Volume 8. Issue 5. Sep/Oct 2015
n
Shining a light on heritage
n The
new Lighting Guide 7: the key changes
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
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.
When news of the International Year
of Light first trickled into people’s
consciousness at the end of last
year, there were doubtless numerous
discussions, not a few in bars, on what
it might entail and what respective
companies, consultants and lighting
bodies might do about it.
No doubt a few grandiose plans bit
the dust for various reasons, not least
the scale of their ambition. Which is
one of the reasons I take my hat off
to the Night of Heritage Light event
(see Making history, p5) which at first
glance seemed wholly admirable but
somewhat optimistic. Lighting a dozen
or so Unesco World Heritage sites
throughout the UK and Ireland all on
one night seemed if nothing else a
massive logistical undertaking.
First there is the red tape involved.
The heritage fraternity tends to get a bit
touchy about people clambering over
important monuments clutching cables
and bits of electrical kit. Then there’s the
coordination of people and equipment
(particularly as all schemes have to be
installed and dismantled on the same
night). And while some sites, such as
the Tower of London or Blenheim
Palace, might have some infrastructure
to tap into, Giant’s Causeway might
prove rather trickier.
One thing that could be relied
on, of course, was the enormous
reservoir of enthusiasm, dedication and
determination in the lighting industry
and profession. It has a great resource
of people who are passionate about
what they do and like nothing better
than a chance to share that passion.
While the aim is not to attract hoardes
of people (crowd control and potential
damage prohibits that), relying instead
on photography for the subsequent
publicity, this is an opportunty to
involve lay people from local
communities, and spread the lighting
message more widely.
There will be people who question
the point of the IYL and it will perhaps
be difficult to properly quantify its
effects. However, if nothing else, it has
been a catalyst for thinking on a grander
scale. And that can’t be a bad thing.
Jill Entwistle
jillentwistle@yahoo.com
Copy date for NL6 2015
is 25 September
Published by
The Society of Light
and Lighting
222 Balham High Road
London SW12 9BS
www.sll.org.uk
ISSN 1461-524X
© 2015 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
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 (2015) – available later this year
SLL Lighting Guide 7: Office Lighting (2015) – available later this year
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)
Produced by
SLL Lighting Guide 13: Places of Worship (2014)
Guide to Limiting Obtrusive Light (2012)
PRINT CONSULTANTS
Printed in UK
2
Guide to the Lighting of Licensed Premises (2011)
Secretary’s column
We’ve all been very busy planning for
the 2015-2016 Masterclasses and we
are hoping that at least one new sponsor
will join Philips, Trilux and Thorn for
the new series, Light and Architecture.
The Masters participating this year will
be focusing on lighting exterior and
interior architecture, and all papers will
be new and peer reviewed. The Masters
will also deliver their presentations in
reference to the upcoming changes in
both LG6: The Outdoor Environment
and LG7: Office Lighting.
The guest speakers throughout the
series will be RIBA architects delivering
their thoughts on light and architecture,
and how collaboration between all parties
delivers a successful project.
At the end of each event we will have
a scheduled time to meet the Masters
and ask any questions regarding their
presentations or project specifics.
See box (right) for the preliminary
dates and locations of all venues across
the UK. We will confirm all dates and final
locations through emails to members
and host the information on the society’s
website, but this series will be of great
interest to all members of the SLL, RIBA
and other light-related organisations.
In November we will be launching
the results of the Building Research
Establishment (BRE) research on
daylight metrics and Public Health
England (PHE) research on the health
impacts of LEDs. The launch will be
held at the Building Performance
Conference and Exhibition at QEII
Centre, Westminster, which takes
place on 3-4 November. The work of
both BRE and PHE was funded by the
CIBSE Research Fund and the results
will be of interest to all. To attend the
launch at the QEII please visit the
CIBSE website homepage.
We’re delighted to confirm that the
new LG12: Emergency Lighting is now
available for members to download free
from the CIBSE Knowledge Portal. In
the coming months we can expect to
see both LG6: The Outdoor Environment
and LG7: Office Lighting (see Working
progress, p8).
Plans are afoot for the second
Jonathan Speirs Memorial Lecture at
the Trades Hall, Glasgow. The event will
take place on the evening of Wednesday
21 October. Lighting designer Carrie
Donahue-Bremner of Speirs and
Major, and architect Neil Gillespie of
Reich and Hall will focus on Maggie’s
Centre, Lanarkshire, which was recently
shortlisted for the RIBA Stirling Prize
and swept the board at the Scottish
Design Awards.
2015-16 Masterclasses:
preliminary dates and locations
29 October
26 November
21 January
18 February
31 March
13 April
26 May
Cardiff
Leicester
Manchester
York
Belfast
Edinburgh
London
We welcome Dublin Institute of
Technology (DIT) to our Sustaining
Members Programme and are delighted
to maintain the link with SLL past
president Kevin Kelly.
As we build our image library we ask
you all to send us images of stairs and
staircases. We all know that stairs are
tricky to light in relation to access and
maintenance so if you’ve had a good or
bad experience of stair lighting let me
know and you can help direct our next
Lighting Factfile.
Continuing the appeals, please
note that CIBSE has put a call out for
abstracts for its Technical Symposium
2016 at Edinburgh’s Heriot-Watt
University in April. The theme is
Integration for Whole-Life Building
Performance (see News, p4 for details).
Finally, are you interested in the work
of the society? We have committees,
including technical and publications,
London events, communications and
marketing, council and executive, all of
which could benefit from your knowledge,
experience and enthusiasm. And I’m sure
even our regional lighting representatives
would appreciate some help. If you
wish to know more about the work of
the committees and how to get involved
please do contact me.
Contents
Editorial
2
Secretary’s column
3
News
4
Making history
Night of Heritage Light event
5
Constructive change
Cath Bone gives a brief outline
of the updates in CMD2015
7
Working progress
Simon Robinson discusses the
key changes in the new LG7
8
Controlling interests
John Ashton looks at future
directions for lighting control
10
Discover the feminine side 2 12
Helen Loomes introduces several
more women with successful
careers in the lighting industry
First impressions
14
Iain Carlile singles out papers on
the perception of light in the latest
editions of LR&T
From theory to practice
15
What happened next to YLOTY
winner Christopher Knowlton
Cover
The Jurassic coast: one of the
sites for the Night of Heritage
Light event (p5)
Events
16
bkeely@cibse.org
3
NEWS...NEWS...NEWS...NEWS...NEWS...NEWS...NEWS...NEWS...NEWS...NEWS...NEWS...NEWS...NEWS...NEWS...
