Volume 9. Issue 1. Jan/Feb 2016
n
Colour rendering: does TM-30 measure up to CRI?
n Outside
edge: the new LG6 on exterior lighting
1
Editorial
Secretary
Brendan Keely MSLL
bkeely@cibse.org
SLL Coordinator
Juliet Rennie
Tel: 020 8675 5211
jrennie@cibse.org
Editor
Jill Entwistle
jillentwistle@yahoo.com
Communications committee:
Iain Carlile (chairman) MSLL
Rob Anderson
Jill Entwistle
Chris Fordham MSLL
Wiebke Friedewald
Mark Ingram MSLL
Stewart Langdown MSLL
Gethyn Williams
Linda Salamoun
Bruce Weil
All contributions are the responsibility of
the author, and do not necessarily reflect
the views of the society. All contributions
are personal, except where attributed to an
organisation represented by the author.
Copy date for NL2 2016
is 22 January
Published by
The Society of Light
and Lighting
222 Balham High Road
London SW12 9BS
www.sll.org.uk
ISSN 1461-524X
© 2016 The Society of Light
and Lighting
The Society of Light and Lighting is part
of the Chartered Institution of Building
Services Engineers, 222 Balham High
Road, London SW12 9BS. Charity
registration no 278104
Produced by
PRINT CONSULTANTS
Printed in UK
2
The fact that, despite deletions, the
forthcoming updated LG6 on exterior
lighting is a fifth bigger than the last one
to be published says much about the
pace of change in the past 24 years,
not only in lighting techniques and
technology, but in the evolving shape of
the actual urban outdoor environment
itself and our attitudes towards it.
We have made town centres, for
instance, more people-centric with an
emphasis on pedestrianisation and
cafe culture. We have recognised that
there is money to be earned in a nighttime economy. That requires more
atmospheric and three-dimensional
lighting, including well-lit building
facades. In the past we have largely
viewed exterior lighting in rather more
utilitarian terms, shying away from a
chiaroscuro approach in favour of a
more functional uniformity.
The only video facades you would
find in 1992 would be in reruns of Blade
Runner; coloured lighting would be pretty
scarce and the idea of dappled leaf
effects on a piazza were a mere twinkle
in some prescient lighting designer’s eye.
LEDs aren’t even mentioned in the 1992
version for goodness’ sake.
But while everything has got a lot
more whizzy and there are considerably
more creative opportunities, there is a
greater need than ever to adhere to good
lighting design principles. Another key
change, as with other SLL guidance, is
that the onus is less on prescription and
more on the professional judgement of
the lighting designer. That’s progress.
Jill Entwistle
jillentwistle@yahoo.com
Current SLL lighting guides
SLL Lighting Guide 1: The Industrial Environment (2012)
SLL Lighting Guide 2: Hospitals and Health Care Buildings (2008)
SLL Lighting Guide 4: Sports (2006)
SLL Lighting Guide 5: Lighting for Education (2011)
SLL Lighting Guide 6: The Outdoor Environment (scheduled early 2016)
SLL Lighting Guide 7: Office Lighting (2015)
SLL Lighting Guide 8: Lighting for Museums and Galleries (2015)
SLL Lighting Guide 9: Lighting for Communal Residential Buildings (2013)
SLL Lighting Guide 10: Daylighting – a guide for designers (2014)
SLL Lighting Guide 11: Surface Reflectance and Colour (2001)
SLL Lighting Guide 12: Emergency Lighting Design Guide (2015)
SLL Lighting Guide 13: Places of Worship (2014)
New SLL Lighting Guide: Transportation Buildings (scheduled 2016)
Guide to Limiting Obtrusive Light (2012)
Guide to the Lighting of Licensed Premises (2011)
COVER: Winner of the Office Lighting category of the Lux Awards, Cundall
Light4’s scheme for Sainsbury’s Digital Lab in Holborn, London, references a
scene in the film 2001: A Space Odyssey, where an airlock features a series of
octagonal hoop lights. Translated to a deconstructed hexagon, the chevron
fittings are complemented by unorthodox spotlights providing illumination to
some of the working hubs, and LED strip uplighting to counter the oppressive
concrete coffers. ‘There’s not an office fitting in sight,’ says Andrew Bissell,
director of Cundall Light4 (www.cundall.com /Services/Light4.aspx)
Secretary’s column
Happy New Year to all the 3000-plus
members of the society. We hope you
all had a great break over the festive
season and, yes, the SLL’s membership
reached more than 3000 towards the end
of 2015. We thank all existing and new
members for their support and we look
forward to a great 2016.
I mentioned in the Nov/Dec Newsletter
that we were attending the Professional
Lighting Design Conference (PLD-C) in
Rome as the Official Knowledge Partner,
and also as coach of Pernille Krieger and
Eik Lykke Nielsen from Aarhus University
in Denmark. Pernille and Eik were in the
finals of The Challenge student speaker
competition and I’m very pleased to
confirm that they won. For a full review
of the competition and PLD-C take a look
at the News section of the website.
Thanks go to all the volunteers who
helped with stand duty at LuxLive in
November, the Young Lighter of the Year
(congratulations to Youmna Abdallah,
see News, p4), the Jean Heap Bursary
update, the presentation by Public Health
England (see p10) and, of course, the
mini-Masterclasses. It was a busy couple
of days at ExCel.
My personal congratulations go to Liz
Peck, recipient of the Lux Person of the
Year Award. I’m sure you will all agree a
very worthy winner.
Still on the theme of LuxLive, we will
be exhibiting at LuxLive Middle East on
13-14 April 2016 with a small stand. So
if you are in the Abu Dhabi area, please
do register to attend and come along and
get all the society’s updates.
Prior to that we will be attending
the closing ceremony of the Unesco
International Year of Light in Mexico,
where we will be presenting the Night
of Heritage Light to the gathering of
international delegates, as well as
taking part in a panel discussion to
debate the issues of lighting cultural
and heritage buildings and sites. We
will be reporting on the proceedings of
the event throughout 2016.
We will also be going to Light and
Building in Frankfurt in March 2016.
The main purpose for us attending is
to keep up to date on technologies
and visit as many of our supporters as
possible. It’s always a busy few days
for us but very worthwhile.
As soon as we’re back from Frankfurt
we’ll be working with Rose Bruford
College for Junior Ready Steady Light on
19 March. We attended the junior event
last year and it was a great day. If any
of you have contacts at schools, please
do encourage them to take part (contact
me for more details). The main Ready
Contents
Editorial
2
Secretary’s column
3
News
4
The white heat of revolution 5
Dorian Kelly looks at a dramatic
turning point in theatrical history
Outside edge
8
Alan Tulla outlines the major
updates to the new SLL guide to
lighting the exterior environment
The SLL’s membership
reached more than
3000 towards the
end of 2015. We look
forward to a great 2016
Steady Light event will take place on 22
March and, with only 14 team places
available, we’re expecting this to book up
quickly so please don’t delay in securing
your team place.
