Lighting Journal November/December 2020

Professional best practice from the Institution of Lighting Professionals

November/December 2020

EXIT, NO STAGES LEFT? The perilous position of theatre, music and event lighting ORANGE IS THE COLOUR Lighting column wayfinding with a difference in Southwark COURTING APPROVAL Why a tennis club’s switch to LED was all about playing a waiting game

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Contents EXIT, NO 06 STAGES LEFT?

Many areas of lighting are being affected by the economic fallout from the Covid-19 pandemic, but perhaps few more so than lighting professionals working within theatre, events and live music. And the fear is, can it even survive as a sector?

ORANGE IS 12 THE COLOUR

Southwark Council has refreshed its vibrant orange wayfinding lighting columns, designed to guide tourists and visitors from Southwark Station to Tate Modern on London’s South Bank.

As Perry Hazell and Nathan French outline, when it came to replacing the light source, an innovative approach has paid dividends

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BE ANNOYING 16.‘I’LL THE ABSEILERS’

With the second phase of the Illuminated River public art project now underway, Lighting Journal spoke to Jonathan Gittins of Atelier Ten about some of the practical and technical challenges his lighting design team may face

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COURTING APPROVAL

When Campden Hill Lawn Tennis Club in Kensington, West London, needed a lighting overhaul, it was clear transitioning to LED was the answer.

But, as Dominic Meyrick explains, rather than rushing into things, it was important to be patient

24 PARK LIFE

When Shrewsbury Town Council was looking to illuminate Victoria Avenue in the market town’s Quarry Park it faced a number of headaches – the area regularly floods up to 2m high, it is lined by lime trees, and the park is listed.

The solution arrived at is believed to be a world first. Stuart Farmer and Adrian Dennis report

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SEALED AND DELIVERED

Too often, sealing – and the solutions available – only gets considered relatively late on in the lighting design process. Robert Jones makes the case for why the functional aspects of a seal should be considered right at the beginning of the CAD stage, and how new technology is changing the sealing conversation

PUTTING WOMEN 32 BACK INTO ENGINEERING’S HISTORY

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Female engineers helped shape our industrial history from the eighteenth century onwards, yet their names and achievements have often been lost to the historical record. Amanda Reece looks back at some of the pioneers who made engineering what it is today

38 LIGHTING, UNITED

With Covid-19 putting paid to this year’s face-to-face Professional Lighting Summit, ILP members came together virtually in September for the Institution’s AGM and ‘Lighting United’ event. Here is an abridged selection of some of the key presentations

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YOUR 44 RAISE MUGS!

During Lighting United, members were encouraged to send in their ‘mugshots’ – pictures of them with a mug of tea or coffee – to show their support for the ILP. Here you all are…

CASE FOR 46 THE BRITISH-MADE

From Covid-19 through to climate change, the UK lighting industry is facing immense challenges. But it can help itself – and protect skills and quality – by resisting the lure of cheap imports and buying British-made, argues Tim Barker

p COVER PICTURE

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48 DIRECTORY TO THE 50 LETTERS EDITOR

Hull City Hall illuminated in red as part of a #LightItInRed 'red alert' day in September to highlight the disastrous impact Covid-19 is having on the live events sector, including the arts, music and theatre. Turn to page six to find out how the pandemic has also left lighting professionals in this sector in dire straits.

Photograph by Tom Arran Photography

www.theilp.org.uk

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Don’t change the street scene...

Just switch your light source

indolighting.com/geartrays

NOVEMBER/DECEMBER 2020

LIGHTING JOURNAL

Editor’s letter Volume 85 No 10 November/December 2020 President Anthony Smith IEng FILP Chief Executive Tracey White Editor Nic Paton BA (Hons) MA Email: nic@cormorantmedia.co.uk

Lighting Journal’s content is chosen and evaluated by volunteers on our reader panel, peer review group and a small representative group which holds focus meetings responsible for the strategic direction of the publication. If you would like to volunteer to be involved, please contact the editor. We also welcome reader letters to the editor.

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‘I

t was like a chorus of text messages and emails.’ Freelance production electrician Nick Woolley’s turn of phrase to describe how, as the Covid-19 lockdown hit in the spring, the shutters came down on his livelihood is certainly evocative.

But his situation, and the plight of many other highly experienced lighting designers, engineers and technicians working in the theatre, live events and music industries, doesn’t otherwise make for pretty reading, as we highlight from page six. In fact, given the massive financial, social and cultural contribution the arts make to this country – not to mention the benefits they bring to all of our health and wellbeing – it is deeply, deeply worrying that so many working in this industry are facing such a parlous future through no fault of their own.

Moreover, as I write this in October, with coronavirus cases surging back upwards across the UK and, if anything, an even tougher winter of restrictions and lockdowns looking likely, the chances of live events, theatre or music venues reopening anytime soon appear bleak.

As Nick and others from the ALD – People in Performance Lighting (formerly the Association of Lighting Designers) told me, because many of them are either freelance , self-employed or run their own small or micro limited companies, they have also largely fallen through the cracks of the government’s financial support packages. The fact that many of them, after decades working in these industries, are now having to consider leaving the sector altogether should concern us all.

What can be done? The #WeMakeEvents collective (https://www.wemakeevents.com/) has been doing great work in raising awareness of the plight of the events industry and the need for more government support. The #LightItInRed initiative is also working to highlight, through light, the disastrous impact the pandemic is having on this whole sector, as we show on the cover.

Both are very positive initiatives that deserve our support and so, if you can promote or back them yourselves, I urge you please to do so. The longer-term worry is that, if even the most experienced and established are struggling, will there even be a live events lighting sector left once we come out the other side of this pandemic?

Without the government revisiting its support for the sector, and for those who are trying to stay afloat within it, I, for one, really do fear for the future for this vitally important part of the lighting industry.

On a separate note, even if still linked by coronavirus, ILP President Anthony Smith’s AGM message to members in September was sombre in his recognition that 2020 has been ‘probably one of the most challenging years’ the ILP has ever faced.

Yet I also felt Anthony’s words and the wider ‘Lighting United’ virtual event (from page 38) were positive, uplifting even.

My takeaway from the day of virtual activities, presentations, networking, chat and ‘mugshots’ (and do see what I’m going to term our ‘rogues’ gallery’ on pages 44-45) is that the ILP is much, much more than just a professional body for the lighting industry. Through the strength of its membership, it is a community, a family, and one that has pulled, and is pulling, together to adapt and respond to these unprecedented times.

We’re not of course out of the woods yet and, as we look to 2021, it is perhaps as much with trepidation as optimism. But, whatever happens, you can be sure that, as an ILP member, the Institution will be there for you, both professionally and personally.

Nic Paton Editor

© ILP 2020

The views or statements expressed in these pages do not necessarily accord with those of The Institution of Lighting Professionals or the Lighting Journal’s editor. Photocopying of Lighting Journal items for private use is permitted, but not for commercial purposes or economic gain. Reprints of material published in these pages is available for a fee, on application to the editor.

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

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EXIT,

NO STAGES LEFT? Many areas of lighting are being affected by the economic fallout from the Covid-19 pandemic, but perhaps few more so than lighting professionals working within theatre, events and live music. And the fear is, can it even survive as a sector?

By Nic Paton

www.theilp.org.uk

NOVEMBER/DECEMBER 2020

LIGHTING JOURNAL

Theatre, events and live music lighting

B

ack in August, on August 11 to be precise, if you’d been standing outside the Manchester Academy music venue you’d have been able to watch a procession that was both sad and angry.

Hundreds of out-of-work music venue and theatre staff took to the streets of the city for a socially-distance silent demonstration – many wearing masks and wheeling equipment trunks – to highlight how those working within the industry felt ‘forgotten’ by a lack of government support during the Covid-19 crisis.

For lighting professionals working within this sector – primarily lighting designers and technicians – the pandemic has proved equally devastating, as a survey by the ALD – People in Performance Lighting (formerly the Association of Lighting Designers) highlighted in May. Its poll of 197 members (so about half of the membership) found 80% had had all their work cancelled since lockdown in March. Nearly half (46%) had lost at least three-quarters of their expected annual income.

With many lighting professionals within the sector either freelance, self-employed or running their own micro or small businesses, many had also fallen through the gaps in the government’s various coronavirus financial support schemes. Nearly nine out of ten (87%) were not confident of retaining any of their confirmed work for the rest of this year, and 41% were even unsure whether they would ever return to the industry at all.

‘EVERYBODY’S DIARIES ENTIRELY EMPTIED OUT’

‘I was working on a large-scale immersive event with about 15 other lighting freelancers. Inside of two days almost everybody’s diaries entirely emptied out,’ recalls freelance production electrician Nick Woolley of the moment lockdown came in March. ‘It was like a chorus of text messages and emails.

‘I was meant to be working on a music video shoot at a London theatre; it was 90% confirmed and I’d had it on a text message.

It got pulled two days before it was due to happen. I had about a month’s work booked in, doing a load of set electrics, and that all got pulled too,’ Nick adds.

Nick was talking to Lighting Journal in September on a virtual group call with members of the ALD, which has been working to highlight the dire straits many within the industry now face because of the pandemic.

‘Within 10 days [in March], we lost

‘MEMBERS WHO TAKE ON THEATRE WORK HAVE SEEN THAT GRIND TO A HALT’

The difficulties faced by many lighting professionals working within theatre, the arts and music have been also been highlighted by the IALD. Emma Cogswell, UK project manager for the association, told Lighting Journal feedback from its members had been illustrating the struggles many of them were facing.

‘Members who do take on theatre work have obviously seen that grind to a halt completely as those venues are shut.

‘The reopening of live venues is more compromised than a cinema for example, due to all the preparation required, rehearsals and so on and, with restrictions on audience attendance, many venues can’t make any profit. We have all heard of such venues, including museums and galleries, referring to this time as three winters,’ she said.

She also highlighted how the gaps in the government ’s Covid-19 support packages were affecting many within the industry.

‘Where companies have been able to, staff have been furloughed.

However, many business lighting design models are quite small and have five employees or fewer, often with business owners being selfemployed or working in such a way that they have fallen outside the help being given by the UK government,’ Emma explained.

everything – all work from March through to September at that stage,’ agrees Johanna Town, freelance lighting designer and ALD chair. ‘As freelancers, there was very little access to furlough schemes or the other government support packages. Some people had contracts signed, some people had contracts paid in full, other people had no money paid at all; everybody has had very different situations.

‘A lot of us thought we would be going back to work now – in September – perhaps not fully, but slowly. It’s been a bit of a shock to the system to realise we’ve got to last until at least 2021. I think 2021 is going to be a pretty lean year as well; I think most theatres will do one or two shows, some of them will shut half their venues. And we’re seeing shutdowns already,’ she adds. www.theilp.org.uk

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Theatre, events and live music lighting ‘I’m sitting here looking at a list of 16 shows that have been cancelled or postponed,’ says lighting designer Lucy Carter. ‘I got a phone call just yesterday to say one of them was being postponed past 2021. I’ve got a lot who are simply saying, “we just don’t know when”.

‘Some theatres are doing very stripped back shows; and they are all socially distanced. So, they are having to budget and make these plans based on not making a profit whatsoever, given that even just to break even most theatres need at least 60%-70% capacity. All the theatres are making massive redundancies,’ she says.

‘I was talking the other day to someone who is doing the lighting for a pantomime down the street from me, which is still – for the moment – going ahead,’ agrees Ian Saunders, ALD executive director. ‘It is a 1,200-seat house and they are budgeting on 400 seats per performance. That is all they can do at the moment.

‘If we get to November and the government says that social distancing can come down then they might be able to get another couple of hundred seats in. That’s the margins they are working to – but there is no lighting budget, no hire budget,’ he adds.

FEARS FOR PANTO SEASON

In truth, Ian’s hopes of further easing taking place by November, in time for the normally lucrative panto season, may well even be optimistic, despite the fact the National Lottery announced a package of limited support in October. As we move through the autumn – and, at the time of writing in October, Covid-19 cases were already rising sharply across many parts of the UK – there is no guarantee that things are going to get any better any time soon.

‘I was going to do a panto; they were very,

WHAT THE ALD SURVEY SAID

On the issue of work being cancelled because of the pandemic, the ALD’s May survey of 197 members found that: Ț Ț

Ț

Ț

80% had all their work between March to mid-May 2020 cancelled 90% had their work through to June 2020 cancelled within two weeks 77% had their work through to Sept 2020 cancelled within the first month 46% had lost at least three quarters of their expected annual income by May 2020

On whether they were eligible for government support: Ț

Ț Ț

41.7% believed they would fall through the gaps of provision for government schemes 43.2% did not qualify for Universal Credit 30.9% did not qualify because they were limited company directors

On how they felt the future might pan out: Ț

87% were not confident their confirmed work for the rest of 2020 would take place

very keen to make it happen, even if they were going to have to put lots of restrictions in place. But when they did the sums, the difference between doing that show or not doing it was the difference between keeping their staff in employment for another

Ț Ț

Ț

42% believed work would not start again until 2021 at the earliest 33% did not believe they would work in the industry again until 2021 52% were resigned to accepting lower fees/rates of pay in future On their future within the industry:

Ț

Ț

47% thought it unlikely or very unlikely they would stop working in the industry Yet 41% also stated they were not currently sure if they would return to the industry

The ALD, in a submission to the Department for Digital, Culture, Media and Sport, recently highlighted the need for the whole industry – including lighting professionals – to be offered more support.