Lanterns report
not green light
for switch-off
The conclusions
of the longawaited Lanterns
report should
not be seen as
a green light
to switch off
street lights, ILP
president Mark
Cooper (pictured)
has said.
The research,
published in July in the Journal of
Epidemiology and Community Health,
concluded that reduced street lighting
in England and Wales is not associated
with road traffic collisions or crime.
The study, led by researchers from
the London School of Hygiene and
Tropical Medicine in partnership with
UCL, analysed 14 years of data from
62 local authorities across England and
Wales which had implemented a range of
reduced street light strategies.
These included switching lights off
permanently, reducing the number of
hours that lamps are switched on at
night, dimming lights, and replacing
traditional sodium lamps with LEDs.
Lead investigator Dr Phil Edwards
of the London School of Hygiene and
Tropical Medicine, commented that the
study’s conclusions suggest that local
authorities can safely reduce street
lighting at night, saving energy costs and
reducing carbon emissions.
‘An estimated £300m is spent every
year on street lights in the UK. At a time
when local authorities need to make
spending cuts, our findings show that by
carefully assessing risks, street lighting
can be reduced without an increase in
car crashes and crime,’ he said.
However, the ILP said in response
that the findings in the report are based
on limited data and that, as stated by the
researchers, ‘changes to lighting should
be managed carefully’.
‘The institution has long advocated
the implementation by local authorities
of holistic lighting strategies, which may
include investment in new lighting and
technological controls,’ said Cooper.
‘Switch-off may be deployed as part
of such strategies providing that each
area is carefully analysed by qualified
and competent lighting professionals
using risk-based analysis based on
ILP guidance,’ he concluded.
High turn-out for
UK CIE Session
Nearly 500 delegates from 36 countries
attended the first CIE conference to be
held in the UK for 40 years.
The 28th Session took place from
28 June to 5 July at University Place,
Manchester University, and began with a
reception at the town hall with the mayor.
A wide variety of papers covered
topics as diverse as the vision system of
bees through to visual perception, colour
science, lighting control and lighting
measurement.
The occasion is also an opportunity
for technical panels to meet to review
current guidance and for new reports
to be generated.
The gala dinner was held at Old
Trafford, home of Manchester United FC.
Abstract ideas
On the lighter side...
It has been suggested that hydrogels,
such as the one pictured, have
huge potential in biomedicine for
everything from generating new heart
tissue to fighting off superbugs.
Bioengineers at Brigham and Women’s
Hospital (BHW) in Boston, US, have
now developed a hydrogel – tiny
polypeptide chains – that mimics the
elasticity of human tissue and can be
activated by exposure to light.
The light would replace chemical
compounds – which can degrade into
harmful substances – in giving the
4
hydrogels strength and stability. This
could therefore offer a safer means
of repairing wounded tissue, among
other uses.
As the gel is exposed to light, its
molecules bind together to create
a mechanical stability, to the point
that it can apparently endure more
stretching than that experienced by
arterial tissue in the body.
Full paper is at http://onlinelibrary.
wiley.com/doi/10.1002/
adfm.201501489/abstract
CIBSE has called for abstracts, including
on lighting, for its Technical Symposium
2016 – Integration for Whole-Life
Building Performance.
The theme was inspired both by the
discussions at the 2015 Symposium and
the concern of CIBSE president Nick
Mead that the industry avoid ‘short-term,
siloed thinking’.
Mead has called for the industry to
pull together and ‘put its head above
the parapet’ by working collaboratively
across the supply chain and considering
the whole life cycle of the building.
The sixth annual Technical
Symposium takes place at HeriotWatt University, Edinburgh, from
14-15 April 2016. Abstracts should be
emailed to symposium@cibse.org no
later than 14 September.
The deadline for submissions to the
CIBSE Building Performance Awards
2016 is 10 September. The awards
now include lighting (www.cibse.org/
building-performance-awards).
Events: Masterclass
IYL2013/14
Events
Making
history
Plans are hotting up as the
SLL prepares for one of its
most ambitious undertakings –
illuminating Unesco World Heritage
Sites around the UK and Ireland for
one momentous night
Plans and preparations for the SLL’s Night of Heritage Light
(NoHL) were gathering pace as the Newsletter went to press.
So far 10 Unesco World Heritage Sites in the UK and Ireland
have been confirmed for the ambitious event which takes place
on the night of 1 October.
Celebrating the Unesco International Year of Light, the aim
is to display the sites in a ‘new light’, showcasing the talents
of SLL members and the lighting community in the UK and
Ireland, says president Liz Peck, ‘demonstrating to the world
the power of good lighting design’. The sites themselves will
also be highlighted bringing recognition to these internationally
acclaimed locations.
While places such as Blenheim Palace, the Tower of
London, Ironbridge Gorge and the Giant’s Causeway are
among the more well-known locations selected, other less
prominent sites are also in the mix.
Among them are the Pontcysyllte Aqueduct, designed
by Thomas Telford, a navigable aqueduct that carries the
Llangollen Canal over the valley of the River Dee in Wrexham,
north-east Wales. Another less familiar location is Blaenavon. A
town north of Pontypool in south-east Wales, it grew around an
ironworks that opened in 1788, part of which is now a museum,
and subsequently spawned steel and coalmining industries.
The exercise is a complex one logistically, and detailed
design and site briefs have been drawn up.
At the core will be the SLL Central Team: SLL president
Liz Peck (project lead), SLL secretary Brendan Keely, SLL
coordinatior Juliet Rennie, plus Rhiannon West of BDP
(marketing lead), Dan Lister of Arup (technical lead) and Simon
Fisher, founder and director of design consultancy F Mark
(equipment coordinator). The SLL team is responsible for the
selection and coordination of sites, and introduction of teams to
the appropriate contact for the site.
t
Confirmed sites so far
5
s
IYL Events
It will also support teams with technical queries, coordination
of equipment (both selection and delivery to site) and help with
method statements for approval by the site representative.
The team will be available to organise technical support, such
as an electrician and generator where required. As safety is
paramount, the SLL will be providing a qualified electrician
to ensure all wiring and power provision is of an appropriate
standard. A number of suppliers will make a range of suitable
equipment available for the event. There will be a ‘guerilla
lighting’ element to the event in that the aim is to install and
dismantle the scheme in one evening.