We expect the work of Public Health
England on LEDs to be released for
download during January, while the new
LG6: The Outdoor Environment (see
p8) should be ready for download in
January/February. We are also currently
planning to create a new guide with an
old number: LG3. Yes, it’s been a while,
but it’s now in the process of being
written and will be dedicated to lighting
for control room environments.
If anyone has contacts working or
specialising in control room design, or
has images or first-hand accounts, we
would be interested to hear from you.
Site visits would also be welcome. If you
are happy to get involved please contact
me by 29 January.
Finally, we confirm that the 2016
Young Lighter of the Year and Jean Heap
Bursary competitions are open for entry.
The competitions are open to all involved
in light and light-related topics, including
design, engineering, product design,
research, photography, theatre and the
science of light. If you would like to enter,
please go to the website and register
your interest (sll@cibse.org).
Source of contention?
John O’Hagan reports on
the PHE research into the
effect of LEDs on humans
10
True colours
11
Is TM-30 a viable replacement
for the colour rendering index?
Peter Raynham offers an analysis
Out of darkness
13
Gerardo Olvera looks back at
the impact winning the YLOTY
award had on his carreer
Shades of distinction
14
Iain Carlile finds that colour
rendering is high on the agenda
in the latest LR&T
Obituary
Dr Arthur Tarrant 1929-2015
15
Cover
Sainsbury’s Digital Lab
Events
16
bkeely@cibse.org
For up-to-date information follow us on Twitter @sll100
3
NEWS...NEWS...NEWS...NEWS...NEWS...NEWS...NEWS...NEWS...NEWS...NEWS...NEWS...NEWS...NEWS...NEWS...
YLOTY winner focuses on light poverty
Youmna Abdallah of MBLD (pictured
second from right) is the 2015 winner
of the SLL’s Young Lighter of the Year
award. Her presentation, Light Poverty
in Precarious Environments within
Developing Countries, also picked up
the Best Written Paper award.
SLL president wins
top Lux accolade
Also honoured at the Lux Awards was
SLL president Liz Peck, who was named
Lux Person of the Year. The judges cited
her ‘enormous contribution to the lighting
family and the wider community’.
In an all-female final at LuxLive at
London ExCel, Inessa Demidova of GIA
Equation won the Best Presentation
Award for her paper, Practical
Implementation of Circadian Lighting in
Office Environments.
Both these last categories were
‘I’m overwhelmed
to be named the Lux
Person of the Year,’
she said afterwards.
‘I give my time freely
simply because I
love what I do. In the
International Year of
Light, this award is a
huge honour.’
CIBSE award shortlist announced
CIBSE has announced the shortlist for
the 13 categories of the 2016 Building
Performance Awards.
Contenders for the Lighting for
Building Performance Award are:
National Theatre – NT Future,
London (Atelier Ten)
WWF, Living Planet Centre,
Woking (Atelier Ten)
New emergency department and 24-bed
ward, Antrim Hospital, Northern Ireland
(Beattie Flanigan Consulting Engineers)
The winners in all categories, as
well as the recipient of the overall
Building Performance Champion, will be
announced at the Building Performance
Awards event to be held on 24 February
2016 in London.
More details at www.cibse.org/bpa
On the lighter side...
A light fitting designed by architect
Zaha Hadid and Patrick Schumacher
has just sold for a record price at
a Sotheby’s London auction. The
VorteXX pendant went for £106,250,
the largest-ever amount for a lighting
product. The sculptural light was
made by Zumtobel in collaboration
with Sawaya and Moroni.
London is apparently capitalising
on its reputation as an international
design hub by turning into the global
4
centre for the collectable design
market. Definitely worth dusting off
that old Arco or Artichoke.
judged by the Lighting Education Trust
(LET), which provided the cash prizes.
Also taking part in the final were
Christina Hébert of Nulty+ with her
paper, A Symbol of Urban Identity,
and Zeynep Keskin whose topic was
Daylight and Seating Preference in
Open-Plan Spaces.
Abdallah was presented with her
award at the Lux Awards at The Troxy
in east London on 19 November, the
evening of the final.
The 2016 competition, now in its 22nd
year, has just opened for entries.
All four finalists’ video presentations
can be viewed on the SLL website:
www.cibse.org/society-of-light-andlighting-sll/about-sll/sll-young-lighterof-the-year
Historic
breakthrough
Loughborough University has carried
out new research on behalf of the
National Trust into the distribution of
natural light and its level of exposure
in historic buildings.
The study was led by John
Mardaljevic, professor of Building
Daylight Modelling in the School of
Civil and Building Engineering, and
conducted in partnership with CannonBrookes Lighting and Design. It focused
on Ickworth House near Bury St
Edmunds, Suffolk.
It involved using high dynamic range
(HDR) imaging to measure where the
natural light falls at different points
throughout the day and over several
months in the house’s Smoking Room.
‘This is the first time we have used
HDR in a heritage setting to create
a cumulative luminance image, from
which a physical measure of illumination
exposure across the camera’s wide-angle
perspective is derived,’ said Mardaljevic.
‘Used together with climate-based
daylight modelling, this is a great way
of better understanding natural light,
especially at a time when historic houses
are being encouraged to extend access.’
As a result of the research, the
National Trust is looking into the feasibility
of revising the daylight management
guide for its historic houses.
John Mardaljevich will give a detailed
outline of the study in the March/April
issue of the Newsletter
Events: Masterclass 2013/14
Events
The white
heat of
revolution
The Savoy Theatre in London’s
Strand was the first in the world
to be lit with incandescent lamps.
Dorian Kelly looks at a dramatic
turning point in theatrical history
The Savoy Theatre
D’Oyly Carte wanted the new theatre to be the best it could be
whatever venues he could get hold of, so when his lease of the
Opera Comique came to an end, and he was presented with
an unaffordable rent rise, enough was enough. The result was
independence and the Savoy Theatre.
This would be the best theatre he could make it. Never
again would he attempt to cram ‘twenty love-sick maidens’
on to a stage ideally suited to 10. The orchestra pit was large
enough for the extra musicians for which Sullivan was always
agitating. And spurred by Gilbert, he intended to make the
technical facilities second to none. It would have the best of
taste in decoration, the finest ventilation systems – and would
be the first theatre in the world to be lighted throughout with the
incandescent filament lamp.
