Lighting Journal May 2020

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Professional best practice from the Institution of Lighting Professionals

May 2020

CRISIS MANAGEMENT How lighting has been coping with the Covid-19 pandemic ROYAL CONNECTIONS The stunning lighting scheme for London’s Royal Wharf Pier RISING TO THE CHALLENGE Pulling out all the stops to light the new ExCeL Nightingale Hospital

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The UK and much of the world economy went into an unprecedented social and economic lockdown during March and April in response to the coronavirus Covid-19 pandemic. So how have lighting professionals, and ILP members, been managing?


The transformation of London’s ExCeL exhibition centre into a 4,000-bed ‘Nightingale Hospital’ for coronavirus patients in little over a week was a stunning logistical and engineering achievement. Lighting Journal talked to Mark Ridler of BDP about issues the practice faced and what it meant in terms of lighting and lighting design




With the lighting industry under severe pressure during the pandemic, the ILP has been putting in place extra support and help for members, keeping lighting professionals connected and maintaining its role as an advocate for the industry. Here is a round-up of some of the activity underway


As lighting professionals, we all think we understand glare and its impact on drivers in particular. But, argue Guus Ketelings and David Lodge, given the fact our population in the UK is ageing, should we be questioning some of the long-held assumptions for measuring glare?



Catenary lighting can be a flexible alternative to lighting public realm spaces, offering a subtle transition between buildings and structures as well as functional, directional lighting and the ability to highlight architectural features. But getting it right takes careful planning, writes Natalie Critchard


Royal Wharf Pier, a new riverboat terminal in east London, has been illuminated using a combination of concealed and integrated linear LED and LED uplighting to stunning effect, as Desmond O’Donovan explains


Trystan Williams outlines how the lighting scheme for the new European headquarters of American banking giant Goldman Sachs in London’s Square Mile needed to take on board important environmental as well as security considerations, and required a high-level collaborative approach



A four-year, £34.6m refurbishment, including a new lighting scheme, has transformed the interior space and illumination of Aberdeen Art Gallery


The YLP (Young Lighting Professionals) is the ILP’s vehicle to enable young and early career lighting professionals to get involved with the Institution. With the industry facing challenging times, Georgia Thomas argues there’s never been a better time to spread the word



By 1941, after two years of blackout and bombing and being constantly told to ‘put that light out!’, the public was suspicious, fearful even, of the new, ‘Starlight’ dim street lighting. Delving into the archives, Simon Cornwell shows how a concerted battle for public opinion was needed



At the beginning of last year, one of the most venerable names in the industry very nearly disappeared, as Sugg Lighting went into administration. But the company was successfully rescued, and has even now returned to its original 180-yearold name of William Sugg Lighting


The new lighting scheme at Royal Wharf Pier in east London, by DHA Designs. To find out more, turn to page 28. Photograph by Gavriil Papadiotis



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Editor’s letter

Volume 85 No 5 May 2020 President Anthony Smith IEng FILP Chief Executive Tracey White Editor Nic Paton BA (Hons) MA Email:

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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normally try to avoid making my editor’s letter about the same subject twice in a row. But the massive societal and economic lockdown we all experienced in March when the coronavirus Covid-19 pandemic hit has been so unprecedented that, really, there’s probably not another topic to be discussing at the moment. Events are still moving rapidly, and so it is all too possible that by May, when this edition is published, the picture will be very different to how it is now in early April when this was being written (with hopefully an end in sight at least). Last month I made the point that the UK lighting industry, with the ILP and ILP members at its heart, is robust and, if we all worked together, we could weather the storm that was about to hit us. As we show in this edition, that storm has well and truly swept in and all of us – personally and professionally – are living through times that would have been unimaginable just weeks ago. Nevertheless, I was heartened by the calmness, flexibility and creativity of the response from many in the industry. Yes, work and projects have been cancelled or postponed. Yes, factories and production facilities and supply chains are either in limbo or under severe pressure. Yes, workers are having to work from home, creating disruption and anxiety. Yes, everything is up in the air. But there is, as yet, no sense of panic. Part of this, undoubtedly, is because of the reassurance of the massive rescue package that has been put in place by the government. Part of it, too, is down to the hope that work – like life at the moment – is only on temporary hold; that there will become a time when ‘normality’ will begin to emerge again and things will bounce back. This, as WSP’s Allan Howard highlights in our article, could yet create its own challenges – especially if it results in a logjam of postponed activity being crunched into a short period of time in the autumn. But let’s cross that bridge when we get there. For now, it’s a question of holding on, of remaining calm and trying to stay optimistic about the future. And one thing won’t change – the ILP (and Lighting Journal within that) being there for you, as we also show in this edition. None of us has seen or experienced times like these. But I’m sure – I know – we will, together, as an industry and individuals get through this.

Nic Paton Editor

CORRECTIONS AND CLARIFICATIONS In our article ‘Media spotlight’ last month (Lighting Journal, April 2020, vol 85 no 4) an editing error led to the suggestion the scheme was in place to protect a population of Lesser and Greater Horseshoe bats. This was incorrect as, in fact, these species are not present on the site and are not currently covered in the research being undertaken by Signify. We are very happy to correct this and clarify any confusion that may have resulted. Lesser and Greater Horseshoe bats are, however, the most light-averse species found in the UK and trials are ongoing as to the viability of this application and results will be announced in due course. For any lighting professional keen to work with Signify in this area, it is imperative also to engage a competent ecologist for advice and guidance.

© 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.


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



MAY 2020



The UK and much of the world economy went into an unprecedented social and economic lockdown during March and April in response to the coronavirus Covid-19 pandemic. So how have lighting professionals, and ILP members, been managing?

By Nic Paton

MAY 2020


The coronavirus crisis


here will we be in terms of social and economic upheaval by the time you’re reading this in May? Given the unprecedented few weeks we experienced in March and April – when this was being written – it is impossible to say. But it is fair to say the coronavirus Covid19 pandemic has upended ‘normality’ in ways few of us could have imagined, and lighting and the lighting industry has been affected just like every other economic sector in the UK and across the world. Lighting manufacturers, design companies, consultants, engineers – lighting professionals across the spectrum – have been implementing crisis contingency measures to maintain business continuity and trade during these challenging times. Remote and home working has been implemented where possible and, equally where possible, production and activity has been maintained, although as restrictions on all but ‘essential’ working have become tighter, this has become harder and harder. The lockdown has, unsurprisingly, led to the postponement of projects, installations, events and meetings across the country and worldwide. Indeed, a survey of Lighting Industry Association members in April found that, while most (89%) were managing to remain open in some shape or form, the average running capacity was 45%, with 44% of staff ‘furloughed’ under the government’s coronavirus support programme, and two-thirds (69%) reporting difficulties in obtaining raw materials or components. More positively, 71% said they had a recovery plan in place for when lockdown measures were lifted.


Lighting Journal spoke to a number of ILP members to find out how they are coping during these unprecedented times. ‘We are in new territory and our lighting colleagues now need to juggle the domestic challenges of childcare, home teaching, support for elderly family and friends with work and within the lighting community there are other colleagues who perhaps live alone and/or have moved not just within the UK but across the world to be where they are now,’ agreed Allan Howard, technical director, lighting and energy solutions at WSP. ‘We are seeing that the majority of organisations, companies and staff are learning how to be totally flexible and agile in respect to working patterns to suit and support each other whilst of course getting the work completed. This environment is bringing additional pressures but we are seeing people keeping in touch though a wide range of media and providing support to one another as we navigate through this emergency and

look to follow government guidance, but on the whole it is as close to business as usual,’ he added. Allan was also concerned as to whether, when the restrictions do lift, we might see a logjam of activity – postponed events, projects, conferences and so forth – all trying to take place during the autumn. ‘The pressure will be on companies over the last half/quarter of the year to bring work in and deliver it (make up for lost revenue now), so attendance at conferences, awards, exhibitions will be at a premium and restricted and will be based upon value they are seen/considered to bring. ‘In these difficult times it is key to engage with staff/colleagues and keep them on board as much as possible if you wish an ongoing business to come out of this,’ he added. ‘Our manufacturing facilities have all been reconfigured to comply with government guidelines. We are doing all we can to keep running as smoothly as possible, however the supply chain for components parts is becoming more difficult, with many international borders closing, which could potentially impact deliveries down the line,’ said Nicola Marques Butler, marketing director at CU Phosco Lighting. ‘As the pandemic has evolved, and in anticipation of the guidelines for employees to work from home where possible, all of our office staff were set up to be able to work remotely, which they are now doing. However, with children to be home educated and entertained at the same time and potential illness and isolation to deal with amongst other things, it is not as straightforward as it would be in any other situation. ‘We are very conscious that, due to the drastic way we have all been asked to change the way we live our lives for the foreseeable future, our mental health can easily be affected. We have a team of mental health first aiders across the company who are available for anyone to speak to if they are feeling worried or anxious or if they have any concerns about their own mental health or that of their colleagues, friends or family. ‘It’s not so much “business as usual” rather, “business the very best we possibly can” in a completely unprecedented worldwide social and economic situation,’ Nicola said. Guus Ketelings, lighting design technician at CU Phosco Lighting who has recently moved to working from home full time, added: ‘For me personally switching from an office to working from home hasn’t been that difficult as I already worked from home from time to time. ‘But inter-personal communication has become more important than ever. You need to keep on top of who’s doing what and what

is going on. So we have started calling each other every other day or every day just to keep in touch.’ ‘I think our biggest change is that we are not meeting our clients face to face anymore. We are telephoning and may try skyping if they can do it,’ said Nigel Parry, principal at OrangeTek. ‘The events being cancelled until the summer/autumn is quite something and I’m worried that everything will be squeezed into September, so it would be really good if the industry could look at this holistically and decide which events to run in the autumn or postpone for a year. ‘As for us at OrangeTek we are all working at home, apart from our warehouse team , who are still doing their thing, as although most of our lanterns are manufactured in Taiwan (where little effect is felt) or China, after early disruption they are more or less back up to full speed , so we are getting our orders deliveries in, just a little late,’ he added.


‘We’re coping. No other choice really,’ Neil Knowles, creative director at Elektra Lighting Design told Lighting Journal. ‘Decided last week [March] to work from home, spent Thursday making sure everyone had or could get laptops, software, etc. put voicemail on and now we are all remote. Conference calls 8am to check on each other and the day’s work, virtual Friday night drinks at 5.30pm via house party app (in our case, Thursday night!). ‘No idea how we will get samples. We’re basically winging a lot of stuff. But everyone has just pulled together and is being reasonable about it.’ ‘This is a great opportunity for us all to be engaged with each other be supportive and kind,’ agreed lighting designer Emma Cogswell. Lighting Reality, like many, has embraced video conferencing, helped by the fact it had been in the process of introducing a new integrated telephony/conferencing/screen sharing solution for staff anyway as it upgraded to new offices, as director Tony Cook explained. ‘We very quickly moved all staff to be home based, and the new systems in place meant that with 24 hours everyone was up and working from home,’ he said. ‘We are now using the new technology extensively, which means we have a twice weekly video conference where all staff join for a quick progress update, and then have smaller in depth team meetings throughout the week, including sessions with our overseas partners/agents,’ Tony said. ‘Customer-facing services for sale and support have not been impacted as the



MAY 2020


The coronavirus crisis telephone system not only allows calls still to be picked up, but also transferred internally to the relevant member of the team, no matter where they are based in the country,’ Tony added. Alongside these internal changes, the company has introduced an innovative remote licensing renewal facility for clients. ‘Having achieved a very flexible environment for ourselves, we also looked at how we could help our existing customers continue to work if they become home based. We have introduced a simple licence mobility programme where users can release their existing licence and then install a fresh copy of Lighting Reality PRO on their home PCs,’ Tony explained.


