Light Lines May/ June 23

LIGHT LINES

BLAZING A TRAIL

A tribute to Howard Brandston

THE TUBES GO DOWN Farewell to fluorescent

SECRETARY

Brendan Keely FSLL bkeely@cibse.org

EDITOR

Jill Entwistle jillentwistle@yahoo.com

COMMUNICATIONS

COMMITTEE:

James Buck

Iain Carlile FSLL

Jill Entwistle

Chris Fordham MSLL

Rebecca Hodge

Stewart Langdown FSLL

Luke Locke-Wheaton

Rory Marples MSLL

Linda Salamoun MSLL

All contributions are the responsibility of the author, and do not necessarily reflect the views of the society. All contributions are personal, except where attributed to an organisation represented by the author.

COPY DATE FOR LL4 2023

IS 16 MAY

PUBLISHED BY

The Society of Light and Lighting

222 Balham High Road

London SW12 9BS

www.sll.org.uk

ISSN 2632-2838

© 2023 THE SOCIETY OF LIGHT AND LIGHTING

The Society of Light and Lighting is part of the Chartered Institution of Building Services Engineers, 222 Balham High Road, London SW12 9BS. Charity registration no 278104

Unit C, Northfield Point, Cunliffe Drive, Kettering, Northants NN16 9QJ Tel: 01536 527297

E: gary@matrixprint.com

For some reason this issue has a theme of farewells. Despite its ubiquity and longevity (first produced commercially in 1934 by GE), the fluorescent lamp has finally officially succumbed to the superior attributes of the LED. Its T8 version will be banned from this September with the rest of its kind following in February 2024 (End of the Line for the Tube, p8).

It was a hard source to love from an aesthetic point of view, except perhaps in the hands of artists such as Dan Flavin, or as industrial chic, but it was clearly a practical, efficient workhorse of a lamp that could literally be bent and adapted to a variety of purposes.

The domestic use of the CFL is perhaps best glossed over though. Its unforgiving light quality and the way it protruded inappropropriately from traditional luminaires it wasn't designed for were not a lighting high point.

Howard Brandston, whose passing we also mark in this issue (Man of Vision, p5), called it 'that gloomy lamp'. He had an enormous

influence on architectural lighting design, on the ground floor of its development as a profession.

Always the maverick, Brandston had a straightforward response to both sources and luminaires. If it didn't exist he would invent it. He also famously advocated that all lighting designers should not let rules and regulations cramp their creativity.

'If the new code or standard does not leap to a new level in beauty or appreciation while respecting the human environment, why use it?' he once said. 'Lighting is an art that deserves artistic thinking. It is not solely an exercise in technical expertise.'

CURRENT SLL LIGHTING GUIDES

SLL

SLL Lighting Guide 6: The Exterior Environment (2016)

SLL Lighting Guide 7: Office Lighting (2023)

SLL Lighting Guide 8: Lighting for Museums and Galleries (2021)

SLL Lighting Guide 9: Lighting for Communal Residential Buildings (2022)

SLL Lighting Guide 10: Daylighting – a guide for designers (2014)

SLL Lighting Guide 11: Surface Reflectance and Colour (2001)

SLL Lighting Guide 12: Emergency Lighting (2022)

SLL Lighting Guide 13: Places of Worship (2018)

SLL Lighting Guide 14: Control of Electric Lighting (2016)

SLL Lighting Guide 15: Transport Buildings (2017)

SLL Lighting Guide 16: Lighting for Stairs (2017)

SLL Lighting Guide 17: Lighting for Retail Premises (2018)

SLL Lighting Guide 18: Lighting for Licensed Premises (2018)

SLL Lighting Guide 19: Lighting for Extreme Conditions (2019)

SLL Lighting Guide 20: Lighting and Facilities Management (2020)

SLL Lighting Guide 21: Protecting the Night-time Environment (2021)

SLL Lighting Guide 22: Lighting for Control Rooms (2022)

Guide to Limiting Obtrusive Light (2012)

Code for Lighting (2022)

Commissioning Code L (2018)

SLL Lighting Handbook (2018)

CIBSE TM66: Creating a Circular Economy in the Lighting Industry (2021)

FROM THE SECRETARY

A big thank you to everyone who submitted their entries to the SLL Young Lighter 2023 competition, which is now in its 29th year. As always, the quality of the entries was exceptional and the judges will certainly have a tough time selecting the short list to move on to Stage 2.

During this next stage, the shortlisted candidates will expand on their initial entry and provide a piece to camera as well as either a presentation or written paper, or convey their ideas in a different manner. Good luck to all that make it to the next stage. The Young Lighter final will be held at the end of this year and will once more be a live event.

You have a little time left to apply for the 2023 Jean Heap Bursary. The bursary is worth up to £4000 and is there to assist the recipient in their work to provide benefit to SLL members and the industry as a whole. The deadline for applications is 4 May and application forms can be provided by emailing us (see box).

The provisional date for SLL Ready Steady Light 2023 is Tuesday 17 October. The event, which celebrates its 20th anniversary this year, is again taking place in association with Rose Bruford College, Sidcup, and our friends at the IALD. The competition sees teams challenged to deliver a lighting scheme with limited equipment in three hours. Please do email us if you are interested in taking part. This year teams will be strictly limited to a maximum of five people.

The 2023 SLL AGM, Awards and Presidential Address will take place on 24 May in the Florence Hall at RIBA, London. We hope that many of you will be able to join us and thank Andrew Bissell for steering the SLL over the past 12 months. It is also an opportunity to welcome Helen Loomes as the new president. The SLL will also be celebrating the recipients of the Regional Award, Lighting Award, Honorary Fellow and President's Medal, as well as presenting the Lighting Research and Technology Journal Leon Gaster Award and Walsh Weston Award.