The phenomenon of light produced by electricity had been
known since around 1800, when Sir Humphrey Davey (he of
safety lamp fame), discovered that the voltaic battery could
be used to heat strips of platinum to incandescence. He also
showed a brilliantly blinding light could be produced between
the tips of two carbon rods if they were briefly touched together,
and that this light could be maintained for as long as they, and
the power, lasted. This led to many devices for floodlighting and
public street lighting, but it was not until 45 years later that it
was used in the theatre. At the Princess’s, Charles Kean used
an arc lamp as a wide-angle floodlight in a pantomime entitled
Harlequin and the Enchanted Arrow.
Fundamentally the arc was not really suitable for large-scale,
wide-angle lighting. It flickered and it wasn’t that bright when
spread out over a stage. Another answer had to be found.
The first patented incandescent lamp was in 1841. This
consisted of a glass globe filled with powdered charcoal. It
worked for a while, but envelope blackening and its tendency
to catch fire at an alarming rate rendered it impractical so
experiments continued.
t
Let me take you back, 135 years, to 1881 to tell you about
a technology that changed everything. Not just lighting
techniques, but scene painting, make-up, costume, acting
styles, and playwriting itself.
In October 1881, for Richard D’Oyly Carte, the idea of
a new theatre was a dream. Carte’s real ambition was to
develop an English form of light opera that would displace the
bawdy burlesques and badly translated French operettas then
dominating the London stage. He formed the Comedy Opera
Company and then commissioned Gilbert and Sullivan to
write a comic opera that would serve as the centrepiece for an
evening’s entertainment.
In his capacity as managing director he somehow held the
company together for nearly five years. But he was fed up with
getting theatre performance slots only wherever he could in
5
s
Events
The Savoy interior: ‘electric light in some form is the light of the future in theatres,’ said D’Oyly Carte
Until, that is, Thomas Edison in New Jersey and Joseph
Swan in Newcastle-on-Tyne, independently set about passing
currents through filaments made from a variety of materials.
While Edison wowed the crowds across the Atlantic with
his original public demonstrations, by 1880 Swan had lit his
workshop and indeed the whole of the street with electricity.
Both men had succeeded in their principal aim: to produce
an electric lamp that was within reach of all.
Initially, the two companies were very successful but later
there were arguments and patent suits as to who was the true
inventor. The truth was both men simultaneously responded
Typical electric footlight trough adapted for electricity 1881
6
to the needs of the time, taking what was obviously the next
logical step. They soon realised cooperation was better and
eventually amalgamated into the Edison and Swan United
Electric Company.
It was to the Swan Company that Richard D’Oyly Carte
turned when the concept of electrifying the Savoy was mooted.
Having first seen ‘electric light in lamps’ exhibited outside
the Paris Opera House some years previously, he had been
convinced that ‘electric light in some form is the light of the
future in theatres’.
At the Savoy, electric power was produced in a shed that
had been erected on a piece of wasteland outside. A collection
of steam engines were arranged to drive six large Siemens
alternators. The field coil excitation voltage for these was
simultaneously generated by six small dynamos.
The theatre itself was wired in six main circuits,
corresponding to the number of generators, various areas
being protected by sub-fuses. Each area was initially provided
with a switch. Main switches for each group were also
provided, and it is reported that when they were operated,
the flash that resulted could be seen in the auditorium if the
scene was dark. Altogether there were 1158 Swan lamps in the
theatre: 114 in the auditorium, 221 in the dressing rooms, and
824 on the stage, giving in total a stage light output equivalent
to around 3000 modern halogen watts. Of
those, 718 were above the actors’ heads, 50 were floats
and portable units, and the remainder were fixed to the side
wings in the traditional manner.
The 114 lamps that comprised the houselighting were mainly
in three-branched brackets around the auditorium circle fronts.
One of the more impressive features of the incandescent
lamps was the fact that, as the applied power was decreased,
the output light also decreased, more or less in proportion.
Siemens Bros and Co manufactured a series of open spirals
Events
Faraday three-light electric bracket used in the auditorium
of iron wire in a frame, and connected them between the
generators so that each group of stage lamps switched in
and out of the circuit as required. They acted as the first-ever
resistance dimmers.
There was something of a carnival air in the auditorium
the night the theatre opened, especially when D’Oyly Carte
stepped forward to address the audience. After a brief
introduction, he announced that although the stage lighting
was not ready, the auditorium would be lit by electricity. He
went on to warn the audience that the system might fail due
to the experimental nature of the installation, in which event,
the gas system, a small part of which would remain alight
at all times, would instantly be brought into full use. Then,
at his signal, the gas was turned down and, as the Telegraph
wrote, ‘there was a hum of expectation and anxiety throughout
the house. The effect was instantaneous. A start, a pause,
a tremor, and suddenly the auditorium was literally brilliant
with the novel light’.
The system behaved itself admirably throughout the
performance of Gilbert and Sullivan’s Patience that evening,
and at the end the public expressed a verdict of success not
only of the lighting, but also of the production. It took another
11 weeks of hard work before it was considered ready to
announce the lighting of the stage by electricity.
The eventual solution of the problem was quite elegant in its
simplicity. The iron resistors were removed and replaced by a
much smaller six-way regulator. This consisted of half a dozen
This was a real technological and
artistic revolution, not only of
theatre technology but also the
development of world theatre itself
six-position switches connected to tappings on coils of German
silver wire. These were mounted in a wooden frame positioned
on the fly floor and were electrically connected, not to the
output of the alternators, but between the dynamos and the
field coils of the alternators. The operation of these resistances
reduced the magnetic flux in the alternator and therefore the
output voltage. It had the added bonus that it also reduced
the magnetic drag in the system, thereby effecting a saving in
prime-mover power.
By the afternoon of 28 December 1881, the installation was
judged to be completed, and the public and press gathered to
see the latest wonder of the age.
While the introduction of electric light to the art of theatre
was a blow to everything the Irvings, Terrys, Trees and Harkers
of the era stood for, others seized on the new medium with
ferocious delight. Already, by the time the Savoy had settled,
the Alhambra Theatre had installed auditorium lighting to a
limited extent and elsewhere in Britain all the new theatres
nearing completion or in planning were converted to the
electric power as a matter of course.For a while the invention
of the incandescent gas-mantle threatened to slow down
the introduction of electricity but by the mid-1880s, the
improvement to the accumulator allowed the electric light to be
completely steady, flicker free and more or less secure against
loss of power. This eventually cleared the way for theatres to
take the step of abolishing gas and oil as the primary sources
of light in their buildings altogether. n
Ellen Terry: electric lighting was a blow to everything she and
fellow actors of the period stood for
This short feature is based on a presentation, White Heat
of Revolution: an examination of the effects of the coming
of the incandescent lamp to the theatre, given by Dorian
Kelly at the Savoy Theatre last November. Part of the
International Year of Light 2015 celebrations, the event was
organised jointly by the SLL, the Association of Theatre
Technicians and the Association of Lighting Designers.
