January, 2011
Heritage Lighting Master Plan for
Old Town Toronto
Final Report
Toronto Heritage Preservation Services
Gabriel Mackinnon
Philip Gabriel, Project Leader
Andrew Mackinnon, Lighting Designer
Michael Simon, Lighting Designer
M.M. Brandston & Co.
Howard Brandston, Lighting Designer
du Toit Allsopp Hillier
David Dennis, Professional Responsible
Carl Bray & Assoc.
Dr. Carl Bray, Heritage Consultant
Heritage Lighting Master Plan for Old Town Toronto
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Heritage Lighting Master Plan for
Old Town Toronto
Final Report
1. Introduction
The Heritage Lighting Master Plan has been developed to encourage
visits to this unique area of Toronto and to highlight an important
part of Canada’s history. We have applied contemporary ideas and
technology to the proposed lighting solutions, however no sacrifice
has been made in enhancing the feeling, - the poetic emotion - of an
era gone by.
The goal of this master plan will be to create a long-term approach to
enhance the heritage architecture, streetscapes and night environment
while providing a safe, effective and sustainable urban place for the
entire community. The result should lead to a public lighting system
and private property policy that will define a heritage area and
provide a destination attraction within the city.
This study is intended to compliment the ongoing process of
developmental and heritage planning and has been conducted in
conjunction with the Heritage Interpretation Plan for Old Town
including Corktown and Queen Street East. All aspects of the
exterior lighting strategy should be designed to work in conjunction
with the interpretation, planning and improvement goals of the City
of Toronto.
Lighting is an art supported by science. The art of lighting is a
synthesis of thought, intellect and emotion that leads to inspiration.
That inspiration has been the foundation of the recommendations that
will follow.
Contemporary values have had a major impact on the lighting of city
streets. Most of those values, as applied by those in charge of city
street lighting, have been guided by pseudo-economics and the
misguided application of science. This was demonstrated during
Councilman Howard Levine’s “Light of Toronto” conference and, as
a result, new and reasonable standards were set in the early 1990s.
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Heritage Lighting Master Plan for Old Town Toronto
2. Contents
1. Introduction
2
2. Contents
3
3. Report Summary
3.1. Study Area Map
5
6
4. Research and Analysis Phase
4.1 Night Vision
4.2 Project Objectives
4.3 Historical Photos
4.4 Assessment of Existing Conditions
4.4.1 Boundaries
4.4.2 Circulation
4.4.3 Light Fixture Types
4.4.4 Building Massing
4.4.5 Heritage Interpretation
4.4.6 Heritage Buildings
4.5 Photo Study of Existing Conditions
4.6 Examples of Other Projects
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10
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15
16
20
22
24
26
36
5. Concept Phase
5.1 Conceptual Initiatives
5.2 Streetscape Lighting
5.2.1 Light Fixture Types
5.2.2 Light Fixture Placement
5.3 Heritage & Distinctive Architecture
5.4 Historical Interpretation
5.5 Lighting Implementation Strategies
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42
47
48
6. Design Development Phase
6.1 Introduction
6.2 Streetscape Lighting
6.2.1 Light Fixture Recommendations
6.2.2 Light Source Recommendations
6.2.3 Detailed Locations
6.2.4 Streetscape Sections
6.3 Heritage & Distinctive Architecture
6.3 1 Flatiron Building
6.3.2 Berczy Park
6.3.3 Front Street Facades
6.3.4 St. Lawrence Market
6.3.5 St. Lawrence Hall
6.3.6 St. James Cathedral
6.3.7 Bank of Commerce
6.3.8 Union Station
6.4 Building Light Fixtures
6.5 Energy Efficiency & Maintenance
6.6 Heritage Interpretation
6.7 Guidelines for Future Improvements
6.7.1 For City and Toronto Hydro
6.7.2 For Developers
6.7.3 For Commercial Areas
6.7.4 For Private Homes & Property
6.8 Public / Private Partnerships
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Appendix
A.
B.
C.
D.
E.
F.
G.
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92
94
98
103
104
106
Safety & Security
Psychology of Night Lighting
Vision: Basic Concepts
Characteristics of Light Sources
Bibliography
Glossary
Client, Consultants & Credits
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3. Report Summary
Objectives – To form a strategy which specifies where permanent
lighting will be installed to enhance the heritage and distinctive
architecture, streetscape and urban environment and to insure public
safety, increase heritage appreciation and facilitate night time
entertainment.
Night Vision – To develop a lighting strategy it is essential to
understand how the eye perceives the effect of light. The night
composition must be arranged for maximum impact of relative
brightness and sensitive use of light colour.
Historical Photos – A collection of old photographs show the light
fixtures and urban texture of the past in the Old Town Toronto area.
Assessment of Existing Conditions - Many factors influence the
development of lighting strategy concepts. Maps and graphics show
the boundaries of the neighborhoods, the roadway patterns,
pedestrian pathways, hydro light level requirements, light fixture
types and locations, the massing of buildings, heritage buildings and
interpretation possibilities.