‘This is a well-established, highly efficient, world-leading industry, of companies and individuals, built up over decades. It is shut down through no fault of its own. When performances can start again it will bounce back quickly – if it can survive until that unknown date that seems to keep receding into the future. It needs help and support to ensure it survives,’ it said.

three to four months,’ says Johanna.

‘Of course, they chose to keep the staff; they could not risk that income because of someone in the company or in the audience, or whatever, hitting track and trace, and everything grinding to a halt. A lot of

 The #LightitinRed initiative has been supporting the #WeMakeEvents campaign through ‘red alert’ days, where landmark buildings have been illuminated in red to highlight the effect of the pandemic on the arts and live events. This page shows Hull City Hall lit up (photograph by Tom Arran Photography) while overleaf shows a deserted Portsmouth Guildhall, as photographed

by Craig Paterson

www.theilp.org.uk

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Theatre, events and live music lighting #WEMAKEEVENTS AND #LIGHTITINRED

The #WeMakeEvents collective has been campaigning to highlight the plight of those working within the events industry during the pandemic, including organising the demonstration in Manchester highlighted at the beginning of this article.

Supporting #WeMakeEvents, the #LightitinRed initiative has been making the same point through light, with ‘red alert’ days being held in July, August and September where hundreds of la ndma rk bui ld ings were illuminated in red.

One industry backer of the campaign has been lighting manufacturer Robe UK, which has worked to illuminate sites up and down the country, including the Silverstone Circuit, live event venues in London and Althorp House, among others. ‘It has really taken off in terms of raising awareness,’ Robe UK head of marketing manager Theresa Gibson told Lighting Journal.

You c a n f i nd out mor e about both at https://w w w. wema kevents.com and https://www.lightitinred.co.uk

the theatres are run by boards that are liable for those theatres’ debts and, because of that, they will not risk their own livelihoods and homes to put shows on. Why should you? I wouldn’t,’ she adds.

‘I work on new productions. There is a whole ecosystem – the warehouses, the rental companies, the companies that make the bespoke lights and so on – they are all struggling like mad,’ agrees Lucy Carter.

‘And when we come out [of the pandemic], half of them won’t be there. Partly perhaps because they have had to close down their companies, partly to protect their personal lives as well. I don’t think we’re going to be back up to where we were in terms of producing or making new work for years.

‘My personal view is that, for lighting designers who work on new productions, I fear it will be a long time [before things return]. I am hearing of venues doing pop-up seasons and comedians and things like that, so things may start to happen for technicians, slowly. But you are not going to need eight crew members on a lighting team for a long time,’ Lucy adds.

www.theilp.org.uk

POTENTIALLY LEAVING THE SECTOR

Even where there is still work, it has become vastly more complicated and bureaucratic, despite this being for very good infection control reasons, highlights Mark Jonathan, deputy chair of the ALD. ‘The complications of how you rehearse, of then how you mount the production – what has to happen to the costumes, what has to happen in the dressing rooms, what has to happen backstage, how you have to rig the lights – is so complex that you just shake your head and roll your eyes,’ he says.

‘Nevertheless, you go, “yes, yes, we’ll do all of that in order to make it work”. But then you realise we can’t fit the orchestra in the pit, because they too need to be socially distanced. Or that the stage area isn’t going to be big enough for all the singers to be socially distanced. All sorts of things like that that you do not normally have to worry about.’

What, then, are the answers here? Are there, in fact, any answers? Or will it just be a case of grimly surveying the wreckage left when things finally return to ‘normality’ or whatever semblance of normality emerges post pandemic?

‘I walked around the West End the other day and it felt pretty derelict,’ says Mark. ‘And when you look at all those theatres, both front of house and back-stage, they’re all narrow staircases and gangways. Small toilets. Little bars. It doesn’t add up until we can all go together without being socially distanced.’

Perhaps one of the most worrying aspects of the conversation was that, despite all of the ALD members having years in the industry under their belts (often many decades), all were now asking

serious questions about whether, even with all their knowledge and experience, they will be able to continue working in a sector they all clearly love.

As Lucy Carter puts it: ‘What is frightening or worrying is that, when people are getting contracts, perhaps for filming or a socially distanced event, what they’re being offered in terms of their normal fee or day rate is now very low. Even if we get offered work, it is going to be at a muchreduced rate. And then you start to go – even someone like me who is quite established – is it going to add up? Can I actually pay my mortgage?

‘My partner is also in the industry and is facing redundancy. And many are like that. So it is really, really worrying. Will I ever be able to get back to what I was earning? No, I kind of think possibly not. And, therefore, will I be able to stay in the industry?’ she says.

‘We’re seeing a lot of lighting people leaving the industry,’ agrees Johanna Town. ‘We are seeing people move. Even myself, and I’ve worked in theatre for 40 years; I am now seriously looking at projects I can do alongside my theatre lighting design work. I don’t want to retrain in something new, but I am looking at retraining in areas that complement my design work.

‘For example, I used to be a qualified electrician, so I am looking into work that will run alongside my theatre work.

I don’t want to leave theatre as it has been my life and I have had the pleasure of working every day since leaving school in this industry. I don’t want to stop now. But it is not going to be sustainable in the near future or longer,’ she says.

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NOVEMBER/DECEMBER 2020

LIGHTING JOURNAL

ORANGE IS

THE COLOUR Southwark Council has refreshed and renewed its vibrant orange wayfinding lighting columns, designed to guide tourists and visitors from Southwark Station to Tate Modern on London’s South Bank. And when it came to replacing the light source, an innovative approach has paid dividends

By Perry Hazell

www.theilp.org.uk

NOVEMBER/DECEMBER 2020

LIGHTING JOURNAL

Street lighting

F

or about the past decade, we’ve managed a series of approximately 26 orange lighting columns that run down from Southwark Station to the Tate Modern on London’s South Bank.

The reason they’re orange is to act as a wayfinding guide – with signage attached – to help tourists, visitors and even possible locals find their way from the station to this landmark art gallery.

Why orange? The colour was inspired by a few installations in the gallery itself, and the original colour was chosen by the Tate Modern in order to stand out from the crowd and form an unconventional way of finding the Tate from Southwark Station But, with the fast pace of change we’ve seen in lighting in recent years, about a year ago it came up on our capital programme that it was time for us to be upgrading what were still SON streetlights to LED. Rather than just changing out or retrofitting a lantern, we wanted to replace the light source, as well as come up with a sustainable solution that could stay in situ for 15-20 years without the need of ongoing maintenance.

As ASD Lighting was our preferred supplier for the area, we contacted them to see if they could look into a solution for us. The first obvious issue was the painting, the fact the columns were so unusual in being orange.

And, anyway, what shade even was it?

IMPORTANT URBAN WAYFINDERS

We went through quite a few shades of orange to get there but it eventually transpired that it was ‘Traffic Orange 2003’

(RAL2003 Orange). The next step, then, was to look into the process – what was best to refresh and renew these important urban wayfinders? We decided the best option was to repaint the columns, get new wayfinding stickers done, and then replace the light source.

The paint used is a two-part, hard-wearing epoxy resin. It took us quite a while to find a manufacturer that was happy to mix and gave us the desired finish the first-time round. Our first attempt didn’t go too well, with a very glassy appearance. So back to the manufacturer for a thicker paint, which was definitely a lesson learned!

When it came to installation and painting, all the basic Chapter 8 requirements

and traffic management of course had to be used, including the closure of footways in some instances. It was all about liaison with our permit team and ensuring people were kept safe and segregated from the area, naturally.

The lamps are 4000K, which was partly chosen because we had to take into consideration some of the roads we intersected with. Blackfriars Road, for example, is also 4000K and we receive high volumes of traffic flow; motorists looking to avoid the main junctions and using this as a cut-through.

The key for me, however, about this whole scheme is that, even though the columns are bright orange, they completely

 This page and overleaf: Southwark Council's new LED wayfinding lighting columns, highlighting the effectiveness of the colour choice within the urban landscape. As Perry Hazell says: 'Even though the columns are bright orange, they completely fit into the surrounding area.'

www.theilp.org.uk

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Street lighting fit into the surrounding area.

While it may not be that unusual to use lighting columns generally for wayfinding, I do think we’re unusual in using colour, along with logos, for wayfinding. A lot of people use GOBOs and things like that, projectors that are bolted on and can tell you where to go or basic signage. But what is nice about this scheme is that it is something very simple but very much bespoke to the area. It is about giving the scheme and the area some identity.

We are really chuffed with how the whole scheme has come out. We’ve reduced the energy usage by more than half and we’ve increased the colour rendering as well (which is great with the orange!). A lot of the time street furniture is a hidden gem; no one really knows it is there until it is out of light or gone so, in that respect, we’ve not had a lot of specific feedback.

VIBRANT, MIXED ECONOMY AREA

However, when we were installing and painting, we did get a lot of positive feedback. When we replace older technology with new LED, especially in the context of colour rendering, I think it almost brings life to the area. The area is very mixed; there are small businesses, residential and social areas. It is also a very vibrant area with a lot of urban colour; colour on the walls, under the arches, on and in many of the shops.

I’m sure we’ll definitely use this as a concept for other, larger plans. For example, we’ve got a Canada Water redevelopment due in the next 10 years and a wayfinding strategy was recently put on the table; we thought of something exactly like this, and could we do that with different coloured columns to different areas. Again it is about giving that identity not only to the area but the route you may take.

It will be all about moving people from

‘OUR BIGGEST WORRY WAS WHETHER IT WAS JUST GOING TO LOOK HIDEOUS’

Our biggest worry at the start was whether it was just going to look hideous, writes Nathan French, director of street lighting at ASD Lighting.

We recognised straightaway that it was a really nice project, but that there was also an element of risk because it was not a ‘safe’ colour. If someone says they want a black or a grey column or lantern, you know have a security in how it is going to look.

Yet, the second we got the first sample paint and were showed the types of colours/finishes we could have, the second we put it on a luminaire, genuinely it looked really, really good. The luminaires had an env i ron ment a l ly f r iend ly pretreatment and were powder-coated within the ASD factory.

We thought, ‘oh this might work; it might actually look really, really special’.

When you go to the site, the columns do indeed look spectacular.

COST-EFFECTIVE OPTION

It is such an unusual colour choice; even if you go to continental Europe

one area to the next when they come out of Canada Water tube station. How do we get them to Rotherhithe, for example, or to the high street? It is how to move people safely and efficiently; it is not just the social value aspect of being a local authority, but sometimes the commercialisation, getting people to spend money where you need it. On top of this, it is about increasing the night-time economy through light and the daytime economy through colour.

where they use lots of colours, they still tend to be blue, green and occasionally red. But I don’t think I’ve seen anywhere that has said, ‘we’re going to go with an orange colour, an orange luminaire’.

The key point, however, is that, in terms of the luminaire, it is still our functional luminaire. It is still a conventional column and luminaire – just vibrant orange! Yes, you could of course have gone for a really bespoke, one-off product, but then you would probably have ended up paying an absolute fortune.

Having said that, as a product, the Highway Diamond Elite has a lot of aesthetic it; when you get close up, it has got shapes, curves; it is not just a square box.

W hat Southwark Council has therefore been able to do – and really successfully I feel – is take a functional luminaire and apply a completely different paint finish, colour and almost a shine on it – it has a much higher gloss content than you might normally expect.

At night the ambient light around the urban area reflects off the columns; the whole thing looks quite striking.

What’s also great is that we’ve got a completely standardised lantern up; it is no different to our other lanterns in that area, apart from the fact it is bright orange. We get the same output, the same light source, the same fitting; everything is the same apart from the fact it is orange.

So we can remove one if it fails and put another one up, and then look to powder coat another one if we need to. We have got that capability rather than having a bespoke lantern and not being able to maintain it or replace with ease.

What this shows, to my mind, is that, rather than reinventing the wheel and looking at something which is going to be bespoke and costly, think about the products you have got now, and the capabilities of manufacturers and what they can offer.

It wasn’t until I went to ASD and we questioned it and said, ‘can this be done in this colour?’, and having the simple interactions and engagement, and we’ve got a bespoke, one-of-a-kind product for a relatively cost-effective solution.