The potential longer-term fallout and disruption from the pandemic was worrying Kimberly Bartlett, ILP Vice President – Education and principal engineer at WSP. ‘At the moment it is very possible that the entire industry may suffer from this situation,’ she said. ‘There have been some clients that have held back on allocating or funding work as they are not sure if there will be a workforce to deliver it,’ she told Lighting Journal. ‘Of course, when the award is delayed, the work is delayed, then the order and of course the delivery. It is possible the works that usually take place during the summer may be shifted later in the year or to the following year. If delayed to the autumn and winter, it is possible the industry may see resourcing issues where holidays earlier in the year have been cancelled and staff are taking the days later in the year. ‘Ultimately we are doing everything we can to keep the economy going but, if the work does dry up, it is likely businesses will need to take up the offer of the government to top-up salaries to keep us afloat and prevent mass job losses. ‘This is unlike anything most of the industry has seen before, so it is uncharted territory. One thing I am sure of though is that we will all pull together and support each other. The lighting industry is more than a group pf people with similar interests; we are a family what works tirelessly to be there for each other when we need it the most,’ Kimberly added. Very wise words. While none of us can know exactly how choppy and difficult the waters will be, it is already looking like it is going to take a huge collaborative effort on the part of the industry – and ILP members – to pull through these difficult times.

LIGHTING JOURNAL NEEDS YOU! During these challenging times, many within the industry will be totally focused on keeping their businesses afloat, caring for loved ones, looking after their health and, hopefully, avoiding going down with the Covid-19 coronavirus. But for those of you who do have some spare time or capacity during this crisis and fancy trying your hand at some writing, Lighting Journal will be in the market for articles, comment, opinion and insight. April to July is normally one of the peak event/conference seasons for the industry – not least the ILP Professional Lighting Summit – and normally a lot of future content for the journal is generated within that period. But, of course, none of this is happening this year. So if there are CPD topics or ideas you’d be interested in writing about and having published within the journal, please get in touch with editor Nic Paton at: or go via your local LDC or through the ILP head office team, especially Jess Gallacher at: We look forward to hearing from you. But in the meantime, please stay safe!

MAY 2020


Highway lighting



MAY 2020


The coronavirus crisis WHAT ILP MEMBERS SAID

The following is an abridged selection of contingency planning notices and updates from ILP members and Premier members. For the full statements, please visit their respective websites.


‘We are fully operational and coronavirus-free at Designs for Lighting, but we have a plan in place should it make an appearance... We are fit for business and proud to be offering the same healthy service, meeting all our clients’ needs.’


‘In order to guarantee a smooth operation of all business activities, all our sales and sales support colleagues are now working from home. This means that your usual sales contact continues to be at your disposal, for any questions or virtual meetings, whenever needed. We are striving to continue to offer highest quality support during all times. All our production facilities and distribution centres are currently operating normally with intense precautionary measures in place for the safety of our suppliers, forwarders and employees.’


‘Our office will remain open. As we are a home-based operation, a “lockdown” is unlikely to have any effect on us. However, we are not attending any meetings or undertaking site visits.‘We would like to extend our best wishes to all our colleagues during these worrying times. Stay safe. This too will pass.’


‘We have established a multi-agency group, which is working together to respond to the situation and is meeting on a regular basis.’

‘We have temporarily suspended production in four of our European factories to minimise health risks and mitigate the spread of Covid-19 in our communities. Our commercial teams and business remain operational as we continue to work remotely.’


‘We are open and operating our normal shift patterns and will continue to do so. OrangeTek will follow advice regarding the situation in line with government announcements. Once we obtain information or advice, which may affect our employees or our business activities, we will endeavour to communicate these as a matter of urgency.’


‘Lucy Zodion is still very much open for business and we are taking orders over the phone or via email. While our business remains operational, all visitors to site and face-to-face meetings are currently prohibited to reduce risk of infection.’


‘The DW Windsor Group remain fully committed to the continuity of our service. We are following the advice of both the government and health authorities and, as you would expect, our number one priority is to protect our business community. With immediate effect, our sales teams have been taken off the road and will utilise video conferencing as an alternative to face-to-face meetings.


‘SLDS have undergone intensive contingency planning to ensure robust measures and procedures are in place to allow us to respond to the unprecedent situation regarding Covid19 whilst ensuring the welfare of staff and their family members is the forefront of the business. Currently, SLDS are business as usual as our procedures allow us to react to all of our clients’ needs without the need for face-to-face delivery through file sharing and video conferencing facilities.’

‘We are committed to supporting local authorities and governments to limit the spread of the virus, and the health and safety of our colleagues and customers remains our top priority. Our teams are also evaluating the best ways to satisfy emergency needs in our markets, particularly for electricity, heating and plumbing.’


‘In the current situation, the Zumtobel Group and its brands are working intensively to ensure that all business activities continue to run smoothly for their customers. Many employees are already working from home, ensuring that customers can get in touch with their usual contacts in sales as well as in other departments by phone or virtual channels. The Zumtobel Group’s production facilities and distribution centres are currently operating normally with strict precautions in place to protect suppliers, forwarders as well as employees. Shift changes have been modified to provide additional safety for employees.’


‘During these strange times our thoughts are with you and your loved ones. Please be aware that all our team is now working from home. Working from home is new for Elektra, as I’m sure it is for many of you to. These days we operate primarily digitally and online, so we can easily communicate with our clients and third parties, wherever that happens to be.’

MAY 2020



‘The team at Telensa are doing everything they can to: continue giving full support to all our customer networks; continue rollout of new networks, as planned, so customers can start to achieve the benefits as soon as possible; continue working with new customers, be it for new pilots or largescale deployments. As a global company we are used to working “virtually”, using everyday collaboration tools to work together over large distances. So, as most of our staff move to remote working it is just an extension of business as usual.’


‘The fast-deteriorating market situation is affecting both customers’ and Hydro’s operations. Hydro is reducing or halting production at some sites to meet change in demand, while implementing firm actions to protect people and business. Following effects from the coronavirus situation, as well as the effect from actions implemented by authorities to fight the coronavirus, customers are starting to reduce their production. The impact is currently most visible in the automotive segment and in building and construction, and more broadly in southern Europe.’


‘Around the world, our teams have implemented flexible and remote work arrangements that enable WSP to remain fully operational across the world. A business continuity management system is in place to reduce the impacts of the pandemic on our work and our clients. With collaboration at the heart of everything we do, our teams continue to support all our clients and their projects through modified working practices that include online collaborative technologies and meeting solutions.’


‘Sill Lighting is following the advice of the British government and to reduce the risk to our team members we have switched to working remotely; we are still contactable via our main office number, mobiles and emails. Our friends and colleagues in our factories in France and Germany are following local advice and are currently working as normal.’


‘MS Lighting Design is reassuring clients and partners that we are running our business as usual and offering the same great levels of service. We have responded to the latest developments of Covid-19 by implementing remote working for our team, and will be using the latest technologies to communicate and present ideas to our clients.’


‘As the situation varies in each country, our approach is to act on local advice. We are following the guidelines issued by the World Health Organization (WHO), local government and local health organisations in each country. If we encounter circumstances that prevent us from delivering business as usual, we will advise affected customers, and liaise with the appropriate local authorities to deliver as best we can given the local circumstances.’


‘The unfolding coronavirus crisis clearly creates huge challenges and uncertainty for businesses across the country. I wanted to reassure you that we continue to prioritise the safety and wellbeing of our UK employees, whilst ensuring we are open for business and continuing to serve your projects.’


‘From everyone at ASD Lighting, we hope that you, your colleagues and your family all stay safe throughout these unprecedented times. We would like to reassure all our valued customers and supply chain partners that despite the Covid-19 global pandemic we are still open for business with our manufacturing facilities fully operational.’


‘CU Phosco Lighting is following all official advice to ensure the health and safety of our employees, customers, suppliers and the wider community. We have implemented the following measures to help reduce the potential spread of the disease within our offices and factories and amongst our staff. • All staff that are able to work from home are now working remotely backed up by appropriate technology, so they remain contactable as usual. • Those now working from home and self-isolating have been issued with advice on how to protect their mental health and wellbeing during this time. • All non-essential travel is cancelled with immediate effect. • All staff working at our manufacturing facilities to maintain a 2m distance always and workstations have been adjusted to ensure this. • Additional personal hygiene regimes as advised by both the NHS and the government and additional cleaning measures on all our premises. • Only essential, pre-arranged visits to all our sites will be accepted and additional hygiene measures are in place for all visitors including deliveries.’



MAY 2020



TO THE CHALLENGE The transformation of London’s ExCeL exhibition centre into a 4,000bed ‘Nightingale Hospital’ for coronavirus patients during March and April was a stunning logistical and engineering achievement. Lighting Journal talked to Mark Ridler of BDP about some of the issues the practice faced and what it meant in terms of lighting and lighting design

By Nic Paton

MAY 2020


The coronavirus crisis


or most lighting professionals, the ExCeL exhibition centre in London’s Docklands is probably best known at the host of LuxLive each November. But, as most of us will undoubtedly have seen on the news, during March and April it was rapidly repurposed into a vast 4,000-bed temporary hospital for coronavirus Covid-19 patients. The transformation of the 115,000sq m space took place at astonishing speed, being completed in just over a week, with the main contractor CFES working with architectural, engineering and lighting design practice BDP and the new ‘NHS Nightingale Hospital’ opening to its first patients on Friday 03 April. The template for the design and installation is now set to help transform other sites around the country, including Birmingham’s NEC Centre as well as sites in Manchester, Glasgow, Harrogate and Bristol. Coincidentally, on the day of the opening Lighting Journal spoke to Mark Ridler, principal at BDP Lighting, about what it was like to be involved in a project of such national importance, and what challenges it had posed from a lighting perspective. ‘There had been plans to put ICU beds into hotels. But then our principal engineer wrote a paper on why you could use exhibition centres as a more effective solution, because in a larger space it allowed a greater level of nurse-to-patient ratio and supervision, rather than putting them in separate rooms,’ Mark explained. ‘There was a weekend where there were conversations and then there was a BDP team on site with the NHS and the army on the Monday morning, and they just worked flat through for six days. ‘The launch – today – has 500 beds working. And then the module will be rolled out for the other 3,500, and due to come on line within the next few weeks. In January we were seeing the Chinese building a 1,000-bed hospital in eight days. The UK has done something amazing too,’ he said.


The construction, unsurprisingly, focused on speed over durability. A lightweight, easy-to-fit component system was used for the bed-head areas and service corridors, ironically much like the sort of construction normally used for exhibition stands at events such as LuxLive, with services then fitted to the walls. One priority was ensuring the hospital had adequate medical gas and oxygen facilities. To that end, two distribution

ring mains were run around the basement car park. These feed up to the patient beds and the gas is circulated via a service corridor. The temporary electrics normally used for exhibitions were also repurposed to feed a 3m section of dado trunking to the patient bed-heads, prefabricated by the electricians on site. When it came to the lighting, while Mark modestly insisted that, compared to the engineering teams, the lighting team ‘had very little to do with it’, it was undoubtedly an important part of the fitout process. ‘There was a supply chain already in place, so we weren’t selecting luminaires; we were using luminaires that were readily available. It is an LED bulkhead IP68, wipe clean, which is mounted above the bed at approximately just under 3m,’ Mark explained.