We recently hosted an excellent presentation by Elettra Bordonaro (Light Follows Behaviour) and Don Slater (LSE, Configuring Light/ Staging the Social) on The Right to the Right Light: urban lighting for social equality. The online event was hosted by Chris Dicks, SLL Home Counties North West regional lighting representative, and can be viewed

• For application forms for the Jean Heap Bursary: sll@cibse.org

• To take part in Ready Steady Light: sll@cibse.org

• To view The Right to the Right Light: urban lighting for social equality: www.cibse. org/get-involved/societies/ society-of-light-and-lightingsll/sll-events/on-demandwebinars-past-presentations

• To view Colour: Botanical Art and The Making of the World’s Brightest Colour: www.cibse. org/get-involved/societies/ society-of-light-and-lightingsll/sll-events/on-demandwebinars-past-presentations

• To register for The Merging of Worlds – lighting in other industries: www.cibse.org/getinvolved/societies/society-oflight-and-lighting-sll

on the Events/On-Demand section of the SLL website (see box).

The SLL events committee hosted an online event towards the end of April, Colour: Botanical Art and The Making of the World’s Brightest Colour with botanical artist Lynda de Wet and Prof Andrew Parker, BSc Liv, PhD Macquarie. This will also be uploaded to the Events/OnDemand section of the website soon.

An online event for the future, also from the SLL events committee, is The Merging of Worlds – lighting in other industries. The presenter is Jeremy Vickery, film and gaming production professional. He will share his observations from 25 years in the games and film industry, and talk about the advent of virtual production which merges the two. Registration is open to all (see box). Our thanks to the SLL events committee and, in particular, Alexandra Kalimeri (committee chair) and Guy Kornetzki (committee member) for creating and hosting these events.

SECRETARY'S COLUMN NEWS

MAN OF VISION

Earlier this year architectural lighting design lost one of its great pioneers. Jill Entwistle profiles the life of Howard Brandston

END OF THE LINE FOR THE TUBE

RIP the fluorescent lamp, says Richard Caple, you have served us well

ANOTHER TRICK IN THE WALL

Designer Philipp Aduatz has integrated LED lighting into a pioneering 3D-printed structure

MEETING OF MINDS

Former Young Lighter Maria Englezou looks at the SLL's intention to create a much-needed group for early career lighting professionals

OBITUARY

Professional peers pay tribute to Ron Simons who died earlier this year

WORKING KNOWLEDGE

Iain Carlile looks at two of the latest LR&T papers which focus on aspects of office lighting

NATURAL SELECTION

In the continuing series former SLL president, Ruth Kelly Waskett selects her Top Five daylit spaces

EVENTS

COVER: A 2022 IALD Award of Excellence winner, the Humen Transit Oriented Development Exhibition Center in Dongguan, China, by Brandston Partnership, the lighting consultancy originally founded by Howard Brandston (see p5)

BRENDAN KEELY BKEELY @CIBSE.ORG

CIBSE, and therefore the Society of Light and Lighting, will be leaving Balham after 45 years and moving its head office to a central London address. Its specially established premises advisory committee (PAC) has identified the fringes of the City of London as an ideal location.

‘The Balham head office no longer reflects CIBSE’s values and credentials, and is not the "shop window" for one of the most influential and impactful global institutions,’ CEO Ruth Carter told CIBSE Journal. 'CIBSE needs a head office that is modern, highly functional, easily accessible for our members and our staff, and, most importantly, lives our CIBSE standards – not least our net zero ambitions.’

The institution paid £180,000 for 222 Balham High Road in 1978, after moving from Cadogan Square. The CIBSE Board did consider redeveloping the existing site, but the cost of turning it into a modern, sustainable facility would have been prohibitive and left the institution with a seven-figure overdraft, said Carter.

The PAC carried out four feasibility studies looking at potential locations, which ranged from Oxbridge to London's Moorgate, and included the option of a small London office with a back office in Peterborough, Colchester or Croydon. The London site offered affordability, one of the key benefits of a City fringe site, nearness to the Circle Underground line and proximity to other professional engineering institutions, industry bodies and Whitehall. ‘Project Moorgate survived the interrogation,’ said Carter.

The institution wants to engage the wider CIBSE community, including specialised bodies such as the SLL, to create an exemplar building that inspires others on the path to net zero. Although there is no timeframe, the aim is to be installed by the end of the year.

Betty Boothroyd, the first woman to have served as Speaker of the House of Commons and an honorary fellow of the Society of Light and Lighting, died earlier this year at the age of 93.

Baroness Boothroyd was a past chair of the All-Party Parliamentary Lighting Group (APPLG) and continued her support for the industry through the Lightmongers. She was made an honorary fellow of the SLL in 2009.

A member of the Labour Party, she was MP for West Bromwich from 1973 to 2000 and Speaker from 1992 to 2000.

'Betty joined the APPLG soon after entering parliament,' said Hugh Ogus, Past Master of the Lightmongers (pictured centre with Baroness Boothroyd, and, left, David Rowden, ex-Holophane, and Judge Sir Gavin Arthur, former Lord Mayor of London).

'She accepted with enthusiasm the invitation to become an honorary member of the Lightmongers,' added Ogus, 'and was a regular attender at its functions.'

It turns out that chandeliers can be a pretty good investment. A chandelier bought by British painter John Craxton for just £250 from a London antique store has sold for £2.92m at a London Christie's auction, 11,000 times its original purchase price.