Director of Illuminati Creative Services, Dorian Kelly is a
lighting designer, and theatre and festivals director.
7
Lighting guides
Outside edge
The last SLL guide to lighting the exterior environment was published
24 years ago. Alan Tulla outlines the subsequent changes in technology
and technique, and summarises the revisions in the new edition
A quarter of a century on, the new LG6 reflects the massive
changes in lighting since 1992. Even with topics deleted, it is
20 per cent larger. I certainly couldn’t have revised it without a
great deal of help from the other members of the task group.
Which leads me to another big difference, namely that
the current edition was mainly written by practising lighting
designers/engineers. The previous guidance was predominantly
written by manufacturers. Mind you, at that time, most lighting
design was done by the illuminating engineering department
of the major luminaire manufacturers – the profession of
independent lighting designer hardly existed.
The new guide is also much less prescriptive than the
previous one. Rather than recommend a particular lux level, for
example, it explains to the reader what design criteria need to
be considered. It then gives practical advice on how to achieve
the result you want. One reason for this change is that there
is a lot more legislation related to lighting nowadays. This is
constantly being updated and so LG6 tells you what standards
(or other SLL Lighting Guides) may apply and it is up to readers
to get the latest information.
In essence, the reader is expected to use his or her own
professional judgement rather than tick a box. LG6 is there to
help you make the right decision.
n The key changes
Early in the guide, we have a large section on masterplans and
nightscape strategies. You can design lighting for years without
ever being asked to produce one so this section tells you the
general approach to take and what to consider. Aspects such as
views, vistas and the visual impact of artificial light are among
the areas included.
We are much more aware nowadays of the possible effect of
artificial light on the environment. A constant theme throughout
the guide is whether lighting is necessary. ‘A lighting scheme
that does not benefit society, in some way, should not be
installed in the first place,’ we state in the introduction.
The effect of ALAN (Artificial Light At Night) on wildlife such
as birds, mammals, reptiles, invertebrates, plants and so on can
be found in the Appendix. You can even discover the effect of
ALAN on fireflies and frog hormones.
While on the topic of the environment, there is a section on
photovoltaics (PV) and off-grid lighting. It describes in simple
terms what factors need to be considered. For example, allnight lighting requires vastly more battery back-up than lighting
that is triggered by PIR. There are pros and cons for both. The
tilt angle of the PV array is considered, as is the type of driver/
control gear to use.
One area that is definitely new is computer visualisations.
This is included in the section on how to present your ideas
visually to a non-specialist, for instance, a planning authority.
The methods range from yellow crayon sketches on black
paper to pseudo-colours to 3D renderings. We also highlight
the importance of the original photometry. Intensity values
8
‘In essence, the reader is expected
to use his or her professional
judgement rather than tick a
box. LG6 is there to help you
make the right decision’
measured at five-degree intervals are pretty much useless in
most applications. There is a brief description of the software
packages available.
There is a huge section devoted to the lighting of building
facades. As well as supplying light to the interior, windows play
a large part in the night-time appearance of a building. Various
techniques are described and, as in the previous edition, there
is a section on lighting stained glass windows both from the
inside and outside. Fixing the luminaires to the building is of
special concern for heritage and ancient monuments, and there
is guidance on how to tackle this sometimes knotty problem.
Another totally new section concerns video and digital
facades. Most of us wouldn’t have the first idea of how to
approach such a project. As such, this is quite a long chapter
because it takes us from first principles such as pixel size,
viewing distance and luminance all the way to video protocols
and frame refresh rates.
Windows play a large part in the night-time appearance of a
building: Tudor Square, Sheffield (DPA Lighting)
Lighting guides
However, before you get to the glamour of video, we do
describe the basic techniques of security lighting, car parks,
road lighting, cycleways and paths. It’s in this section that you
will find a discussion of photopic, mesopic and scotopic vision.
Mesopic levels are especially relevant to road lighting and BS
5489, but they should also be a consideration for any outdoor
lighting falling within this luminance range. You will be pleased
to know that we do list the upper and lower luminance limits
but may be less pleased to discover that there is not common
agreement on what they are.
We couldn’t find much guidance on emergency lighting
once you had left the building, for example, the route from
the exit door to a muster point or place of safety. We have
suggested illuminance levels taking into consideration the
recommendations of BS 5266.
Since many of us work on projects outside the UK and
the SLL has many members overseas, there is a section on
luminaires used in extreme environments. The high ambient
temperatures and dusty environments of the Middle East are
an obvious example. Where salinity is concerned, marine and
coastal regions are another area of common concern, and we
also include extreme cold and wet environments.
Light sources are covered in great depth in the 1992 edition
but there is no mention of LEDs. Since they are now becoming
the de facto light source for exterior applications, we did
discuss totally omitting conventional light sources. However,
these are included because they will be around for a long time
– I know of one street lighting authority which still has MBF/U
lamps on its roads.
Readers may be surprised that we still include point source
calculations. The first reason is that you can’t really do lighting
design without an understanding of how a beam of light works.
The other is the same reason for using a sketch in preference
to an ACAD drawing – the idea comes before the detail.
In the right context, water features are an opportunity for more
playful, colourful lighting: Marine Parade Plaza, City Beach,
Southend (Ustigate)
n What did we omit?
Sad to say, the specific sections on the lighting of bandstands,
clock towers and sundials are no longer there. Neither are
festoon lighting and festival decorations, but this is mainly
because you can find excellent guidance elsewhere. Also, many
areas that were treated individually in the 1992 guide have
been rolled into one.
n Summary
This is the first revision, more like a complete rewrite, in a long
time. Even now, I think of topics to add and sections to change.
But we had to stop somewhere otherwise it would never have
been produced. LG6 could easily have been twice as long
again, but then it would have been a textbook rather than a
guide.
Perhaps the biggest change is that it guides you to a solution
rather than telling you. n
Lighting Guide 6 (LG6): The Outdoor Environment is
scheduled for publication in early 2016.
Lighting Guide 6 task group:
Alan Tulla (chair)
Lorraine Calcott
David Mooney
Chris Wilkes
Theo Paradise-Hirst
The task group wishes to acknowledge the individual
contributions to the guide provided by: Francesco Anselmo,
Iain Carlile, Pat Holley and Ray Pang
Precise modelling of sculptures and statues creates important
focal points: statue of King Alfred, Wantage (Alan Tulla)
9
Research
Source of
contention?
John O’Hagan reports on research
into the effect of LEDs on humans,
specially commissioned by the SLL
Public Health England (PHE) was commissioned by the
SLL and CIBSE to review the impact of LED lighting
on humans. PHE is responsible for providing advice to
government, professional bodies and the public on optical
radiation safety. Questions may come from MPs as a result
of enquiries or the concerns of their constituents. They may
also come from local authorities, which may be dealing with
issues raised by campaigners.