‘These supplement the ExCeL standard lighting, which is roughly OK for circulation. The bed-head luminaire then provides the nursing illumination, with mobile examination lights for the 1,000 lux that is needed when intense medical activity is happening. ‘The thing that worried us was the solution wasn’t Lighting Guide 02-compliant in any shape or form, other than in providing the bulk amount of illumination and the uniformity on the bed. The thing we were worried about was glare for the nurses, in terms of being disabling glare; but we haven’t had any reports that that has been a problem. ‘The other thing we were worried about was there was no lighting control; there just wasn’t the time to put it in. You aren’t able to dim the lights or go down to low

light levels for sleep. But then we were also hearing that most of the planned patient activity is going to be sedated, so that wasn’t really a significant issue in the end. ‘The other thing the electrical guys really needed to change was they needed to adapt the stand-by generation facility and bring in some temporary generation in the event of a power cut. ‘The emergency lighting in the hall is entirely compliant but, obviously, didn’t allow for the continuation of medical activity, so we needed the generators for that,’ Mark explained.


Although a hugely pressured job to complete, to be able to contribute to helping the NHS, and the nation, in its time of need was hugely rewarding, Mark added. ‘BDP has a very strong ethical and social history and very strong principles. ‘When a large multidisciplinary company can swing into action and provide that level of expertise at almost no notice and get a job of that scale done and with that amount of social significance, it really makes you proud to be part of the company, even if your own individual contribution was minute.’ More generally, how had BDP had to adjust to the new economic climate and did Mark have any thoughts around some of the longer-term ramifications that the industry may be feeling as a result? ‘We got everybody working remotely very quickly. Certainly, within lighting we are quite a flexible organisation anyway. I personally had been agile working for a year and so don’t have a desk anyway – so that wasn’t a problem,’ Mark explained. ‘There was the odd IT teething problem but that was knocked out quite quickly. The BDP IT team was absolutely magnificent. It got an office of 450 people remote in three days, which is amazing. We have still got access to all the heavy-duty programs that we need, and the work has still been coming and going out. It has been very high quality and the team has performed superbly,’ he said. Obviously, installation work is on the back-burner for now and the wider economic fallout from the pandemic is still as yet unclear but, Mark predicted, will almost inevitably be felt within the industry. ‘The obvious thing is, with the economy in crisis, our clients are going to be suffering. And that is going to make a difference on what they feel willing to proceed with. The uncertainty is enormous but for now we are just trying to keep the quality high, and helping our clients as much as possible,’ Mark said.



MAY 2020


HOW THE ILP HAS YOUR BACK With the lighting industry under severe pressure during the pandemic, the ILP has been putting in place extra support and help for members, keeping lighting professionals connected and maintaining its role as an advocate for the industry. Here is a round-up of some of the activity underway

By Nic Paton

MAY 2020


The coronavirus crisis


rom fighting for the future of infrastructure projects through to keeping the industry connected via social media and amplifying a call for volunteers to help our hard-pressed NHS, the ILP has been doing all it can over the difficult past few weeks to help the industry get through the coronavirus pandemic. Here, then, is a round-up of some of the activity that has been going on to support members and promote and assist the industry through these unprecedented times.


The ILP has set up a group in response to the need among many worried or anxious members for an understanding, professional and kind place for ‘furloughed’ lighting professionals who have been temporarily laid off under the government bail-out programme because of the pandemic shutdown. This LinkedIn group has been set up as a place for lighting professionals to share information, CPD, volunteering opportunities and budget-friendly activities. If you are on furlough in the UK, you are allowed to undergo training and continuous professional development – and the ILP is here to help you. Lighting professionals who are not

furloughed but would still like to contribute to the group are more than welcome to join too. The group is also very much open to lighting professionals who are not ILP members but who are just looking for support or advice. So please spread the word. The group can be found at:


From April, the ILP began hosting weekly online welcoming sessions for everyone in lighting called ‘Hi Lights’. Hi Lights is designed to be a collaborative, welcoming online space – just somewhere to come and say ‘hi’ really and have a chat – for those within the industry who are: • busier than ever and need speedy advice from lighting peers • seeking inspiration and a chance to bounce ideas off others • keen to let people see your lighting solutions • looking for help with projects and specification • finding you have time on your hands and would like to virtually connect with a bunch of friendly faces The sessions will take place every Monday at 3pm, circumstances permitting.


Together with the IALD, Society of Light and Lighting and Zumtobel Group UK, the ILP has launched a social media initiative called the ‘Light Minded Movement’. This Instagram project is aiming, very simply, to encourage and promote wellbeing among those working in lighting, especially given the levels of worry, anxiety and dislocation many within the industry may be feeling both personally and professionally at the moment. How the Light Minded Movement works is that a theme is set each week and people are encouraged to post pictures relating to it. It therefore gives the lighting community an opportunity to communicate through images and to show how they are coping with the changes in their working conditions, life at home, and family; how their days have changed and what they are doing to keep mentally well. Administrators for the site are Emma Cogswell of the IALD, the ILP’s Engagement and Communications Manager Jess Gallacher and Events and Marketing Co-ordinator Jo Bell, Brendan Keely and Juliet Rennie from the SLL and April Dorrian and Dan Hodgson of Zumtobel Group UK. As Jess Gallacher put it: ‘In its first



MAY 2020


The coronavirus crisis week, the Light Minded Movement attracted 150 followers, and we’ve received heart-warming messages of thanks for providing something that lifts the spirits at this critical time. It’s a team effort, all about togetherness and support.’ To access the project, open Instagram and search for the Light Minded Movement: w w w. i n st a g r a m . c o m / light_minded_movement/


As the coronavirus crisis unfolded during March, the ILP wrote to prime minister Boris Johnson to urge him to ensure that work is maintained on infrastructure projects. ILP Chief Executive Tracey White assured Johnson that the construction sector was acting responsibly to maintain public safety. ‘In view of the grave crisis facing the health of the nation, and concerns for our long-term economic future, many businesses and local authorities concerned with infrastructure are looking to your leadership to help people keep working safely when possible and maintaining economic activity,’ Tracey wrote. ‘Construction industry work is predominantly conducted outside, where there is less chance of transmitting the Covid-19 virus. With much of the general population self-isolating and working from home, the roads and transport networks will be relatively quiet allowing closures, traffic management, etc to be undertaken without undue disruption. ‘Businesses also need a raft of measures to keep them going, including deferring some tax payments, and enabling them to keep paying everyone in the supply chain,’ she added. Tracey argued that guidance on social distancing was welcome and would help those able to work to protect themselves and others. ‘Our members are following advice to protect the health of their staff, their families and the wider public. Some aspects of this guidance are easier to follow for major infrastructure projects. ‘Such projects are vital for the survival of tens of thousands of SMEs, a high proportion of the construction industry’s work force (40%) is self-employed and immediately reliant on the continuation of them. Many of our members fall into one of these categories.

‘Help is needed to enable firms to continue working as far as it is safe to do so, or to continue paying staff in the event that projects have to be suspended,’ Tracey added. Tracey’s call came as, separately, two health and safety bodies urged the government in March to do more to protect the health, safety and wellbeing of construction workers during the crisis. The British Safety Council (BSC) and the Institution of Occupational Safety and Health (IOSH) both called on ministers to help construction workers, many of whom are self-employed contractors, to stay safe during the crisis and not feel under pressure to work on-site, especially if they were displaying symptoms of Covid-19. The BSC said the government needed to give clearer guidance on whether work was able to continue on building sites and, if so, which ones. It warned that the lack of clarity meant thousands of construction workers were continuing to go out to work when other workers were staying at home or isolating. BSC chair Lawrence Waterman said: ‘Some building work will be deemed essential – for example, building work that will improve access to hospitals or road access which will help tackle the virus. It is also the case that half-built buildings need to be made safe and workers should prioritise work that can safely suspend construction for as long as necessary.’ And IOSH emphasised that only essential construction work designed to help save lives should continue during the crisis. Richard Jones, IOSH head of policy and public engagement, said: ‘Essential construction to support the fight against Covid-19, such as hospital construction, vital infrastructure and safety maintenance, can be prioritised – while non-essential building work is safely postponed,’ he said.


The ILP put out an urgent call in March for volunteers to come forward to help the NHS in building and equipping the new medical facilities that have been created in London, Manchester and Birmingham to treat patients with Covid-19. The Institution had been approached by the Royal Academy of Engineering, on behalf of NHS England, to ask if, as a professional engineering institution, it could

support the NHS in providing technical expertise to the health service through coming forward as ‘Auxiliary Engineering Support’. In a statement the ILP said: ‘Of course, we do not wish any of our members to place themselves in harm’s way, but we also recognise as engineers we have a duty of care to society which we are proud to uphold. ‘This is not a decision to take lightly. You will be in close proximity to populations of infection and you may see upsetting scenes. We therefore ask that you consider this request very carefully; discuss it with your family and consider your own health before submitting your application,’ it added. The online link to the job description and form to register are included at the bottom of this article [1].


During the crisis, the ILP has been proactive in sharing guidance and information relevant for the profession on an ongoing basis. For example, last month the Chartered Institution of Highways & Transportation (CIHT) asked the ILP to share guidance and best practice around coronavirus issued by the Department for Transport [2]. This guidance refers to construction but also relates to highways maintenance, street and road works for England (excluding London).


With all face-to-face training and CPD events up to July either cancelled or postponed to the autumn, including the Professional Lighting Summit and LDC events, the ILP has been busy creating new online training modules and opportunities for members. The first of these, an online version of the ILP’s popular CPD course on its new asset management guidance note, GN22: Asset Management Toolkit: Minor Structures (ATOMS) ran on 1 April. Depending on how long the restrictions on movement and activity continue in the UK, further online training and modules will be rolled out for members as and when necessary. For more details on this and the current events programme for the autumn check out the Diary on page 50 or go to:

[1] The job description to become an Auxiliary Engineering Support professional can be found at: The Royal Academy of Engineering has created a short form for volunteers to add their name and competency details, which can be found at: UdbGVvaHX7g/viewform [2] The coronavirus guidance from the Department for Transport can be found at:

CELtek Central Management System MAY 2020 LIGHTING JOURNAL

Project: Merthyr Tydfil County Borough Council Merthyr Tydfil

with appreciably better onsite support and

CBC embarked

more competitive service and ongoing

on a major

costs. Merthyr decided to adopt the CELtek

project to

system alone.

achieve both a substantial reduction in energy consumption while lowering their street lighting maintenance costs.

Initial surveys were carried out in detail due to the geographical nature and hilly terrain of the County Borough. Arrangement, positioning and location of the Gateway250 had to be carefully plotted for best

Merthyr Tydfil had an asset of 7,338 lighting

transmission. As a result, although a number

points, most of which were High Pressure

would go in existing feeder pillars,

Sodium and all approaching the end of

it was decided that the majority of

their life. With continued rising energy costs,

Gateways would be supplied in column

along with the cost of maintaining an aging

mounted boxes, which resulted in

asset, the Authority examined various ways

additional flexibility for obtaining the best

of saving energy along and reducing their

communication to and from the Central

public lighting costs.

Server as well as the signal from the network

The County Borough were fully aware of

Considering the geography and terrain of

the risks involved in controlled switching off

the Borough, it has been calculated that

of the lighting so considered that correct

upon completion of the project, the entire

management of the lighting with the

street lighting asset would successfully

upgrading of the asset was the best option.

operate using between 11 and 14

It was decided that a programmed replacement of the old luminaires with new LED fittings was the answer, and to maximise the savings for the Borough, a

Gateway250 units. One of the advantages of the CELtek system is that the operating system is web based and therefore no additional software is required.