Not just any old chandelier, it was made by sculptor and painter Alberto Giacometti, he of the elongated figures. Craxton was passing by the store in 1960 when he recognised it as a piece once owned by his late friend and benefactor Peter Watson, collector and patron of the arts.

Made of bronze and measuring 1.4m tall and 1.5m wide, it was commissioned by Watson around 1946. It hung in the offices of the renowned London literary and arts magazine Horizon, which Watson co-founded, until the magazine's closure in 1950.

SILVER LINING

Engineers working on solar cell technology at the University of Rochester have developed a new way to more than triple the efficiency of perovskites by adding a layer of reflective silver underneath the material, according to a report in online platform New Atlas.

Perovskites are one of the most promising new candidates to replace silicon, used for making solar cells for decades. Perovskite is cheaper and now equals silicon in efficiency. www.nature.com/articles/s41566-022-01151-3

CIBSE PLANS MOVE TO CENTRAL LONDON LOCATION

SLL HONORARY FELLOW BETTY BOOTHROYD DIES

MAN OF VISION

Earlier this year architectural lighting design lost one of its great pioneers, still passionately engaged with the profession until his death at the age of 87. Jill Entwistle profiles the life of Howard Brandston

Born in Canada and raised in New York, Howard Brandston is a seminal figure in architectural lighting design. He was there at the dawn of the profession. A few years ago a US magazine produced a chart in the form of a spiral that documented the progress of lighting design from its beginnings in the 1950s to the present day. Howard Brandston, along with his mentor, legendary architect-turned-theatre lighting designer Stanley McCandless, was at the centre of the spiral.

During his tenure, the Brandston Partnership, as the lighting consultancy he set up nearly six decades ago eventually became, was responsible for more than 2500 lighting schemes in 60 countries, winning more than 100 awards. The Statue of Liberty, Petronas Towers in KL, New York's Central Park, Battery Park City, Getty Museum, Louisiana State Capitol are just a handful of them. The practice subsequently expanded into China and South-East Asia from its New York base.

The recipient of more than 100 design awards in his 60-year career, Brandston was an honorary fellow of CIBSE and the SLL, and one of only four individuals to have received every major award given by the Illuminating Engineering Society (IES) in its more than 100-year history. Honoured by The American Institute of Architects (AIA) for his contributions to architecture, he was also the sole lighting designer in the Interior Design Hall of Fame. He was one of the founding members of the International Association of Lighting Designers (IALD), establishing the association in 1969.

'I measure by how I see it. They don't have instruments as good as eyeballs if you learn to use them'

Gareth Gardner

Anyone who encountered Brandston would quickly gather that he was very much his own man and had no truck with regulations and so-called received wisdom. Rules were a recipe for trammelled thinking, he believed, and stifled creativity. 'In architecture and engineering there are countless rules,' he said. 'I ignored them all. I said that rules were a substitute for thinking. No one was going to stop me from thinking.'

A beneficiary of a New Deal initiative called the Works Progress Administration, designed to give underprivileged children an opportunity to work in the arts, Brandston was nurtured by two highly inspirational and influential teachers: Leon Friend, art teacher, and director/producer Gustav Blum. 'Because I could draw I became a member of Leon Friend's Art Squad, and I acted in some of the plays with Gustav Blum and I started to do some technical theatre work,' says Brandston. 'I took the drawing skills and I did some scenery, and I did some lighting.'

Parental aspirations for him to become a doctor were dashed when he decamped from a standard science course at Brooklyn College, New York, after he perhaps inevitably became involved with the varsity players. He volunteered to do the lighting.

'Because I knew electricity. And I loved it. It changed my life. I got so enamoured with all the things that you could do with light. I read all the books. If there was something on lighting in the library, I got it.' He switched to the Speech and Theatre course the following semester.

His particular brand of creativity, curiosity and cussedness was evident from the beginning. There are two stories from that time which characterise his extraordinary determination and desire to push boundaries.

When the college built a new theatre complex above the more modestly equipped studio that Brandston was involved with, he managed to unofficially reroute cables through the ducts and brought down all manner of equipment so he could achieve the kind of ambitious lighting effects he envisaged. ('I love what you did but if you ever do this again I'll have you thrown out of school,' he was informed by the theatre-loving superintendent of buildings and grounds.)

On another occasion Brandston wanted to project scenery on to the theatre's huge cyclorama, 30m in circumference and 11m high, but couldn't find a projector up to the task. 'So I thought I would call Stanley McCandless, the god of lighting, and ask him.' McCandless, at Century Lighting, a major supplier of theatrical

lighting equipment, recommended famous projection artist Thomas Wilfred, the 'father of multimedia'. He informed the young Brandston that he would need around eight Super 8 projectors and it would cost a fortune.

'So I went back and I designed my own projector, using letterbox theory. The school let me do it. I built five of these projectors at some expense. They worked perfectly.'

When Brandston left college in 1958, that encounter with McCandless led to him working with the man considered to be the father of lighting design. Collaborating with McCandless on architectural as well as stage lighting fixtures, Brandston spent seven years there before he decided to set up his own lighting consultancy, Howard Brandston Lighting Design, in 1965. He had done two off-Broadway shows and, at the age of 18, had won the actor's equity award for the best lighting of the season for a revival of The Corn is Green.

But his passion for theatre lighting was tempered by pragmatism. While working with McCandless he made the decision to switch from theatre to architectural lighting. 'I got married, I had to earn a living. I did two shows one year that closed

in one day. Buildings last more than one day.'

While with McCandless he had met leading architects, including Frank Lloyd Wright and Eero Saarinen. 'Some of those very early architects really understood that light is a part of architecture, that the two are the same.'