Photo Studies of Existing Conditions – Pictures of the present day
conditions, taken by day and night, show some good examples of
Toronto City lighting and many missed opportunities.
Examples of Relevant Projects – Other cities have developed
Lighting Master Plans. The northern cities of Montreal, Ottawa and
Helsinki demonstrate three different strategic approaches and results.
Concepts and Designs for Streetscapes – Typical sections of street
types are developed with recommendations for short and tall light
fixture locations. The existing family of light fixtures serves the area
well with proper spacing and placement.
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Implementation
6 options for placement evolve into 3 steps of implementation. All
street light bulbs must be converted to ceramic metal halide until
newer light sources become practical.
Concepts and Designs for Lighting Heritage Buildings – Eight
sites have been selected as examples. Each requires a different
conceptual approach. Ideas are developed into designs and shown in
virtual renderings. Two projects are pictured with permanent lighting
installed and four are shown temporarily lit for a public event. Light
fixture types are located and generically specified along with “next
steps” and preliminary budgets.
Energy Efficiency & Maintenance – Recommendations include
application of the best practices of sustainability, utilization of the
latest technology and development of simple, economical, easy to
maintain solutions.
Historical Interpretation Possibilities – As the Heritage
Interpretation Plan evolve in many areas, lighting can become an
important interpretive device and can enhance Old Town’s
attractiveness to visitors and residents.
Guidelines for future Improvements – Strategies for detailed
application of the design recommendations are presented for all the
stakeholders: Toronto Hydro, BIAs, developers, commercial
properties, private homes and the City of Toronto.
Public /private Partnership – For success, the public must become
informed of and involved in the Heritage Lighting Master Plan for
Old Town Toronto. Continued activities and active implementation
in cooperation with the City and local BIAs are essential.
Appendix – The report concludes with detailed explanations of
safety issues, how the eye functions, how various light sources affect
our ability to see, a glossary of terms and list of project participants.
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4. Research and Analysis Phase
This is the first of several steps toward developing a Heritage
Lighting Master Plan for Old Town Toronto. Throughout this
research and analysis an effort has been made to identify and discuss
situations that are typical of the current exterior lighting conditions
in the City. The general principles proposed here in Phase 1 will
later be applied to more site-specific concerns.
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4.1 Night Vision as it Effects Lighting Concepts
The following concepts are those most frequently encountered in
discussions of urban lighting design:
Vision – The ability to see is made possible by reflected light
interspersed with the light emanating directly from the source. The
eye perceives the effect of light, not the light energy. More
specifically, it is the brightness and contrasts caused by the light
sources and the reflecting surfaces that allow us to see, not the light
energy that passes between them. As light hits the eye, there are
three visual ranges by which it is perceived: daytime, nighttime and
darkness. The lighting design for Old Town Toronto will be
developed to accommodate the night time or “mesopic” vision in
order to maximize its use for both safety and visibility.
Adaptation - The eye requires time to adapt to varying degrees of
light. If a bright light shines suddenly in the dark, as is the case at
night when an oncoming car shines its high beams, the eye cannot
adapt quickly to both levels of light. The result is a “blinding” effect
that obscures all areas adjacent to that light. The varying degree of
time required for the eye to adjust to changes in the level of light
explains why bright lights on a nighttime scene can impair visibility
rather than enhance it.
Contrast - Dimensions, shapes, textures and differences in materials
are seen through a contrast of brightness and colour. It is this
contrast, rather than the light itself, which permits vision. The most
effective lighting is that which allows the contrasts between objects
or elements in a space. Higher contrast allows you to identify trees
in the forest; low contrast will reveal only the forest. The goal in
night lighting is therefore to identify the most important elements of
a view, i.e. doorways, paths, signage etc., and to deploy light and
create contrast so as to establish the desired visual hierarchy.
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Glare - Glare is the term used to describe the result of the eye
encountering light to which it has not yet adapted. It is the “glare”
from the lights of an oncoming car that blind you to the road. The
objective of lighting design is to limit this phenomenon in nighttime
lighting in order to facilitate the greatest visibility.
Colour – Surfaces are only thought to be “coloured”. In actual fact,
colour results from some surfaces reflecting differing light
wavelengths more efficiently than others. When a light source, which
is rich in red and has little green energy - such as high-pressure
sodium - shines on a dark green leaf, the leaf takes on a dirty brown
appearance. This colour will be due to the slight reddish tinge of the
green, while the true green will absorb most energy and reflect
almost none. Thus, a fuller spectrum light source such as a metal
halide lamp requires less wattage to reveal differences between
objects than the monochromatic light typical of high-pressure
sodium sources. In terms of visibility, therefore, high-pressure
sodium lighting may prove to be less efficient than fuller spectrum
source alternatives.
Illumination vs. Brightness - Illumination is the quantity of light
falling on an object, and has been the primary criteria for designing
lighting systems. However, people do not see the illumination.