Central Management System would also be

The completed project vastly improved


street lighting asset for Merthyr Tydfil CBC,

The program commenced with a timetable of changing 3500 units per annum over a 2 year period. This planned schedule of works would result in a payback period for the project of just over 7 years with the cost paid back from the savings made to the annual street lighting energy bill.

the monitoring function of the system highlights any maintenance issues allowing them to be resolved quickly and efficiently. The continued use of the system enables them to monitor and control the street lighting thus providing an effective

A number of Central Management System

maintenance regime

manufacturers were approached regarding

which results in

the performance, technical detail and

substantial energy

service requirements of their individual

savings throughout

systems. The Charles Endirect solution

the County Borough.

provided much the best value for money

Ingenuity at work +44 (0)1963 828 400 •



MAY 2020



OBVIOUS? As lighting professionals, we all think we understand glare and its impact on drivers in particular. But, given the fact our population in the UK is ageing, should we be questioning some of the long-held assumptions used for measuring glare, especially Threshold Increment factors?

By Guus Ketelings and David Lodge


Highway lighting


magine the scene. It’s late summer. Assuming by this point we’ve overcome coronavirus, you’re sat in the garden, sunglasses on, enjoying a nice cold beverage whilst catching some final late-evening rays as the sun drops towards the horizon. Sounds idyllic, doesn’t it? And it is. But we all know that when driving at this time of day – during sunrise or sunset – glare is often problematic. Glare in circumstances like these is very noticeable; road users also experience glare during night hours caused by artificial lighting. Whilst we all know what glare is – what is it really? A brief explanation that is usually given is something along the lines of ‘the light contrast between the light source and surroundings when looking at a fixed point’. However, things are not quite so straightforward (and is probably why people tend to generalise)! To prevent confusion further along in this article, I will be referring to increases and decreases in contrast. Note that increase in contrast in this context means that the difference between dark and light is greater and vice versa. There are two main types of glare: discomfort and disability glare. Discomfort glare is caused by high luminance in the field of view. It causes the observer to instinctively look away from the light source. Disability glare impairs the observer’s vision without necessarily causing discomfort. Disability glare is caused by internal reflection of stray light within the eye, which is superimposed on the retina. This is called veiling luminance. This in turn increases the contrast between the observing point and the light source, which can affect the ability of the observer to identify hazards or judge the speed and distance of other vehicles. The eye needs time to readapt to the surrounding light levels after being exposed to disability glare – especially in low ambience light zones such as rural roads. This can take anywhere from a few seconds to minutes depending on age and the health of the observer’s eye [1]. Note: the effects of glare reduce as the ambient light levels around the observer increase. Also, the recovery time relating to the glare reduces with increasing ambient light.


On traffic routes, glare is measured in two ways: Threshold Increment (TI%) and Luminous Intensity classes (G-rating, G0 to G6). Threshold Increment measures the

amount of disability glare using a ratio between veiling luminance and background luminance. Luminous Intensity classes, on the other hand, look at the amount of light within a region above a pre-defined vertical angle. Luminous Intensity was originally designed as a measure to categorise luminaire light distributions based on the amount of upwards light produced, with the aim of promoting luminaires that produce less light pollution. Whilst this parameter does not truly measure glare, assuming the distribution of light is generally directed towards the area to be lit, in other words the road rather than the verge, it can help indicate the amount of light a driver might experience at different distances from a luminaire. Luminous Intensity classes are heavily dependent on the location of the observer relative to the peak beam of the luminaire, whereas TI% is heavily dependent on the viewing angle of the observer. Additionally, Luminous Intensity classes are omni-directional relative to the luminaire. TI% looks in a fixed direction, and only considers the luminance on the road, as shown in figure 1 overleaf. The assessment considers light above the 70° cone with more stringent limitations placed on the regions above 80° and 90°. The reasoning for Luminous Intensity class being helpful in assessing glare is because of the geometry of the light path from the luminaire to the driver’s eye. The driver is assumed to be looking at 1° below the horizontal and have a field of view that extends 20° upwards (and therefore 19° above the horizontal). Coincidentally, light that is emitted above 71° (90°-19°) will be within the 20° dihedron defining the driver’s field of view. However, the background and surroundings will typically be relatively dim, resulting in increased contrast and therefore higher disability glare. A final consideration that isn’t directly addressed through the use of Threshold Increment is the effect of the driver moving along the road. In calculating TI%, the standards assume the driver hops from one calculation grid point to the next. However, in reality, the angles of the light to the driver’s eye are constantly changing and, where the main beam of the light distribution extends above 71°, the driver can experience a flashing effect at the top of the field of view, as the luminaire passes out of sight. Selecting a G-rating with very limited light over the 70° up-angle is an effective control and minimises this flashing effect, this therefore significantly increases the comfort for the driver who

on long journeys could be exposed to the flashing over several hours. It is likely that a G3 luminaire will create this flashing effect, whilst a G6 luminaire is unlikely to create flashing, as can be seen from the green peak beam distributions for G6, G4, G2 and the unclassified polar diagrams in figure 2 overleaf.


Recently there has been some discussion around the use of blanket G-ratings on the highways network and whether they should be used at all. Some say that TI% provides a much better metric for measuring glare specific to the road layout. Whilst this is true, there are some problems with this. Both metrics can assist with assessing the potential for glare, as we have established. However, they function slightly differently. Luminance is only measured for (relatively) straight sections of road that are flat, and so TI% is not easily applied on bends or on the crests of hills. For crests of hills, for example, there is a requirement in BS 5489-1 to use G4 to G6 rated luminaires to limit glare from the luminaires beyond the crest. While TI% is an important measure of glare, it should be used in conjunction with G-ratings to prevent problems where the calculation of TI% doesn’t fully represent the curves and elevation geometry of the road.


Provided that the chosen luminaire provides you with a suitable distribution, G-ratings (when read in conjunction with the Imax values) provide a good first indicator of potential glare levels. Threshold Increment should then be used to fully and accurately assess glare levels. Additionally, G-ratings can mitigate problems with glare where Threshold Increment falls short, such as on bends or on the crests of hills. Lastly, increasing G-rating requirements from, for example G3 to G6 can reduce the amount of apparent flashing from luminaires passing through the top-end of an observer’s field of view.


Threshold Increment factors in the condition of the eye of the observer – which is assumed to be in perfect condition. For example, the age of the observer’s eye is taken by the standard to be 23 years. However, research suggests that older observers experience higher levels of disability and discomfort glare. This effect levels out at age 50 [2]. Moreover, a large section of the calculations for Threshold Increment was formulated in the 1970s – research was completed before that.



MAY 2020


Highway lighting

ď ° Figure 1. Illustrating the difference between Threshold Increment and Luminous Intensity classes t Figure 2. Four illustration of green peak beam distributions for (clockwise from top) G6, G4, G2 and unclassified polar diagrams

A point therefore worth considering within this might be that the UK (and many other Western countries) has an ageing population. According to the Department for Transport, 87% of the population within the 50-59 age band hold a full driving licence, with the 40-49 age band (85%) and 60-69 age band (83%) following closely behind [3]. By comparison, in the 20-29 age

band, only 65% hold a full driving licence. Whilst this cannot be taken as a direct extrapolation of how many people from a certain age group use the roads and therefore road lighting, it is clearly demonstrating the potential gap between the assumptions and real life. Should we as industry professionals therefore be giving greater consideration

to the the effect of glare on an ageing population and therefore assume that the driver is older than 23 years old? Guus Ketelings is lighting design technician and David Lodge CEng MICE MIEAust CPEng is technical director at CU Phosco Lighting

[1] Van Derlofske J, Chen J, Bullough JD, Akashi Y. 2006. Headlamp glare exposure and recovery (SAE paper 2005- 01-1573). Society of Automotive Engineers 2005 Transactions Journal of Passenger Cars - Mechanical Systems 114(6): 1974-1981. [2] N Davoodian MArch PhD MSLL, P Raynham BSc MSc CEng FILP MCIBSE FSLL and E Barrett MSci PhD. Disability glare: A study in simulated road lighting conditions. [3] Driving licence holding and vehicle availability, Department for Transport, https://























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MAY 2020


CABLE STARS Catenary lighting can be a flexible alternative to lighting public realm spaces, offering a subtle transition between buildings and structures as well as functional, directional lighting and the ability to highlight architectural features. But getting it right takes careful planning and co-ordination

By Natalie Critchard


Catenary lighting


alking through the public realm, when you come across a catenary lighting system it is hard not to admire the lighting seemingly ‘floating’ above. Stylishly running along a cable, the streets are effortlessly illuminated below. It is also understandable that the amount of engineering behind this sort of lighting solution can often go unnoticed. At Studiotech, we’re proud to have been behind what was the UK’s first linear-style catenary lighting system. But, arguably, successfully delivering any kind of catenary lighting solution is an achievement in itself! This article intends to outline why this is the case and some of the common pitfalls to avoid when it comes to catenary lighting. It will also offer some tips and advice on how to specify and install catenary lighting to ensure you maximise its effectiveness and potential. But first let’s recap on what catenary lighting even actually is. Catenary lighting is where structural cables are used to suspend lights, rather than mounting them on poles, walls or other fixed structures. It is increasingly being used to bring life and ‘feature’ into public realm areas, by which I mean across atria, parks, courtyards, bridges and even commercial rooftop community spaces. Catenary lighting allows for flexible and otherwise unachievable lighting arrangements and effects. Moreover, utilising catenary lighting in

open spaces and public realm areas can create a subtle transition between buildings and structures as well as surrounding open spaces. The flexibility of this type of lighting is its ability to provide functional, directional lighting or to highlight and bring architectural feature to a space. As such, effective and well-installed catenary lighting can unlock and maximise the use and function of outdoor areas that otherwise might feel gloomy or uninviting. There are many potential benefits that can be accrued from catenary lighting but, again, good design and installation is key. Catenary lighting, to my mind, can bring four key benefits to an urban realm lighting scheme. 1. Suspending the luminaires above the public realm maximises space and reduces clutter. An overhead lighting solution reduces the need for traditional street lighting columns, which in turn maximises floor space and flow throughout the pedestrianised areas. This creates freer-flowing footfall and allows the designer to utilise this newly gained space for other public realm improvements such as furniture and art pieces. 2. Catenary lighting provides precise, directional lighting. Street lighting and building-mounted fixtures tend traditionally to provide illumination along the border of the public realm area. A catenary cable system enables the

designer to position the light fittings in the precise location required above the space, which allows for functional and directional lighting exactly where it is needed. This precision means that less lighting is required throughout the rest of the area, reducing glare, light spill and even energy consumption. 3. Catenary lighting creates visual interest and decorative illumination. Catenary lighting can be a thing of beauty, providing a continuous flow of decorative illumination. From the sharp and stylish linear solution provided at, for example, our project at The Springs in Leeds through to the playful festoon style of the communal roof-top breakout area at a new commercial development in Sheffield (pictured below), catenary lighting can offer a variety of styles, which allows the designer to use the lighting as an attractive and decorative element of the design rather than for the sole purpose of functionality. 4. Catenary lighting encourages use and engagement during the darker hours. Pairing the (both aforementioned) visual interest with precise, directional lighting means catenary lighting can add to both the appeal and safety of the public realm during darker hours. This, in turn, leads to increased evening time use which also maximises the functionality of the area. These are just some of the many reasons catenary lighting is becoming an



MAY 2020


Catenary lighting buildings was the preferred solution at The Springs, a new retail and leisure destination based at Thorpe Park near Leeds. Designed by architectural practice The Harris Partnership, we at Studiotech were responsible for creating an affordable and achievable full-feature lighting solution throughout. This included the RGBW linear catenary lighting, dynamic colour-changing RGBW LED to the mirror cladding, wall washes to the cinema façade, linear under-soffit ambient lighting and ‘living wall’ inground uplighters. For this project, each stainless steel catenary cable was manufactured to an exact length and was fixed to the buildings at positions agreed with the structural engineer – and so very much considering the questions outlined above.