The creative requirement for the lighting design teams
is schemes that are creative and imaginative, and that will
showcase the work of SLL members; lighting designs must
be respectful of and appropriate for the context of the site and
surrounds; they must also be photogenic – because of the
remote nature of some of the sites, and a deliberate desire to
avoid attracting large crowds, the event will be documented
photographically. The society has teamed up with the Royal
Photographic Society (RPS) to support the documentation and
dissemination of the event. Final lighting schemes had to be
submitted by 28 August.
‘Unesco is dedicated to preserving our historic sites across
the world,’ said Peck. ‘This event is an opportunity to show how
lighting transforms our landscapes and brings history to life.’ n
Details and updates can be found at the specially
established website (www.nohl-sll.org) where the final
images will remain as a legacy of the event
Confirmed sites so far:
Among the lighting designers who have signed up:
Site
Designers
Edinburgh Old and New Towns
Fountains Abbey
Malcolm Innes
David Battersby and
Adam Glatherine
Andrew Bissell
Liverpool Maritime
Mercantile City
Pontcysyllte Aquaduct
Ironbridge Gorge
Blenheim Palace
Blaenavon industrial site
Jurassic Coast
(Dorset and East Devon)
Tower of London
Giant’s Causeway
‘A look into the unknown’ is a design proposal submitted by
Cundall Light4 for the Liverpool Maritime Mercantile City site.
‘As you approach the dock from the museum, a subtle soft
glow of light will rise from the depths of the dock,’ says lighting
director Andrew Bissell. ‘The colourful mist of light will entice
you to look over the edge and into the unknown.’ At time of
publication the proposal was still in its early stages, and the
team at Cundall was designing a battery-powered installation
with a series of recycled water bottles
Faye Robinson
Tim Pink and
Simeon Kay
Michael Curry
Stuart Green and
University of South Wales
Laurie Socker
Iain Ruxton and
Colin Ball
Jim Patton
Iain Ruxton (left) and Colin Ball
– Tower of London
Michael Curry
– Blenheim Palace
Stuart Green
– Blaenavon
SLL Central Team
SLL president Liz
Peck (project lead)
6
Rhiannon West
(marketing lead)
Dan Lister
(technical lead)
Simon Fisher
(equipment
coordinator)
SLL secretary
Brendan Keely
SLL coordinatior
Juliet Rennie
Legislation
Constructive
change
Cath Bone outlines the updates
introduced in the Construction
(Design and Management)
Regulations 2015 and their effect
on lighting designers
The Construction (Design and
Management) Regulations
(CDM) have been in force in the
UK for more than 20 years, the
first being introduced in 1994.
Despite the length of time that
CDM has been around, there
has been comment that the
regulations have not worked well
(even though understanding of
health and safety in construction
has increased, with a reduction
in accident rates, including
fatalities). Hence the latest
Cath Bone is health
reiteration, CMD2015.
and safety manager
The intention of this article
for property consultant
is simply an overview: of what
Lee Wakemans
has changed, the roles of the
designer and principal designer, and its application for M&E/
lighting designers.
So what has changed? The simple answer is very little:
CMD2015 still applies to all projects, and requirements and
duties are broadly the same. However, who does what has
been changed, with clarification on when the duties apply, and
the situation involving domestic clients has now been included
(appointment triggers change slightly for domestic clients and
are therefore not considered here). Further, the Approved Code
of Practice has been removed – we now have tailored guidance.
The notification requirements have been brought in line
with the EU Directive, and are no longer the trigger point for
enhanced duties. The trigger point for enhanced appointments
– that of a principal designer (PD) and principal contractor (PC)
– is if a project should have two or more contractors on site.
Contrary to popular belief, competency has not been removed
– rather, it’s been ‘rebranded’. Similarly, the requirements
for appointments and documentation remain – but with more
emphasis on proportionality.
By now, we should all be aware that there is no longer
a requirement for the appointment of a construction design
management coordinator (CDMC) – projects started after 6
April must have a PD.
First, who is a designer? Under the guidance, much as with
the previous iteration, it is any person who in the course or
furtherance of a business prepares or modifies a design; or
arranges for, or instructs, any person under their control to do so.
Designers’ duties have not seen significant change: there
This is what the majority of
‘fuss’ has been about – very few
designers actually have any health
and safety technical capability in
order to be able to manage this
phase to the necessary level
has been much publicity about the general principles of
prevention but, let’s be honest, they were there before. The
actual ‘newbie’ is under Regulation 8: General duties (which
apply to everyone). This states that a person working on a
project under the control of another must report to that person
anything they are aware of in relation to the project which is
likely to endanger their own health or safety or that of others .
So we know who a designer is, and we are aware of his
or her duties. This means that there will be minimal changes
for M&E personnel. On the majority of projects, they will be
a designer, as they were previously, working to the CDM
Regulations as before, and still having to produce the same
information – risk assessments and method statements (RAMS),
operations and maintenance manuals (O&Ms) and information
for the health and safety file (HSF) – for the PC and clients.
So who is the PD? This is a designer who is in control of
the pre-construction stage of the project in order to manage
the health and safety requirements. He or she must have a
technical knowledge of the construction industry relevant to
the project, and the understanding and skills to manage and
coordinate the pre-construction phase, including any design
work carried out after construction begins. This is what the
majority of ‘fuss’ has been about – very few designers actually
have any health and safety technical capability in order to be
able to manage this phase to the necessary level.
A PD’s duties are largely what the CDMC did, but they do
have enhanced responsibilities during the design phase in
terms of managing the design team. It must be noted that the
role of the PD is different to that of the lead designer appointed
under contract. Their roles are complementary, but this may
cause confusion for clients at this early stage.
A key word in CDM2015 is control. When will M&E/lighting
designers ever be in control of this phase? Apart from the
immediate ‘rarely’ answer, there are a number of projects where
they may well be the only designer involved – such as relamping.
If as a designer you have the required technical knowledge
to fulfil the duties of the PD, and you’ve got the insurance cover,
great. If not, what should you do? Many of the ex-CDMCs offer
an advisory service, and can perform the tasks they used to
do – they’ll ensure the risk management process is undertaken
and disseminate information. You will be left to carry out your
normal design function, ensuring your general duties are met. n
References
1. SI 2015/51 HEALTH AND SAFETY The Construction (Design
and Management) Regulations 2015: Regulation 8(5) A person
working on a project under the control of another must report to that
person anything they are aware of in relation to the project which is
likely to endanger their own health or safety or that of others.