Instead, one sees objects by virtue of the light reflecting from the
object to the eye, which is often referred to as the “brightness” of the
object. The technical term for this is “luminance”. Contrasts in
luminance (or brightness) are how the eye sees objects. Luminance is
affected by the light reflectance value of the object moderating the
illumination. Luminance is measured in candelas per square metre,
and simply put, is a product of lux times the reflectance. The
nighttime design composition must be carefully arranged to provide
maximum impact in terms of relative brightness.
(See Appendix for greater detail.)
Heritage Lighting Master Plan for Old Town Toronto
4.2 Project Objectives

Develop a strategy which specifies where permanent
lighting will be installed to enhance the heritage, the
distinctive architecture, the streetscape and the urban
environment.

Establish and recommend illumination of nighttime
landmarks to create a strong visual identity for the area,
enhance way finding and thereby assist in revitalization as a
neighborhood and a tourism destination.




Specify improvements to the illumination to insure public
safety, increase heritage appreciation and facilitate night
time entertainment. This must include knowledge of the
effects of night vision and functions of the eye: adaptation,
glare, contrast and colour.
Strengthen continuity within the city while emphasizing
the quality of the area with the quality of the light. Selective
and restrained lighting will emphasize unique character at
night and enliven the heritage area.
Unify the public lighting types to create a coherent
regional identity. Lighting hardware will give scale,
rhythm, order and focus both by night and by day.
Accomplish this with a simpler and finer lighting hardware
and refined attachment to the existing structures. This
becomes part of the street furniture and helps establish the
area character.
Include event-based temporary or seasonal lighting, such
as for Luminato, neighborhood festivities and holidays.

The lighting master plan should develop in tandem with the
Heritage Interpretation Plan and thus should be an
important medium for expressing the overall themes,
storylines, and key messages recommended in the
interpretive plan.

Include Union Station as the western anchor for the
Heritage Lighting Plan.

Use best practices of sustainability in keeping with the
City’s Energy Management Program. Evaluate efficiency in
terms of quality of vision.

Utilize the latest technology for effective conversion of
light into illumination.

Maintenance - the project fails without a simple, economical,
easy to maintain solution.

Create an inspiring aesthetic appearance for the night
environment and an attractive lighting infrastructure during
the day.
How to achieve the Objectives

The solution is an interactive professional, client and
community process which develops an understanding of the
night time needs and potentials of the heritage district and
collaborates to reach the objectives. It is essential to long
term success, that the community stakeholders are active
participants and provide input and criticism and finally,
agreement with the work.
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4.4 Assessment of Existing Conditions
It is important for the consultants, client and stakeholders to have a
shared view of the existing neighborhoods as these agreements will
form the basis of our collective conceptual designs. The following
maps are tools to gathering and communicating these observations.
The maps show the boundaries of the neighborhoods, the roadway
patterns, pedestrian pathways, hydro light level requirements, light
fixture types and locations, the massing of buildings, heritage
buildings and interpretation possibilities.
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4.4.4 Building Massing Patterns
The size and shape of the architecture and the spaces created
between the buildings give the City its urban texture. Successful
night lighting design recognizes and reinforces these masses and
openings, using the surfaces and patterns to create external rooms
and featured objects,
Generally in Old Town Toronto, buildings line both sides of the
street enclosing a space referred to as the ‘streetscape’. Light at night
must be considered for this entire space and not limited to the
roadway. A good example of a strong urban corridor with poor
lighting is Front Street from Union Station to Berczy Park.
Berczy Park and St. James Park form two major urban rooms,
enclosed by mostly heritage walls. They provide a wonderful
opportunity for lighting the vertical surfaces of the store facades and
for highlighting the features, such as the Flat Iron Building, the
fountain and the church steeple. Another smaller area is defined in
front of the St. Lawrence Market. These unique spaces could become
icons for the Old Town experience.
A number of pedestrian plazas and passages, including Market
Court, present opportunities to welcome strollers and provide relief
from the vehicles at night.
Other spaces between buildings and streets, such as the many
random parking lots in downtown Toronto, become gaps, like
missing teeth, and present a major challenge for coherent expression
of the night character. The 10 block area of the original Town of
York is a particular challenge for night time interpretation. Many
buildings have been replaced, some actually blocking the street, such
as the Sun newspaper building. Others have been replaced with
parking lots.
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4.4.5 Heritage Interpretation Sites
The urban setting of Old Town Toronto presents several interpretive
challenges, as well as opportunities. On the one hand, successive
waves of development have overlain the original ten block town with
new buildings, or have left gaps now occupied by surface parking
lots. The hodgepodge that remains on some streets makes gaining a
coherent understanding of the area’s history more difficult than
would be the case if the streetscapes were more continuous, and if
more of the early-mid-19th century buildings were still standing. On
the other hand, there are a few key buildings and sites that can serve
as focal points for understanding key interpretive themes.