The White Rose Shopping Centre leisure extension in Leeds. The image on page 22 also shows this project

increasingly popular choice for lighting designers, architects and urban designers looking for the ideal solution to illuminate a public realm space. And, although the result may often appear effortless, the installation of a catenary lighting system is far from straightforward. We’ll show this shortly in more detail in two of our recent projects, The Springs and The White Rose Shopping Centre leisure extension, both in Leeds. To successfully deliver this kind of solution takes a considerable amount of engineering and, crucially, precise co-ordination and collaboration between the various subcontractors. Being specialists in this area, we have learnt the hard way about how to overcome the challenges of a catenary system project. On co-ordination and collaboration, for example, a good catenary lighting scheme will often need input from structural specialists, electrical

engineers, mechanical engineers, electricians, CAD designers and programmers. To that end, we bring these skills together in-house.


The first challenge to overcome when considering catenary lighting is, very simply, the question ‘is it possible?’. One of the main elements as to whether this type of solution is successful is the feasibility of fixing the cable to the surrounding buildings. There are several elements to consider within this. These include the condition of the building, can it bear the load of a catenary system, is it listed, can we penetrate its façade and, if not, is there a way around it, what is the availability of power sources and where are they located? Fixing the catenary lighting to

Although catenary lighting is often used to exclude the need for columns, it can also be an ideal solution if areas within the space have no building to fix to. This was very much the challenge when we worked on the £13.7m White Rose Shopping Centre leisure extension, also in Leeds. Designed for property owner Landsec by (again) The Harris Partnership, this is a leisure complex incorporating an Imax cinema, various restaurants, an event space and a new children’s play area. We were responsible for the lighting throughout the extension. This included the catenary lighting suspended above the public realm, recessed linear amenity lighting and dynamic colour changing RGB LED lighting to the cinema façade plus handrail lighting and tensile canopy lighting in the play area. In total, 65 catenary-mounted luminaires were installed above the public realm, all of which required a considerable amount of design and engineering, including manufacturing the steel rope to exact lengths, supplying and installing 7m-high columns to fix to, engineering bespoke brackets and calculating the exact tension required for the lighting to remain taught. By supplying and installing the 7m columns ourselves, this allowed for the continuation of the catenary lighting into the play area. We were also able to maximise the available space in the higher footfall shopping area, although fixing the catenary cable to columns also gave the architect the flexibility to continue the flow of the catenary lighting into a zone that would otherwise have had to be illuminated by alternative

MAY 2020




MAY 2020


Catenary lighting This allowed the electrical wiring to be concealed within the housing and created a much sharper, neater solution.

The Springs retail and leisure centre near Leeds


means, such as standard street lighting . Other examples of alternative fixings have included bespoke bracketry and custom hook style brackets over the parapet of buildings.


Factors to consider when calculating the tension of the catenary system include: weight, quantity and location of the luminaires; location of the cable fittings, columns/poles and connection fixings; and distance between structures and sag allowance. Once these aspects have been agreed with the designer and structural engineer, you can calculate the precise length and exact cable diameter that will ensure the catenary wires not only remains taut but allows for a safe and stable solution.


To answer this question, it is not just the weight but the weight, quantity and location of the proposed luminaires that you need to be considering when determining the cable diameter. The weight of the light fitting is already factored into the tension calculations, which means the luminaires should have no effect on the cable that isn’t already predetermined during the detailed design phase.

Very much so. Catenary lighting does not have to be static white light. Dynamic lighting is of course massively effective when used in capturing attention, in particular marketing and community engagement. But dynamic lighting is also important to give flexibility for the lighting to be programmed to display subtle movement or even static scenes. RGBW, as we all know, can display many of the millions of colours in the spectrum. A key element vital to the success of any catenary lighting scheme therefore is in the controls; in our case we specialise in DMX and DALI. Employing several highly skilled programmers (that collaboration and co-operation element again) allows us to deliver our own concepts as well as take the concepts of other stakeholders, interpret them and then program that vision on to the light feature. This can allow the lighting scheme to harness and celebrate key calendar dates such as, for example, programming a pink scene for Valentine’s Day or a dedicated scene in response to local events. It is these sorts of challenges that make the delivery of catenary lighting a specialised set of skills. And why, with these difficulties to overcome, a catenary solution may not quite be as readily available to find or as straightforward to do as you may think. Having said that, if you embrace a collaborative and co-operative approach, understand the basics and are prepared to think innovatively, the flexibility LED technology has afforded lighting designers makes catenary lighting systems a much more viable, and exciting, option. Finally, the control systems that nowadays go alongside LED means projects have become considerably more complicated. Therefore, it is imperative to include an experienced integrator within your team to bring all these elements together and deliver them as a complete package.


In some cases, yes. For example, in the UK’s first linear catenary solution (which we delivered at The Springs, as outlined above) we mounted more than 170m of the RGBW strip luminaires, all enclosed within a bespoke, flexible PVC housing to the suspended catenary system.

Natalie Critchard is marketing manager at Studiotech

APRIL 2020









MAY 2020


ROYAL CONNECTIONS Royal Wharf Pier, a new riverboat terminal in east London, has been illuminated using a combination of concealed and integrated linear LED and LED uplighting to stunning effect

By Desmond O’Donovan

MAY 2020


Urban realm lighting


oyal Wharf Pier is a new riverboat terminal at Royal Wharf, east London, which has been built in collaboration with MBNA Thames Clippers to connect residents and visitors to central and west London. The new pier has replaced an existing, derelict jetty with a 130m-long pier and riverboat terminal for Thames Clippers’ traffic, while at the same time providing a memorable and generous new public space that can be enjoyed by the community, Londoners and visitors alike. On top of this it extends the Royal Wharf development’s riverside public realm with a new promenade, which stretches 40m into the River Thames, and which is publicly accessible all year round. This linear open space has been deliberately designed to be reminiscent of a traditional British seaside pier, framing long, impressive views towards the horizon. At the heart of the pier, a 162sq m public viewing platform provides a generous and peaceful space, featuring elegantly integrated bench seating at its centre to encourage people to linger, relax and admire the unobstructed views up and down the Thames.


The viewing platform also separates the public promenade from the floating

gangway and pontoon of the Thames Clippers’ terminal, with our distinctly angular design making the pier appear seemingly infinite from the river edge. The patterned aluminium and timber balustrades used along the public promenade are also replicated along the floating walkway – conveying a sleek sense of continuity. Here they extend above handrail height, creating a semi-enclosed space that provides commuters with shelter. When it came to lighting the pier, we had to meet stringent Transport for London standards that ensure passengers can board and disembark the Thames Clippers safely. Whilst working to meet TFL requirements, we wanted to create a memorable public realm for this new London neighbourhood. Offering a striking silhouette from the Thames Clippers’ service as it travels down the river, the sheltered waiting area showcases a playful response to its setting. Cut and folded elevations define the shelter’s form, creating a sense of weightlessness by concealing the large structural elements supporting the pier, while the sloping roofline is angled to take advantage of direct views towards the towers of Canary Wharf, the City and The O2 arena. The waiting area features a large glass

façade and built-in seating enclosed within this metal shell, providing warmth and protection from the elements.


This area has been lit using a combination of linear lighting under benches as well as ceiling lights that have been carefully integrated into the folded aluminium ceiling and which follow the pattern of the ceiling. These have been positioned to ensure a good level of illumination so that passengers feel safe at all times. The floating gangway has been lit using linear lighting concealed within the handrail directed on to the deck. Additionally, lighting at the base of the slatted wind break creates drama and illuminates the ceiling. On conventional piers of this type, downlights would normally be used to provide illumination, but we argued against this, citing the benefits of uplight to the slats. Uplighting also meant that we could limit the light level on the surface of the water, a requirement of the brief. The triangular viewing platform is lit using concealed lighting within the base of the perimeter glass balustrade. This washes light across the deck. This also meant that no unsightly handrail would be required, into which lighting could be integrated, and that the glass balustrade could be completely clear for views up and down the river. The fixed deck is lit in a similar way to the covered floating deck, linking all elements of the scheme. As lighting designer, we selected LED Linear’s VarioLED Flex VENUS Top View IP67 and XOOLUM IP40 luminaires for the handrail and benches to get a warm atmosphere into the pier and to offer a perfect orientation light for the pedestrians.


Lighting designer: DHA Designs, Desmond O’Donovan and Roxana Rakhshani Architects: Nex Architecture, principal designer Beckett Rankine M a i n c o n t r a c t o r : McLaughlin and Harvey M&E consultant: Tate Planning consultant: Rolfe Judd Quantity surveyor: Huntley Cartwright Client: Ballymore + Oxley

Views of Royal Wharf Pier and its new lighting scheme. Photographs by Gavriil Papadiotis

Desmond O’Donovan is lighting designer at DHA Design. This article was written in association with LED Linear



MAY 2020


SQUARE STYLE A lighting scheme for the new European headquarters of American banking giant Goldman Sachs in London’s Square Mile needed to take on board important environmental as well as security considerations, and required a high-level collaborative approach. Turn over for the full story By Trystan Williams


External lighting



MAY 2020


External lighting


ighting projects invariably require collaboration; one light fitting might include a retention socket, column, luminaire, CMS system and subsequent installation and maintenance contracts, all provided by different companies. This collaboration is achieved through good old communication. A recent project for Transport for London (TfL) was no different, combining as it did us at Aluminium Lighting Company (ALC) (columns), DW Windsor (luminaires), ATG Access (security bollards), Urban Control (CMS) and JB Riney (installation) under the stewardship of the City of London Corporation. The American multinational investment bank Goldman Sachs opened its first London office nearly 50 years ago. And, with the opening of its new European headquarters in the heart of the City of London at ‘Plumtree Court’, Goldman Sachs has built on its already strong presence in the City with a new state-of-the-art office facility. With such a flagship project there were several aspects for all involved to consider, including secondary consumption of lighting, sustainability, security and maintenance. The external lighting needed close attention, as it needed to light not only Plumtree Court but Stonecutter Street, Shoe Lane and Farringdon Street, all key parts of London’s ‘Square Mile’ financial district.


This element of the scheme brings into play the concept of ‘lighting for all’, or the concept of considering the experience of ‘secondary’ lighting consumers within a scheme. Lighting professionals should take into consideration factors beyond simply the customer specification, in the process creating a pragmatic solution that all the community can get behind. The project also had to take environmental considerations into account. Plumtree Court aimed to achieve a BREEAM New Construction rating of ‘Excellent’, prompting the City of London to specify a low-energy lighting scheme. With DW Windsor’s Sephora 450 and 650 luminaires, and smaller 450 lanterns throughout the rest of the scheme, combined with our ALC Carbon Neutral Group (CNG) and ‘cradle to cradle’ (C2C) trademark-certified columns, a solution could be developed that was fully compliant with the City of Lon-

don’s carbon reduction targets [1]. To explain this in more detail, our column supplier, Nedal Aluminium, works with the Climate Neutral Group (CNG) to offset remaining minimal CO2 emissions, investing in sustainable projects and securing climate neutral status for their lighting range. During 2020 CNG is investing in a ‘Landfill Gas’ project, incinerating landfill material to generate energy. By collecting and destroying methane during incineration, and by displacing some 35,000MWh of electricity generated by power plants connected to the electricity system, the project is helping to fight climate change by curbing greenhouse gas emissions. On top of this, the use of re-melt aluminium and the recyclability of ALC/ Nedal aluminium lighting columns has ensured the ‘cradle to cradle’ accreditation and compliance.