2. And if an organisation, the organisational capability
7
Lighting guides
Working
progress
Simon Robinson discusses the
key changes and considerations
in the newly updated Lighting
Guide 7 on office lighting
For many of those who work in an office environment, their
workspace is more than just somewhere to carry out a task.
The space has to try and meet a number of requirements. It
has to be safe, comfortable, visually stimulating, efficient and
productive. Lighting plays a large part in trying to achieve those
goals and some of the demands on the lighting installation have
changed considerably in the past 10 years.
The current version of LG7 was released in 2005 and the
intervening 10 years has seen a significant change in the
technology we use as well as how many of us use our office
space. While the move to technology such as smartphones
and tablets has changed our understanding of how to provide
a suitable lighting installation, the ever-increasing need to
reduce energy has added to the challenges for the lighting
designer and installer.
Lighting design is an integral part of a holistic approach to
providing spaces that people want to occupy and it is more
8
important than ever for designers and building owners to
discuss how the lighting design should be developed.
The 2015 revision of LG7 seeks to address these issues
as well as provide guidance on associated and emerging
technologies within the built environment. Key areas of revision
and newly introduced guidance include:
„ A new chapter on the approach to design
„ A greater emphasis on energy use and how to get the best
out of lighting designs while being mindful of the need to
reduce energy
„ A revision to guidance on how to approach speculative offices
„ Guidance on how to deal with the ‘hot desk’ approach to
office use
„ A new chapter discussing the interaction with mechanical
systems and their effect on lamp colour and efficiency
„ Guidance for new and refurbishment projects
„ How to approach cylindrical illuminance and the application of
modelling ratios
„ A new chapter on how to deal with tablets and touchscreen
use in offices
„ A new chapter which gives some practical examples of how
lighting could be considered for an office space
The chapter on the approach to design gives a basic
overview of the issues to be considered when designing
a lighting installation for an office. It can be used for quick
reference on a number of topics and is supplemented by more
detailed later chapters.
Lighting in offices accounts for around a quarter of total
energy use within a building and as we move closer to the
day when buildings will be carbon neutral as a matter of course,
lighting designers will need to consider energy use and how
to be creative while maximising the benefits for the amount
of energy used. With this in mind, the guide now considers
energy use more prominently.
Localised lighting solutions are favoured where possible
as this gives a good opportunity to reduce energy use by
concentrating the highest illumination level on the task area,
allowing it to be decoupled from the general lighting. This can
also allow the lighting designer more freedom when designing
circulation space lighting.
Speculative office accommodation usually refers to a space
which is being developed for a future tenant or owner and
so there is unlikely to be any desk layout to consider when
providing a lighting design. Providing a general lighting design
to cover all eventualities can be wasteful of both energy and
resources, particularly if the lighting is significantly changed
once an owner or tenant takes up residence. LG7 encourages
lighting designers to consider these aspects in discussion with
the developer or building owner.
Fluorescent lamps have become particularly sensitive
to temperature and the guide now discusses the impact
that overcooled lamps can have on colour temperature and
efficiency. Fluorescent lamps are likely to be with us for some
years to come and the relationship between artificially cooled
spaces, air flow patterns and fluorescent luminaires needs to
be carefully considered.
Perhaps the biggest single change in how we use offices is
the introduction of touchscreen displays, tablet computers and
smartphones. Rather than being tied to a specific desk, people
increasingly work where they feel comfortable and with screens
in any orientation, so designing lighting to minimise reflections
is now becoming much more difficult. LG7 now addresses
this problem and makes suggestions about the appropriate
Lighting guides
Hoare Lea’s award-winning lighting scheme for its own offices at the Tramshed, King’s Cross, made extensive use of daylighting,
dynamic colour-change lighting and a carefully orchestrated control system
use of both indirect and direct light, depending on the situation.
Smart devices are increasingly being used for video calling
and video conferencing, which has increased the need for
good vertical illumination in the office environment, and
therefore cylindrical illuminance is now considered in the guide.
‘LG7 is often used by those not
working regularly in lighting design
or installation and its interpretation
has in some cases been different to
that intended by the society. To help
in this area, a number of practical
examples are included’
LG7 recommends a cylindrical illuminance of 150 lux with a
modelling ration of 0.3 to 0.6, which should cover the majority
of office environments.
LG7 is often used by those not working regularly in lighting
design or installation and its interpretation has in some cases
been different to that intended by the society. To help in this
area, a number of practical examples are included covering
open-plan offices, sub-divided open-plan workplaces, single
offices, meeting rooms and break-out spaces. The examples
are intended to be informative and give ideas to the reader
rather than act as exemplar designs for a given type of space.
While some may argue that it is not related to lighting
design, the increasing interest in direct current (dc) electrical
distribution systems should bring a great deal of flexibility to
the lighting industry. LED as a lighting source has allowed dc
to be considered for lighting applications and, in particular,
Power over Ethernet (PoE) with a number of installations
already up and running as demonstration sites. LG7 considers
this new source of supply and the advantages it can bring,
particularly in control and energy use.
Lighting Guide 7 (LG7): Office Lighting is scheduled for
publication later this year n
9
International Year of Light
Controlling interests
John Aston looks at future directions for lighting control – and the new
issues that are now arising, such as cybersecurity
The Edge in Amsterdam, billed as the world’s most sustainable building (with a BREEAM score of 98.36 per cent) is also the
first building to use Philips’ Ethernet-powered LED connected lighting, which enables employees to use an application on their
smartphones to regulate the climate and light over their individual workspaces
Light and photonic technologies are key enablers of the
devices we rely on in everyday life: smartphones and the
Internet to name but two. But can lighting itself become smart
so that lighting systems become more than illumination, and
deliver data and communications to benefit consumers and
businesses alike?
While considering this article I was not entirely sure that I
would be able to carry on developing subjects for my series
featuring the International Year of Light themes addressed
at the Paris launch. I thought I might produce one on lighting
controls instead. Then it became obvious that I needed to return
to the IYL theme that light and photonics are the foundation of
much of our modern technology. Why did this happen?
10
The theme I was going to tackle related to the fact that if
you visit the centre of any major UK city at night – Manchester,
Leeds, Belfast, Glasgow to name just a few – you will notice
the common occurence of many modern offices having their
lights still on when the staff have probably gone home. And yet
most of these buildings are equipped with automatic lighting
control systems that should be making sure this does not
happen. What is going on?