Emphasizing these properties within an interpretive framework will
make the disjointed nature of Old Town coalesce sufficiently for the
main messages to be received.
There are two main components to the interpretative approach to
heritage lighting in Old Town. The first is to identify the heritage
properties that are listed or designated by the municipality, and to
map them. The next step is to identify groupings of heritage
buildings and sites that tie to interpretive themes and storylines.
Within these groupings can be opportunities to use lighting in ways
that are different from simply lighting building facades. Groups of
buildings can be lit as a collective entity, vacant sites can have
former structures suggested, or even re-created, by the use of
projected lighting. Venues for special events that use lighting can
also be identified.
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In concert with the interpretive themes and storylines contained
within the Interpretation Plan for Old Town, the following groupings
of properties are suggested as having potential for interpretation
using lighting:
1. Toronto Street (early financial and institutional district)
2. St. James’ Cathedral and precinct (church history)
3. King Street East (commercial row)
4. Front Street flanking of Scott (performing arts/cultural centre)
5. Front Street Commercial
6. St. Lawrence Market Area
7. Frederick Street (former Town financial district)
8. Berkeley Street (industrial history)
Within these areas are specific sites where lighting could reinforce
heritage interpretation. Some are where significant buildings were
but they no longer exist:
 Original ten blocks (George to Berkeley, Adelaide to Front)
 First Parliament site
 First Post Office / Bank of Upper Canada
There are other potential interpretation sites where historical events
happened but the buildings have changed or were not a significant
part of the event:
 Union Station
 Former jail yard (Courthouse Square)
 Campbell House
 St. Lawrence Hall
 St. Lawrence Market (original market, one of the City Halls)
 Colonial Advocate office
 Site of invention of the incandescent light bulb
 Former shoreline of Lake Ontario
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4.4.6 Heritage Buildings
39
57 (55-57)
134 (132-142)
252 (252-264)
363
Adelaide St.
Adelaide St.
Adelaide St.
Adelaide St.
Adelaide St.
Millichamps' Building
York County Courthouse
John d. Lewis Building
Bank of Upper Canada
Paul Bishop's Buildings
33
53
Berkeley St.
Berkeley St.
Consumer Gas Co.
Row Housing
Church St.
Church St.
Church St.
Church St.
Greey's Factory Building
Toronto Cold Storage Building
Home Savings & Loan Investment
Hotel / William E. Cornell
Colborne St.
Colborne St.
Warehouse
Milburn Building
Front St.
Front St.
Front St.
Front St.
Front St.
Front St.
Front St.
Front St.
Front St.
Front St.
Front St.
Front St.
Front St.
Front St.
Front St.
Front St.
Front St.
Front St.
O'Keefe Centre
T. Griffith Block
F.G. Perkins Block
Strickland Warehouse Store
Warehouse
Alexander Smith Block
Thomas Helliwell Block
Thomas Clarkson/John Hallam
Edward Leadlay Co.
South St. Lawrence Market
Commercial Buildings
Toronto Street Railway Stables
J&J Taylor Safeworks
W. Davies & Co. Pork Packing
Toronto Street Railway Stables
Commercial Buildings
Standard Woolleen Mills
Upper Canada Parliament Building
George St.
Jarvis
Jarvis
6
15
78
82
41
47
1
35
41
47
65
77
81
85
87
91
100
132
139
145
165
219
227
271
(53-79)
(9-15)
(41-43)
(45-55)
(35-37)
(41-43)
(47-49)
(65-67)
(81-83)
(94-100)
(219-221)
(223-227)
(265-296)
65
65
99
(61-75)
2
37
50
105
106
133
142
145
150
151
156
172
167
185
187
197
200
214
215
226
236
245
251
260
287
298
302
359
King St.
King St.
King St.
King St.
King St.
King St.
King St.
King St.
King St.
King St.
King St.
King St.
King St.
King St.
King St.
King St.
King St.
King St.
King St.
King St.
King St.
King St.
King St.
King St.
King St.
King St.
King St.
King St.
Royal Bank of Canada
King Edward Hotel
Quebec Bank
City Buildings
St. James' Cathedral
City Buildings
St. Lawrence Galleries
Bank of Commerce
Daniel Brooke Building
St. Lawrence Hall
John Murchison Building
Soverign Bank
Shops
Thomas Thompson Building
Little York Inn
Nealon House
Christie, Brown & Co.
W.A. Drummond Dairy Supply
A. Muirhead Co. Paint Factory
Imperial Bank
Carolyn Smith Building
William Copeland Buildings
Grand Central Hotel
William Nobel's Tavern
Firstbrook Building
Charles Coxwell Small House
Tavern
Reid Lumber Company
Market St.
Market St.
Warehouse / A.R. Denison
Armory Hotel / Old Fish Market
25
Ontario St.
Drug Trading Co.
69
Sherbourne St.
Victoria Tin Works Building
Little York Hotel
10
Toronto St.