Whilst environmental considerations were a priority, security also needed to be right up there on the agenda, given the heightened risk of terror-related incidents we have seen within the City in recent years and the proximity of a principal TfL traffic route (which we’ll come to shortly). Therefore, mitigating considerations had to be included in any construction project deemed to be in an ‘at-risk’ area, as this was. With Goldman Sachs, too, being a US multinational, it could potentially be deemed a terror target just in itself. Indeed, the bank’s 43-storey New York office benefits from 11ft guard posts, ‘multiblock security zones’, bollards, barriers, and the guarantee of a ‘virtually instantaneous’ police response [2]. In keeping with Goldman’s strict security specifications, SP400 security bollards were therefore installed, manufactured by ATG Access. Tested against an articulated lorry at considerable speeds, these bollards are serious pieces of equipment. At ALC, we were tasked to produce a column that would fit through these bollards, ensuring our clients did not need to forgo security for a well-lit periphery, or vice versa. To that end, a non-standard extrusion column was developed to achieve the exact profile required, and the bollards delivered to us, where the complete system could then be assembled, checked and signed off. Following this, colour matching was

carried out by ALC paint technicians before the columns were sprayed, ensuring both the bollard ‘shroud’ and column were aesthetically, as well as physically, compatible. The proximity of a principal TfL traffic route at the front of the building meant quality was a paramount consideration in mitigation of maintenance-derived traffic disruption. By installing our lightweight aluminium columns ( just a third of the weight of an equivalent steel column), the contractor could minimise installation time and reduce time-consuming and expensive structural or condition testing, as aluminium has a proven record that justifies little or no testing of this kind. Combined with DW Windsor’s high-quality luminaires, the result was a relatively maintenance-free solution.


So, what did we learn from all this? The project taught us a lot about pragmatic thinking: considering the implications of lighting on secondary consumers alongside its role in sustainability and security. But, crucially, it highlighted the importance of communication and collaboration in achieving such a pragmatic solution. It is clear that, when such collaboration and joined-up working occurs, all involved achieve more, none less than the customer who receives a solution that works, which maintains public approval and that welcomes the investment of Goldman Sachs in our capital city.

Trystan Williams is market analyst at Aluminium Lighting Company

[1] ‘What is Cradle to Cradle Certified?’, [2] Butcher, Sarah, ‘Morning Coffee: Inside Goldman Sachs’ preparedness for a terrorist attack. The best time to quit banking for a start-up’, eFinancialCareers, 12 April 2018,

MAY 2020


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MAY 2020




A four-year, £34.6m refurbishment, including a new lighting scheme, has transformed the interior space and illumination of Aberdeen Art Gallery By Nic Paton

MAY 2020


Architectural lighting


berdeen Art Gallery is the main visual arts exhibition space for the port city of Aberdeen in north east Scotland. Dating back in 1884, it was designed by Alexander Marshall Mackenzie, with a sculpture court added in 1905 and Remembrance Hall and Cowdray Hall concert venue added in 1925. The gallery has recently undergone a £34.6m, four-year refurbishment, led by Hoskins Architects, but including a new lighting scheme designed by Speirs + Major. The new scheme has included existing and new galleries, event spaces and cafés, the Remembrance Hall, and the external night-time image, and a refurbishment of the Cowdray Hall.


According to Speirs + Major, a priority for the design was to deliver ‘the perception of positive naturally lit spaces consistently throughout the year’, something that makes sense when you consider Aberdeen has a restricted number of daylight hours during the winter months. In the Remembrance Hall, a new custom pendant has been suspended beneath the skylight. A simple circular design with ‘glowing’ sides, it spans 5.5m in diameter, casting light up into the dome, down to the gallery floor and sideways to fill the space with light. The pendant raises and lowers on a hidden winch system to allow for various uses of the hall and to provide the flexibility to create different lit atmospheres. At the perimeter, the detail of the stepped columns is highlighted, emphasising the unique geometry of this space. The Hoskins design moved the existing staircases out of the entrance hall to improve visitor access and flow. With the focus on maximising daylight, centralising vertical circulation within the atrium known as the ‘Sculpture Court’ allowed for higher levels of natural light from the renovated skylight above. Looking up, the beams that cross the void have been lit on one side, highlighting them as an architectural feature, while also providing enough reflected light for circulation. A historic sculptural frieze wraps around

t A minimal track detail provides flexible lighting to enhance visitor enjoyment of the artwork

Top At the perimeter of the Sculpture Court, concealed uplighting reveals the form of the vaulted arches Middle A 5.5m-diameter custom-designed pendant fills the Remembrance Hall with light Bottom The Remembrance Hall pendant can be raised and lowered to create different atmospheres for different uses of the space All photographs on this page and overleaf by Gillian Hayes



MAY 2020


Architectural lighting

t New structural beams that are visible from the ground floor Sculpture Court are highlighted as a feature

The exterior lighting is a refined approach that reveals historic details and makes use of the view through the windows


beneath the original ceiling, its detail and texture enhanced by soft uplighting. A bronze linear detail to either side of the new staircase creates, as Speirs + Major puts it, ‘a strong visual marker that guides the visitor journey’. Uplighting to the vaulted arches then ‘completes the visual composition of the atrium, contributing a solid edge to the historic space’, it adds. Throughout all the galleries and event spaces, the artificial lighting has been carefully integrated to enhance the architecture, while also (naturally) prioritising visitor enjoyment.


A new second floor and roof extension provides temporary exhibition space as well as education and community event facilities and a café. However, the inclusion of this floor created a challenge, in that it blocked natural light from the existing roof lights in the first-floor galleries. To preserve the character of these spaces, custom colour temperature-adjustable lay lights were therefore installed behind the glazed panels to help to recreate the feeling of natural light. The curvature of the ceiling is revealed by a slender detail, concealed on top of the historic coving. A minimalist light track then runs around the edge of the roof light, providing the flexibility to add and move

spotlighting as the curation of the gallery dictates. The new second-floor galleries echo the Sculpture Court skylights. As a prominent Grade I listed building, it was imperative that a sensitive approach to the external lighting was also taken. To that end, simple and refined light emphasises the historical details on the façade and marks the original gallery entrance portico. Pinlight details pick up on ‘the rhythm of the cladding’ on the new roof extension, highlights Speirs + Major, while warm custom-designed pendants for the new café are visible through the windows. Constructed in copper-coated aluminium and expanded metal, these pendants ‘recall the design language of the new rooftop extension, helping to tie the composition together as a whole’, the practice adds. Finally, the lighting scheme for the adjacent War Memorial and entrance to Cowdray Hall has added highlights to the colonnade, stone plaques and sculptural lion,

reinforcing the presence of the memorial by night, Speirs + Major argues.


Client: Aberdeen City Council Completion: October 2019 Area: 6,000sq m Architect: Hoskins Architects Lighting designer: Speirs + Major Engineer: Buro Happold Main contractor: McLaughlin & Harvey Electrical contractor: Dowds Group Luminaire manufacturers: • Custom Café lantern: Stoane Lighting • Custom Hall pendant: Spectral Lighting • Other luminaires: Orluna, LED Technologies, ACDC Lighting, KKDC, Willy Meyer + Sohn, WE-EF Lighting, iGuzzini Illuminazione, Zumtobel, Lumenpulse, Aktiva, Erco, Lucifer, Santa & Cole

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MAY 2020



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MAY 2020


YOUTHFUL PROMISE Established in 2009, the YLP (Young Lighting Professionals) is the ILP’s vehicle to enable young and early career lighting professionals to get involved with the Institution, provide opportunities and networking and help them to progress in their careers. And, with the industry facing challenging times, there’s never been a better time to spread the word about its benefits

By Georgia Thomas


ince 2009, the ILP’s Young Lighting Professionals (YLP) group has provided support, guidance, information and opportunity to ILP members under the age of 35 or who are new to the industry. The YLP was founded to support the development of young people within the lighting industry, whether that be through mentoring, CPD or events. We don’t require any formal qualifications or experience to join us; all we ask for is an ILP membership and some passion to help shape the future of the lighting industry! The YLP’s three key aims are to:

• Provide a support group of like-minded professionals to assist with career progression • Represent the views and opinions of young or new lighting professionals with a wider audience • Provide informative and independent training advice for those looking to build a career in lighting YLP members serve on committees at local and national level to ensure the views and needs of young and new-entry lighting professionals in the industry are truly heard. Throughout the year (or at least a

normal, non-coronavirus year), the YLP hosts a range of independent CPD-focused events and also gets involved with large ILP events such as the Professional Lighting Summit, providing members with the opportunity to engage with experienced lighting professionals. For those undertaking the ILP’s Exterior Lighting Diploma, the YLP can also provide guidance and feedback for Module 4 through drop-in sessions and organised events. Here, then, are snapshot profiles of the YLP’s committee members, so you can better know who your YLP representative is locally or nationally.


Meet your YLP reps

Matt Fisher, YLP chair and lighting engineer at Skanska UK Who I am. I initially joined the YLP committee in March 2016 as the London and South East region representative, a role that has since been extended when I was voted in as the vice chair in 2018. I will be taking over from current chair John Sutcliffe later this year. Why the YLP? I decided to join the YLP committee after having completed my Exterior Lighting Diploma and gaining associate membership of the ILP. I thought

Georgia Thomas, YLP Lighting Journal editorial representative and campaign manager at SSE Enterprise Who I am. After transitioning into the lighting industry from the public sector, I was in post for just three months before deciding to apply for the role of YLP editorial/Lighting Journal representative. Why the YLP? Being involved in the YLP and attending CPD events has greatly improved my lighting knowledge and allowed me to network with

Tom Lewis, YLP representative for Bristol LDC and procurement manager at Centre great Who I am. I’ve only recently joined the YLP committee, but I decided to get involved because there weren’t a great deal of young professionals attending ILP events within our Bristol LDC. Yet, on the flipside, we do know there

Toby Penter, YLP honorary secretary and business development assistant at INDO Lighting Who I am. As honorary secretary, I provide administrative support to the chair and vice chair, the committee, and to the wider membership – so drop me a line if there’s anything I can help with!

it would be a good opportunity to use the experience I had gained through both work and attending ILP courses to assist other young lighting professionals and those new into the industry. I enjoy being a part of the YLP as it gives me the opportunity to attend well-organised and interesting CPD events as well as meeting other young lighting professionals. Being a member of the YLP has also provided me with many positives, including the chance to present at regional and YLP CPD events. On the back of one of these presentations I was also able to have a paper

published in Lighting Journal. As chair and, with the assistance of the rest of the YLP committee, I am currently in the process of organising CPD events for the upcoming year which I hope will both be informative and enjoyable.

like-minded young professionals. My committee role allows the YLP to have a voice within the editorial strategy group of Lighting Journal. As part of this group I present journal feedback and ideas from fellow young lighting professionals, whilst providing YLP members with an opportunity to develop their work-based projects into papers and articles with national coverage. If you are an academic, lighting professional or student new to the industry or

under the age of 35, and would like to see your work published in the industry’s most coveted publication, please do get in touch at the contact details overleaf.

are growing numbers of young professionals coming through. Why the YLP? As the YLP representative for Bristol LDC, I work to communicate what the YLP does/stands for and promote this message within both Bristol LDC and more widely. My hope is that through this role I can help to attract more young people to be involved with the ILP/YLP and

attend our technical sessions around the UK.