As a relatively new discipline, architectural lighting design has historically brought together a broad church of professionals,

p Br andston relit the Statue of Liberty in 1984 for its centennial. He wanted 'one lamp to mimic the morning sun and one lamp to mimic the morning sky.' Such lamps did not exist so he developed two new metal halide products with GE

Peter Kaplan

from engineers and architects to product designers, but perhaps one of the most influential areas has been the theatre. The stage scene may be more transient and artificial than the architectural one but the underlying principles of showing both people and place to their best advantage remains. Brandston was keenly aware of the parallels.

'In the theatre you've got an actor on stage,' he once said. 'In architectural lighting design I'm just going back to Shakespeare: all the world's a stage. We're all actors on a stage. The main focus is the people who are in the space. What is the motivation, what is the culture of the people who are doing this kind of work, how does that relate to what the lighting should be like?'

When it came to drilling down into a project, Brandston was fastidious to an extraordinary degree, approaching architectural lighting design in an almost Stanislavikian way – not so much method acting as method lighting.

'You have to have a holistic view of everything,' he said. 'If it's a doctor's practice, how do you get there? You don't just materialise, it's not Star Trek. What are the transportation methods, where do you park, where do you get off the subway? It's a whole sense that something is impacting on you as you arrive. That's the depth in which I look at everything.'

As well as a prolific practitioner, he was a passionate educator, former Feltman Chair in lighting at New York's Cooper Union, and guest lecturer and visiting

professor at universities around the world. He was inevitably unorthodox. He once insisted on holding his masterclasses in the lobby of the university building so even passers-by could hear.

In 1981, he founded the Workshop for Teachers of Lighting, an IES programme that continues to educate teachers today. He also founded the Ad Hoc Committee of Lighting Funding Research Organizations which led to the establishment of the Lighting Research Center at the Rensselaer Polytechnic Institute. He funded in perpetuity The Brandston Grant, an international design competition administered by the IES. He also recently established the Howard M Brandston Award in Lighting at Brooklyn College.

Brandston was also an advisor to government, and worked with research teams on the disease control applications of UV

light – he helped control an outbreak of TB in New York and eliminate a threat of anthrax in Washington through the use of UV light – and has moved effortlessly between the scientific and artistic.

In the preface to his book, Learning to See: A Matter of Light, he defines his approach: 'I defer to real experiences worthy of influencing my decisions in life and my designs. Inspired by scientists and sages on the subject of physics, vision, art and the humanities, I have lived and practised by my senses, constantly seeing, touching and probing.'

Communication is also at the heart of his approach. 'Every project I do,' he once said, 'I write a little book of notions. Not concepts, notions. Three methods of communication: speak, draw, write.

'When you make a presentation your personality is impacting on the viewers. What you really want is a critical review of the things you're presenting. If you give them a book, you have written words and drawings, and they can look at that and see if it relates to what they want to achieve. If you can get enough information you'll cover all the considerations that need to be brought to bear on the project.'

'Words can’t express the contribution he made to our profession. He was a legendary figure in architectural lighting design, and one of the founding members of the IALD in 1967... To refer to Howard as an icon in the lighting design profession only begins to touch upon his impact and importance. He is warmly remembered and revered, and the IALD community worldwide owes him immense thanks for his talent, care and contribution over a lifetime of fantastic achievement. In his words, “The passion of this group came from the love of doing the work"'

Light is both art and science, but to Brandston it was primarily art. Which means it relies above all on what the eye sees. 'What is it you wish to see?' was his mantra. 'I measure by how I see it,' he once said. 'They don't have instruments as good as eyeballs if you learn to use them.'

Mônica Luz Lobo, president of the International Association of Lighting Designers

p Petronas Twin Tower 2, Kuala Lumpur

p One Peachtree Center, Atlanta

Jeff Goldberg/Esto

END OF THE LINE FOR THE TUBE

RIP the fluorescent lamp, says Richard Caple, you have served us well

From its inception in the late 1800s, and eventual commercialisation in the mid-1900s, the humble fluorescent lamp has been used right across the world to provide efficient white light for a multitude of different applications ranging from schools, hospitals and factories to homes, restaurants and leisure centres.

The fluorescent lamp came in a wide variety of different shapes and sizes, from linear lamps, most commonly T12, T8 and, most recently, the slimmer T5 lamps – the designation referring to the outer diameter of the tube – to compact lamps where the tube was bent in a U shape with either single, double or triple bends or ‘turns’ as they were known.

The linear lamps were commonly used in commercial and industrial luminaires, whereas the compact lamp was popular in downlights

and wall-mounted fixtures. Compact lamps with integrated control gear were also commonplace within the domestic sector and were seen as a major step forward at the time in reducing energy consumption compared with the widely used tungsten lamp.

Some might even remember the fluorescent induction lamp, a very long-life cathode-less lamp providing up to 100,000 hours of life, although its high cost and rapid light loss meant that it was never very successful.

With many advancements over the decades combining performance improvements with miniaturisation, fluorescent lamp fixtures used to be the go-to choice for cost-effective, high-

efficiency, long-life and reliable illumination. Today, the LED has taken over, with its vastly superior efficacy, controllability and reliability. With this advancement, and combined with updates to the regulations around the conservation of fuel and power in buildings, LED luminaires are now favoured for just about all types of application, resulting in fluorescent specification plummeting.

Now, the final nail in the coffin comes in the shape of the changes to EU and UK regulations, meaning that the days of the mighty fluorescent lamp are numbered.