Shops
Macfarlane's Hotel
20
43
Victoria St.
Victoria St.
Imperial Life Assurance Co.
Excelsior Life Building
Wellington St.
Wellington St.
Wellington St.
Hutchison Building
Ehmann Corp.
Flat Iron Building
8
12
36
42
49
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(125-141)
(143-149)
(151-161)
(152-156)
(167-183)
(226-234)
(241-245)
(254-260)
(298-300)
(10-12)
(36-40)
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5. Concept Phase
The Research and Analysis information was reviewed with the
Stakeholders and their input was combined with the consultant’s
studies to form the lighting design concepts.
Ideas for the lighting of typical streetscapes, for the selection of
street light fixtures and for the lighting of the historical buildings are
explored. Review of these ideas and selection of proposed options
becomes the basis for developing the concepts into final
recommendations.
5.1 Conceptual Initiatives for Lighting
To improve the streetscape lighting insuring the sense of public
safety and comfort.
To increase appreciation of the heritage and distinctive
architecture.
To create an atmosphere that fosters historical interpretation and
night time entertainment.
To institute a strategy for future maintenance and improvement of
the night lighting.
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5.2.1 Light fixture Types
5.2 Streetscape Lighting
The approach for improving the street lighting in the Old
Town area is to first decide which street lights will be used
and then where to place them.
The conceptual suggestions arePedestrian post top lights – use the Moldcast “Victorian”
style lights that are currently in the area. Improve the quality
of the colour by changing the high pressure sodium
(yellowish) lights for Metal halide (whiter) lights. There
have been suggestions to replace all the pedestrian scale
lights with new “truly historical” or “leading edge modern”
street lights. If there is a possibility of this additional
expense, the option could be considered. The existing lights
are the recommended scale and have some visual quality.
Tall street lights – there are three types of tall street lights
in the area now – “cobra heads”, “acorns” and “Victorian”.
We recommend that all cobra heads be replaced through out
the area with acorn lights, except on Front Street by Union
Station, where a new light fixture may be appropriate. A
program has been started to replace “acorns” with
“Victorian” style lights in front of heritage buildings. The
recommendation is to abandon this concept and use “acorns”
on all tall poles. The reason is that the “Victorian” light is
not very noticeable and not a significant indicator of
heritage importance. Use of such lights could also be seen as
adding to the visual clutter.
(See Section 4.5.3 for photographs of existing street lights.)
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5.3 Heritage and Distinctive Architecture
Eight buildings or sites have been suggested as examples for lighting
design development. Each of these has been rendered as concepts
(cartoons) to show the approach for night lighting. Here are the 8
selected features, with brief descriptions of the lighting for each.
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5.4 Historical Interpretation
Aside from the opportunities to light individual heritage buildings,
Old Town contains larger areas, building groupings and precincts
that have historical significance and could be interpreted using
lighting. As part of the study process, the consulting team examined
the option of area-wide interpretive lighting. Of the many
opportunities identified in Section 4.5.6 for lighting building
groupings and areas, the following were chosen for further
examination as a result of discussions within the study team and with
the client group:
Old Town Toronto – There could be some signature
elements to distinguish the total area that may be part of the
lighting hardware system. Signature lights may be attached
to light poles (or building facades), which may have an
internal lighting element. BUT with the proliferation of signs
and visual clutter on the light poles and with the trolley
wires, it will be challenging to find a way to achieve this
distinction.
Original Town of York – The first ten blocks of the city
may be set off from the other streets by using a special street
light fixture, but if would need to have a very strong visual
presence, banners, etc., to give it value, especially by day.
St. Lawrence Market – The idea of using the space around
the perimeter to tell an interpretive story suggests a unique
lighting zone at night, something that enhances displays,
washes facades and gives a unique presence to the building
from a distance at night.
First Parliament – This site, presently a car dealership and
parking lot, is most challenging. One idea that uses light to
create animated interpretation is a grid of LED points on a
large transparent “net/mesh” that could become the
“ghostly” outline of the former buildings and would provide
a presence in the daytime as well as at night. To do this
successfully, budgets would be in the 7 figure numbers. (A
small version would not be worth the effort.)
Former Waterfront – Here one possibility would be a blue
LED line with a tempered glass top surface that would go
along the ground, across streets, and up building facades and
tops as a floating line – all visible in the daylight.
Campbell House – In this case, the façade of the former
building (now relocated from the top of Frederick Street to
the corner of Queen and University) could be re-created in
full scale using a “net/mesh” screen, as at First Parliament,
thus providing a “ghost” of the former setting that is
animated and visible day and night.
First Light Bulb – Here there is a chance to be playful: how
about a giant model of the first light bulb (à la Claus
Oldenburg), at a scale of 10 metres high?
All of these ideas were assessed by the study team and discussed
with the client. The results of this analysis are provided in the next
section, as part of the Design Development phase (see Section 6.6).