Why the YLP? The YLP has given me space to connect with other young lighting professionals across the industry, and certainly helped put names to faces when I was starting out! I’ve developed as a public speaker through the YLP, delivering my first paper at a YLP event and being supported delivering papers since. Overall, I’ve found the

lighting industry to be very welcoming, and the YLP has helped to arrange and coordinate some of the opportunities I’ve taken advantage of over the last few years.



MAY 2020


Meet your YLP reps Sunny Sribanditmongkol, YLP architectural representative and lighting designer at Studio 29 Lighting Who I am. I knew about this position from Simone Bonavia, who was my predecessor in this role as well as a coursemate from the MSc in Light and Lighting at The Bartlett. She said it was a good opportunity to meet people and become a part of the industry. Why the YLP? Joining the YLP has, I feel, put me into a position where I can

Aimie Loveday, YLP highways representative and managing director at Loveday Lighting Who I am. I attend YLP committee meetings throughout the year, which are held in conjunction with technical events. Why the YLP? I decided to join the YLP as I wanted to be more involved within the organisation as well as progressing my personal development. The technical events

Elizabeth Harrison, Durham LDC YLP representative and lighting technician at Stainton Lighting Design Services (SLDS) Who I am. I started at SLDS in September 2012, initially as administration assistant. The directors approached me to undertake further training to advance me to my current position. Within this time, I committed to the YLP representative role the North East Region’ committee, which became Durham LDC in 2019, and where I am also LDC chair.

Hannah Dunford, YLP education representative and lighting design manager at Urbis Schréder Who I am. I got involved with the education side of the YLP as I have passion for learning and expanding people’s knowledge within the industry. With education you can make a real change to a person’s career path.

make a contribution to the lighting community and be involved in the planning side of things. I also have had a chance to represent the lighting industry as an ILP representative at various trade events, such as darc room, The Landscape Show and The Surface Design Show and Light School, educating other professions and introducing them to our world of lighting. The YLP encourages discussion and knowledge exchange among members through various technical events. Being

a YLP member makes me realise the importance of continuous learning, knowledge exchange and maintaining a high standard in our profession.

are very beneficial, as they give everyone an opportunity to network, as well as helping towards my continuing professional development. Also, I am expected to attend meetings with the Vice President – Local Authority and their committee, where I am the conduit for information between the two committees. A huge benefit of being a member of the YLP is staying fully informed and up to

date on any new developments within the lighting industry. The YLP is a great concept, encouraging other young professionals to join the organisation and showcasing the opportunities available to them.

Why the YLP? As I didn’t have any previous experience of the lighting industry, the prospect was initially daunting. But attending the YLP provided me with an avenue to question practices, further understand the role of the ILP and YLP and gain knowledge from those attending. As a YLP representative, it is imperative that I can attend and commit to the meetings for the LDC and YLP. This enables me to present and report on new occurrences, technical changes, news, LDC updates and any upcoming events beneficial to a wide range of colleagues and stakeholders.

I have found thec o m m i tt e e a n d members very welcoming. Being involved has increased my k n ow l e d g e a n d understanding of the industry which I have found valuable to my career progression.

Why the YLP? The YLP is a great platform to meet other young lighting professionals as well as those new to the industry. It is a chance to ask questions of people who have worked in the industry and learn new and innovative ideas that young lighting professionals are working on. With the YLP I won the mini paper competition in 2018.

MAY 2020


John Sutcliffe, YLP past chair and senior lighting engineer, WSP UK Who I am. I started my career in 2011 as a street lighting technician for Blackpool Council working on the Blackpool Street Lighting and Traffic Signal PFI. In 2014 I was taken on by WSP (then Parsons Brinckerhoff ) as a senior technician and since then I have progressed up to my current position as senior engineer. I joined the YLP committee in the same year (2014), where I gained experience in how it worked before I then took the position of treasurer in 2017 and my last position of chair in 2018.

Kieron Jarvis, Birmingham LDC YLP representative and area account manager at DW Windsor Who I am. I got involved with the YLP as I feel we need to welcome and encourage youngsters into the lighting industry, as I think there is a bit of a shortage in this department. I’m currently the YLP Birmingham rep so I encourage those aged under 35 or new to the industry to join the YLP in the region.

Nathan Poundall, YLP membership rep and street lighting engineer at Lincolnshire County Council Who I am. After upgrading my membership to IEng MILP in 2016, I decided to get involved in the YLP to assist in helping other members upgrade their membership. I assist and support members in their respective upgrades and encouraging others to upgrade.


Why the YLP? I first started attending YLP events whilst at Blackpool Council to get to know other people within lighting but also to accelerate my learning and knowledge as I was so new to the industry. Whilst representing the YLP, I feel it is so important to commit the time both to the YLP and ILP, which I couldn’t have carried out without the support of my employer WSP – and which I am very thankful for As chair (until I hand over to Matt Fisher), it has been my job to ensure both the committee and the YLP membership generally has access to as much CPD as possible, and also to keep the committee updated on the changes within the ILP.

I believe the YLP is a great place to start within the industry. Everyone is very welcoming and it encourages you to get as much out of the industry as possible to assist in your learning and development.

Why the YLP? I have really enjoy being part of the YLP because I certainly feel we are the future and it feels great seeing members of the YLP going on to senior roles. Since I have been part of the YLP I have created good friendships in the industry who also support me and I can also support them in their career. I have also learnt a lot from the CPD that has been offered in the technical sessions. If you are thinking of joining the YLP

then do it! I fell into the lighting industry by chance and I wouldn’t change it for the world.

Why the YLP? The YLP has been great for me and is a very supporting, social environment for young lighting professionals to come together to share experience and knowledge and also develop new skills. I would strongly encourage others to get involved in the YLP however possible.

As outlined above, the YLP supports lighting professionals aged 35 or under, or who are in the first few years of their career (so you could be older than 35 but still new to the profession). Its aim is to provide information and support to anyone involved in the lighting industry to help them progress in their career.

If you are interested in becoming a member of the YLP yourself get in contact with either your local LDC representative or email Alternatively, if you are already an ILP or YLP member, why not suggest it to a colleague who you think could benefit? It is also possible to join the ILP (and YLP) as an affiliate member initially. To do this, simply go online to and register.



MAY 2020


WINNING OVER THE PUBLIC By 1941 there had been two years of blackout and bombing. The public, constantly told to ‘put that light out!’, was suspicious, fearful even, of the new, ‘Starlight’ dim street lighting and many councils were bowing to pressure and simply turning them off. A concerted battle to bring round public opinion was needed

By Simon Cornwell

MAY 2020


Light on the past Kingdom. To a extent, the public lighting engineer was not only under attack from German bombers: he was also coming under metaphorical fire from the general public, who treated the new Starlight street lighting fittings with suspicion. To recap, by 1941, there had been two years of blackout – and two very dark winters – since the declaration of war and, in that time, considerable enemy bombing. The instantaneous knee-jerk reaction of the government had been to issue Lighting (Restriction) Orders, which forbade the use of any visible lighting at night – creating the so-called ‘blackout’. This had been framed without actual experience of a prolonged blackout, and based on the broad assumption that absolute darkness would confuse enemy bombers. The initial result of the blackout was, perhaps unsurprisingly, a huge increase in night-time accidents. Therefore, after hurried experiments, a system of extreme lowlevel intensity street lighting was developed. These could always operate even during an air raid and yet could not be seen by enemy bombers. The specification and light distribution of these new fittings was duly approved, the publication BS/ARP 37 was issued in early 1940, and ‘Starlight’ fittings went into production, as discussed in this column within Lighting Journal last year (‘Starry Night’, May 2019, vol 84, no 5). Although different methods of design – some highly ingenious – were adopted by different firms, several lanterns with common characteristics were quickly manufactured, and many thousands were brought into service. It seemed the problems of the blackout had been solved.



he citizens of Chigwell in Essex were nervous. The urban district council was planning to install ‘Starlight’ street lighting during the winter of 1941/1942. But surely the act of having lamps lit during ‘the blackout’ would attract enemy bombers? After all, they’d been shouted at by ARP wardens even if the slightest chink of light was showing from their windows – ‘put that light out!’. So, wasn’t Starlight street lighting a total contradiction to the blackout and, therefore, potentially extremely dangerous? Such concerns weren’t uncommon and could be found throughout the United

p The British Commercial Gas Association promoted the use of gas, quoting facts and figures concerning gas street lighting, often using their cartoon mascot ‘Mr Therm’. During the war, its adverts became more sombre, and it took on a serious, patriotic view. This advert was probably unique, as it captured the night-time effect of Starlight street lighting, with a lone ARP Warden patrolling the dark streets

In 1941, however, a questionnaire revealed two disappointing facts. Firstly, in many important districts, no wartime street lighting whatsoever had been installed. Secondly, in equally important areas, a large amount of money had been spent on the fittings, yet they remained unlit. The first point revealed the fractured nature of the lighting authority organisation in the UK, with some lighting authorities following the blackout rules to letter. They simply decided to forgo the optional Starlight fittings, going so far as to either leave their installations completely in the dark, or to remove the fragile lanterns and put them into storage. When pressed, they claimed a lack of budget and/or lack of manpower. The second point was rather more worrying. Despite installing the Starlight fittings and even running them, public opinion had turned against them, as there was a real fear of attracting enemy bombers.



MAY 2020


Light on the past t Mr Therm, appropriately dressed for the action, helped emphasise the point that Starlight street lighting was ‘Quite invisible to aircraft’. This was one of several adverts from different manufacturers quoting government officials and the RAF concerning the safety of Starlight street lighting

it to be visible from the air, others had had suffered vandalism from misguided citizens who had thrown stones at the fittings. Perhaps, with more information and guidance, that opinion could be turned again. Even the president of the APLE, Mr Stewart, intimated that it was desirable to have the public and local authorities reassured about Starlight street lighting. He cited that it had the confident support of the Ministry of Home Security and the associated experts in defence and illuminating engineering. It was at a meeting of the APLE in November 1940 that Mr Percy Good, chairman of the Joint Lighting Committee at the Ministry of Home Security, stated that Starlight street lighting could not be seen by enemy aircraft and military authorities were thoroughly satisfied with it.


Attempting to reassure the public that they couldn’t be seen from the air fell on deaf ears. Such was the case in Bristol, which had 10,229 Starlight lanterns but, after several nights of repeated bombing during ‘the Blitz’, the local lighting authority decided to turn them all off. This lack of trust was traced to the absence of authoritative announcements from the government concerning the new lighting. Some members within the Association of Public Lighting Engineers (APLE) called for local authorities to be forced to adopt this new form of lighting, even if this compulsion was accompanied by financial assistance by either grant or by total reimbursement.

There was even a suspicion that many lighting authorities had not adopted it for financial reasons only. Public opinion on the subject had also changed. Initially, during the winter of 193940, when no serious air raids had been experienced, the difficulty was to establish a belief that the value of the incredibly limited illumination was high enough to be of service. But then, after the raids, the focus had shifted to offering the reassurance necessary to convince the public that the lighting was not high enough to be a source of danger. Whilst some authorities were hesitant to install Starlight street lighting, still believing

But in the end, the sad empirical evidence that finally swung public opinion back in favour was the final overwhelming fact that lighting restrictions had not saved any areas from bombing anyway. Evidence collected after raids showed that areas without Starlight street lighting suffered as much as those with it. Even ‘much-blitzed Bristol’ took heed and decided to restore its Starlight street lighting – its absence in the city had not given it immunity. As for Chigwell, two local councillors, Reverend E Sutton-Pryce and Mr R F J Smith, had hitched a ride with the RAF and flown over the Chigwell area at a height of 1,500ft. They reported that nothing could be seen of the lighting at that low altitude. So, the council adopted a resolution stating that it wished the public to realise there was absolutely no danger from air attack because of this low-intensity street lighting. And so the battle to change public opinion continued.