Perry Hazell is business manager, Asset Management Services, at London Borough of Southwark

www.theilp.org.uk

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NOVEMBER/DECEMBER 2020

LIGHTING JOURNAL

‘I’LL BE IN A BOAT ANNOYING THE ABSEILERS’ With the second phase of the Illuminated River public art project now underway, Lighting Journal spoke to Jonathan Gittins of Atelier Ten about some of the practical and technical challenges his lighting design team may face

By Nic Paton

www.theilp.org.uk

NOVEMBER/DECEMBER 2020

LIGHTING JOURNAL

The Illuminated River public art project

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 M ain image: a render of how Waterloo Bridge will look when phase two is complete, by Leo Villareal  Below: the abseilers at work during phase one

s it has so much else in our day-today lives, the Covid-19 pandemic disrupted and affected the Illuminated River public art project, especially when we were all plunged into lockdown back in March.

As Jonathan Gittins, head of lighting at Atelier Ten explains: ‘It affected the works on site. When it [lockdown] happened, the contractor, FM Conway, had to bring in lots of new distancing rules. So, for example, if we were planning on closing a footpath to allow access to go over the bridge to install the lights, suddenly we had to make that wider; there have been a lot of logistical things like that.’

But the good news is that Jonathan was speaking to Lighting Journal ahead of the launch of the project’s phase two installation, which, it was announced over the summer, will now be able to go ahead (‘Next phase of Illuminated River’, Lighting Journal, September 2020, vol 85, no 8).

This will more than double the number of bridges illuminated. The first phase artwork encompassed London, Cannon Street, Southwark and Millennium bridges. The second phase will bring in an additional five bridges: Blackfriars Road Bridge, Waterloo, the Golden Jubilee Footbridges, Westminster and Lambeth, and will be due to be unveiled in the spring next year. In total, it is intended eventually to illuminate up to 14 central London bridges stretching from Albert Bridge in the west of London through to Tower Bridge in the City

MANAGING COVID RESTRICTIONS

Further good news is that, while we of course can’t anticipate what will happen over the next few months from a Covid-19 perspective, the fact the project is outdoors and easily socially distanced is a positive, Jonathan argues.

‘As projects go, it is probably one of the best in terms of Covid because it is all outdoors and there is a lot of space around the bridges once you are working on them.

The pandemic hasn’t in fact slowed down the programme at all; we’re still intending on getting lights on when we were originally planning. It is actually a surprisingly good project for managing alongside Covid restrictions,’ he says.

Atelier Ten is providing the technical lighting design for the project as well as delivering the scheme, working closely with the man behind the vision, American artist Leo Villareal, and architects Lifschutz Davidson Sandilands.

So, what are going to be the key challenges and opportunities for this phase of what is, arguably, one of the most ambitious public art projects ever attempted in the capital?

‘Phase two is very critical from that point of view because, obviously, we’re nearby a number of world heritage sites – we’ve got the Palace of Westminster, we’ve got Lambeth Palace, we’ve got all sorts of very, very iconic buildings. We want to make sure we set our brightness levels to be comfortable in their surroundings and are not overpowering those landmarks,’ says Jonathan.

‘One of our drivers right from the start was to make the whole project environmentally sensitive, and not just in terms of light pollution but in sitting comfortably. Because it can very easily just be lights on a bridge, stick some bright artwork on there, and it could be awful,’ he adds.

AIMING AND FOCUSING

During phase one, Jonathan and the team at Atelier Ten carried out a comprehensive luminance survey of the Thames, and this will feed into phase two. ‘We have got all the data and how brightly we light them. We’ve got the figures of what levels we need to be at to sit comfortably with all the surroundings,’ says Jonathan.

‘The main bit of work coming up is going to be the aiming and focusing. We’re obviously working through how we’re going to do that but, actually, we’ll be on a boat directing abseilers hanging off bridges and for keeping your distance and Covid-related stuff it’ll be fine. We’ll just need to sanitise the radio, I guess!

‘This phase is going to be more difficult than the first phase of the project; these bridges are a lot more challenging. Phase one was a big challenge because we were stepping into the unknown. We now know a lot more about the installation process but the actual bridges themselves for phase two are a lot more tricky, particularly Waterloo,’ he explains.

One of the challenges with Waterloo is that the cabling runs through cells within the bridge, and which are in a very tight, confined space. ‘From a design point of view, we obviously knew they were there, but we didn’t know a lot about them,’ says Jonathan.

‘So, we’ve got abseiling-in-confinedspaces-trained operators going in there.

We are discovering there are more things in there than we anticipated. Where we wanted to put in drivers for the lights, we can’t put them, for example. It is a challenging bridge in the fact we couldn’t know what was in there until they were actually on site doing it.

‘Also, from a lighting point of view, it is a real challenge because the arches are very shallow. We are cross-lighting the a rches to under-lig ht them. www.theilp.org.uk

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NOVEMBER/DECEMBER 2020

LIGHTING JOURNAL

The Illuminated River public art project But it has to be done really carefully to prevent glare from the riverbank. So, during the design for that we have done a lot of work on developing baffles for the fronts of the floodlights.

‘On phase one we developed a deep baffle that cut down a lot of glare. Yet for Waterloo it still doesn’t really cut the mustard. We have had to go further, and we now have an extra piece that goes on the front of the baffle and will be made specially to reduce the glare. The idea is we’ll be cutting off the bottom of the beam so we only light the arch,’ emphasises Jonathan.

NON-UNIFORM ARCHES

As for Westminster Bridge, one of the anomalies of this structure is that, while

every arch looks the same from the riverbank, in reality they are all different internally. ‘So, where we’re positioning fittings, every arch will have to have different bracketry and positions. We’ve got two sets of lights, one set behind the lattice and another one cross-lighting the underside of the arch,’ says Jonathan.

‘Those fittings are going to sit behind a window in the steel that was already there. It is a very small window, however, so we have got to try and position the fittings in that space, get the light out and hit the arch without getting shadowing.

From an aiming point of view, we’re going to have a real challenge with those I suspect. We’ve got brackets you can move around in three dimensions – but we’re going to be sitting in a boat trying to direct

 R enders of how (from top) the Golden Jubilee Footbridge, Westminster, and Blackfriars bridges will all look when fully illuminated, again created by Leo Villareal

www.theilp.org.uk

abseilers to move these things, saying, “up a bit, down a bit”, so I think that is going to be fun!’ Jonathan laughs.

Aiming will also be a challenge on Lambeth Bridge, Jonathan highlights. ‘We’re lighting the face with linear graze fittings.

Because we’re trying to light the curves, I suspect we’re going to end up aiming every one of those fittings at a slightly different angle. And then the cut-off baffles to cut the light into the water, they’re going to have to be at different angles as well.

‘I think Lambeth will be particularly challenging for the abseilers. It is very hard to get to the light fittings because there is nowhere they can stand; they are going to literally have to hang off the side of the bridge. And then they’re going to be holding the fitting while I annoy them from the boat by saying “push the left-hand side up a bit” and things like that,’ he adds.

VERY PUBLIC SPOTLIGHT

While phase one was a steep learning curve, phase two is likely to be even more critical to the success of the project, not least because of the prominence of the bridges being illuminated.

‘This phase is the one I think everybody is going to see,’ highlights Jonathan. ‘The first phase, although the bridges are in very prominent positions, are mostly seen by people on their way home from work.

This phase is where all the tourists are; everybody is seeing those bridges.

‘I think it is going to be the big one, the big showy one where people really are “wow”, so they will actually recognise the project. Also, we’ll have built up the number of bridges that have been illuminated – we’ll have nine bridges. It is just going to be a lot more impressive.

‘It is going to be an excellent showcase for public realm lighting, and it is fantastic project to be involved with. You can’t get a nicer project – centre of London, everybody is seeing it. Which is also very daunting! As everyone will have an opinion,’ says Jonathan.

For those of us reading this inside, in the warm, spare a thought for the teams who will be out on the water braving the elements at this time of year.

‘By the time we get to November, we’ll be in the throes of it; we’ll be sitting in boats on the river,’ explains Jonathan.

‘Of course, one of the benefits of doing it at this time of year will be that it gets darker earlier. With phase one, which happened in the middle of summer, we couldn’t do anything until 10pm, whereas now we'll be able to be working from around 4pm. So, there are some benefits.

I’ll just need to make sure I have a very warm and waterproof coat!’

NOVEMBER/DECEMBER 2020

LIGHTING JOURNAL

HOW CAN LONDON BE BETTER LIT AT NIGHT?

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research project has been launched to investigate how London’s streets and public spaces can be made more inviting and interesting at night, while also reducing the capital’s carbon footprint.

The project, Lighting London, is being co-ordinated by a new body, the Centre for London, and is hoping to build on the learning from projects such as the Illuminated River. It will also take on board recommendations from London’s NightTime Commission.

The intention is to explore how light and darkness affect the lives of different groups of Londoners, how to use lighting more sustainably, and what it would take for London to become ‘the best lit major city in the world’, the centre has said.

A final report is due to be published in 2021, which will make recommendations to help City Hall, London’s boroughs, developers and building owners to develop a more co-ordinated approach to lighting.

The project is being supported and funded by The Greater London Authority, The Illuminated River Foundation and The Rothschild Foundation, with supporting sponsorship from the City of London Corporation and Cross River Partnership.

Research questions the centre will be exploring will include: Ț

Ț

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ensure reduce its related energy use and carbon emissions?

How did the world’s best-lit cities become leaders? What would it take for London to become the best lit major city in the world and how would this effect different neighbourhoods?

Ben Rogers, founding director of Centre for London said: “Relatively little thought goes into the way London looks and feels at night. Yet lighting has a huge

impact on us, on our evening and nighttime activities, on people who work at night, and even inside our homes from streetlights.

“With Londoners set to spend more time outside than ever as we head into autumn, now is an exciting opportunity to help policymakers develop a stronger and coordinated city-wide approach to lighting.”

Anyone interested in contributing or being involved should contact research manager Nicolas Bosetti on nicolas.bosetti@centreforlondon.org

 A s part of the City Lighting Strategy, a number of locations have been identified to deliver fundamental change to the look and feel of the capital. For example in Peter’s Hill (showing before and after), the scale of the lighting and the overall number of fittings have been reduced, introducing lighting at ground level in handrails as well as warmer, lower lighting levels, to create a calmer and more welcoming space

What role can lighting play in city life? How does it support cultural and economic vitality in urban centres? What impact does it have on safety and security, as well as on health and wellbeing?

How is technology changing lighting and what can done to www.theilp.org.uk

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NOVEMBER/DECEMBER 2020

LIGHTING JOURNAL

CO AP UR PR T IN OV G AL

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When Campden Hill Lawn Tennis Club in Kensington, West London, needed a lighting overhaul, it was clear transitioning to LED was going to be the answer – eventually. But, as Dominic Meyrick explains, rather than rushing into things, it was important to wait until advances in LED technology made financial sense

By Dominic Meyrick

www.theilp.org.uk

ounded in 1884, just seven years after the first Wimbledon Championships, the Campden Hill Lawn Tennis Club (CHLTC) is situated on Campden Hill in Kensington, in the heart of London.

The club has 12 courts – six outdoor and six indoor – together with a practise area and a clubhouse. The club is non-profitmaking and is owned by and run for the benefit of its membership of about 1,600 people, ranging from juniors to veterans.

Back in 2003 we at Hoare Lea played a limited role in lighting the club by advising on a scheme for the six indoor courts that had been put forward by the contractor.

The resulting solution, a low-energy fluorescent design, was the best available at that time in terms of cost, energy efficiency, lamp life and playing environment.

The scheme comprised 36 T5 fluorescent luminaires per court, 18 down each side. Within this, there were four x 54w lamps per fitting, with double lamps one behind each other in a twin reflector fitting. Each fitting had an approximate circuit wattage of 240w, therefore the total wattage per hour for all courts, including 24 wall washers, was 58kWh.

NOVEMBER/DECEMBER 2020

LIGHTING JOURNAL

Sports lighting A NEW CAMPDEN HILL LAWN TENNIS CLUB – THE BRIEF

Moving forward to 2015, the fluorescent luminaires installed in 2003 had come to the end of their useful life and the lighting of the indoor courts was looking tired. In addition, some club members were experiencing glare, while others had complained that there was not enough light on court.

The club therefore, once again, approached Hoare Lea (at the beginning of 2015) seeking to create an environment that would enhance player experience, and also to understand what options were now available with the technological advances made since 2003, particularly with regard to LED. The desire was to use LED to save energy, while gaining a capital expenditure (Capex) return, so that over time the money spent on the lighting upgrade could be recouped through energy savings made by switching from fluorescent to LED. At that point, our lighting design team advised that we did not believe the time had yet arrived for this to be viable, but that we would continue to monitor improvements in LED technology and keep in touch.

By mid-2016, however, we believed LEDs had reached the point in terms of required output, lamp life and low power consumption to warrant further investigation on behalf of the club, and could possibly provide energy savings that would generate an acceptable ‘payback’ period on the capital cost of the upgrade.

We therefore set out to explore the options available.

 T he old fluorescent lighting scheme versus (below and overleaf) the new Hoare Lea LED scheme.

All photographs of the new scheme by Kathi Huidobro

THE PROCESS

The main guidance for tennis court illuminance and light uniformity is Lighting Guide 4: Sports Lighting (2006) (LG4), published by the SLL (Society of Light and Lighting) [1].