Well there are several reasons for this situation and it does
make a good story about how we fit technology and then we
fail to fully understand all aspects of its successful application
and use. Many of the failings relate to costs, some to lack
of ownership and even to a lack of relevant education and
International Year of Light
‘We thought that LED lighting
technology was a seriously
disruptive challenge for the lighting
industry to rise to, but the potential
changes to the lighting controls
industry are only now emerging’
training for the staff involved. Rather than look at what has led
to this situation it was more interesting to look forward to see
if anything was happening that might mitigate this apparent
poor performance in the future. And this is when one of the IYL
themes came back into focus.
In Paris the importance of photonics as an enabling science
was put forward frequently and forcefully. One of the most
prevalent and important beneficiaries of light is, of course,
the Internet – which is where we come back to lighting and
controls. Recent research into the current world of lighting
and controls reveals a number of disruptive technology steps
that may alter the way we look at, and use, lighting in the future.
At the moment many lighting control systems are not being
used optimally because they are too complicated, costly or
difficult to adapt to changes in building layouts, occupancy
and tasks undertaken.
In the future, though, this may change if the user controls
become more familiar and accessible, something that might
be brought about by the Internet of Things. The other major
influence on lighting technology is the realisation that lighting is
the most pervasive service in any building; virtually every space
in a building is equipped with a light. As your lighting installation
becomes more intelligent it is possible that it can take on new
roles in data gathering and enterprise-based services.
There are already working examples of lighting systems that
are capable of monitoring not only the lighting energy use but
are also able to provide a detailed data model of the occupation
of the building at any given time of day. This is made possible
by smarter sensors and better controls, and the development
of solid state (LED) lighting can take things further, allowing
the lighting system to interact with building occupants and
visitors through their smart devices. Even some stand-alone
(or room-based) controls are now offered that will talk to your
phone through an app and let you (the occupant) determine
the detailed functionality of your own lighting; if the controls are
networked then the opportunities become much wider.
The lighting system in a major retail store might, for example,
draw your attention to a special offer that is tailored to your
personal preferences. These developments are giving rise
to a new lexicon of lighting words and phrases such as Li-Fi,
location-based services, and ‘lighting as a service’ (LaaS). And
with these new ideas comes a whole new set of companies
taking an interest in the world of lighting.
A quick look at recent corporate activities reveals the interest
that some major IT companies now have in smart sensors
and controls. Google acquired smart sensor company Nest for
$3.2bn in 2014, Cisco is working with Innovate UK on lighting
as a service, Apple is collaborating with Philips and its Hue
lighting and so on. With this sort of trend future lighting systems
might even be installed by IT companies.
Certainly the growth of sensors and luminaires that may
be directly connected to the Internet has confirmed the belief
that intelligence is moving towards the light sources and the
control sensors. Much of this is currently done using wireless
technologies, but there are also many that contain an RJ45
socket that would permit direct connection to an IT network –
or ethernet. With the reduced loads of much LED lighting it is
now also possible to power the fitting from the network cables
using power over ethernet (PoE), which can address the fact
that one large power supply for many small fixtures can be
more efficient than having individual power supplies (or drivers)
for each luminaire.
We thought that LED lighting technology was a seriously
disruptive challenge for the lighting industry to rise to – which,
to its credit, it has done – but the potential changes to the
lighting controls industry in the long term are only now
emerging. In the meantime, perhaps the industry can return
to the more immediate problem of making sure that users with
lighting controls have understandable systems that allow them
to be readily changed to meet both corporate and individual
needs and not leave all the lights on when no one is home.
If more and more people are familiar with smartphones and
devices – a recent Ofcom survey, for instance, revealed that
37 per cent of respondents now mostly used phones to get
online compared with 26 per cent for laptops – then it is logical
to make these the entry points using clear graphics and robust
software to set and configure their lights. Let’s not be afraid to
pass more control to those who need the lights and so rely less
‘We have to consider the wider
implications of the Internet
of Things. Every IP address is
a potential door to the rest of
the network and hence an entry
point for hackers’
on the facilities team. Almost like returning to those old lighting
control systems of the 1980s where everyone had a pull switch
on their light – and the lights did not stay on after hours.
In the longer term the whole lighting industry has an
opportunity to develop lighting systems that become an
essential part of a business enterprise, forming a core service
network that creates useful data, links systems and delivers
greater productivity and efficiency.
We do, however, have to be mindful that this move will also
oblige us to consider the wider implications of the Internet of
Things. Every IP address is a potential door to the rest of the
network and hence an entry point for hackers; look at the
recent headlines where a passenger vehicle was halted by a
hacker entering its control systems via its mobile phone system.
If the lighting systems of the future are developing in this
direction then cybersecurity design will need to be another
skill that we employ. n
11
Women in lighting
YLOTY
Discover the
feminine side 2
In the second of a two-part
feature, Helen Loomes, who has
established an informal group for
women in lighting, invited several
more members to relate how they
arrived at their current career
As with the first part of this article, most of the women who
are featured here have entered lighting by accident and
certainly by a variety of routes. This has resulted in slightly
different approaches and varying points of view. Happily this
meant that our second meeting was a lively and informative
gathering with some very original ideas.
n Mary Rushton-Beales
Throughout school I had always
wanted to teach, but postponed
going to university, planning to
go when I was over 21. When
I first left school I worked as
a secretary in Harlesden CID
(yes, just like Life on Mars),
then joined the Metropolitan
Police. Although I enjoyed
policing I was a bit too young
for the responsibility. I left after
a year and in 1981 joined the
Philips Group. In 1982 I joined
the lighting division. My further education came from in-house
training at Philips Lighting, practical experience, and teaching
interior and 3D designers about lighting since 1989. So I did
end up being a teacher.
I also believe that my further education has never stopped
– there is so much still to learn about light, how it affects our
bodies, and the need to understand all the technical and
aesthetic aspects of new light sources and scientific studies.
I was very lucky; I was surrounded by inspiring people at
Philips in the early 1980s, and there was a policy of encouraging
the team to learn. I was hooked very quickly and curiosity grew.
Being female meant that it took me a few years to get out on the
road talking to architects and designers. Hard to believe now,
but at the time there wasn’t one female ‘on the road’.
Lighting has enabled me to have the best of both worlds,
but only because I’ve had my own business, Lighting Design
House, from 1990. I think it would have been far harder to
combine a career and motherhood if not.