Heritage Lighting Master Plan for Old Town Toronto
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5.5 Lighting Implementation Policies
Responsibilities for implementation will fall into four groups. The
project will be organized to aid this division of activity to facilitate
maximum short and long term results.
FOR The City and Toronto Hydro
Street lights for basic streetscape types
Pedestrian scale only
City Parks
City Parking Lots
FOR Developers
Bylaws/ Guidelines for new projects and upgrades
Modification of existing lighting to meet basic guidelines
FOR Commercial Properties
Building lighting – entrances, facades, features
Signage lighting
Security lighting
Parking lots and open spaces
FOR Homes and Private Properties
Entrances
Landscape
Facades
Pedestrian mixed with heritage tall arm lights
Heritage tall arm lights
Acorn tall street lights
Other, cobra heads
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Heritage Lighting Master Plan for Old Town Toronto
6. Design Development Phase
6.1 Introduction
With review and approval of the Analysis and Concepts by the
stakeholders within the neighborhood, BIA, and the City of Toronto,
designs have been developed. These form the basis for
implementation recommendations, strategies and guidelines.
Review:
The recommendations for the Master Plan for Heritage Lighting of
Old Town Toronto are organized into four interrelated sections. Each
one should be developed in a different way and together they can
fulfill the mandate for a recognizable attractive and unique part of
the larger City of Toronto -

1. Streetscape Lighting
Initiatives for
Lighting Old Town Toronto
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2. Heritage and Distinctive Architecture
To improve the streetscape lighting insuring the sense of
public safety and comfort.
To increase appreciation of the heritage and distinctive
architecture.
To create an atmosphere that fosters historical
interpretation and night time entertainment.
To institute a strategy for future maintenance and
improvement of the night lighting.
3. Heritage Interpretation with Light
4. Guidelines & Strategies for Future Lighting
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6.2 Streetscape Lighting
The approach for improving the street lighting in the Old Town area
is to first decide which street lights will be used and then decide
where to place them.
6.2.1 Light Fixture Recommendations
The design development recommendations for the light fixtures are:
Pedestrian post top lights – use the Moldcast “Victorian” style
lights that are currently in the area. Improve the quality of the colour
by changing the high pressure sodium (yellowish) lights for ceramic
metal halide (whiter) lights. The existing lights are the recommended
scale and have some visual quality.
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Placement of the street lights –The improvement of the street
lighting could proceed in 3 steps, as projects and budgets allow.
Step 1 - First priority would be to add pedestrian lights in the few
areas within the core area where they are missing. These new lights
and all existing lights should be fitted with ceramic metal halide
lamps.
Tall street lights – there are three types of tall street lights in the
area now – “cobra heads”, “acorns” and “Victorian”.
Step 2 - The second step would be to develop a location policy and
relocate the tall “Victorian” lights.
It is recommended that all cobra heads be replaced throughout the
area with acorn lights, except on Front Street by Union Station,
where a new light fixture should be specified.
Step 3 - Finally, the pedestrian lights should be extended throughout
the Old Town area as projects develop and according to a long term
plan with the City and Hydro.
A program has been started to replace ‘acorns’ with “Victorian” style
lights in front of heritage buildings. The recommendation is to put all
of the tall “Victorian’s” in one concentrated area.
Costs - Budgets for the streetlight work would be included in area
capital improvement projects as part of Toronto Hydro’s
responsibility. Cost will probably not be passed on to the community
directly.
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6.2.2 Light Source Recommendations
Conversion of existing High Sodium Pedestrian Street lights to
Ceramic Metal Halide
Presently, most light sources in Old Town Toronto are high pressure
sodium, with their yellow, poor colour rendition light. A few streets
have metal halide in the pedestrian lights.
This study strongly recommends that all street lights in Old Town be
converted to ceramic metal halide lamps and ballasts. First priority is
the pedestrian lights. One street should be tested with 75 watt
ceramic metal halide, 3000K. Measurements should be made to test
if lamp wattage meets City standards and wattage adjustments can be
made if required.
This relatively inexpensive and simple adjustment will have a major
impact and convert a dull monochromatic yellow glow to a full
colour rendering, comfortable, attractive ambience.
The colour quality of the white light source is an essential
component in creating a unique heritage zone.
(See Appendix C for a detailed discussion of street light lamps.)
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6.2.4 Typical Streetscape Sections
There are 6 different recommended typical street light solutions for 6
different streetscapes types. They are –
Section A - Smaller streets throughout heritage area.
Pedestrian Victorian style lights only staggered on each side
of street. No tall streetlights.
Section B - Front Street with centre island.
Pedestrian Victorian style lights on sidewalk and island. No
tall streetlights.
Section C - Historical zone option for core areas.
Pedestrian lights with tall “Victorian” lights. Locations
under discussion. Could be in place of acorn lights in some
Major streets or possibly used on Esplanade.
Section D - “Major” streets in the heritage section.
Pedestrian lights with tall Acorn lights‘
Section E – (Not shown in illustration.)