However, while LED luminaires are favoured for new projects, there is a huge legacy of existing installations where fluorescent lamps are still used. On recent travels around Europe, it is evident that many applications such as hospitals, exhibition centres, airports, factories and offices are still illuminated by fluorescent lamps. Swift action will therefore be needed by these organisations to move to LED luminaires if they are to avoid the lights going out.

'While both the EU and UK are aligned in removing these lamps from the market, there are differences in the timing'

WHAT LAMPS DOES IT AFFECT AND WHEN?

While both the EU and UK are aligned in removing these lamps from the market, there are differences in the timing which are detailed in the table (below). The dates shown in the table indicate when the lamps can no longer be placed on the market. This is a slightly confusing term though, as in many cases these lamps will still be available after this date. However, after these dates, suppliers will only be allowed to sell their stock, therefore once it’s gone, it’s gone.

WHAT’S DRIVING THIS CHANGE?

There are two regulations that are driving these phase-outs. The first is the Ecodesign for Energy-Related Products and Energy Information (Lighting Products) Regulations 2021. This has been aimed at phasing out old and inefficient lamps, imposing minimum efficacy requirements on light sources. This regulation is already responsible for the phase-out of integrated compact fluorescent lamps, and T2 and T12 linear fluorescent lamps back in October 2021.

The second regulation is the Restriction of Hazardous Substances in Electrical and Electronic Equipment Directive (RoHS). Specifically, it is the mercury content of the fluorescent lamp that is being targeted, and where previously an exemption had been made for fluorescent lamps containing mercury in general lighting applications, this exemption will now expire as per the dates given in the table.

WHAT DOES THIS MEAN FOR FLUORESCENT USERS?

Time is ticking. We are now around four months away from the T8 lamp phase out, with many applications across the UK still using these lamps. Users must start preparing and planning for the future where they will not be able to source replacements.

There are several options that a user might consider. The first is replacing fluorescent luminaires with new LED ones. This will offer the best long-term solution, and the highest energy savings. With energy costs so high right now, paybacks for replacing fluorescent luminaires with LED versions can be as little as two or three years, depending on usage and energy tariff. It is also well worth installing a lighting control system which will further save energy and reduce carbon emissions.

The second option is to investigate the installation of retrofit LED lamps. This can be seen as a quick and cost-effective solution, but a great deal of care is needed to ensure that the final solution is both electrically safe (whoever installs the retrofit must re-certify and re-UKCA mark the fixture) and also ensure that the light output and light distribution are maintained.

The optical design of fluorescent luminaires, where not designed to use LEDs, is different and therefore there can be issues with light levels, glare and uniformity if not properly investigated. The Lighting Industry Association (LIA) can provide further guidance on retrofit lamps and modified luminaires. (See Technical Statement TS14 and TS15.)

A chapter in the history of lighting is slowly drawing to a close. When I joined the industry, the fluorescent lamp was in its heyday, and certainly my training and education was based around these light sources. While I will certainly not shed a tear at its loss, like anything it had its faults, I will quietly raise a glass to the fluorescent lamp and the numerous benefits it brought to the industry over many decades. And who knows, by the time I finish my career, maybe I will be writing a piece about the phaseout of the LED? Or perhaps ChatGPT will be doing it for me...

BEIS consultation on more stringent lamp performance

There is a proposal to update the ecodesign requirements for lighting products from 2023 and 2027 which is currently under consultation by the Department for Business, Energy and Industrial Strategy (BEIS). Based on the efficacy levels now achieved by LEDs, it is proposed that lamps offered for sale in Great Britain must have a minimum energy performance (MEP) of 120 lm/W by 2023 and 140lm/W by 2027. The proposal also highlights some exemptions. CIBSE has responded to the proposal through the SLL and contributed to a wider industry response.

Lighting Research and Technology: OnlineFirst Ecodesign for Energy-Related Products and Energy Information (Lighting Products) Regulations 2021 www.legislation.gov.uk/ ukdsi/2021/9780348225488

LIA Technical Statement TS14: www.thelia.org.uk/ store/ListProducts. aspx?catid=804439&ftr=TS14

LIA Technical Statement TS15: www.thelia.org.uk/ store/ListProducts. aspx?catid=804439&ftr=TS15

ANOTHER TRICK IN THE WALL

'Components produced by additive manufacturing with concrete offer completely new creative qualities and possibilities in interior design, particularly in the combination with LED technology'

p The main lighting system of the film studio comprises 14 LED strips inserted horizontally into prefabricated joints

Images by Paris Tsitsos

Vienna-based designer Philipp Aduatz has created the world’s first 3D-printed film studio featuring integrated LED lighting. He was commissioned by Casinos Austria and Austrian Lotteries to design and realise the studio, which he produced in collaboration with set designer Dominik Freynschlag and 3D concrete printing manufacturer incremental3d. 'A new and innovative application was realised through a unique structure using additive manufacturing and the latest LED technology,' says Aduatz, who creates limited-edition functional objects that are highly sculptural in nature.

Working with innovative materials and fabrication technologies, he is influenced by scientific developments in areas such as chemistry, physics and material technologies. His process combines traditional craft concepts and methods with cutting-edge techniques such as 3D printing, 3D laser scanning, CNC milling and rapid prototyping. On the arts side his great influences are sculptors Constantin Brancusi and Tony Cragg. Aduatz's experimentation with different materials and their behaviour is an important part of his research 'at the intersection of design and sculpture'.

The main lighting system of the film studio comprises 14 LED strips inserted horizontally into prefabricated joints. By replacing the print

layers with LED strips of the same thickness, the lighting technology could be perfectly integrated into the design. The LED elements are connected to the rest of the studio RGB lighting through a control system, creating an almost unlimited number of colour combinations.