I am constantly inspired by clients, architects and designers
who give us difficult problems to solve. A more fundamental
inspiration is the changing quality of natural light and lighting
phenomena, from dark starry skies to rainbows.
12
n Alma Cardzic
My journey towards the lighting
design profession began as an
electrical engineer, although I
had wanted to be an architect.
Unfortunately my label of
electrical engineer inhibited the
development of my lighting ideas
and I was not taken seriously
by architects. In the beginning,
for instance, my talk about the
relationship between lighting
and glass, and the importance of
using the right type of glass, was
falling on deaf ears. I realised I needed to make a decision on
whether to stay as an electrical engineer or move into lighting
design. I chose lighting and the world became my oyster.
After completing my Masters in Lighting at the Bartlett, I was
introduced as a lighting designer and suddenly all the problems
that I had as an engineer disappeared. Now I could say, ‘I am
really sorry, but light does not bend around the corner’ .
At the beginning of my career, the industry lacked proper
representation of female engineers and subsequently lighting
designers. However nowadays, we see that changing; being
a female in the industry makes you work harder, which I found
to be very true at the beginning of my career. Once I proved
myself, it was easier to work in what is a male-dominated
industry, even with contractors.
I love visual art and that is what inspires me every day. Janet
Turner was an inspirational designer – someone who really
affected the world of lighting. But what really gets me going is
releasing the passion and creativity that comes to me – bringing
every project to life for the client. I love the fact that lighting
design has both creative and analytical aspects. Add to this the
psychological aspect of light and you get a great overall, wellrounded piece of art.
n Ellie Coombs
I suspect that like many lighting
designers it took a while for me
to pinpoint where my passion
lay and that there was actually a
vocation out there that would be
perfect for me. But looking back
now all the signs were there.
At school my art was all about
stained glass and silhouettes.
Drama classes were about
avoiding going on stage so I
started doing the lighting for the
shows, teaching myself how to
patch in the lights and use the ancient control desk – I got a lot
of hands-on health and safety experience and probably learned
more about what not to do than anything else.
Against everyone’s advice I studied science, psychology and
art at college because I couldn’t understand how they could be
separated, each affected the other and therefore I needed to
understand them all. I often wish I could go back and tell them
that art and science do mix – it’s called lighting design.
I went on to get a BAHons in museum and exhibition design
at Hull School of Architecture and worked in a number of design
roles within TV, theatre and film before finally discovering
architectural lighting design, subsequently starting at BDP.
I consider myself extremely lucky to have found myself doing
a job I love in such a friendly and innovative industry. I think
Women in lighting
YLOTY
I started at a great time, I got to learn from the likes of Barrie
Wilde, Martin Lupton, Mark Ridler and Laura Bayliss to name
but a few. The industry has changed and grown a lot over the
past decade, which means it’s always been fresh and exciting.
In 2011 I helped Paul set up Paul Nulty Lighting Design.
I went from a large multidisciplinary practice to what I now
fondly refer to as the broom cupboard. The past four years
have been full of new opportunities and things to learn, and the
broom cupboard is now a studio with an awesome view, a ping
pong table and a team of talented lighting designers. For me
personally lighting design always starts with people – a great
looking scheme is always nice but if it can improve someone’s
quality of life as well then that’s what makes it really worthwhile
– people-centred, sustainable, pragmatic and integrated.
n Lorraine Calcott
Lighting, what a wonderful
profession to be in. However,
like the vast majority of us when
we left school it was never
even considered on the careers
list. I was fortunate enough to
be placed at Thorn Lighting
in Romford as a YTS (Youth
Training Scheme) employee
and although I wanted to be an
architect this was a compromise
I found to be most acceptable
and interesting. My road from
there was a little bumpy as I got
fired from the YTS scheme after three months but due to a twist
of fate, five years later I ended up back in the same department
and was re-hired by my friend and mentor Clive Roach.
Working for Clive as a trainee lighting engineer and then
moving up the ranks was a superb way to learn the many
diverse aspects of the lighting profession and I took to the
work like a duck to water. After six years with Thorn I decided
to spread my wings and worked for some of the other great
companies in the industry such as Louis Poulsen, Trilux and
Philips before starting my own company – It Does Lighting – in
January 2004. I have since done my IEng and I am currently
doing my CEng and a PhD in circadian lighting.
In the past the industry was a boys’ club but I always found
it to be an advantage to be a woman. Now things are changing
and I employ one of each gender currently; in previous roles I
have strived to strike a good balance.
I love having a great canvas to paint with light, so brilliant
architecture is always an inspiration. Nature is another good
source. This career ticks all my boxes and even after more than
20 years of being involved in lighting I still love every day and
every opportunity to learn – best job in the world.
n Laura Phillips
I knew that I wanted to do
something in art and design.
After a couple of summer
schools at ballet school I
decided a career in dance
wasn’t for me. So I decided to
go to art school. After doing my
foundation year I opted for 3D
design as it offered a range of
different things to work with.
I would have loved to paint for
a living but ultimately solving
problems and having parameters suited me better.
I did a BA Hons in Design, and on graduating was fortunate
enough to be given the St Andrews Scholarship which I used
to attend Parsons School of Design in New York, and
completed my MFA. This led to a job with what is now Fisher
Marantz Stone, which was a great place to train. Living in New
York at the time, where the lighting profession was growing,
was a great experience.
There were two defining things that led me to lighting; when
I was a student I loved Ingo Maurer’s work – I saw some of
his work at a show in Ron Arad’s studios in London – and the
playful and interactive quality of his light objects. Then in my
third year I attended a lighting show at the Building Design
Centre in Islington, north London, which opened my eyes in
terms of what equipment was available. I quickly realised that
using it to light architecture had masses of potential. I spent a
lot of my time at the Architecture School playing with light in my
final year. That culminated in a series of lights and structures
which led me to become very interested in architecture
combined with natural and artificial light.
I have been very fortunate to work for practices of a high
professional standing where I’ve always been encouraged to
get involved in professional organisations, a rewarding and
great way to meet like-minded people. I was involved in the
IALD in the US as a student member so went to meetings and
organised some seminars in the UK when I returned, and had
a great time heading a workshop for the PLDA. I’ve tutored on
lighting courses at University of Strathclyde, Napier University
and Grays School of Art, to encourage talent into our industry.
I’m currently discipline director at Buro Happold.