Streets in areas without Pedestrian lights. Acorn lights only
Section F - Front Street in Union Station area.
Mix of tall sharp cut off street lights and unique pedestrian
scale lights. To be developed in future project.
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6.3 Heritage and Distinctive Architecture
Eight buildings or sites have been developed as examples for
heritage lighting design. Each of these has been rendered as concepts
(cartoons) to show the approach for night lighting. Here are the 8
selected features, with brief descriptions of the lighting concepts.
Generic light fixture types are located and drawn to give an approach
for final designs. The “next steps” are outlined and very rough
budgets are included where applicable.
Heritage Weekend Lighting Demonstration
On the weekend of November 6th and 7th, 2009, the City and BIA
building owners sponsored a mock up of heritage lighting for five of
the eight sites. Permanent lights were installed on the St. Lawrence
Hall, the sides of St. Lawrence Market and along the heritage store
fronts of Front Street. The Flatiron Building, St. James Cathedral and
the front of the Market were lit for the event with temporary
theatrical lights. Photographs are included.
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6.5 Energy Efficiency, Controls & Maintenance
Energy – In today’s environment of conservation of energy and
sustainable solutions, the power to provide the light must be as
efficient as possible. Each light bulb should provide the required
amount of light for its task with the least amount of electricity.
Street lights – The recommendation is to replace the present sodium
lamps and ballasts with ceramic metal halide packages. Although the
lumens (quantity of light) per watt of energy for halide are not as
high as for sodium, many experts state that the night visibility per
watt is better for halide. The difference is small compared to other
sources such as incandescent and even LEDs at this time. As LEDs
efficiency improves, the street light lamps may be updated.
Building lights – Here both LED and ceramic metal halide lamps are
recommended, depending on the best performance for the task. Both
are at the leading edge for energy efficiency.
Controls – Photocells and timers should be used to control the
switching of all the lights. The street lights and a few of the main
feature building lights can be turned off and on at dusk and dawn by
photocell switches on the fixtures or on groups of fixtures. Building
lights should be turned on with a photocell or astrological timer and
turned off by the timer at an appropriate time in the late evening to
save energy and lamp life.
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Maintenance – Two factors add to cost of maintaining lighting
systems, the life of the light bulb and ease of access for relamping.
Lamp life - Incandescent lights burn out and need replacement more
than once a year. Metal halide and sodium lamps last 3 or 4 years.
LEDs can last up to 10 years, but their light output diminishes over
time. For Old Town, most lighting needs can be met with long life
lamps.
Access to re-lamping - The amount of labor it takes to change a
light bulb impacts the cost of a lighting system. The street lights will
be maintained with standard Toronto Hydro system equipment in the
regular manner. The lights attached to the buildings should be
located where they are easy to access either from interior openings or
from a boom truck location on the street. When several lamps have
burnt out, group re-lamping often saves money in the long run.
Bird Friendly Guidelines – New lighting specifications should
complement the City Council- approved guidelines, particularly
regarding light pollution and preferred exterior lighting.
Heritage Lighting Master Plan for Old Town Toronto
6.6 Heritage Interpretation
6.6.1
Lighting’s Interpretive Role
Of all the proposed interpretation media, lighting has arguably the
greatest potential impact. Especially in a city that has long winter
nights, and that has a vibrant street life after dark in the warmer
months, night lighting provides a means of articulating the urban
scene in ways that are not possible in daylight. From spotlighting
individual sites to illuminating streetscapes, lighting can have a
dramatic effect. Lighting in the urban scene can adapt techniques
from the theatre that produce similar optical results. Treating Old
Town Toronto as a stage set allows interpreters to program visual
experiences in ways that clearly and artfully explain major
interpretive themes and storylines. The eye can be led to major
landmarks, disparate sites can be visually linked, and former
structures elucidated.
Lighting can transform what we see in daylight. Architectural details
are highlighted, building components picked out, distracting
elements eliminated. In Old Town, ornamental buildings such as the
St. Lawrence Hall become jewel-like when seen against a dark
background, and subtle details stand out, such as the façade of a
former city hall set within the South Market building. Structures that
no longer exist, such as Campbell House or the First Parliament
buildings, can be re-created three dimensionally on their original
sites using light, something no other interpretive medium can do.
As in the theatre, effective lighting enhances the performance. As in
a building interior, good lighting on the street increases feelings of
comfort and safety. As in a retail store, good lighting enhances the
customer’s experience and encourages sales. In Old Town,
highlighting elements with interpretive lighting can augment street
lighting and enhance the public realm with storytelling. Streets
become more attractive for longer hours and for more months. As
use increases, local visitation and tourism are bolstered, shops and
restaurants benefit, tax revenue rises. Lighting offers many
partnership opportunities between the City, institutions (such as
churches), and private property owners. As an interpretive device
that can be programmed, it is very flexible, and as an important
element of the interpretation plan, lighting can be put in place
quickly, added to in phases, and modified as needs change. Overall,
lighting offers a wealth of immediate, as well as longer term,
interpretive opportunities in Old Town, and is an integral part of the
interpretation master plan.