This document gives guidance on lighting for all manner of sports, but importantly for this project it defines ‘Lighting Class’ and associates each class with a standard of play, with Class I representing top-level competition. Based on the measurement of the fluorescent installations, the original requirement for the club was Class I, which is 750 lux with a uniformity over the playing area of 0.7.

In September 2016 our site survey showed that both the illuminance/lighting

levels and the uniformity of the light over the courts were below that recommended

by LG4, with the average illuminance falling into Class III, that required for lower level competition and supervised training.

This was not a surprise: after all, the luminaires had been installed in 2004 and had come to the end of their serviceable life, indeed a number had failed. There had been no bulk change of lamps, just ‘as and when’ maintenance.

It was therefore clear an upgrade was needed that would address these issues and create a Class I player experience. We therefore put forward two options: 1 Refurbishment: undertake a bulk change and clean the lamps to restore the lighting level and uniformity to the original 2003 design. Based on measurements in 2004, the newly installed scheme had average illuminance levels of more than 700 lux.

2 Move to an LED solution to save energy and create a better lit environment.

In order to achieve high levels of light and uniformity over the playing area, option one would have meant the 36 luminaires being cleaned, reinstalled and each fitted with four lamps.

We therefore felt it was time for the club to consider a switch to LED. However at this point in 2016 we concluded the figures still did not yet stack up for them, with the payback estimated as being achieved in more than 15 years.

It took another year for LED efficiency to improve so that the installation could have the potential of a five to 10 year payback period. We investigated a bespoke LED fitting, which could fit into the court www.theilp.org.uk

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LIGHTING JOURNAL

Sports lighting

environment using individual units, rather than trunking systems, and found that the Capex stacked up, with lighting levels and uniformity meeting LG4 figures.

The bespoke scheme designed comprised 24 LED fittings, supplied by Ikon Design. These have an energy use per fitting of 200w, an improvement on the fluorescent fittings with their energy use of 230w. The big difference, however, was in the number of fittings: 24 LED fittings per court (12 on either side) compared with 36 fluorescent fittings. That meant a reduction of 12 fittings per court and, therefore 72 fewer fittings in the club, so reducing the total energy from 58kWh to just 32kWh.

LIGHTING CONTROL – USER FOCUS

The reduction in the energy used by the fittings offered financial savings. However, critical to ensuring the capital expenditure payback period would be met, was the club’s ‘in use’ control.

An all-on/all-off scenario operated at the club, with court lights turned on at 7am and off at 11pm, regardless of whether anyone was on court.

Obviously with the coronavirus pandemic this year has been exceptional, but in a usual year the club is usually open every day, all-year-round, except perhaps Christmas Day and Easter. So ensuring courts were not at full output when no one was playing on them was important.

A state-of-the-art, Cloud-based, lighting control system was therefore installed to ensure maximum energy savings are achieved without compromising player experience.

PIR (passive infrared) sensors ensure that, while in use, the court will be lit at full output. When not in use, the lighting defaults to a lower output, gradually dimming down over five minutes to 30% (150 lux) thereby saving energy while ensuring the space is safe and avoiding unpleasant contrast. Contrast ratio is further reduced by asymmetric wall washers on the two

longer walls. Conversely, the lighting is ramped up quickly when people walk on to court.

TESTING THE SOLUTION

To ensure the solution worked in practice as well as on paper, we tested the scheme by applying the design to one court in the first instance: Court 9.

Our calculations had suggested that, with the high lighting level, there could be glare issues when players looked up, for example when serving. Obviously it would be a problem if players were blinded by a fitting and missed their shot.

Two variations of louvres – deep and medium – were therefore put on some fittings. We found that glare was indeed an issue, but the medium louvre solved this and was appropriate for all six courts.

When designing a scheme of this kind, a maintenance factor is usually included.

We therefore initially ‘over lit’ the courts to 900 lux and then dimmed the lighting to 700 lux to save energy.

In many schemes, the lighting is not dimmed down to the appropriate level and this is an opportunity missed in terms of energy and financial savings. It is important to note that the club recognises the wattage saving will decrease over time as the LED degrades and the lighting output is ramped up.

for all members. Members at the club could not be more complimentary.’

Club committee member Robin Priest added: ‘As a committee, we were nervous about members’ reaction to the new lighting. Testing the system on one court first showed the amazing difference in the quality of the new lighting compared to the old.

‘We placed a member survey iPad on the court and received some 90% approval – unprecedented for any initiative in the club’s history! One member likened the experience to playing in the Arthur Ashe Stadium at Flushing Meadows. Once all the courts were done, members were delighted – not only has the playing experience been enhanced, but the club’s carbon footprint has been reduced.’

Turning to Gennaro Picardi, of Picardi Architects, he said: ‘We embraced with enthusiasm this lighting project in line with our policy to reduce energy consumption of buildings in operation and utilise appropriate control and management systems. So, from the start, the aim has been to combine a new highly efficient illumination system, energy savings and cutting-edge technology.

‘The end result achieves a superb lighting quality combined with high levels of energy savings in excess of 300,000kWh per annum, equivalent to the greenhouse gas emissions of driving from London to Birmingham about 1,500 times.’

To conclude, with the average illuminance over each court increased to Class I from Class III, Campden Hill Lawn Tennis Club now boasts one of the best tennis club facilities in London.

Play quality has been combined with energy efficiency and cost savings. The bespoke designed, LED lighting solution enhances the space and, combined with a carefully considered control system, qualifies the pay-back period, estimated at between five to seven years.

Dominic Meyrick is a partner at Hoare Lea

RESULTS AND BENEFITS

Increased lighting levels and better uniformity have ensured the courts meet current standards. These improvements were borne out by the experience of the players, who felt that the uniformity of light on court was fantastic and that they could see much better across the court.

I’ll conclude with a number of comments on the projects from key stakeholders. Mandy Sargent, club general manager said: ‘The lighting system at CHLTC [Campden Hill Lawn Tennis Club], has greatly improved the playing experience

PROJECT CREDITS Ț Ț Ț Ț Ț Ț

[1] LG04 Lighting Guide 04: Sports Lighting – LG4 is available to purchase from CIBSE here, https://www.cibse.org/knowledge/knowledge-items/ detail?id=a0q20000008I7kFAAS

www.theilp.org.uk

Client: Campden Hill Lawn Tennis Club Architect: Gennaro Picardi, Picardi Architects Lighting design: Hoare Lea Lighting manufacturer: Ikon Design Electrical contractor: ARC Partnership Photography: Kathi Huidobro

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NOVEMBER/DECEMBER 2020

LIGHTING JOURNAL

PARK

LIFE When Shrewsbury Town Council was looking to illuminate Victoria Avenue in the market town’s Quarry Park it faced a number of headaches – the area regularly floods up to 2m high, it is lined by lime trees that deposit sticky sap, and the park is listed. The heritage solar lighting solution arrived at is believed to be a world first

By Stuart Farmer

www.theilp.org.uk

NOVEMBER/DECEMBER 2020

LIGHTING JOURNAL

Heritage solar lighting

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or anyone who grew up in the 1970s and 1980s, the name Percy Thrower will probably conjure up images of the Blue Peter garden, which he oversaw for some 13 years including, memorably for many young viewers, the devastating moment in 1983 when it was destroyed by vandals.

What’s perhaps less well known is that Percy was parks superintendent and head gardener here in Shrewsbury for nearly 30 years. To that end, it is his work that, to this day, makes Quarry Park right in the centre of Shrewsbury such a landmark, and such a draw for visitors and locals alike.

Quarry Park, with its sunken gardens (all Percy’s vision), hosts the Shrewsbury Flower Show every year and, via the park’s Victoria Avenue, acts to connect one side of the town to the other. It is a very well-used and popular thoroughfare all year round but, up to now, had not been lit at night.

Some two years ago, the projects team here at Shrewsbury Town Council was tasked with trying to find a solution to illuminate Victoria Avenue. It had never been lit primarily for two reasons. First, we had looked at going down the mains’ route before, but the pricing of the ducting and the reinstatement of the pathways just meant it was unachievable.

RECENT RECORD FLOODS

Second, Shrewsbury is prone to flooding, and increasingly so in recent years. We’ve had probably four or five heavy floods in the past few years; in fact, this year we had almost a record flood. A large chunk of Victoria Avenue runs alongside the River Severn, and it ends about 200 yards from Shrewsbury Abbey, which has on occasions in recent years been ringed by floodwaters.

It was very clear that any lighting solution would therefore be right in the path of any future floodwaters, and therefore the design and specification would need to accommodate this. In fact, we calculated that, whatever columns we went for, the technical equipment would need to be least 2m up the column so as to avoid any future risk of ingress.

 Q uarry Park in Shrewsbury, with (middle and bottom) the new solar heritage lighting scheme on Victoria Avenue

www.theilp.org.uk

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LIGHTING JOURNAL

Heritage solar lighting All in all, it was a bit of a headscratcher.

The mains’ issue meant we recognised solar was a probable solution. But another challenge was that much of the path is lined by well-established lime trees (again, planted by Percy).

This creates a canopy in the summer but also very sticky honeydew – or the sap of the tree – that drips off. Therefore, any lights with big solar panels were at risk of being covered with sticky sap, which leaves could then attach themselves to, so reducing their effectiveness.

The final challenge is all this was that Quarry Park is Grade II listed. Therefore, the lighting solution had to be aesthetically pleasing; we were very conscious it had to fit in with the lighting that was already in sparse locations throughout the park.

We started the process by installing a trial solar light along the path to see if the technology would work. This gave us proof that the concept would work, but the lantern, provided by a local supplier, wasn’t really what we were looking for.

POSITIVE PUBLIC REACTION

We then turned to Zeta Specialist Lighting, and its Solis range. This appeared to have all the answers we were looking for, and Adrian Dennis explains opposite more from his side. The result is a stretch of 21 columns along the path, which now provide sensitive, consistent illumination, with the installation work completed in September by local contractor Potters Electrical.

The reaction, so far, I am pleased to say has been very positive. There are several Shrewsbury Facebook groups where lots of members of the public comment. Currently we’re up to about 1,000 ‘likes’ on various comments of the style, and the way the columns fit in. So, it is fingers crossed that, once the nights draw in and more people are using it, that the lighting side proves as popular.

Obviously, a pandemic wasn’t part of our original planning but we’re also

NEW ILP GUIDANCE

The ILP in September published new guidance for the lighting of pedestrian and cycle paths, as highlighted in Lighting Journal (‘Pedal Power’, vol 85, no 8). PLG23: Lighting for Cycling Infrastructure available to download from the ILP’s website, at https:// theilp.org.uk/resources under ‘Professional Lighting Guides’

www.theilp.org.uk

SOLAR IN A EUROPEAN WINTER

As far as we can tell, this project has been a world first, in that we’ve installed our new solar-powered heritage lanterns using vertical solar panel technology and where the control technology has had to be located so far up the pole, so as to mitigate the flooding risk, writes Adrian Dennis, managing director of Zeta Specialist Lighting.

One of the challenges with solar, of course, is ensuring it can work from dusk to dawn, 365 days a year, in a northern European climate. Our patented controls technology enables this, managing the output and battery life to guarantee 365 days-a-year illumination. In fact, our kit can see no sunlight for seven days and will still work, as seven-day autonomy is built into the system.

A not her i n novat ion of t he SolisPOLE is that it ha s PV (photovoltaic solar panels) on top of the lantern but also vertically mounted on to the pole, so as to optimise daylight harvesting in the w inter. The pole a lso has an embellishment kit fitted to ensure a period appearance.

The door for the pole allows access to the batteries and, as Stuart has highlighted, is located 2m from ground to mitigate the flood risk. This was a bespoke solution developed specifically for Shrewsbury. The pole is manufactured from stainless steel, and is painted in black with marine grade paint.

The Zeta SmartScape Heritage solar lantern uses Cree chip-onboard LED technology to avoid

hopeful the new scheme may help Shrewsbury get through this Covid autumn and winter. We all know the virus is much less transmittable outside, and therefore people are being encouraged to be more outdoors in their lifestyle – British weather permitting.

I’ve been down the path myself several times since the install, and it has already surprised me how many more people there are now there. The other day I was there people who were walking with torches on, either on their phones or a proper torch, but then turning them off when they came to the path. That was very much a ‘this is working’ moment; the more we can encourage people to use an outdoor space like this, even in the

unsightly multi-chip technology in a heritage environment. Light throw is optimised by using a bat wing lens to ensure the pathway is sufficiently illuminated.

PIR activation (motion sensors) power up the lantern from dim to bright to reduce light pollution when no one is around. Once the PIR is triggered, the light stays on full brightness for two minutes.

On many solar columns, the T-tray PV is generally designed to optimise sunlight capture in the summer but can sometimes struggle when the sun is low in the sky during the UK winter.

Having vertical PV mounted on the pole helps ensure we can achieve the light levels we want, with output to residential streetlight class being achieved on this project.