Balancing your personal and work life in the lighting
profession is a challenge for anyone; we work long hours
and a lot of travel is involved. Everyone needs to find the
right balance for them as an individual. I would encourage
employers to be flexible and really look at the quality of work
and the efficiencies of staff rather than simply judging by the
hours they do in the office. As a parent I’m fortunate that our
office is relaxed about flexible working. Just because design is
a vocational type of profession doesn’t mean that you should
have no personal time and I still think our profession overall
has work to do in this area.
I had many positive female role models when I was training
in the US – two of the four associates were women, I was
fascinated by the work of Motoko Ishi and the scale of projects
she undertook, and when I returned to the UK Sally Storey and
Janet Turner were established designers. However, establishing
yourself as a female lead designer in the international
construction industry is not for the faint-hearted. n
I would like to throw out an invitation to any women
who are associated with lighting to join us at our
next meeting. Please contact me for details
(h.loomes@trilux.co.uk). We also have a LinkedIn
group called Women in Light and Lighting, which
I would encourage you to look at for location and
timing details.
I don’t want men to feel excluded as I feel
eventually we would like to include them in our
discussion group. However, we will start small and
celebrate the women in lighting for the present.
– Helen Loomes
13
LR&T essentials
First impressions
Iain Carlile singles out papers
on the perception of light
Now printed eight times a year, Lighting Research and
Technology publishes a substantial number of papers. Since
I last looked at it for the Newsletter, two issues have been
printed, comprising 17 papers plus editorials, opinion pieces,
book reviews and correspondence. Topics have included new
lighting technologies, human factors, road lighting, daylight and
sunlight, and measurement. I have provided a short summary
on just a small selection of papers here (SLL members can
access them free through the SLL Lighting Publications pages
on the CIBSE website).
Denk et al’s paper examines the impact of light sources
(LED and HID) and CCT (warm-white 3000K and neutral white
4200K) on the wellbeing, mental state and concentration of
shop assistants. In a controlled experiment working with a
number of shop assistants, they found that warm white lighting
positively affects the feeling of wellbeing and mental state,
but negatively affects the powers of concentration. The results
of the experiment showed no effects due to light source.
Also considering perception, Alber et al studied whether the
use of coloured light in a passenger aircraft cabin can be used
to influence passengers’ temperature sensations, making the
climate be perceived as cooler (using a cool ambient colour) or
warmer (using a warm ambient colour), a phenomenon known
as the hue-heat hypothesis. Experiments were conducted in
a single-aisle aircraft cabin with nearly 200 participants. They
found that lighting colour does impact on climate perception and
evaluation as hypothesised.
Of interest to many who work in the design of lighting
installations will be the papers by Schanda, Csuti et al on the
illumination of picture galleries. Considering the colour fidelity of
presented artworks, showing the colours of the pictures as seen
by the painter in the light which was used to create the picture,
the authors note that most artworks up until the 20th century
would have been produced under daylight. Therefore daylight
would be the optimum illuminant.
For art conservation and energy saving reasons this is
not feasible and the authors note that many galleries use a
Luminance measurement points in the examination room (Light
sources and the performance of shop assistants)
14
correlated colour temperature (CCT) of 3500K. The authors
therefore present a method to determine the spectral power
distribution with the least colour distortion when moving from
a daylight illuminant of 6500K to 3500K at a lower illuminance,
allowing the artworks to be displayed with the best possible
colour fidelity. The authors note that the presented method
could be used for any CCT and adaptation levels. The second
part of the paper puts this into practice with a number of test
samples of Renaissance paintings.
Iain Carlile, MSLL, is an associate of DPA Lighting Design n
Lighting Research and Technology Vol 47, No 4, June 2015
Editorial: The problem with light Peter Boyce
Opinion: Climate-based daylighting metrics in LEEDv4 –
A fragile progress Christoph Reinhart
Smart modular lighting control system with dual-beam
luminaires D Caicedo, A Pandharipande and MCJM Vissenberg
Psychovisual evaluations of many luminous environments on
the Internet C Villa and R Labayrade
n The impact of light source technology and colour temperature
on the wellbeing, mental state and concentration of shop
assistants E Denk, P Jimenez and B Schulz
Dominant contrast as a metric for the lighting of pedestrians
R Saraiji and M Saju Oommen
Road lighting and pedestrian reassurance after dark: A review
S Fotios, J Unwin and S Farrall
Near-field and far-field goniophotometry of narrow-beam LED
arrays V Jacobs, S Forment, P Rombauts and P Hanselaer
n In search of evidence for the hue-heat hypothesis in the
aircraft cabin F Albers, J Maier and C Marggraf-Micheel
A light-emitting diode headlamp for motorcycles based on freeform
micro-lenses XF Li, Y Li, JY Dong, GD Chen, C Liang and P Ge
Book review: Human Factors in Lighting, 3rd ed Steve Fotios
Lighting Research and Technology Vol 47, No 5, August 2015
Editorial: The end of an era Peter Boyce
Opinion: Climate-based daylighting modelling in practice
Paul Littlefair
n Colour fidelity for picture gallery illumination, Part 1:
Determining the optimum light-emitting diode spectrum
J Schanda, P Csuti and F Szabó
n Colour fidelity for picture gallery illumination, Part 2: Test
sample selection – museum tests P Csuti, A Fáy, J Schanda,
F Szabó and V Tátrai
Conceptual design and assessment of a profiled Fresnel lens
daylight collector MG Nair, AR Ganesan and K Ramamurthy
Observing other pedestrians: Investigating the typical distance
and duration of fixation S Fotios, B Yang and J Uttley
The simultaneous occurrence and relationship of sunlight and
skylight under ISO/CIE standard sky types R Kittler and S Darula
A study of atmosphere perceptions in a living room XY Liu, MR
Luo and H Li
Lamp spectrum and spatial brightness at photopic levels:
Investigating prediction using S/P ratio and gamut area
S Fotios, D Atli, C Cheal and N Hara
A new way to measure the luminous intensity distribution of
LEDs based on Luneburg lens A Ge, J Wang, P Qiu and J Cai
Measurement of junction temperature of light-emitting diodes in
a luminaire KR Shailesh, CP Kurian and SG Kini
Correspondence: Do we look at other people’s faces more than
we need? N Davoodian and P Raynham
Reply to Davoodian and Raynham S Fotios, B Yang and J Uttley
YLOTY: where are they now?
