwave energy budget on an urban scale B Beckers and P Beckers Dimming control by variation of the switching frequency for high-intensity discharge lamps MN Nehdi, H Elloumi, W Nsibi, A Chammam, A Sellami and G Zissis Behaviour of a high-pressure sodium lamp fed by a pulsed power supply W Nsibi, MN Nehdi, A Chammam, H Elloumi, A Sellami and G Zissis 'HVLJQRIDKLJKO\HIĂ€FLHQW/('EDVHGELF\FOHKHDGODPS with additional ground illumination J-Y Cai, Y-C Lo, S-T Feng and C-C Sun
A new addition to the Glasgow School of Art, the Reid Building, opposite the renowned Mackintosh building, has two basement VWRUH\VDQGĂ€YHVXSHUVWUXFWXUHOHYHOVDQGLQFOXGHVDVHULHV of double-height studios, lecture theatres and workshops. An extensive use of natural light and a daylight-linked control system have contributed to the building gaining a BREEAM Excellent rating. $UXSZDVUHVSRQVLEOHIRUERWKWKHDUWLĂ€FLDOOLJKWLQJVFKHPH and daylighting advice, providing technical support for the daylighting design, which was a crucial consideration in the studio and workshop spaces. *ODUHDQGUHĂ HFWLRQVWXGLHVZHUHDOVRFDUULHGRXW$UXS assessed the environmental impact and the effect of the new JODVVIDFDGHRQQHLJKERXULQJEXLOGLQJVSDUWLFXODUO\WKHĂ€QHDUW studios in the Mackintosh building. 7KHIRUPRIWKHEXLOGLQJPDGHWKHDUWLĂ€FLDOOLJKWLQJVFKHPH FKDOOHQJLQJ7KHIDFWWKDWFHLOLQJVDUHKLJKDQGDOVRDQJOHG PDGHLWGLIĂ€FXOWWRDFKLHYHDQHYHQOLJKWGLVWULEXWLRQDVURRP KHLJKWVYDU\IURPRQHVLGHWRWKHRWKHU7KHVROXWLRQZDV DVHULHVRIEHVSRNHĂ€WWLQJVZKLFKQRWRQO\DFKLHYHGWKH appropriate light distribution and output â€“ while keeping energy usage down â€“ but also met the minimal aesthetic brief. 7KHH[WHUQDOOLJKWLQJLVODUJHO\GHSHQGHQWRQWKHODQWHUQ HIIHFWH[SORLWLQJWKHYDULRXVWUDQVSDUHQFLHVRIWKHEXLOGLQJÂˇV cladding system. After dark, the ambient light allows the activity inside to be visible and for the movement of the occupants to animate the facade.
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3URMHFW Reid Building, Glasgow School of Art /LJKWLQJGHVLJQArup $UFKLWHFWSteven Holl Architects $ZDUGEducation and Healthcare Lighting Project of the Year
2015 27 Â January 2EWUXVLYHOLJKW Â QDYLJDWLQJWKHFRPSOLDQFHPLQHÂ¿HOG (ILP Â training Â course) Venue: Â BRE, Â Watford ZZZEUHFRXNHYHQWGHWDLOVMVS"LG 29 Â January SLL Â Masterclass: Â Light Â for Â Life Location: Â St Â Jamesâ€™s Â Park, Â Newcastle Â upon Â Tyne www.sll.cibse.org 10 Â February CIBSE Â Building Â Performance Â Awards Â 2015 Â (including Â new Â lighting Â category) 9HQXH*URVYHQRU+RXVH Park Â Lane, Â London Â W1 ZZZFLEVHRUJESD 10-Â12 Â February Light Â School Â at Â the Â Surface Â Design Â Show 2UJDQLVHGE\/LJKW&ROOHFWLYHDQG supported Â by Â the Â ILP) Venue: Â Business Â Design Â Centre Â Â Islington, Â London Â N1 ZZZVXUIDFHGHVLJQVKRZFRPOLJKWVFKRRO 24 Â February How Â to Â be Â Brilliant Â with: Florence Â Lam, Â global Â lighting Â leader, Â Arup Â ,/3HYHQW
Venue: Â ACDC Â Lighting Â Studio, Â London Â N1 Time: Â 6.30pm email@example.com
19 Â March Lighting Â Design Â Awards Venue: Â London Â Hilton, Â Park Â Lane KWWSDZDUGVOLJKWLQJFRXN
14 Â May SLL Â Masterclass: Â Light Â for Â Life Location: Â Royal Â Society Â of Â Arts, Â London www.sll.cibse.org
23 Â March How Â to Â be Â Brilliant Â with: Michael Â Grubb, Â Michael Â Grubb Â Studio ,/3HYHQW
Venue: Â ACDC Â Lighting Â Studio, Â London Â N1 Time: Â 6.30pm firstname.lastname@example.org
21 Â May SLL Â AGM Â and Â Awards Venue: Â RIBA, Â 66 Â Portalnd Â Place, Â Â London Â W1 www.sll.cibse.org
24 Â March Ready Â Steady Â Light Location: Â Rose Â Bruford Â College Â Sidcup, Â Kent www.sll.cibse.org 26 Â March SLL Â Masterclass: Â Light Â for Â Life Location: Â Edinburgh Â Castle, Â Edinburgh www.sll.cibse.org
29-Â31 Â May UG,QWHUQDWLRQDO&RQIHUHQFHRI$UWLÂ¿FLDO Light Â at Â Night Â (ALAN Â 2015) Location: Â Sherbrooke, Â Quebec, Â Canada ZZZDUWLÂ¿FLDOOLJKWDWQLJKWRUJ Lighting Â Masterclasses: Â Masterclasses Â are Â kindly Â VSRQVRUHGE\+HOYDU3KLOLSV Â Thorn Â and Â Trilux Â )RUYHQXHVDQGERRNLQJGHWDLOV www.sll.cibse.org Â
30 Â April SLL Â Masterclass: Â Light Â for Â Life Location: Â Watershed, Â Bristol www.sll.cibse.org
26 Â February SLL Â Masterclass: Â Light Â for Â Life Location: Â Leeds Â City Â Museum, Â Leeds www.sll.cibse.org Until Â 1 Â March 24:00:00 Foyer Â exhibition Â curated Â and Â hosted Â by Â Arup Â on Â light Â and Â light Â technology Â Â in Â the Â modern Â world Venue: Â Arup, Â Fitzroy Â St, Â London Â W1 www.arup.com
LET Â Diploma Â (in Â association Â with Â London Â 6RXWK%DQN8QLYHUVLW\ DGYDQFHG TXDOLÂ¿FDWLRQE\GLVWDQFHOHDUQLQJ'HWDLOV from Â www.lightingeducationtrust.org Â or Â email Â LET@cibse.org
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Mid Â Career Â College: Â the Â college Â Â UXQVYDULRXVFRXUVHVDFURVVWKH Â whole Â spectrum Â of Â lighting Â and Â at Â Â sites Â across Â the Â UK. Â Full Â details Â at Â Â www.cibsetraining.co.uk/mcc Â 10 Â March: Â 200 Â Years Â of Â Fresnel Â (SLL Â event), Â Royal Â Institution, Â London Â W1
LIF Â courses: Â details Â from Â John Hugill, Â 0208 Â 529 Â 6909, Â or Â email firstname.lastname@example.org