The battery is 12v 57AH, and the solar panel generates 56 watts. The Zeta PS800 energy management controller ensures the dusk-to-dawn illumination year-round as well as r e c or d s bat t er y a nd ener g y management.

Rear light shields and black vinyl have been used to block the light from shining towards the river, as there are residents on the other bank who did not want to see the lighting in the park and feedback regarding the level of illumination on the pathway has been universally positive.

Of course, and to conclude, this was just one of the solar projects we currently have underway, as we also offer solar Belisha beacons, paddles, signage, and bollards, among other products.

darker evenings, the better from a coronavirus perspective.

For me, the main piece of advice I’d pass on about this project would be ‘stick to what you want to achieve’. We were offered all sorts of solutions but it was only really Zeta who understood the aesthetics of what we were wanting to achieve. So, it is important to stick to your guns; the solution you’re looking for may not immediately be out there but, with the way technology is progressing now, the options available to you, especially solar options, are increasing all the time.

Stuart Farmer is projects manager at Shrewsbury Town Council

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LIGHTING JOURNAL

SEALED AND

DELIVERED Effective sealing can be central to the success (or failure) of a lighting design.

Yet, too often, sealing – and the solutions available – only gets considered relatively late on in the design process. Here, one manufacturer makes the case for why the functional aspects of a seal should be considered right at the beginning of the CAD stage, and how new technology is changing the sealing conversation

By Robert Jones

P

roducing high-performance seals on lighting products can be a tricky and time-consuming process. The parts are sometimes complex, often requiring a high Ingress Protection (IP) rating and the ability to be easily serviced, all while being functional and aesthetically pleasing.

For exterior lighting products in particular, the need for a high-quality, high-performance seal is crucial. Whether it is a streetlamp, NEMA/Node, bollard or traffic light, they are all exposed to the Great British weather and therefore require a seal that can protect them from water and dirt ingress. www.theilp.org.uk

TYPICAL SEALING METHODS

For the manufacturer, there are a number of options available, the majority of which have been in use within the lighting industry for decades.

These generally include O-rings/cord seals of differing substrate types and grade; plus cut gaskets (plain or self-adhesive) and moulded or extruded seals.

These methods all require manual assembly, which can be time-consuming, wasteful (such as punch cut and self-adhesive) and prone to human error during fitting.

The options vary in cost, but all have

associated inventory requirements and necessary stock management. These seal types are normally the chosen route for joints requiring a level of serviceability. Naturally, subsequent performance for reassembly is reliant on the person ensuring the seal is retained and fitted correctly.

Alternatively, joints can be bonded or welded, which has the possibility to be an automated process, but in most cases removes any service possibilities. It also normally limits any ‘in-house’ rework possibilities, should a quality concern be highlighted post assembly.

NOVEMBER/DECEMBER 2020

LIGHTING JOURNAL

Sealing lighting products THE DESIGNER’S ROLE

Within the lighting industry, the expertise of the designer is paramount in finding the balance between aesthetics, performance and functionality. At the same time, a designer needs to ensure acceptability for manufacturing processes and, importantly, commercial objectivity.

It is all too common and, in many ways, understandable that historic sealing methods are carried over. In these modern times however, with the conversion from CAD to solid part and with 3D modelling now being so affordable, the possibilities for designers to explore and validate interesting new concepts has never been greater.

If, from their previous experience, a designer believes their IP66 rated part will need a 6mm cord seal held in a moulded or case groove and compressed by 50%, they are already limiting their options and design creativity.

FACTORS TO CONSIDER WHEN USING FOAM SEALS OR GASKETS

This is more of a book title than a paragraph subheading and one that is sure to cure insomnia! That said, there are some basic rules that are key to achieving successfully sealed joints.

These points may sound like common sense, but they are being offered as a start point.

Firstly, the greater the compressive force within a sealed joint the likelihood is the better the sealing performance. This increased force may be from higher percentage levels of compression of the foam seal, or perhaps the use of harder foam substrate with the same compression level.

Reducing the span between fixing points or ensuring consistent part flatness also has an influence on compression.

Generally, the greater the contact face of the mating parts, the better the seal.

This doesn’t necessarily mean wider joints, as tongue and groove designs can achieve this. Surface finish will also be a factor, as graining or texturing of a part surface can impede contact with the foam seal surface and allow leak paths.

It is important to work within the boundaries of the sealing materials capabilities. Over compression, thermal stress, chemical resistance or other external factors, can lead to compression set or degeneration of the foam seal and compromise functionality.

introducing to the UK lighting industry.

Coming from an automotive background, it is adaptable, precise, and, we believe, overcomes the problems previously encountered when adding a conventional seal to lighting components.

The single component polyurethane foam is applied via a 6-axis robot, directly to the required part.

The robotic application process means the seal is applied perfectly time and time again, on any substrate and without the potential problem of human error To create this process, we worked with UK-based chemists to create a raw material, one that, when combined with compressed air, produces a liquid foam. This foam then only requires thermal activation in order for it to cure.

We then combined these applications with plasma pre-treatment to the foam bead path to ensure cohesive failure levels of adhesion, even when working with substrates with very high surface energy such as polypropolene.

We’ve called the resulting patented and trademarked product CeraPUR , and it is a foam based on polyether polyols and aliphatic isocyanates. It has an extremely low proportion of free monomers (<0.05% by weight). Density and shore hardness can be adjusted by increasing or decreasing the amount of air within the material.

The method of application and thixotropic characteristics of the liquid foam

makes it possible to create 3D or overhead applications without the foam running or slumping. There is also no need for a groove on the part surface, although the method of compression must be controlled.

Once cured, this provides outstanding material properties, such as excellent resistance to hydrolysis, low water absorption and very good recovery behaviour.

The raw material is cured within a few minutes of application by passing through a thermal oven at a temperature of 80°C. During this process, the structure and volume of the foam doesn’t change. Heat can also be applied by means of a microwave or, if applied to metallic components, through induction. Once cooled to room temperature the CeraPUR is cured and can be mechanically stressed or installed.

This new application process means that, if a designer has reached the prototype stage without considering the type of seal that will be required, all is not lost.

We believe this process overcomes many of the problems designers and manufacturers of lighting products have faced in the past with regards to sealing.

CURRENT USES

Since being established in 2013, we’ve built up a large customer base within the lighting sector, and the lighting industry now equates to 30% of our workload. One of our current applications provides TRT Lighting with this solution and forms part of the sealing mechanism on its Aspect

 T he new sealing technology is being used by TRT Lighting on its Aspect Luminaire family

A NEW TECHNOLOGY (AND ITS APPLICATION PROCESS)

For the past seven years, we at CeraCon have been developing a new technology for producing foam seals that we are now www.theilp.org.uk

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LIGHTING JOURNAL

Sealing lighting products Luminaire family. The foam seal is applied to the top enclosure of the light body, producing an IP rated seal that protects the streetlight from water ingress.

The adaptable nature of the application process means that, throughout the past seven years, we’ve been approached numerous times to overcome challenges that a designer has faced when looking to incorporate a seal.

A good recent example of this was a NEMA/NODE application where the seal that was required was extremely narrow (approximately 2.0mm) and also a complex shape. The shaped cord seal was incredibly difficult to fit, meaning a slow and unreliable process.

Using our robotic seal technology, we were able to apply the correct size bead directly to the part, creating an effective IP rated seal.

CONCLUSION

There are two main points that we’d argue lighting professionals should take with them when thinking about sealing a lighting part.

Firstly, sealing needs to be considered early on in the design process of a part.

The functional aspects of a seal should be looked at right at the beginning of the CAD stage and the design adapted

around that as necessary. Increased consideration of early joint design, such as fixing points, bolt location, compression control and the part material will potentially save money and stress later on during the creation of the finished part.

Secondly – and without of course trying

to make this too much of a sales pitch – if you’re reading this and working on a design that you would like expert input on with regards to sealing performance, we’d (obviously) welcome you to contact us. We are always happy to consider CAD or drawing concepts to give advice, something we offer without charge.

Finally, if you are at a 3D model stage, we have a free prototype seal application service. This will allow you to see the foam seal in situ to gain tangible feedback.

Or, on a worst-case scenario, if you have an application that is not performing as expected or you would like to see if you can achieve an up- grade in performance, again just drop us a line.

Robert Jones is managing director of CeraCon

FIND OUT MORE

For any ILP members keen to find out more on issues and solutions around sealing, there is a special CeraCon Lighting Design Guide included within this edition of Lighting Journal . It has been created with the aim of supporting designers when incorporating a seal and offers valuable information on what needs to be taken into account.

If for whatever reason your guide is missing, please contact CeraCon via its website, www.ceracon.co.uk, or by phone on 01926336231.

www.theilp.org.uk

Robotically

applied foam

seal specialists Selectable shore hardness 1.6mm to 20mm+ bead size Take a look at our Design Guide

included in this month's edition of the Lighting Journal or visit our

IP rated and high performance

website to download a copy

No limitation on the volume of parts

From prototype to full production quantities

www.ceracon.co.uk

l ta ki n g o n o n U K ar e st il C ra e C , ar ye xL iv e th is u st ry . e li g h ti n g in d n 't m e e t at Lu th ca e in h w it h w g u m o o h A lt o n s fr 21 ! n e w ap p li ca ti at Lu xL iv e 20 ar ye xt e n u g yo rw ar d to se e in Sealing materials Prototype Design Sealing systems W e lo o k fo Subcontract gaskets

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PUTTING WOMEN BACK INTO ENGINEERING’S HISTORY Female engineers helped shape our industrial history from the eighteenth century onwards, yet their names and achievements have often been lost to the historical record.

The Women’s Engineering Society is working to rectify that, and Amanda Reece looks back at some of the pioneers who made engineering what it is today

By Amanda Reece

www.theilp.org.uk

NOVEMBER/DECEMBER 2020

LIGHTING JOURNAL

Women in engineering Ț Ț Ț

The British Women Pilots’ Association; The Daphne Jackson Trust; and now…

MentorSET a mentoring programme for women in STEM

So, who were the ‘founding mothers’ of WES? There were eight key figures, listed here as follows.

RACHEL PARSONS (1885-1956), ENGINEER AND FEMINIST

C

an you name a famous female engineer? If, when you ask someone this question, you don't just get a blank stare back, you might get an answer along the lines of Amy Johnson or even Marie Curie (at least that would have been my likely response before researching this article).

But, while certainly both influential women who shaped history, there are in fact many others, equally influential in terms of their inventions and innovations; women who helped to shape the worldview of women participating in engineering as equals, in a predominantly male-dominated environment. Yet most of them are much less well known, even, arguably, almost forgotten from the historical record – something I am intending to redress within this article.

The role of women in engineering has a long and fascinating history, one that spans as far back as the eighteenth century.

As a female engineer myself, I was directed to an organisation called the Women’s Engineering Society (WES) when I decided on my career in street lighting.

WES is a collective forum for women within the engineering industry, which works to gain support, education, and scholarships to enable women to further their careers when mainstream methods of support are not available.

Last year (2019) was the centenary year of WES and in June I attended the WES centenary seminar. Because of the

pandemic it was held online this year, and I for one am extremely grateful it was. I have never had the opportunity to attend these annual events but, with access now virtual, I was enthralled as the history of women in engineering was recited; and the archives opened so we could learn how far this history went back, not to mention humbled by how hard these women fought for the rights we read and hear of today.

The path they walked was hard and not without its losses. But, looking back to the stoical personalities that conquered many prejudices, it is awe-inspiring to see how far they brought us. These women were all fearless pioneers who changed the world and, in their day, were recognised with the highest accolades; they carved out an expectation of everyone having the right to fulfil their potential, no matter what their age, race, gender, or religion.

WES was formed to protect the positions that women had gained in industry during World War One, and to promote equal opportunities for women in engineering. Having overturned a bill that prevented women from working in positions of engineering and technology (to allow men to return to jobs from the war) WES went on to establish itself as an organisation dedicated to providing opportunities for all. Sister associations that derived from WES have been: Ț

The Electrical Association for Women;

Educated at Roedean School for Girls in Brighton, Rachel Parsons was determined to succeed in her education, having witnessed her father’s creations in his workshop. She went on to study mechanical science at Cambridge in 1914. But she was barred from becoming a full member of the university and therefore ineligible for her degree [1] (Heald, 2014).

In 1910 she took the lead as director of the Heaton Works when her brother went to war. Here, she taught a growing cohort of women the skill of making searchlight equipment; these lights produced the famous beams across the sky as they searched for Zeppelin airships and aircraft.

Some 800 women were employed in Britain’s engineering work during the Great War. Lloyd George struck a deal with the unions which sanctioned that all women in engineering would be obliged to give up their jobs to men, unless they were employed by firms that took women before the war.