Simon Cornwell BSc (Hons) is an R&D development senior manager at Dassault Systems




MAY 2020


VICTORIAN HERITAGE ‘T At the beginning of last year, one of the most venerable names in the industry very nearly disappeared, as Sugg Lighting went into administration. But the company was successfully rescued, and has even now returned to its original 180-yearold name of William Sugg Lighting. We spoke to its managing director about its heritage and resurrection

By Nic Paton

here is a tremendous sense of pride. If you walk around London particularly, if look round, say, Covent Garden, there is gas lighting everywhere and you think, “we made that”. The Windsor lantern, the iconic lantern everybody in the heritage industry copies and most people would recognise, well we’ve been making that since 1897.’ So says Mark Jones, managing director of William Sugg Lighting, with a deserved smile of pride. That’s because William Sugg Lighting is not only one of the most venerable and well-known names within the UK industry, but last year it bounced back from the neardeath experience of being put into administration, which would have meant the 180-year-old Sugg name disappearing forever, to now having a turnover of some three-quarters-of-a-million pounds.


Lighting Journal met up with Mark and the William Sugg team in March (pre-coronavirus) at its thriving, if cosy, workshop and business in Horsham, West Sussex to look back at and reflect upon the heritage of one of the longest established names in the industry and how it was rescued.

MAY 2020


Street lighting ‘We still use some of the original tooling,’ says Mark of the Windsor lantern. ‘On the corners of the lantern there are oak leaves. The definition has gone a bit now because of the tool being so old, but when you look at a product you can tell it is one of ours.’ The Windsor is, of course, so iconic that it was the lantern – and, indeed, Sugg product – beneath which Lucy met Mr Tumnus in the film The Lion, the Witch and the Wardrobe , and which formed much of the London backdrop for the recent Mary Poppins Returns , starring Emily Blunt. ‘At the Bomber Command Memorial in Green Park, we manufactured the heritage-style lamps that go along the top of the monument and the columns along the roadside. Next to that there are the Memorial Gates, the memorial for the Commonwealth soldiers, and we did the lighting there, too,’ says Mark. The Sugg name and brand dates all the way back to 1837 – the year that Queen Victoria came to the throne – when the company was established by William Sugg, initially as Sugg, Pywell and Company, before becoming William Sugg and Company three years later.

In 1862, William Sugg established the foot-candle (or one lumen per sq ft) as a unit of measure for light, in 1883 the company exhibited at the Crystal Palace Gas and Electrical Exhibition, and in 1894 it was involved in laying the gas pipes and installing the gas lighting for a strange looking new lifting bridge across the Thames, Tower Bridge.


During both world wars, from 1914-1918 and 1939-1945 respectively, the company turned production over to helping the war effort. In the First World War this meant churning out incandescent gas burners, lamps and lights, gas cooking stoves, testing apparatus, and iron and brass founding, among other activities. In the Second World War, it turned its hand to the production of armaments, as well as similar goods. The company in 1963 moved out of London to Crawley, West Sussex, succumbing at the end of that decade to a hostile takeover from Thorn Electrical Industries for its central heating business. During the industrial turmoil of ‘the three-day week’ in 1973 it returned to the manufacture of gas lighting and

then, in 1999, was sold to FW Thorpe. It stayed with FW Thorpe until 2015, when the company was sold to a venture capital firm called Wessex Bristol Investments, which led to it, finally, in January 2019, falling into administration and the company’s near disappearance. Mark Jones, who has been with the company for 20 years, takes up the story. ‘We came back straight after Christmas, and I was told to send everybody home – all 17 of us. That was hard. I was telling people they had been made redundant at the same time as I had my redundancy notice in my pocket. So that was tough. And being just after Christmas, the timing couldn’t have been any worse really,’ Mark recalls. The company was eventually saved by the intervention of two local businessmen, Andrew Heaton and Tim Rowe, who purchased its assets off the administrators, forming a new company that February called Westminster Heritage Lighting. ‘We had lots of tooling and lots of work in progress, but nowhere to work. At the time there was only myself, Nigel Rutherford the sales director, one sales representative, and the gas specialist engineer. I was operating from a spare room in my home, as was the sales director in his house. Our gas engineer was working from a very cold, draughty barn owned by the parents of one of the investors, although the views were stunning!’ says Mark. In April last year it successfully secured new premises in Horsham, formally restarting trading the following month. ‘Although we started trading as Westminster Heritage Lighting, we didn’t really want to reuse Sugg Lighting as a name because it felt a bit tarnished,’ explains Mark. ‘So we spoke to Chris Sugg – the grandson of William – as a matter of courtesy to say that what we wanted to do was revert to the original company name, William Sugg Lighting. And he was in complete agreement with that. ‘He is now honorary president in the business and has a consultancy role. It was always our intention, if we could, to go back to a derivative of the Sugg name. Our order book – all UK manufactured – now is very, very vibrant; in fact, the level of enquiries is through the roof,’ Mark adds.




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

Herbie Barnieh BEng IEng MILP

Stephen Halliday EngTech AMILP

Project Centre

London WC1X 9HD


Manchester M50 3SP

T: 0330 135 8950, 077954 75570

T: 0161 886 2532 E:

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.

Steven Biggs

Allan Howard



Peterborough PE1 5XG

London WC2A 1AF

Skanska Infrastructure Services T: +44 (0) 1733 453432 E:

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

Simon Bushell MBA DMS IEng MILP

SSE Enterprise Lighting

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

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


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


T: 07827 306483 E:

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.

Alan Jaques


4way Consulting Ltd Stockport, SK4 1AS

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

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

Tony Price

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.

Nick Smith IEng FILP MIES

Nick Smith Associates Limited Chesterfield, S40 3JR

T: 01246 229444 E: 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


Winchester, SO22 4DS

T: 01962 855720 M:0771 364 8786 E: 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



Oxted RH8 9EE

T: +44(0) 1883 718690

Nottingham NG9 6DQ M: 07939 896887 E:

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

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.

Vanguardia Consulting

Patrick Redmond

M: + 353 (0)86 2356356 | E: 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.

McCann Ltd

Peter Williams EngTech AMILP

Williams Lighting Consultants Ltd. Bedford, MK41 6AG T: 01234 630039 E:

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.

Alistair Scott BSc (Hons) CEng FILP MHEA

Designs for Lighting Ltd Winchester SO23 7TA

T: 0161 480 9847 E:

T: 01962 855080 M: 07790 022414 E:

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

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.

T: 01642 565533 E:

Alan Tulla Lighting

Redmond Analytical Management Services Ltd.

John Conquest

Stockton on Tees TS23 1PX

Nottingham, NG9 2HF

T: 0118 3215636 E:

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

Stainton Lighting Design Services Ltd

Alan Tulla


HDip Bus, EngTech AMILP, AMSLL, Tech IEI



MMA Lighting Consultancy Ltd Reading RG10 9QN

Anthony Smith

For more information and individual expertise Go to:

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



Meadowfield, Ponteland, Northumberland, NE20 9SD, England Tel: +44 (0)1661 860001 Fax: +44 (0)1661 860002 Email: Manufacturers and Suppliers of Street lighting and Traffic Equipment • Fuse Units • Switch Fuse Units • Feeder Pillars and Distribution Panels • The Load Conditioner Unit (Patent Pending) • Accessories

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: w:

Contact: Kevin Doherty Commercial Director

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

01525 601201 Wrest Park, Silsoe, Beds MK45 5HR

Meter Administrator

Power Associates Ltd are the leading Power DataData Associates Ltd are themeter leadingadministrator meter administratorin Great Britain. We achieve in Great Britain. We achieve accurate energy calculations assuring you of a accurate energy calculations cost effective assuring you of a costquality effective service. Offering independent quality service. Offering consultancy advice to ensure correct inventory independent consultancy advice unmetered energy forecasting and impact to coding, ensure correct inventory coding, of market development unmetered energy forecasting and impact of market developments. 01525 601201 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: w:

Delivering Decorative Lighting Festoons for over 25 years

European distributors of StormSpill®, only system specified by: • 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. 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


MAY 2020







We look back over a year of transition for the ILP

YLP CPD day and ‘emergency escape experience’

ILP Exterior Lighting Diploma Module C (Autumn 2020)

ENVIRONMENTAL ASSESSMENT How the LewesLight festival shone a light on climate change

Thorlux Lighting, Redditch



Lighting Design Awards

ILP Exterior Lighting Diploma Completion Support Project (Autumn 2020)

Troxy, Commercial Road, London

TURN YOUR FACE TO THE SKY Why we need to rip up the rulebook when designing for daylight

Draycote Hotel, Rugby


The Draycote Hotel, Rugby

27 SEPTEMBER-02 OCTOBER Light + Building Messe Frankfurt, Germany Website:

HOW CORONAVIRUS IS AFFECTING ILP EVENTS The coronavirus Covid-19 pandemic has led to all ILP face-to-face events between now and July being either cancelled or postponed until the autumn, including the Professional Lighting Summit. But, as shown here, a calendar of activity is now being put in place for the autumn with, hopefully, more to be confirmed once where we stand in regards to the pandemic becomes clearer. So, watch this space and online!


12 OCTOBER ILP Exterior Lighting Diploma Module B (transferred from the Spring 2020) Draycote Hotel, Rugby

12 OCTOBER ILP Exterior Lighting Diploma Module B (Autumn 2020) Draycote Hotel, Rugby

The YLP’s CPD day on 24 September will include talks by Ryan Carroll of Designs for Lighting on ‘lighting for sensitive environments’, Dave Lewis of Power Data Associates on the ‘unmetered landscape’, Nic Winter of TRT Lighting on glare and Paul Scrace of Hydro on ‘the fundamental principles of passive safety’ (pictured)

For full details of all ILP events, go to:

Outdoor Lighting ONROADLED

ONROADLED Inductive Powered LED Road Markers Increased road user safety with less disruption

By combining revolutionary Inductive Power Transfer (IPT) technology with tough and intelligent LED markers, ONROADLED enables smart road and tunnel traffic guidance. Benefits of Inductive Power Transfer (IPT) technology

Application areas

• Road markers draw power wirelessly from a recessed cable

• SMART Motorways, tunnels and bridges

• Eliminates the need for electrical connections

• Cycle paths and pedestrian guidance

• Accelerates installation, reducing traffic disruption

• Roundabouts

• Enables high ingress protection rating of IP69K

• Bus lanes

• Facilitates simpler maintenance

• Tidal flow applications

• Permits longer networks of up to 2.5km

• Distribution centres

• Remote control functionality – On, Off, Dim, Flash, Cycle & Colour Change

• Retail parks

• Switchable uni and bi-directional

• Accident hotspots and dangerous bends

• Air and sea ports • Car Parks

Department for Transport Type Approved.

To book your demonstration, please visit:

MAY 2020



Examplary running head

FL810 FL810 LED FLOODLIGHTING SYSTEM provides an innovative solution for Area Lighting. The FL810 is a high output LED floodlight, suitable for Area lighting, and may be used as a replacement for existing 1kW or 2kW floodlight systems. It is available as a single or twin module with CSP (Chip Scale Package) LEDs.

+44 1920 860600 | |