This study involved a review of the emissions from domestic
LED lighting, office LED lighting and LED street lights. Domestic
lighting was purchased directly from the major retailers likely
to be used by the public. Some of the office lighting was
bought from building suppliers and some supplied direct by
manufacturers or their agents. All of the street lights were
supplied direct by UK manufacturers or their agents.
The work consisted of three packages: colour, flicker and
spectrum. Measurements of the emissions were made in a
controlled laboratory environment at 300mm for the domestic
and small panel office lighting, and at 2m for the street
lights and large panel office lighting. This last distance was
considered a reasonable worse-case situation for most people.
Comparison was also made with non-LED luminaires where the
domestic sources were concerned.
A number of press reports have claimed that LED sources
are potentially harmful, but scrutiny of the claims usually shows
that the exposures are under highly unrealistic exposure
situations. These have included exposure to the blue LED chip
following failure of the phosphor covering, or staring at the
source for many hours with the LED very close to the eye.
The spectral irradiance for the domestic and office lighting
was weighted with the blue light hazard function and compared
with the exposure limits published by the International
Commission on Non-Ionizing Radiation Protection (ICNIRP).
None of the sources exceeded the exposure limits. When
interpreting this result, it is important to recognise that someone
could be exposed at a closer distance for a short period of time,
but this would be balanced against most of the time where the
exposure distance was greater than 2m. This is the so-called
time-weighted average exposure. The UV and retinal thermal
hazards were considered, but none of the sources assessed
were capable of exceeding the retinal thermal exposure limit.
The domestic sources were mainly fitted with some form
of diffusing optical arrangement or the LED chips/phosphors
were in linear arrays with lower luminance than many of
the earlier chip arrangements. This development made the
sources more aesthetically pleasing. The office lighting panels
considered were also low luminance sources which were
comfortable in the environment.
10
Some of the domestic and office LED luminaires and lamps
used in the PHE study
However, most of the street lights were still arrays of
single LED chips. Some arrangements produced extremely
uncomfortable luminance levels and could present a glare
source. Given the lack of ultraviolet radiation from these
sources, it would be reasonable to use etched glass or simple
plastic optics, such as microlens arrays, to reduce this problem.
The spectral emission of the LEDs was also considered in
terms of non-visual effects, such as impact on circadian rhythm
and alertness. For the domestic and some of the office lighting,
the LED sources were found to be similar to incandescent
lighting. However, the street lights and around half of the office
lighting emitted higher proportions of blue light.
Colour was also assessed from the spectral data. It was
noticeable that the blue peak emission had greatly reduced
compared with domestic and office lighting previously
assessed. This resulted in colour temperatures generally
around 2700K for domestic lighting. However, the street lights
and several of the office lights were all greater than 3600K
and two samples were around 6500K. It is understood that
such high colour temperatures are driven by energy efficiency.
However, consideration needs to be given to lighting quality.
All of the sources studied were also assessed for flicker.
None of the street lights flickered significantly, but some of the
domestic LED sources flickered with 100 per cent modulation
at 100Hz. Some of the office panels also flickered.
The concern is that some people suffer a range of adverse
health effects when exposed to flickering light, especially
when in their peripheral vision. There is also the real risk of
strobing effects, which make moving objects appear to stand
still. Although this has traditionally been a concern in industry,
the use of domestic LED lighting that makes moving food
mixer blades or a sewing machine needle appear to be
stationary is a real worry.
The impact of rheostatic dimming controls on domestic and
office LED lighting was also assessed. The method of dimming
was clearly important, and rheostatic dimmers are widely used.
Flicker was increased for some of the domestic and office LEDs
that were marked dimmable, so that a light that was acceptable
undimmed may be a concern when dimmed. n
The full report is available by emailing technical@cibse.
org. John O’Hagan heads the Laser and Optical Radiation
Dosimetry Group at PHE’s Centre for Radiation, Chemical
and Environmental Hazards. The report was produced with
the assistance of Luke Price and Marina Khazova
Metrics
Is TM-30 a viable replacement for
the colour rendering index? Peter
Raynham explains how it works
and offers an initial analysis
As reported in the last issue of the Newsletter (Nov/Dec 2015),
the US Illuminating Engineering Society (IES) has published
a Technical Memorandum proposing a new approach to
evaluating colour rendering.
TM-30 Method for Evaluating Light Source Color Rendition
has been backed by the US government, although it has yet to
be sanctioned by the CIE. The proposal has prompted much
discussion – will it catch on or will it suffer the same fate as the
failed CQS (colour quality scale) metric?
To answer this question fully perhaps we are going to have
to wait a few years. The purpose of this article is to describe the
various elements of TM-30 so that the nature of its provisions
can be understood, and at least to provide an initial analysis of
its likely effectiveness.
TM-30 sets out two basic metrics of colour quality for light
sources. One is a potential replacement for the existing CRI
metric and the other gives an indication of the change in colour
gamut associated with a particular light source. These two
metrics are called Rf and Rg: the f stands for colour fidelity and
the g is for colour gamut.
The calculations involved are in many ways similar to those
used for the existing colour rendering index system, and in
general the main changes increase the complexity. The basic
principle is to evaluate the colour of a series of colour samples
when illuminated by a test source and then when illuminated by
a reference source, assess the colour differences and use the
values to evaluate a quality metric.
‘The whole point of a document
such as TM-30 is that it has to be
definitive if it is going to provide a
means of comparing light sources
across the industry’
The basic calculation of the CCT of a light source has not
changed. However, the way the reference source is calculated
for a given test source is a bit more complex in TM-30 than with
the existing CRI method. There is no longer a sharp barrier
at 5000K where the black body spectrum is swapped for a
daylight illuminant, but a gradual transition between 4500K
and 5500K. The idea behind this change is to prevent two very
similar sources being evaluated in quite different ways due to a
A plot of the Rf values for the 12 CIE reference sources
Colour Management Systems. The colour difference is then
averaged, scaled and subtracted from 100 to give Rf, which is
a number between 0 and 100 that represents the colour fidelity
of the source, just like the existing Ra value.
The Rf values calculated by this process are very similar to
those calculated using the same formulae but using the twodegree colour match functions. As an example, the chart above
is a plot of the Rf values for the 12 CIE reference sources,
calculated using the two-degree functions against the same
values based on the 10-degree functions. The fit line shows
that values have a strong linear relationship and that the Rf
based on the two-degree is slightly less than the values based
on the 10-degree functions specified by TM-30.