This became known as the Restoration of Pre-War Practices Act. With the support of her mother Katharine (and see below), Rachel went on to form WES with Caroline Haslett – who, again we will come to shortly – and fought against the bill, eventually succeeding in getting it overturned in Parliament and giving women the right to work as equals in the roles they had made [2]. (Women's Engineering Society, 2020)

LADY KATHARINE PARSONS (18591933), ENGINEER AND SUFFRAGETTE

Lady Katharine Parsons (the mother of Rachel Parsons, above) was herself an engineer of great ability, having worked closely with her husband, who was a great scientist and industrialist.

She had the distinction of being an honorary fellow of the North East Coast Institution of Engineers and Shipbuilders. At the time of her appointment, she was the first lady to be elected an honorary fellow or honorary member of any British engineering society. She was also a founder of WES. Katharine took an active and helpful www.theilp.org.uk

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Women in engineering interest in all industrial affairs. She played an key part in promoting friendly relations between capital and labour. She was devoted to the cause of industrial co-partnership (in other words between workers and employers).

LAURA ANNIE WILSON MBE (18771942), ENGINEER AND SUFFRAGETTE

Laura Annie Wilson is most famous for her contribution to encouraging women into the industry, helping to form WES and becoming the first female member of the Federation of House Builders.

Her passion for building extended to her becoming a founding member of the Electrical Association for Women, where she helped to pioneer the installation of gas and electrical appliances in housing estates up and down the land.

Laura was also famous for supporting and changing attitudes to women in the workplace generally. She provided canteens for women workers, clean laundry and support so their children at home could eat and have clean clothes.

DAME CAROLINE HASLETT (18951957), ENGINEER AND ELECTRICAL PIONEER

Dame Caroline Haslett created the BS1363 standard safety plug and socket during World War Two. The earth pin was designed with the protection of children in mind; it was engineered so the electrical contacts were prevented from causing harm should they be touched.

She is commemorated in her hometown

of Crawley, West Sussex, by a blue plaque, which honours her work and her position as the first director of the Electrical Association for Women.

Caroline was the first secretary to WES as well as a founding member of the Women’s Electrical Association (along with Laura Anne Wilson, above). She pioneered the delivery of ‘all electric homes’ in Bristol in 1935. She was passionate about harnessing the benefits of electrical power to emancipate women from household chores.

In 1925, WES came to national attention when it organised a special conference at Wembley, north London, in association with the First International Conference of Women in Science, Industry and Commerce.

The conference was opened by the Duchess of York (later Queen Elizabeth, the Queen Mother) and was chaired by Nancy, Lady Astor, the first woman to take her seat as an MP in the House of Commons. As WES secretary, this event brought Caroline into the public spotlight for the first time.

She remained secretary of WES until 1929, when she became honorary secretary, and was then the society’s president from 1940 to 1941.

LADY MARGARET MOIR (18641942), LATHE OPERATOR, ENGINEER, WORKERS’ RELIEF ORGANISER AND EMPLOYMENT CAMPAIGNER

The wife of the celebrated civil engineer Ernest Moir, Margaret Moir travelled all

 T he suffragette movement was also home to many of the UK first female engineers

over the world with her husband, describing herself as an ‘engineer by marriage’.

Undertaking inspections of the construction of bridges and tunnels, Margaret was the first woman to walk under the Thames from Kent to Middlesex via the Blackwall Tunnel.

Appalled by the large number of deaths of construction workers, she worked tirelessly with her husband to promote safer working conditions, including inventing the ‘medical airlock’ to treat potentially fatal decompression sickness, a device that went on to save many lives.

Margaret organised a simplified engineering course for women at several polytechnics, supported the work of pioneering women aviators such as Lady Mary Bailey and Amy Johnson, and campaigned throughout her life for better access to employment for women.

As an aside, one of the ladies who worked for Margaret was Kathleen Scott, the wife and widow of the Antarctic explorer Captain Robert Scott.

VERENA HOLMES (1889-1964), MECHANICAL ENGINEER AND MULTI-FIELD INVENTOR

Verena Holmes was the first woman to be elected to the Institution of Mechanical Engineers and the Institution of Locomotive Engineers. She was one of the early members of WES and the first active engineer to become president in 1931.

In 1922, Verena graduated from Loughborough Engineering College with a BSc (Eng). In 1946, she founded the engineering firm Holmes and Leather with Sheila Leather, a fellow WES member and future president (1950-1951).

They employed only women and, using a design by Verena, the firm created the first practical safety guillotine for paper, making it suitable for introduction into schools.

In 1958, she published a booklet, Training and Opportunities for Women in Engineering. Verena was also influential in setting up the Women's Technical Services Register during the World War Two, which included a training course for women munitions workers so as to enable them to apply for roles such as junior draughtsmen and laboratory assistants.

BEATRICE (TILLY) SHILLING (19091990), AERONAUTICAL ENGINEER

Born in Waterlooville in Hampshire and daughter to a butcher, Tilly trained as an electrical engineer and was persuaded by her employer, Margaret Partridge, to go on to study electrical engineering at degree level, taking on another year to study her master’s in mechanical engineering.

Tilly was employed by the Royal www.theilp.org.uk

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Women in engineering

Aircraft Establishment (RAE) and was the scientific officer for the Royal Air Force based in Farnborough. She is most famous for inventing the RAE Restrictor, a brass thimble with a hole in the middle (later further simplified to a flat washer), which could be fitted into the engine’s carburettor without taking the aircraft out of service.

This was important because negative G force when nose-diving would result in flooding of fuel into the carburettor.

‘Tilly’s Orifice’, as it came to be known by pilots, prevented fighter jets such as the Merlin and the Spitfire stalling on descent, and therefore played a key role in helping the RAF win the Battle of Britain in 1940.

HERTHA AYRTON (1854-1923), ENGINEER, MATHEMATICIAN, PHYSICIST, AND INVENTOR

Born in Portsea, Portsmouth, Hertha was a governess by the age of 16 and studied mathematics at Cambridge, sitting the ‘Tripos’ examination, which consisted of 10 papers, spread over eight days, amounting to 44.4 hours and 211 questions.

Hertha was supported in her application by the famed Victorian novelist George Eliot (ironically in the context of this article the male alias of Mary Ann Evans).

Despite her academic achievements, Cambridge did not honour Hertha with the full degree that she was entitled to as, at the time, it only gave certificates to women, although she did go on to achieve a BSc in 1881.

In the late 19th century, ‘arc’ lighting was used for public lighting. However, this tended to ‘hiss’ and ‘flicker’, causing a problem for the users. In 1899, Hertha was the first woman ever to read her own paper before the Institution of Electrical Engineers (IEE). Her paper was entitled The Mechanism of the Electric Arc. Shortly thereafter, she was elected the first female member of the IEE. To put this into context, the next woman to be admitted to the IEE was in 1958.

Hertha petitioned to present a paper before the Royal Society but was not allowed because of her sex and The Mechanism of the Electric Arc was read by John Perry in her stead in 1901.

Hertha was also the first woman to win a prize from the Royal Society, the Hughes Medal, which was awarded to her in 1906 in honour of her research on the motion of ripples in sand and water and her work on the electric arc.

By the late nineteenth century, Hertha’s work in the field of electrical engineering was recognised more widely, domestically and internationally. At the International Congress of Women, held in London in 1899, she presided over the physical science section.

She also spoke at the International Electrical Congress in Paris in 1900. Her success there led to the British Association for the Advancement of Science finally allowing women to serve on general and sectional committees.

REFLECTIONS ON PROGRESS TODAY

After all the hardship and battles the founding women of engineering went through to make a difference to the generations to follow, it seems incredible that women still often have to fight so hard to be accepted in STEM and engineering-based careers.

Yet unfortunately this does sometimes remain the case. For example, when I went on my STEM ambassador training, I was surprised to hear that, when children were asked to draw a picture of an engineer, they drew a man in a white coat with scruffy hair. People still simply do not associate engineering with a woman.

Even more disconcerting are the statistics for young women graduating in STEM-related industries.

Data from the university admissions service UCAS this year (shown in figure 1) showed that just 22% of STEM students in

[1] Magnificent Women and their Revolutionary Machines (2019), by Henrietta Heald. Unbound Books, https://unbound.com/books/mw/ [2] Women’s Engineering Society website, www.wes.org.uk ACKNOWLEDGEMENTS Grateful thanks for helping with the research for this article goes to the Women in Engineering Society (WES), especially its historian Helen Stone, and Henrietta Heald, author of Magnificent Women and their Revolutionary Machines

www.theilp.org.uk

 F igure 1. The disparity between male and female STEM graduates, according to UCAS

higher education were women. For engineering and technology, the figure drops even lower, to 19%.

There are so many organisations striving to introduce STEM into the education system; to capture the imagination of both girls and boys to consider engineering roles. And I know the ILP, and individual ILP members, do a lot of great work in this area.

But what more can be done? Perhaps addressing childcare and flexible working would go a long way to prevent the ‘leaky pipeline’ of women too often having to make a choice between family and a career in engineering.

Learning about the founding mothers of WES has therefore, for me, been thought provoking and makes me proud of what we, as women, have achieved within this industry and profession. WES is still campaigning to ensure that those organisations and employers out there do not see the gender but simply appreciate the engineer.

I firmly believe that true equality for women will only come about when the ghosts of past attitudes are eradicated and when opportunities are made as accessible for women as they are to men.

Once the gender divide is eliminated, so too can be the sexism and discrimination that holds its hand.

Amanda Reece EngTech AMILP is lighting design engineer at Hampshire County Council

For more information on the WES ‘centenary trail’ project, go to https:// www.wes.org.uk/centenary-map where you can find out which famous woman engineers come from your home area. You can also find out more about the MentorSET initiative at https://www.wes.org.uk/content/ mentorset-0

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LIGHTING, UNITED

With Covid-19 putting paid to this year’s face-to-face Professional Lighting Summit, ILP members came together virtually in September for the Institution’s AGM and ‘Lighting United’ day of activities and announcements, which included the launch of a new online training platform. Here is an abridged selection of some of the key presentations www.theilp.org.uk

NOVEMBER/DECEMBER 2020

LIGHTING JOURNAL

Inside the ILP

COVID-19 HAS MADE THIS PROBABLY ONE OF THE MOST CHALLENGING YEARS WE’VE HAD AS AN INSTITUTION

By Anthony Smith

L

ike most organisations, the Institution of Lighting Professionals has found this year, this whole scenario of the Covid-19 pandemic, to be very difficult. I'm sure many will agree with me that this is probably one of the most challenging years we’ve had as an Institution.

As a company owner myself I have found it very difficult, in relation to lots of things. Dealing with the challenges of life, of changed working practices, video conferencing all the time, trying to keep colleagues and family safe all adds pressure on to everything we’re doing.

I’m sure I didn’t think anything like this would happen when I stood up in Newcastle last year to become your President. The ILP is incredibly lucky that we have got such an active and supportive membership, who are so engaged in all sorts of activities.

The LDCs and the VPs in particular have, wherever they can, continued their activities. I know there have been lots of video meetings and webinars as well.

People have been trying to keep things moving when, I am sure, many of them have been finding that time difficult. So we really have to give credit to everyone who has been contributing in that way.

But, at the same time, I very much understand that some people are finding things very difficult at the moment.

INNOVATION IN ADVERSITY

Having said that, the ILP has definitely not stopped during the pandemic. We’ve built on many initiatives that were developed during 2019 and adjusted others to fit the current situation. There has been lots of innovation.

This has, to some degree, been built

around the key targets that we have had for some time: establishing and embedding good practice, developing the professional skills of ILP members, and education and competencies. Training, for certain, has not stopped. In fact, in an incredibly short amount of time, online training and content has been developed and delivered.

For an Institution of our size, to have been able to have turned that round in such a short period of time is astounding.

The people who have been involved in that – mostly the ILP staff team – we really have to commend you for that effort. It has been a huge amount of work, a huge undertaking, and done professionally and quickly.

To add to that is the training platform we have launched. It has come from almost a standing start. Obviously, the pandemic has pushed the issue; it has made it come higher up the agenda. But, all the same, the amount of work that has gone into delivering it in such a short period of time is incredible and, again, everyone involved should be commended for that.

There have been many other initiatives running too, things such as Hi Lights.

Everyone I have spoken to who have been involved in Hi Lights – and I have dropped into a few sessions myself – have found it to be really positive.

Once again, these initiatives are very much driven and produced by the staff at head office and, in this kind of situation, when the volunteers naturally have no choice but at times to take a step back, I think the fact staff have stepped up has been excellent.

The other thing I’d like to highlight is the ingenuity that has been shown. When you look at the things that have been produced

and the way they have been adapted to be more online, it has been amazing.

Having said that, I very much hope this is the last virtual AGM we ever do. It is strange and very weird! Once it is safe to do so we will of course resume CPD and training delivery locally, nationally and indeed internationally, alongside the additional layer of online training where it is appropriate. But I am a big advocate of face to face; I think it is a good thing.

In fact, I think networking opportunities is one of the main strengths of the Institution. I have made lots of friends and colleagues, who go well beyond lighting, out of the Institution, and I think that is a real strength that we have.

Finally, I would like to say to everyone, ‘stay safe’. I look forward to seeing you when it is right to do so.