The concrete wall measures 6.5m wide, 3.5m deep and 2.5m high and has a total weight of 3500kg. It was printed in a total of 10 work steps using a 3D concrete printing process from an innovative special mortar based on white cement. The structure has 60 individual segments, with six parts each stacked to form a segment in height. All individual parts are screwed together in each horizontal plane, so that the wall can be completely disassembled and is also operationally safe during use.

Due to its material-saving properties (no formwork materials are required), concrete 3D printing is considered a sustainable alternative to conventional concrete construction methods. 'Components produced by additive manufacturing with concrete are not only suitable for building construction applications, but also offer completely new creative qualities and possibilities in interior design, particularly in the combination with LED technology, as this project demonstrates,' says Aduatz.

www.philippaduatz.com/portfolio-item/ digital-film-studio/

Designer Philipp Aduatz has integrated LED lighting into a pioneering 3D-printed structure

MEETING OF MINDS

Iwould like to begin by introducing myself and explain how I became fascinated by lighting. My background is in architectural engineering. I have an MSc in sustainable architecture, and my PhD research focused on the performance of natural lighting in healthcare facilities, investigating the visual and non-visual effects on patients' comfort.

I grew up in Cyprus, which is an island with more than 300 days of sunshine in a year. I always took for granted having clear skies with sunlight exposure until I went to do a master's degree at the University of Sheffield. Living in the UK for one year, I realised how vital natural lighting is for our daily lives and how sunlight could affect our mood, health and wellbeing.

I was impressed that countries in northern Europe, which have mainly cloudy or overcast skies, have developed regulations on how to improve daylight conditions in interior spaces and are the pioneers in studies for the non-visual effects of lighting.

Another exciting aspect for any lighting designer is how the lighting on facades can enhance the architectural style of heritage buildings. Moreover, everyone can experience lighting installations that create beautiful applications after dark, something that is very effectively demonstrated by the SLL Ready Steady Light competition.

One of the main sources for learning about these topics were reports and lighting guides published by the Society of Light and Lighting. Among those, some of the most educational books were the SLL Lighting Handbook and the SLL Code for Lighting,

which includes comprehensive information about most aspects of lighting, and the SLL's Light Lines publication.

During my studies, there were many times that I wished I knew whom to get in touch with to ask a particular question about a technical or methodological approach that I was puzzled by. I wondered if there were any seminars or courses about lighting subjects that I would be interested in but missed out on because of being in another country or by just not being informed about them by a related professional body.

An additional concern for early career professionals is how to connect and network with senior professionals in their fields to pursue collaborations. Younger generations are interested in learning more day by day, and technological development provides this possibility.

What we have been missing is a group for younger people, including university students, young graduates and professionals working in any area of lighting, which would enable them to participate and reach out if they would like to discuss anything on lighting. The SLL has therefore decided to create a group for young lighting professionals who will be able to connect with other members, learn from each other, and share experiences.

This group will be part of the Young Engineers Network (YEN), part of CIBSE, which is a network of regional centres that aim to provide a forum and support network for early career professionals. The mission of YEN groups is to provide a platform for new thinking and novel approaches to design, to

discuss ideas, and exchange knowledge and experiences. In addition, it will ensure that young lighting designers engage closely with the professional institution of the SLL at an early stage and get support through their career development.

Furthermore, the SLL group for early career lighting professionals will organise activities, meetings and events to discuss and promote lighting-related issues. Young professionals, researchers, or students from any country are able to join the SLL group as members. This therefore creates a wide and international community connecting young lighting professionals and enabling them to share ideas, participate in webinars, fill the knowledge gap between different generations and find ways to learn from the most experienced professionals in research, industry and practice.

Additionally, the aim is for the new SLL group to collaborate with other CIBSE YEN groups, thus promoting collaborations between different engineering professions. The main scope is to get involved, share and learn from each other.

If you are interested in being part of our committee, you could write in 200 words a few things about yourself, why you would like to join the SLL group for early career lighting professionals and how you could contribute in the mission of the group.

Anyone interested in becoming a member of this new early career lighting group, or who would be interested in finding out more information, should contact the SLL at sll@cibse.org

Former Young Lighter Maria Englezou looks at the SLL's intention to create a much-needed group designed to benefit early career lighting professionals

OBITUARY

Professional peers pay tribute to Ron Simons who died earlier this year

Ronald Harvey Simons, a past chair of the CIBSE Lighting Division, the forerunner of the Society of Light and Lighting, has died at the age of 93.

Chair of the Lighting Division in 1992, he was involved in the SLL Events committee for many years and was the recipient of the Lighting Award in 2002. Ron Simons was an international authority on lighting, particularly calculations, theory and applications. His areas of expertise included street lighting, airfield lighting and floodlighting, with sports lighting a speciality. He worked at the Thorn Lighting laboratories in Enfield, and was a member of many UK and international committees, some of which he chaired.

He was also an author, and contributor to Lighting Research and Technology. In 1962 he authored a publication – Factors Governing the Light Output Ratio of Lighting Fittings – for a series known as the IES Monographs. With past president Bob Bean, he also co-authored the books Lighting Engineering, Applied Calculations, and Lighting Fittings: Performance and Design.

'His book with Bob Bean, Light Fittings: Performance and Design, was a standard for us to work to,' said former SLL president Mike Simpson, who worked for Simons at Thorn when he was a student in 1976. 'He was always very supportive of all us students studying lighting. Later on we worked closely on the British Standard for road lighting, bringing luminance design to the UK. Ron was one of those that gave my early career direction and for that I will always be grateful.'