The Rg metric is calculated by evaluating the gamut area
of the test colours under the reference source then comparing
the result to the area of the colours under the test source. This
process would normally involve the calculation of the area of a
99-sided polygon. So for a slight ‘simplification’ colour samples
are grouped into 16 clusters according to their hue angle, and
then averaged so it is only necessary to calculate the area of
a 16-sided polygon.
This process is made more complex as the colour of each
of the 99 samples depends to some extent on the spectrum
of the reference illuminant and so may change which of the
16 clusters that it belongs to. A comparison of the Rg values
calculated based on the 10-degree colour match functions with
those calculated using two-degree functions demonstrates that
the change of functions makes very little difference.
11
t
True colours
very small difference in CCT. The maths to support this change,
however, is quite complex.
The next big difference between the two systems is the
colour sensitivity functions associated with colorimetric
observers. The CRI formula uses the standard two-degree
observer that is used to define the standard 1931 chromaticity,
whereas TM-30 uses the CIE 10-degree observer. The logic
behind this is not clear, and given that the colour difference
formulae used were designed for use with values calculated
with the two-degree colour sensitivity functions, this seems to
be a bit of a nonsense.
The next stage compares the appearance of the series of
colour samples when illuminated by both the test and reference
sources. There are two differences in this part of the process
compared to the existing calculation of CRI. First, the system
uses 99 colour samples and, second, the colour difference
formulae are different and rely on the CIECAM02 colour space
as defined by CIE 159: 2004 A Colour Appearance Model for
s
Metrics
YLOTY
It is also possible to show this process of gamut evaluation
diagrammatically. The figure below shows the gamut
calculation for a high-pressure sodium lamp. The white line
joins the average colour points for the samples illuminated with
the reference lamp (full radiator with temperature of 1841K).
The black line joins the averages of the points illuminated by
the HPS lamp, and the arrows indicate the degree of colour
shift. In this example the HPS lamp has an Rf value of 27
and an Rg value of 57. This is quite a good score for a lamp
that has an Ra of 12.
Gamut calculation for an HPS lamp
It is possible to compare the results of TM-30 colour
calculations with standard Ra calculations. The table below
gives the results for five lamp types. In general Ra and Rf are
quite similar, the exception is that of the SON lamp.
Given the closeness of the results it is going to be difficult
to demonstrate that Rf is a big improvement over our existing
colour rendering metrics. Having a metric for colour gamut is
a good idea and it is something that the industry has been
talking about for a number of years, but basing it on a rather
arbitrary grouping of the 99 colour samples is a bit odd, and
it is not clear if Rg is any better than the other metrics that
have been proposed.
To accompany TM-30 there are two Excel spreadsheets
which can be downloaded (from www.ies.org/redirect/tm-30/)
and used to calculate Rf and Rg. However, there seems to
be a bit of an oddity in the data in the sheets. The problem
is that while the TM-30 document states that you should
use the colour-matching functions from CIE S014-1/E: 2006,
the values in the spreadsheet are slightly different to the
Lamp type
CCT [K]
Ra
Rf
Rg
SON
1837
13
27
57
White SON
2419
82
79
105
Cosmo white
2716
60
64
87
TL 84
4155
78
76
97
High spec LED
2981
97
97
100
Comparison of TM-30 with standard Ra colour calculations
12
published values. Now the differences are small, but the whole
point of a document such as TM-30 is that it has to be definitive
if it is going to provide a means of comparing light sources
across the industry.
To sum up, TM-30 is a new approach to colour metrics and
while there are some areas where it has made some logical
steps towards doing things in a better way there are some
outstanding questions that need to be answered. It has defined
two new colour metrics and the maths to calculate them, but is
it the best way forward?
The sliding crossover between full radiator and daylight for
the reference source has removed an anomaly in the current
system, while the introduction of a colour gamut metric is
a good idea and the use of CIECAM02 to calculate colour
difference is an improvement.
However, CIECAM02 was designed for use with colour
functions derived with the two-degree observer functions
and not 10-degree functions and therefore there is some
uncertainty in the results. It is also not clear what was gained
by the use of the 10-degree observer, particularly as doing
the same calculations using the the two-degree functions
gives very similar results.
Secondly, the value of using 99 colour samples has to
be questioned. Why 99 and why group them into 16 bins
for the gamut calculation? Another question is whether the
numbers generated are more meaningful than those from the
conventional Ra system?
Will the TM-30 approach to colour gain in popularity and be
widely adopted? Only time will tell. n
Extract from an editorial by Peter Boyce in the Dec 15 LR&T
The arrival of solid state lighting has exposed [the] limitations
[of CRI]... In the face of this problem, the CIE has dithered.
The first technical committee set up to study the problem
was disbanded after nine years without making any
recommendation. Two new technical committees were then
established, one to investigate what should be done about
colour fidelity and the other to look at colour preference.
Neither has yet reported although the colour fidelity committee
is rumoured to be close to doing so. The other looks to be
wading into a swamp. The more research that is done on
colour preference, the more it becomes apparent that
colour preference depends on what is being lit, who is
doing the observing and the context in which the observing
is being done...
This publication [TM-30] is unusual in that it recognises
the needs of different audiences. For those who want to
continue with a single-number approach it removes some of
the limitations of the Ra by updating the colour space and
colour adaptation systems used and by adopting a new
sample set. For those who want to use a two-number
approach it provides a relative gamut metric as well as a
colour fidelity metric. For those who want to delve even
deeper it offers vector graphics showing the shifts in hue and
saturation. Software is available to enable the necessary
calculations to be carried out.
This initiative is to be applauded and deserves careful study.
How successful it will be will depend on the interplay between
specifiers and designers, the lighting industry and the CIE. That
there is considerable support for the approach represented
by TM-30 is evident from the open letter published in [the
Dec 2015] issue [of LR&T] and the status of the signatories.
If nothing else, it indicates that research on colour is alive and
well and determined to be relevant to the future of lighting.
YLOTY: where are theyYLOTY
now?
Out of darkness
More than a decade after he won the YLOTY award, Gerardo Olvera
looks back at the impact it had on his career
Photography: Starr Restaurant Organisation/David Joseph.
After graduating from the MSc Light and Lighting course at the
Bartlett, I decided to look for a job in London. Back in 2000
there were only a handful of established lighting designers
so applying for a job in the lighting industry really narrowed
your options. As luck would have it, Barrie Wilde – one of the
greatest lighting designers in this country – and BDP Lighting
decided to sponsor my work permit (I was born in Mexico) and
take me on board as an assistant lighting designer.
It is worth pointing out that back then the Home Office had
very little idea of what lighting design was or what it involved.
It took a very long letter to the office of David Blunkett (then
Secretary of Education and Employment) to challenge the
Home Office’s decision to deny me a work permit. Their
decision implied that changing light bulbs and carrying out
lighting maintenance was not a highly skilled profession.