From theory to practice
June 2010 and I had finally
handed in my research project at
UCL’s Bartlett School of Graduate
Studies. Two long, challenging
years of studying and working
had finally come to an end and I
was eagerly awaiting the results.
To take my mind off the
waiting, and to do something
with the wealth of research I’d
gathered, I decided to enter the
SLL Young Lighter of the Year
Competition in 2011.
I’d spent the past year
developing a study that examined what really happens when
you give office users individual control over the lighting at
their workstation. Generously supported by iGuzzini and
Crestron, the study gave the participants control of the lighting
at their individual workstation via an iPhone app. At the time
smartphones were becoming mainstream and lighting systems
could finally leverage the ubiquitous nature of personal
technology to deliver lighting control at an individual level.
The research concluded that in general people liked their
workstations to be darker than the typical 300 lux average and
that they were more concerned with balancing the artificial
light levels with daylight ingress. There was some evidence to
suggest that participants would raise and lower their lighting in
response to sky conditions and the amount of daylight.
After some particularly amateur video work for the first ever
video entries I was thrilled to be invited into the final of the
YLOTY. I distinctly remember that all the hours of practice I had
put into making the final presentation rapidly evaporated as I
stood up at the lectern, delivering what was possibly one of my
least polished performances.
Looking around the room at an audience of academics and
lighting professionals, and knowing that they would know much
more about lighting and my subject matter than me, was a
daunting experience. With all the presentations over I was truly
overwhelmed to be presented with the ILP Best Written Paper
and the SLL YLOTY 2012.
Following the win and completion of my MSc, I felt I needed
a new challenge and it was shortly after this that I started my
own company and began working on my own projects, mixed
with freelancing. The YLOTY was certainly a good platform
in getting my name out there in our industry. I was actually
surprised by how far reaching the recognition was. I received
messages from as far away as the USA, Asia and Australia.
Working for myself was truly liberating and terrifying in
equal measure. You certainly learn quickly when you are solely
responsible for your work without the safety net of others
Photography: Matt Irwin
2011 winner Christopher Knowlton
continues the occasional series
that discovers what happened to
winners and finalists after becoming
Young Lighter of the Year
Many Hands: ‘My favourite project from my time in Australia,
made for MondoArc’
around you. Testament to the warmth and generosity of our
industry I was immensely fortunate to be surrounded by some
of its most talented, creative and generous people.
It was also during this period that I was offered an interview
through Twitter (definitely a sign of the times). Paul Beale of
Electrolight invited me down to Melbourne, Australia, for a few
months as an ‘international guest designer’. Needless to say,
the lure of sunshine, a relaxed pace of life and some of the best
work of my career turned those few months into a year.
Having learnt so much and formed some very strong bonds,
I knew it wouldn’t be the end of the line for Electrolight and me.
Returning to the UK I carried on my own project work, a
mixture of architecture, art projects and installations. Then,
at the end of last year, Paul invited me to help him start the
Electrolight London Studio with myself as principal of the
practice on the aptly named Christopher Street.
Since January we have grown to a team of five and are
working on some really exciting projects. We believe that
lighting is integral to the fabric of the architecture and that our
work is resonant with its context. It really is rewarding to be part
of such a passionate team of talented, creative people.
For those lucky enough to still be under 30, I would really
encourage you to enter the YLOTY competition. It’s a fantastic
platform from which to meet and engage with new people. n
15
EVENTS...EVENTS...EVENTS...EVENTS...EVENTS...EVENTS...EVENTS...EVENTS...EVENTS...EVENTS...EVENTS
2015
14-18 September
Exterior Lighting Diploma Module 1
(Organised by the ILP)
Venue: Draycote Hotel, Nr Rugby
jean@theilp.org.uk
16-19 September
LED Lighting China
Venue: Shanghai New International
Expo Centre
www.ledlightingchina-sh
20-23 September
First International Workshop on Future
Light Technology and Human Health
Venue: University of Surrey
www.lightingandhealth.net
22-24 September
Fifth International LED professional
Symposium and Expo (LpS 2015)
Venue: Festspielhaus, Bregenz, Austria
www.led-professional-symposium.com
23-24 September
Professional Lighting Summit
(Organised by the ILP)
Venue: Queen Hotel, Chester
jess@theilp.org.uk
30 September
LG7: The HCNW Lighting Paper at GX
Venue: Zumtobel Lighting
Chalfont St Peter
www.cibse.org/training-events
1 October
Night of Heritage Light
(SLL IYL event, lighting of a series of UK
Unesco World Heritage Sites)
www.sll-nhl.org
4-6 October
Plasa
Venue: ExCel, London E16
www.plasashow.com
8-10 October
IALD Enlighten Americas 2015
Location: Baltimore, MD
www.iald.org
21 October
Jonathan Speirs Memorial Lecture
Speakers: Carrie Donahue-Bremner
of Speirs and Major, and architect Neil
Gillespie of Reich and Hall will discuss
Maggie’s Centre, Lanarkshire
Venue: Trades Hall, Glasgow
www.sll.org.uk
27-30 October
Hong Kong International Lighting Fair
Venue: Hong Kong Convention and
Exhibition Centre
ww.hktdc.com
20–23 September: First International Workshop on Future Light Technology
and Human Health, University of Surrey
28-31 October
PLDC 2015
(with SLL as Official Knowledge Partner)
Venue: Ergife Palace Hotel, Rome
www.pld-c.com
Lighting Masterclasses:
Masterclasses are kindly sponsored
by Philips, Thorn and Trilux.
For venues and booking details :
www.sll.cibse.org
29 October
SLL Masterclass: Light and Architecture
Location: Cardiff
www.sll.org.uk
3-4 November
Building Performance Conference
and Exhibition
(Launch of BRE research on daylight
metrics and Public Health England
research on the health impacts of LEDs)
Venue: QEII Centre, Westminster
www.cibse.org/cibse-conference-2015
18-19 November
LuxLive 2015
(Including SLL Young Lighter of the Year
final and Mini Masterclasses)
Venue: ExCel, London E16
www.luxlive.co.uk
19 November
Lux Awards 2015
Venue: Troxy, Commercial Road
London E1
www.luxawards.co.uk
26 November
SLL Masterclass: Light and Architecture
Location: Leicester
www.sll.org.uk
LET Diploma (in association with
London South Bank University): 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
LIF courses: details from John
Hugill, 0208 529 6909, or email
training@lif.co.uk