Another past president, Iain Macrae, also recalls his help early on in his career. 'He gave me my first laboratory job while I was still at university and backed it up with a copy of Lamps and Lighting as an enticement to come back. He and Lou Bedocs – who worked for him at the time – got me hooked on lighting as a career with Thorn Lighting and I was still there over three decades later. Always a gent, he will be sadly missed.'

John Hugill, former training manager with the LIA (then LIF), was interviewed in 1968 by Simons following his apprenticeship at Thorn and given his first job in the Lighting Design Group at Enfield. 'Lighting Engineering, which he wrote with Bob Bean, was a bible to anyone involved in lighting engineering calculations. With Bob Hargroves he was responsible for the major work in upgrading CP1004 to BS 5489. It was a mammoth task and resulted in most street lights having to be upgraded to comply with the new standard. It was, and still is, a very comprehensive standard. He will be sorely missed.'

Hugh Ogus succeeded him as chair of the Lighting Division in 1993. 'I always enjoyed working with Ron as a colleague. It was always a pleasure to see him and he will stay in my memory as a gentle man, highly intelligent, focused and good company.'

Simons was one of the 'giants' of the lighting industry, said another former president, Barrie Wilde. 'He and Bob Bean made a formidable pair, bringing the lighting industry into a new era. Their book Lighting Fittings: Performance

and Design is still a classic and a very useful background history reference. I used it many times in my years at BDP to design specials.'

Past president Robin Aldworth was another fellow employee at Thorn. 'He was a valued work colleague for our years at Thorn, and beyond. He was a kind, thoughtful, modest, generous and humorous friend. I particularly recall in the 1970s the quiet, unassuming contribution his expertise in photometry and calculation made to the development of sports lighting systems for colour TV.

'Later in the Enfield Lighting Research Labs he was part of the "dream team of opposites" with Lou Bedocs. It is difficult to imagine two totally different characters but it worked, primarily because Ron was the ideal team worker; his generous support brought out the best in those who worked with him. In "retirement" he should also be remembered for his work that ensured the continuation of LR&T.'

'Ron was a scholar and a gentleman,' said Peter Boyce, former editor of LR&T. 'He was generous with his knowledge and always helpful to others. We shall miss his words of wisdom.'

WORKING KNOWLEDGE

Iain Carlile looks at two of the latest Lighting Research and Technology papers focusing on aspects of office lighting

Rolf et al have investigated the lighting of home-working setups, looking at digitisation and growing flexibility in the European Labour Market. With a specific focus on German companies and workers, the authors note (from the results of a survey in July 2020) that 51 per cent of German companies partially worked from home before the COVID-19 pandemic. After the start of the pandemic the number of employees working from home increased rapidly, since 80 per cent of workplaces were partially or completely closed.

The authors also point out that many homeworking setups are located in residential rooms that would have originally been intended for different tasks and functions, and therefore the lighting may not be suitable for task illuminance and healthy daytime light exposure.

Undertaking a small-scale study of the home-working locations of nine office employees, it was found that illuminance levels were low in comparison to German office lighting standards, and that the melanopic equivalent daylight illuminance (MEDI) did

not achieve recommended levels for healthy daytime light exposure.

Additional lighting was installed at each participant's desk to investigate the effects on their alertness. It was found that the average illuminance levels and MEDI were increased. It was also found that the participant's subjective sleepiness decreased after six hours, although the authors note the difference was not significant. Response-time improvements in a psychomotor vigilance task were achieved at the start of work and after three hours.

Most participants said that they would use the additional lighting in the future, indicating that they were dissatisfied with their current lighting conditions and/or perceive an increase in lighting levels as an improvement to their homeworking conditions. The authors make various recommendations to improve the lighting in home-based workplaces, such as increased illuminance, indirect lighting to avoid glare, moving desks to lighter spaces, or working near windows.

Also examining lighting within a working

environment, Van de Perre et al have studied the effects of CCT and wall luminance on observers’ brightness perception and scene preference within a controlled, windowless office environment.

An experiment was conducted using a twointerval, forced choice with 20 lighting scenes derived from five different CCTs (2500K, 3075K, 4000K, 5715K, 10,000K) and four different wall luminance values (12 cd/sqm, 36 cd/sqm, 72 cd/ sqm, 120 cd/sqm). Twenty observers with normal vision took part in the study (10 women and 10 men, age range 21-58 years, with a median value of 28 years). Each observer took part in two sessions, the first to assess brightness and the second to assess preference.

It was found that at equal luminances, different CCT values had no significant effect on perceived brightness. Scene preference increased as the wall luminance was increased to 72 cd/sqm, but increasing the wall luminance further to 120 cd/sqm had no significant effect on the participants’ preferences. Regarding CCT, as this was increased from 2500K to 4000K the observers' preference increased, followed by a substantial decline in preference from a CCT of 5715K to 10,000K.

Iain Carlile, FSLL, is a past president of the SLL and a senior associate at dpa lighting consultants

Lighting Research and Technology: OnlineFirst

In advance of being published in the print version of Lighting Research and Technology (LR&T), all papers accepted for publishing are available online. SLL members can gain access to these papers via the SLL website (www.sll.org.uk)

Light exposure in home-based work: Can a simple lighting system increase alertness?