Anthony Smith IEng FILP is President of the ILP as well as director of Stainton Lighting Design

CATCH-UP ON LIGHTING UNITED

As well as the AGM and key presentations, the Lighting United event saw presentations from all the ILP ’s Premier cor porate members (including new Premier member BEGA).

There were also presentations and updates from the LDCs around the country, an interactive quiz run by members of the YLP and then an informal networking ‘after party’.

If you didn’t catch it at the time it is available to view online at https://theilp.org.uk/agm-2020/

www.theilp.org.uk

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Inside the ILP

ALTHOUGH THIS HAS BEEN A CHALLENGING YEAR FOR EDUCATION, A LOT OF WORK WAS DONE BEFORE THE LOCKDOWN

By Peter Harrison

O

ur whole purpose at the ILP is to promote excellence in lighting.

Excellence in lighting, to us, is the delivery of continuing professional development for our members and the wider lighting community, as well as helping to educate the public in terms of how lighting can help you work and play – but in a responsible manner that does little if any damage to the environment or the ecology.

In delivering education, we are of course really grateful to our teams of volunteers.

They are the people who sit on the education committee and technical committee looking at current work that is being produced in education and documents, and also working on a forward plan to keep you abreast of the very latest thinking.

The cornerstone of our education delivery has for many years been the Exterior Lighting Diploma. I was appointed Technical Director just over a year ago and one of my first tasks was to look at this course from end to end, and update and review it as necessary.

I did that in the autumn of last year, and there were some minor amendments that were put into place for the first part of the diploma, Module A, which was delivered in February this year. The diploma consists of three five-day residential courses:

Modules A, B and C. And then there is a project, the Completion Module, which is a work-based project and assessed before the award of the Exterior Lighting Diploma.

FACE-TO-FACE TRAINING TO RETURN IN 2021 (HOPEFULLY) Regrettably, due to coronavirus and the lockdown, all courses after Module A this year have had to be cancelled. But the good news is that we do have dates in the diary – provisional dates of course – for springtime next year. So, it is a case of watch this space for those dates.

Although this has been a challenging year for the delivery of courses and education, a lot of work was done before the lockdown. The Fundamental Lighting course takes people new to the industry, or wanting to upgrade their skills, into the very nature of light, sight, vison, colour, and all those sorts of things – and lighting design – into one place, as a one-day course.

It was overhauled, reviewed and updated, and was delivered for the first time in February this year. It has subsequently been delivered three times in Rugby as a one-day course. We also took this course over to Ireland, working in partnership with Engineers’ Ireland and, in addition, producing a bespoke course for the Road Management Office in Ireland.

[1] GN22 Asset-Management Toolkit: Minor Structures (ATOMS), https://theilp.org.uk/publication/guidance-note-22-asset-management-toolkit-minor-structuresatoms/ [2] BS 7671 18th Edition Wiring Regulations, IET, www.theiet.org [3] BS 5489-1:2020. Design of road lighting. Lighting of roads and public amenity areas.

Code of practice, https://shop.bsigroup.com/ProductDetail?pid=000000000030374699 [4] GN01/20. Guidance note for the reduction of obtrusive light, https://theilp.org.uk/publication/guidance-note-1-for-the-reduction-of-obtrusive-light-2020/

www.theilp.org.uk

This course is assisting people in developing the delivery of a massive lantern replacement programme in the Irish Republic, which has the possibility of saving significant amounts of energy in carbon emissions.

LAUNCH OF ATOMS

At the Professional Lighting Summit last year, we launched the GN22 Asset-Management Toolkit: Minor Structures (ATOMS), and we said then we would be developing training for people responsible for the delivery of ATOMS inspections [1].

That was done in September last year; we delivered the first course at Rugby and to date we have delivered five one-day courses at Rugby, and we also had plans to deliver that on the road in the LDC branch areas. Unfortunately, again, lockdown put paid to that. However, we did deliver one live session in April to the membership, and this will be available as downloadable content.

We have also looked at the Fundamental Lighting Electrical course and friend of the Institution Jeff Lewis, an electrical engineer, has taken that course, substantially amended and updated it to bring it into line with the 18th edition of the wiring regulations [2] . And that was also delivered at Rugby earlier this year.

Finally, as Kimberly Bartlett explains overleaf, we have developed and launched a new online training platform. I’ll leave Kimberly to explain the detail but, along with the launch of the first two online courses – ATOMS and our Fundamental Lighting course – it is expected two further training courses will have been added by the middle of October.

These are the Fundamental Lighting Electrical course and a new course on BS5489-1:2020 Good Practice [3] .

These will both be one-day-equivalent training courses.

Finally, in phase two of the establishment of the online training platform, we are going to develop a half-day-equivalent online on GN01/20 Guidance note for the reduction of obtrusive light [4].

This will give people an understanding of GN01, how the document is put together, understanding the various tables and terms. It will advise people about what to ask in planning submissions; what to ask for if you’re undertaking an obtrusive light investigation; and it is aimed at lighting professionals, planning officers and environmental health officers. We hope you find it valuable and informative.

Peter Harrison is Technical Director of the ILP

Premier Member Advertorial

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Premier Member Advertorial

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42

NOVEMBER/DECEMBER 2020

LIGHTING JOURNAL

Inside the ILP

YOU CAN NOW ACCESS TRAINING WHENEVER AND WHEREVER YOU WANT

By Kimberly Bartlett

I

am so pleased to be launching our online training platform at the AGM this year. It’s been in the background for quite a while but I am sure you will agree that it is fantastic; I love it.

The online training platform is everything I envisioned for the Institution when I first joined as VP. It’s not of course something I have been doing on my own; there has been so much help, work and grind that has gone into it. We’ve all worked really hard to get this to a point where it’s there for you.

At this point of the AGM, the online training platform only has a couple of courses on it, but that is going to change going for ward, as Peter Harrison has highlighted.

‘NETFLIX-STYLE’ FULLY ON-DEMAND PLATFORM

The aim is that, ultimately, this platform will be the place where all of our courses finally end up; where you can do them all whenever and wherever you want. It is a ‘Netflix’-style platform. You find the square containing what you want to watch or do, and you just click on it and off you go basically.

These courses are fully on-demand.

You can start them; you can stop them.

You can do it in little chunks if you want.

So you can do 15 minutes, go away and make your dinner and then come back afterwards. Do another half hour.

Then do another 15 minutes before work the next day. And all of a sudden you’ve done a course, which is brilliant, and it hasn’t really impacted your day much.

And you haven’t had to take time out of what you need to do to get that done – and, of course, you’re bettering yourself as well.

There are fee levels for members and non-members, with non-members obviously paying a little bit more. But then hopefully that will give people an opportunity to think, ‘you know what, maybe I will become an ILP member and actually save quite a lot for all of these courses that I need to go on to get myself to the level I want to be’.

MORE COURSES EACH YEAR

Courses will be added in blocks. We will be hoping to add blocks of two to five courses at a time. And we are hoping to have courses ready when new

HOW TO FIND OUT MORE

The new online training platform was formally launched at the Lighting United AGM. It is available to be used by lighting professionals, engineers, contractors, planners environmental health officers and anybody involved in lighting.

It is open to everyone but, if you are an ILP member, you can access courses at a discounted rate.

To access the platform, go to: https://courses.theilp.org.uk/

documents are released. The plan going forward is that as soon as we announce a new document you should start to see it pop up on the online training platform, and you should be able to run the training and read the document concurrently.

All of the training we have already done, where it is appropriate, is being converted on to the online system, and will be uploaded as soon as it is ready alongside our existing standards, guides and reports.

Of course, with it being online you do have to do a test at the end just to prove you have been paying attention and you have taken it all in. But that is normal for e-learning, and it will help you to see what you’ve done, and what you need to do going forward. You will also get a certificate upon completion.

Kimberly Bartlett EngTech AMILP MIET is ILP Vice President – Education as well as principal engineer | south team lead – lighting & energy solutions at WSP

www.theilp.org.uk

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44

NOVEMBER/DECEMBER 2020

LIGHTING JOURNAL

Inside the ILP

RAISEYOURMUG

TO THE

 C ongratulations to Lisa Charles (right) who was voted best Lighting United 'mugshot' by the ILP team after the virtual event

During Lighting United, members were encouraged to send in their ‘mugshots’ – pictures of them with (or without) a mug of tea or coffee – to show their support for, and engagement with, the ILP, with the ILP team then choosing what was in their view the best image.

Thank you all of you, and here you all are…

!

LISA CHARLES

ALISTAIR SCOTT

ALLAN HAMILTON

ANDREW GOODING

ANDREW JACKSON

ANDREW WILLIAMS

BLANE PARKER

BOB STEPHENSON

BRIAN HEALY

CHARAN SREE

CHARLIE WADSWORTH

COLIN FISH

DFL TEAM

ELIZABETH THOMAS

HARRIET PARKIN

HAYDN YEO

HAYLEY WHITTAKER

www.theilp.org.uk

NOVEMBER/DECEMBER 2020

LIGHTING JOURNAL

JAMES DUFFIN

JIM MILLINGTON

JO BELL

KATH JOHNSON

KEIRON JARVIS

KEVIN GRIGG

KEVIN KELLY

KEVIN RAMSAY

KIERON CONDON

LEE BURTON

MARK COOPER

MARK JOHNSON

MARTIN CURRAN

MICHALA MEDCALF

NEIL SKINNER

NIC WINTER

NICK SMITH

NICOLA MARQUES BUTLER

NIGEL HARRIS

NIGEL PARRY

PADDY CRAVEN

PERRY HAZELL

PETE LUMMIS

PETER COTTRELL

PHILIP HAMMOND

PORRIDGE AT JAMES POORE LIGHTING

RAY CLARKSON

RAY WESCOTT

REBECCA HATCH

RICHARD, TOBY & RYAN AT DFL

ROBERT HALL

SCOTT ROSE

SIMONE ROSSI

STEVE ANDERSON

STUART BULMER

TERRY JOHN

www.theilp.org.uk

45

46

NOVEMBER/DECEMBER 2020

LIGHTING JOURNAL

Comment

THE CASE FOR

BRITISH-MADE From Covid-19 through to climate change, the UK lighting industry is facing immense challenges. But it can help itself – and protect skills and quality – by resisting the lure of cheap imports and buying British-made, argues one manufacturer

By Tim Barker

I

t’s been a turbulent year. The Covid-19 pandemic has brought changes to almost every aspect of our lives. From queuing outside shops and wearing face masks through to awkwardly avoiding coming too close when we meet in the street, the world we live in has changed dramatically in the last nine months.

Not every change has been unwelcome.

With the coronavirus crisis throwing light on the effects of our global supply chains, more and more of our customers are now looking to buy British-made lighting products. This trend seems to be true across industries. As a proud member of the Made in Britain scheme, we welcomed the recent news that twothirds (66%) of Britons agree that they are more likely to buy British products since March 2020 [1].

But why is buying British-made lighting so important?

PROTECTING SKILLS

Every day it seems, the newspapers bring us fresh reports of job losses and redundancies. With the economic impact of coronavirus being felt throughout the

country, now more then ever it is important to buy British made products. When we buy British-made lighting, instead of our money disappearing to faraway lands, it ends up in the pockets of British workers. If they then buy British goods or services, this money can continue to circulate throughout the economy, preserving jobs and livelihoods.

Sometimes I reflect on the seven years that have passed since we launched Acrospire. Whilst the products we’ve created and the projects we’ve completed have all been fantastic, it’s the team we’ve built that I’m most proud of. The practical, hardearned, hands-on experience they’ve acquired through years of manufacturing lighting products is irreplaceable. Buying British-made products helps preserve these skills.

Unfortunately, we’re not able to source all of our parts and components from within the UK. As more and more companies have moved their manufacturing abroad, many crucial manufacturing skills have been lost. Simply put, we no longer have the expertise required within the UK.

[1] ‘Two-thirds (66 per cent) of British consumers are more likely to buy more British goods post Covid-19 to support the economy’, Made in Britain, August 2020, https://www.madeinbritain.org/news/made-in-britain-two-thirds-of-british-consumers-are-more-likely-to-buy-more-british-goods-post-covid-19 [2] ‘UK Energy in Brief 2019’, Department for Business, Energy and Industrial Strategy, https://assets.publishing.service.gov.uk/government/uploads/system/uploads/attachment_data/ file/857027/UK_Energy_in_Brief_2019.pdf [3] ‘China and Coal’, Global Energy Monitor Wiki, https://www.gem.wiki/China_and_coal

www.theilp.org.uk

As manufacturers, we know that skills can often only be learnt with time, experience and mentorship. Unless we’re careful to buy British-made products, an ever-increasing number of these skills will be lost.

ENVIRONMENTAL PROTECTION

Unfortunately, the challenges we collectively face in the twenty-first century do not stop with Covid-19. As weather patterns become increasingly disrupted here in the UK, we’re beginning to see first-hand what the effects of climate change may be.