The lesson here is not to give up but to try harder, especially
when it comes to red tape.
At BDP Lighting the team was very small. Barrie had only
two designers – Nicky Burridge and Kate Lownes – to help
on the vast array of architectural projects that the studio
had to cope with. After two years’ experience in the field of
purely architectural lighting, with projects as varied as school
buildings, shopping centres, facade lighting and the prestigious
Royal Albert Hall, Barrie finally persuaded me to enter the
Young Lighter of the Year competition in 2003.
Early on, Barrie expressed his interest in my MSc
dissertation, which focused on the external lit environment in
Nordic cities and its possible relationship with seasonal affective
disorder. I was very intrigued by the notion of lack of sunlight
given that I was born and raised in Mexico City where daylight
availability throughout the year is fairly constant. Spending one
week in Helsinki during the peak of the winter was more than
enough to understand the challenges and achievements of
artificial exterior lighting in the built environment.
I carried out a detailed photographic survey of the most
prominent streets and avenues of the city, as well as the
key pedestrian areas of confluence and congregation. A
photometric analysis of several streets and avenues also
helped to understand the perceived brightness of the city after
dark. This academic research was the perfect foundation for
the topic of the YLOTY presentation.
BDP’s myriad large-scale projects taught me the
complexities of exterior lighting: the lengthy process of
designing, testing, calculating and, most important, pricing. By
combining this short experience and the concepts presented
and discussed in my dissertation, I was able to present a much
clearer picture of why Nordic urban environments required
an overlay of architectural lighting (more precisely vertical
Illuminance) along the cityscapes in order to compensate for
the long periods of darkness. The presentation was a success
and I won the YLOTY award, much to Barrie’s satisfaction.
It’s been 12 years and three more challenging jobs (Speirs
and Major, Isometrix and now Light IQ) since I presented my
paper and I still hold that it was one of the greatest experiences
of my, now lengthy, career in lighting.
It certainly helped me to expand my vision of how amazing
and important lighting design is, even on a daily basis. Without
a doubt if I were a young person with an interest in lighting
today I would push myself to enter the YLOTY award. It is not a
competition, it is a career move. n
Buddakan restaurant, New York, winner of Best International
Lighting Scheme 2007 (LDA UK) with Isometrix
13
LR&T essentials
Shades of
distinction
Iain Carlile finds that colour
rendering is high on the agenda
in the latest LR&T, as well as
exterior lighting and shadows
In his editorial (see extract on p12), Peter Boyce applauds the
initiative of TM-30. In the face of prolonged inaction, it merits
further study, he says.
Dangol et al investigated the performance of three different
colour fidelity metrics, the CIE colour-rendering index (CRI),
colour quality scale (CQS) and CRI2012. From lighting booth
experiments with LEDs, they found that all three metrics were
highly correlated with visual colour difference. They also found
that the CQS provides better prediction for LED sources that
highly increase the object chroma.
Rea et al present two papers on spectral considerations for
external lighting. The first paper compares the psychological
benefits of lighting in a car park against using recommended
illuminances. Perceived brightness and safety are not affected
by illuminance levels and can be different subject to the spectral
distribution of lamps. They argue that it would be better to use
a perceived scene brightness metric. They present a method of
equating brightness for different spectral power distributions.
The second paper considers sky glow and the human visual
system. They present a general method for assessing sky
glow based on atmosphere aerosol content, spectral power
distribution and the specific operating characteristics of a
detector, human or otherwise.
Considering the safe use of roads, Villa et al present a study
on the use of LED road studs, investigating their visibility and
glare under different environmental conditions. Based on the
results of their experiments, they suggest tuning the luminous
intensity of LED road studs to suit the illumination and road
surface conditions.
Also considering the external environment, Ho and Lin
consider the CIE sign luminance limits and light trespass,
specifically from advertising signs in Taiwan. Using field
measurements they found that most signs are lower than the
CIE limits, but still cause serious light trespass due to their size,
density and poor installation. They recommend urban planning
policies to control the problems identified.
Considering facial expression recognition, Yang and Fotios
performed a repeat experiment to estimate appropriate light
levels for outdoor lighting. They found that a luminance of 1.0
cd/sqm allows a 50 per cent correct identification probability at
a distance of 15m.
Lewis’s paper investigates daylighting in extra-care housing
for older people and the barriers to compliance with current
UK guidance. Survey findings suggested that these include
architects’ reluctance to perform daylight factor calculations,
and the need to reduce window size to prevent solar gain, meet
planning requirements and minimise construction costs.
Aydın-Yağmur and Dokuzer-Öztürk undertook a study to
14
Examples of the harsh–soft and light–dark attributes for cast
and self-shadows (Aydın-Yağmur and Dokuzer-Öztürk)
characterise the harshness-softness and lightness-darkness
attributes of shadows. Visual evaluations and calculative
methods were compared against, and found to be consistent
with, the subjective judgements of shadows in a mock-up room.
Ku et al present a tool for assessing the impact of
stroboscopic effects caused by different flicker wave shapes.
Looking at light pipes with profiled Fresnel collectors to
enhance light at low solar altitudes, Nair et al found that the
introduction of laser-cut panels of varying depth-to-width ratios
helped to redirect low altitude sun rays axially down the pipe,
enhancing the light during early morning and late evening hours.
The journal finishes with an open letter in support of the IES
method of evaluating light source colour rendition (see p11).
Iain Carlile, MSLL, is an associate of DPA Lighting
Lighting Research and Technology
Vol 47, No 8, December 2015
Editorial: Moving forward in colour Peter Boyce
Opinion: The dosimetry chain Luke Price
Performance of colour fidelity metrics R Dangol, P Bhusal
and L Halonen
Spectral considerations for outdoor lighting: designing for
perceived scene brightness MS Rea, JD Bullough and JA Brons
Spectral considerations for outdoor lighting: consequences for
sky glow MS Rea and A Bierman
Analysis of and control policies for light pollution from
advertising signs in Taiwan CY Ho and HT Lin
Visibility and discomfort glare of LED road studs C Villa,
R Bremond and E Saint Jacques
Lighting and recognition of emotion conveyed by facial
expressions B Yang and S Fotios
Daylighting in older people’s housing: barriers to compliance
with current UK guidance A Lewis
Determination of the harshness-softness attribute of shadows
Ş Aydın-Yağmur and L Dokuzer-Öztürk
Predicting the stroboscopic effects of measured and artificial
flicker waveforms through simulation S Ku, D Lu and P Chen
Daylight enhancement using laser-cut panels integrated with
a profiled Fresnel collector MG Nair, AR Ganesan
and K Ramamurthy
Correspondence: In support of the IES method of evaluating
light source colour rendition
Obituary
Dr Arthur Tarrant 1929-2015
Iain Maclean looks back on the career of Dr Arthur Tarrant, FSLL, FCIBSE,
who died last November aged 86
Arthur Tarrant studied physics at Chelsea College, part of
the University of London, and first went to work at the Colour
Measurement Section of the National Physical Laboratory
in Teddington. In 1958 he moved on to the Spectroscopy
Section of Battersea College of Technology, later the University
of Surrey. His teaching there included optics, instrumentation,
spectroscopy, lighting and several other topics. He lectured to
students of every faculty within the university.