H Rolf, L Udovicic and S Völker

The effect of correlated colour temperature and wall luminance on spatial brightness and scene preference in a windowless office setup

L Van de Perre, KAG Smet, P Hanselaer, M Dujardin and WR Ryckaert

p Im age of the experiment room (left) and a schematic layout of the experiment room (right) showing the approximate positions of the observer, experiment supervisor and ceiling fixtures. The latter is shown as yellow squares (Van de Perre et al)

NATURAL SELECTION

In the continuing series, Ruth Kelly Waskett selects her Top Five daylit spaces

How can I distill my experience of natural light in architecture to a Top 5 list? Several amazing buildings and structures immediately came to mind, but my thoughts also turned to the many magical everyday moments with natural light that I have witnessed. Some of my favourite experiences with light have not been inside buildings at all, and many have been in very ordinary spaces. I am probably not the only lighting geek who has been caught taking a video on my phone of the sun shining through the trees in the breeze, casting a particular pattern on a wall.

This can happen anywhere, not just inside architectural masterpieces. Many of these moments are unplanned, making them all the more special. Creating well daylit buildings is hugely important to me in my work, but I am also delighted by the constant source of inspiration that is natural light, and its power to inspire lighting design with artificial light sources, too.

Former SLL president, Ruth Kelly Waskett is a project director in the lighting team at Hoare Lea

Newgrange, Co Meath, Ireland

This is probably my first love in terms of buildings that harness the power of natural light. It’s a Neolithic tomb, and actually has very little daylight. What’s special about it is the way the structure was designed to face the rising sun on the winter solstice, the shortest day of the year. Above the main entrance is an opening that is positioned perfectly to allow the sun to enter as it travels above the horizon. The inner chamber, which starts out in complete darkness, is gradually illuminated as the sun rises – a magical and multisensory experience.

The Louvre, Abu Dhabi, UAE

I had the privilege of visiting this building earlier this year. The spaces in between the galleries are where daylight is celebrated. The roof canopy subdues the piercing Middle Eastern sun to become a playful light source that covers all the surfaces and people below it in a wonderful pattern of dappled sunlight. The combination of this with the restrained materials palette and simple pools of water creates a calm and comfortable atmosphere in what can be a harsh climate.

The Jewish Museum, Berlin, Germany

This is an example of daylight being used as a theatrical light source. Daniel Libeskind uses carefully placed openings, along with a minimalist interior, to create dramatic atmospheres and play with the emotions of people in the spaces. It is especially true of the Holocaust Tower, the claustrophobic soaring void that excludes light to visceral effect, but where daylight leaks through a slit high above, out of reach. There is also a very interesting interplay with acoustics, but perhaps that’s another article for another time…

Oculus, World Trade Center, New York

This building took me by complete surprise. On holiday with my family, we went to visit the memorial at the site of the former World Trade Center, and this building is the arrival point from the subway. It’s a cathedral-like space, with light entering through a narrow opening 'spine' along the top. The daylight is complemented by artificial lighting which uplights the structure. I found that the use of natural light and the volume of the space worked to create a calm oasis in a bustling city.

Being inside a boat cabin on a sunny day Ok, bear with me. I just have a thing about what happens when sunlight strikes water and reflects it back inside a room. This happens with boats, where there is a cabin with generous windows. On a sunny day, the rippling water around the boat casts the most mesmerising patterns on to the roof. If the roof is white or a light colour, then all the better. It gives me everything I need: light dancing gently, subtly replaying the conditions of the water around me. I love this interplay of light and water, and I have seen this device used to varying levels of success in architecture.

Ateliers Jean Nouvel Shutterstock

Brian Lynch

Anthony Quintano, Flickr/Wikimedia

BitterBredt

Events 2023

For details of all upcoming webinars, go to: www.cibse.org/society-oflight-and-lighting-sll/sll-events/upcoming-webinars-and-online-content

For previously recorded CPD webinars (including regional webinars), go to: https://www.cibse.org/get-involved/societies/society-of-light-andlighting-sll/sll-events/on-demand-webinars-past-presentations

EVENTS

LIGHTFAIR

Date: 21-25 May

Venue: Jacob K Javits Convention Center New York www.lightfair.com

2023 SLL AGM, AWARDS AND PRESIDENTIAL ADDRESS

Date: 24 May

Venue: Florence Hall, RIBA, Portland Place, London W1 www.sll.org.uk

ENLIGHTEN EUROPE 23: BRING THE LIGHT (organised by the IALD)

Date: 30 June-1 July

Venue: Cafe Moskau, Berlin https://iald.org/Events/IALD-Enlighten/IALD-EnlightenConferences

SLL READY STEADY LIGHT 2023

Date: 17 October

Venue: Rose Bruford College, Sidcup, Kent www.sll.org.uk

AVAILABLE WEBINARS INCLUDE

THE RIGHT TO THE RIGHT LIGHT: URBAN LIGHTING FOR SOCIAL EQUALITY

Speakers: Elettra Bordonaro, Light Follows Behaviour, and Don Slater, LSE sociology, co-director Configuring Light/ Staging the Social research group

INNOVATORS IN RESIDENTIAL HEALTHCARE CIRCADIAN LIGHTING PRINCIPLES AND PRACTICE (Age of Light Innovations and the SLL)

Speakers: Prof Russell Foster, Oxford University; Prof Shadab Rahman, Harvard Medical School; Prof Elizabeth Flo-Groenberg, University of Bergen; Prof Stuart Peirson, Oxford University; Ed Russell and Jo Cheshire, WCS Care; Kirsen Sorensen-Gosvig, Hillerod; Michelle Borreson, Gundersen Health

COLOUR: BOTANICAL ART AND THE MAKING OF THE WORLD’S BRIGHTEST COLOUR (organised by the SLL)

Speakers: botanical artist Lynda de Wet; Prof Andrew Parker