Fortunately, many are beginning to take action. Nearly 70% of local authorities have now declared a climate emergency. Many of these authorities have set ambitious targets to be completely carbon neutral by 2030.

One crucial benefit of choosing Made in Britain lighting products is their lower environmental impact. The UK has made great strides in recent years in reducing the emissions of our energy grid. In 2019, 32% of the UK’s energy was generated from renewable sources and only 5.2% from carbon intensive coal [2].

Whilst manufacturing powerhouse China is making rapid progress with its adoption of renewable energy, by comparison nearly 70% of its energy needs come from highly polluting coal power stations [3]. When this high carbon manufacturing is combined with reduced environmental protections and increased transportation burden, the environmental case for choosing UK-manufactured products is clear.

THE 'TRUE' COST OF IMPORTING

With so many clear advantages of purchasing lighting products made in Britain, why would specifiers and purchasers choose imported goods? The simple answer is price.

We must be careful, however, to view the cost of our lighting schemes holistically. If we view the cost of buying imported lighting products as simply the pounds and pence value, it might indeed make sense to buy overseas made products. If, however, we consider the true cost then we might see things differently.

This is the cost of lost livelihoods, a stagnating British economy, the loss of crucial skill-sets and the wholesale destruction of mother nature herself.

When viewed this way, the question is not can we afford to buy British-made goods, but can we afford not to?

Timothy Barker is managing director of Acrospire Products

British Heritage In 1802, a gas lamp flickered into life on the wall of Birminghamâ&#x20AC;&#x2122;s Soho Foundry and the modern lighting industry was born. Under the warm glow of this early street lamp, British inventor William Murdoch had quietly ushered in a brighter future for us all.

At Acrospire, weâ&#x20AC;&#x2122;re proud to be a part of this great British lighting tradition. By choosing heritage lighting manufactured in the UK, our customers enjoy best in class products whilst helping to preserve British engineering skills and knowledge for years to come.

To discover the quality, consistency and industry leading levels of customer service that come as standard with every Acrospire product, contact a member of the team today.

Muirfield

E: info@AcrospireProducts.com T: 01256 308 467 W: www.AcrospireProducts.com

Birkdale

StreetCare

LIGHTING CONSULTANTS

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

Herbie Barnieh

Stephen Halliday

Anthony Smith

Project Centre

WSP

Stainton Lighting Design Services Ltd

BEng IEng MILP

London WC1X 9HD

EngTech AMILP

Manchester M50 3SP

T: 0330 135 8950, 077954 75570 Herbie.Barnieh@projectcentre.co.uk

T: 0161 886 2532 E: stephen.halliday@wspgroup.com

Efficient, innovative, and bespoke lighting design services from an award winning consultancy. Experienced in delivering exterior lighting projects from feasibility studies to post construction. Whether it’s highway, street, or public realm lighting, let us assist you to realise your project goals.

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

www.projectcentre.co.uk

www.wspgroup.com

Steven Biggs

Allan Howard

Skanska Infrastructure Services

WSP

IEng MILP

Peterborough PE1 5XG

T: 07834 506705 E: steven.biggs@skanska.co.uk

www.skanska.co.uk

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

BEng(Hons) CEng FILP FSLL London WC2A 1AF

T: 07827 306483 E: allan.howard@wspgroup.com

www.wspgroup.com

Professional artificial and daylight lighting services covering design, technical support, contract and policy development including expert advice and analysis to develop and implement energy and carbon reduction strategies.

Expert witness regarding obtrusive lighting, light nuisance and environmental impact investigations.

Simon Bushell

Alan Jaques

SSE Enterprise Lighting

Atkins

MBA DMS IEng MILP

Portsmouth PO6 1UJ T: +44 (0)2392276403 M: 07584 313990 E: simon.bushell@ssecontracting.com

www.sseenterprise.co.uk Professional consultancy from the UK’s and Irelands largest external lighting contractor. From highways and tunnels, to architectural and public spaces our electrical and lighting designers also provide impact assessments, lighting and carbon reduction strategies along with whole installation packages.

Lorraine Calcott

IEng MILP IALD MSLL ILA BSS

it does Lighting Ltd

The Cube, 13 Stone Hill, Two Mile Ash, Milton Keynes, Buckinghamshire, MK8 8DN

T: 01908 560110

E: Information@itdoes.co.uk

www.itdoes.co.uk

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

Mark Chandler EngTech AMILP

www.atkinsglobal.com

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

IEng FILP MIES

Nick Smith Associates Limited Chesterfield, S40 3JR

T: 01246 229444 E: training@nicksmithassociates.com

www.nicksmithassociates.co.uk Specialist exterior lighting consultant. Private and adopted lighting and electrical design for highways, car parks, area and sports lighting.

Lighting Impact assessments, expert witness and CPD accredited Lighting design AutoCAD and Lighting Reality training courses

IEng FILP FSLL

Winchester, SO22 4DS

T: 01962 855720 M:0771 364 8786 E: alan@alantullalighting.com

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

Michael Walker

Vanguardia Consulting

McCann Ltd

BSc (Hons) CEng MILP MSLL

IEng MILP CMS.

Oxted RH8 9EE

T: +44(0) 1883 718690 E:tony.price@vanguardia.co.uk

Nottingham NG9 6DQ M: 07939 896887 E: m.walker@jmccann.co.uk

Chartered engineer with wide experience in exterior and public realm lighting.

All types and scales of project, including transport, tunnels, property development (both commercial and residential) and sports facilities. Particular expertise in planning advice, environmental impact assessment and expert witness.

Design for all types of exterior lighting including street lighting, car parks, floodlighting, decorative lighting, and private lighting. Independent advice regarding light trespass, carbon reduction and invest to save strategies.

Asset management, data capture, inspection and testing services available.

www.vanguardia.co.uk

Patrick Redmond

M: + 353 (0)86 2356356 | E: patrick@redmondams.ie

www.redmondams.ie Independent expert lighting design services for all exterior and interior lighting applications. We provide sustainable lighting solutions and associated electrical designs. Our services include PSDP for lighting projects, network contractor auditing, and GPS site surveys for existing installations.

Alistair Scott

4way Consulting Ltd

Designs for Lighting Ltd

BSc (Hons) CEng FILP MHEA Winchester SO23 7TA

T: 0161 480 9847 E: john.conquest@4wayconsulting.com

T: 01962 855080 M: 07790 022414 E: alistair@dfl-uk.com

Providing exterior lighting and ITS consultancy and design services and specialising in the urban and inter-urban environment. Our services span the complete project life cycle for both the public and private sector.

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

www.4wayconsulting.com

Nick Smith

Tony Price

John Conquest Stockport, SK4 1AS

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

Alan Tulla Lighting

T: +44 (0)115 9574900 M: 07834 507070 E: alan.jaques@atkinsglobal.com

Redmond Analytical Management Services Ltd.

MA BEng(Hons) CEng MIET MILP

www.staintonlds.co.uk

Nottingham, NG9 2HF

T: 0118 3215636 E: mark@mma-consultancy.co.uk

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

T: 01642 565533 E: enquiries@staintonlds.co.uk

Alan Tulla

HDip Bus, EngTech AMILP, AMSLL, Tech IEI

www.mma-consultancy.co.uk

Stockton on Tees TS23 1PX

IEng FILP

MMA Lighting Consultancy Ltd Reading RG10 9QN

IEng FILP

www.dfl-uk.com

www.mccann-ltd.co.uk

Peter Williams EngTech AMILP

Williams Lighting Consultants Ltd. Bedford, MK41 6AG T: 01234 630039 E: peter.williams@wlclighting.co.uk

www.wlclighting.co.uk

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

For more information and individual expertise Go to: www.theilp.org.uk

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

LIGHTING DIRECTORY

Meadowfield, Ponteland, Northumberland, NE20 9SD, England Tel: +44 (0)1661 860001 Fax: +44 (0)1661 860002 Email: info@tofco.co.uk www.tofco.co.uk Manufacturers and Suppliers of Street lighting and Traffic Equipment • • • • •

CPD Accredited Training • AutoCAD (basic or advanced) • Lighting Reality • Lighting Standards

• Lighting Design Techniques • Light Pollution • Tailored Courses please contact

Venues by arrangement Contact Nick Smith

Nick Smith Associates Ltd 36 Foxbrook Drive, Chesterfield, S40 3JR

t: 01246 229 444 f: 01246 588 604 e: mail@nicksmithassociates.com w: www.nicksmithassociates.co.uk

Fuse Units Switch Fuse Units Feeder Pillars and Distribution Panels The Load Conditioner Unit (Patent Pending) Accessories

Contact: Kevin Doherty Commercial Director kevindoherty@tofco.co.uk

If you would like to switch to Tofco Technology contact us NOW!

01525 601201

European distributors of StormSpill®, only system specified by:

info@PowerDataAssociates.com www.PowerDataAssociates.com Wrest Park, Silsoe, Beds MK45 5HR

Meter Administrator Power DataData Associates Ltd are Power Associates Ltd are the leading the leading meter administrator meter administrator in Great Britain.

We achieve in Great Britain. We achieve accurate energy calculations accurate energy calculations assuring you of a assuring you of a cost effective cost effective quality service. Offering independent quality service. Offering consultancy advice to ensure correct inventory independent consultancy advice to ensure correct inventory coding, coding, unmetered energy forecasting and impact unmetered energy forecasting and of market development impact of market developments.

01525 601201

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

Midlands Lighting Solutions From Concept to Construction in One Simple Step

• Providing Lighting and Electrical Consultancy • Full Design Services Including On-site Presence • Feasibility Studies and Obtrusive Light Assessments • Visual Surveys and Electrical Testing • Light Performance Tests including for Televised Events t: 07757 830436 e: enquiries@midlandslightingsolutions.co.uk w: www.midlandslightingsolutions.co.uk

Delivering Decorative Lighting Festoons for over 25 years

• London 2012 Olympic Games • Glasgow 2014 Commonwealths

We create bespoke low energy, durable festoon lighting for architects, designers, retail chains, sign makers, ship builders, and more.

Contact us to discuss your lighting project. www.lumisphere.co.uk saleslj@lumisphere.co.uk 01245 329 999

Patented Raised Lamppost Banner System that significantly reduces loading on columns and prevents banners twisting and tearing.

Column testing and guarantee service available.

The most approved system by Highways Engineers

0208 343 2525 baymedia.co.uk

50

NOVEMBER/DECEMBER 2020

LIGHTING JOURNAL

Letter to the editor

‘WHY AREN’T WE SEEING OFFERS OF SMART CITIES AS A SERVICE AND WHY AREN’T AUTHORITIES ASKING FOR THIS?’

R

egarding ‘smart cities’, I have to question who is being ‘smart’? I believe smart city technology suppliers are benefiting from passing the risk and burden of investment in infrastructure to local authorities.

Local authorities should resist this and pursue alternative formats of supply.

Currently in the smart cities arena it seems to me we have potential clients who are generally cash-strapped local authorities, which are not resourced to be at the cutting edge of novel technology.

We have smart city technology providers; many being large, cash-rich corporations that are focused on technology.

The environment these parties are looking to interact in is one where client authorities expect to benefit from the data and control that smart city technology can provide. However, private companies also wish to access and benefit from much of this information.

Selecting and owning a particular smart city infrastructure is a huge risk; it could be quite possible to just get it wrong.

However, given the above, to the best of my understanding the outcome is currently that the majority of risk is being taken by any authority investing in the smart city technology infrastructure – and risk is not being taken by the providers.

Why are potential client authorities not going out to tender for what they want – the data and control – but are being sold infrastructure and the risk that goes with it?

Suppliers should be asked to price to provide information and control, such as pollution monitoring, traffic counting, variable lighting, gulley flows – and with fees only due when the system works and the information specified is delivered.

The players best able to assess and take on the risk are not local authorities but are actually the bidding provider companies, with funds available and a fuller understanding of the technology on offer. Yet the current most common outcome is that these companies are potentially having their investment funded by local government. www.theilp.org.uk

LIGHTING AS A SERVICE

Contrast this with the lighting industry, where one of the fastest growing areas of business is lighting as a service. With lighting, the technology and costs are better understood and companies are keen to offer and finance outcome-based contracts.

The providers understand and so are willing to take on the risk. Why aren’t we seeing offers of smart cities as a service and why aren’t authorities asking for this?

The purchasing of hardware is an old model; in increasing aspects of life we see a move to paying for the content or service we want. We now stream films and music rather than buying CDs and DVDs; we use a pay-as-you-go city bike rather than taking our own on the train and increasing numbers of people are leasing cars or even joining car clubs rather than owning their own car at all.

The provision of smart cities technology should follow this pattern, not require millions of pounds of investment by government bodies.

I look forward to seeing a UK authority lead the way and come out with a service rather than infrastructure tender for smart cities data.

Who knows, it might even be that, if access to use local authority street furniture (effectively real estate with a power supply) for a service provider’s own use is given a price by the bidders, the outcome could be cash neutral for the client local authority?

Nic Winter

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