His main research topics had been the spectroscopy of
daylight, scattered light in optical instruments, lighting in the
home, the names which people give to colours and visual
colour measuring instruments.
When he retired from full-time employment he continued with
much lecturing work, including his Colour is Fun demo and talk.
He was also a Visiting Research Fellow at Leeds University.
Within the SLL he chaired numerous task groups preparing
specialist lighting guides, including LG5 on lecture theatres
and conference rooms in 1991, and LG9 on communal and
residential buildings in 1997.
In 1998, he received the Lighting Division (now SLL) award
for his service to the division over the years, particularly for his
work on its publications. He was also given the CIBSE Bronze
medal for distinguished services to lighting.
His final chairmanship role was in 2011 for the guide to the
lighting of licensed premises.
Arthur gave several lectures to the National Lighting
Conferences. Especially memorable was the one where he
produced jellies in all the wrong colours to demonstrate how we
associate the flavour of foods with colour and how easy it is to
be visually fooled. He was also very committed to the London
International Youth Science Forum (LIYSF), giving regular
lectures, including at least one at the Royal Institution.
He had also worked at various times at the Scientific
Instrument Research Association and in the professional
theatre. For many years he was a governor of the Wimbledon
College of Art. He was both a chartered physicist and a
chartered engineer.
Arthur is survived by his wife Kathleen, three children
and one grandson. n
Arthur was a keen railway enthusiast, writes Benedict
Cadbury. For many years he was a driver both on the
standard gauge Isle of Wight steam railway and the
narrow-gauge Wells and Walsingham Light Railway; at
least a week of his summer holiday would be spent at
each of these railways. His engineering knowledge and
skills enabled him to build two fine five-inch gauge steam
locomotives using the garage as his workshop.
In 1990 he founded the WWLR’s Support Group,
serving as its first chairman and newsletter editor for
10 years.
His lecturing skills and scholarly approach resulted in
fascinating talks about railway history and technology,
much in demand at AGMs. He would give a talk about
the WWLR to model railway societies up and down the
country, which neatly caricatured its rural Norfolk location
by including a slide of a road sign that indicated nothing but
Village Hall and Great Snoring.
‘I have known Arthur for well over 50 years,
first in IES circles when he was at Chelsea
University and had taken a keen interest in
photocells and colour measurements. He
was a great contributor to the TPC activities,
and regularly attended our meetings in
London and regional conferences. I feel
that our society has lost a well-liked, hardworking member’
– Lou Bedocs, FSLL
‘He was always to be seen at the AGM
and Presidents Address and often at
London sessional meetings. Another of the
‘characters’ of the lighting industry who will
be sadly missed’
– Barrie Wilde, FSLL
‘Arthur was always passionate about the
society and his dedication to it was total. I
had the pleasure of working alongside him in
the development of the guide to the lighting
of licensed premises and was fortunate to
enjoy his very jovial company at that time. He
will be greatly missed, especially at London
Events where he was such a regular attendee
and supporter’
– Liz Peck, SLL president
15
EVENTS...EVENTS...EVENTS...EVENTS...EVENTS...EVENTS...EVENTS...EVENTS...EVENTS...EVENTS...EVENTS
2016
14-17 January
Lumiere London light festival
Venues: West End, King’s Cross, Main
Plaza at Regent’s Place
www.vistlondon.com/lumiere
Aerial net sculpture at Vivid Sydney by Janet Echelman
21 January
SLL Masterclass
Inside Out: Lighting and Architecture
Location: Manchester
www.sll.org.uk
8-12 February
Exterior Lighting Diploma Module 1
(Organised by the ILP)
Venue: Draycote Hotel, Rugby
dip@theilp.org.uk
9-11 February
Light School at the Surface Design Show
(Supported by the ILP and organised
by Light Collective)
Venue: Business Design Centre,
London N1
www.surfacedesignshow.com/
light-school
18 February
SLL Masterclass
Inside Out: Lighting and Architecture
Location: York
www.sll.org.uk
23 February
Fundamental Lighting Course
(Organised by the ILP)
Venue: Regent House, Rugby
jo@theilp.org.uk
24 February
CIBSE Building Performance Awards
Venue: Grosvenor House
www.cibse.org/buildingperformance-awards
13-18 March
Light and Building
Venue: Messe Frankfurt
http://light-building.messefrankfurt.com
19 March
Junior Ready Steady Light
(SLL event)
Venue: Rose Bruford College,
Sidcup, Kent
www.sll.org.uk
22 March
Ready Steady Light
(SLL event)
Venue: Rose Bruford College,
Sidcup, Kent
www.sll.org.uk
31 March
SLL Masterclass
Inside Out: Lighting and Architecture
Location: Belfast
14-17 January: Lumiere London light festival
11-15 April
Exterior Lighting Diploma Module 2
(Organised by the ILP)
Venue: Draycote Hotel, Rugby
dip@theilp.org.uk
www.sll.org.uk
Lighting Masterclasses:
Masterclasses are kindly sponsored
by Philips, Thorn, Trilux and Xicato.
For venues and booking details :
www.sll.cibse.org
13 April
SLL Masterclass
Inside Out: Lighting and Architecture
Location: Edinburgh
www.sll.org.uk
13-14 April
LuxLive Middle East
Venue: Abu Dhabi National
Exhibition Centre
http://luxlive.ae
5 May
Lighting Design Awards
Venue: London Hilton, Park Lane
http://awards.lighting.co.uk
26 May
SLL Masterclass
Inside Out: Lighting and Architecture
Location: London
www.sll.org.uk
15-16 June
Professional Lighting Summit
(Organised by the ILP)
Venue: TBC
jess@theilp.org.uk
9 November
Fundamental Lighting Course
(Organised by the ILP)
Venue: Regent House, Rugby
jo@theilp.org.uk
LET Diploma: advanced qualification
by distance learning. Details from
www.lightingeducationtrust.org
or email LET@cibse.org
Mid Career College: the college
runs various courses across the
whole spectrum of lighting and at
sites across the UK. Full details at
www.cibsetraining.co.uk/mcc
LIA courses: details from Sarah
Lavell, 01952 290905, or email
training@thelia.org.uk
For up-to-date information follow
us on Twitter @sll100