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6.6.2
Recommendations for Areas to Interpret with Lighting
Old Town Toronto – The conclusion here was that the idea
of signature lighting for the entire study area was not
practical. The signature lights would probably have to be
integrated into the heritage signage system, which would
raise significant technical problems for the required
electrical system.
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anticipated cost of the lighting design necessitate more
design development before it could be determined if this idea
was worth pursuing.
Original Town of York – It was decided that lighting would
not be a significant interpretive element in delineating the
original ten blocks, in part because it was felt that the area
would be difficult to distinguish even with special lighting.
Former Waterfront – Of all the ideas for lighting larger
areas, the consensus was that this was the most viable in
terms of cost, ease of installation, and timing. We strongly
feel that an LED line delineating the former waterfront
should be a priority project. Refer to the Heritage
Interpretation Plan for a plan view of the proposed route of
this lighting scheme.
St. Lawrence Market – There are significant opportunities
for lighting to enhance interpretation of this building and
precinct, but more design development will be needed before
those opportunities can be fully identified.
Campbell House – In a similar manner to the suggested
approach to the First Parliament site, the re-creation of the
façade of Campbell House would require further design
development before a final recommendation could be made.
First Parliament – There are many opportunities to provide
highly effective interpretation of this vacant site and its
former structures using lighting, but the complexity and
First Light Bulb – As charming as this idea might have
seemed at first, the event it would interpret is a minor
thematic element and there does not seem to be much
interest in pursuing this form of interpretation.
Heritage Lighting Master Plan for Old Town Toronto
6.7 Guidelines for Future Lighting Improvements
6.7.1
For City & Toronto Hydro
City Parking Lots
City Streets
In the City Of Toronto, the street lighting is managed and operated
by the private company, Toronto Hydro. The City maintains a close
relationship in terms of high standards. For Old Town Toronto area,
policies need to be set to determine the future selection and
placement of the Hydro street lighting equipment. This report
recommends continued use of the present lighting fixtures but sets
out specific locations and strongly recommends a change in the light
bulb type. Plans show streetscape types with combinations of
existing lights to indicate street character and use. Success in this
development will require commitment by Toronto Hydro and
collaboration with the City and local groups.
A summary of key points to be developed are:
 Clean up existing central area by consistent, regular
placement of pedestrian post top fixtures.
 Convert all high pressure sodium lamps to ceramic metal
halide, starting with the pedestrian lights.
 On “major streets” use acorn street lights in combination
with pedestrian lights.
 Re-organize tall Victorian lights to central area for greater
impact.
 Eventually extend pedestrian scale lights to the edges of the
Old Town area.
 Improve lighting on Front St. in area of Union Station as part
of station project.
The private vehicle represents a self-contained, lockable mobile unit
complete with its own lighting system. It may not always make sense
to provide parking area lighting for assisting with vehicular
movement. Of concern, however, is the relative lack of activity and
isolation of the parking area for the pedestrian moving from
streetscape to vehicle, or vice versa. The close spacing of parked
vehicles can result in a rhythm of shadowed niches through which
the pedestrian is forced to pass, and, in the case of long rows of
parked vehicles, cross over. Brightness levels may further be affected
by relatively dark asphalt surfaces, and in some cases, reflected glare
from standing water in driveway areas.
Lighting can play a role in improving conditions for the pedestrian,
but must be pursued as an active part of parking lot design. Often
lots are temporary uses for property awaiting development. Their
function dictates long rows with few cross-aisles and no provision
for systems of pedestrian pathways. Attendants (if present) are
usually located at one end of the lot rather than in a better position of
observance. The use of high-bay lighting from sparse central light
standards and walls increases contrast and glare, maximizing
shadows from vehicles. In some cases, lighting is restricted to the
area surrounding the vehicle entrance and kiosk, since this is the only
point of the property serviced with electricity.
Any discussion of lighting in this situation, therefore, first requires
commitment on the part of the lot owners to invest care and attention
to issues of personal pedestrian safety. These requirements can be
marketed as positive advantages for the owners. Alongside the
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“carrot” approach, a concern for the owners must be the liability
associated with a public invitation to use the property for parking.
Signage indicating a "Use at Your Own Risk" may not mitigate
responsibilities, especially if the owners have been notified of the
existence of municipally-developed suggestions for addressing safety
issues.
Some suggested procedures are:
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Evaluate existing city-operated parking lots and establish a
standard for lot designs. Upgrade from worst to best in a
long term strategy.
Provide a pattern of lighting to lower levels of illumination
to reduce contrast, and from a greater number of source
locations in the lot.
Control glare with a choice of good cutoff fixtures, and
develop a hierarchy of lighting which helps orient the user.
Use illuminated advertising signage (with controlled
brightness) to provide incidental lighting for safety purposes
(and revenue).
Give care and attention to periphery conditions, adjacent
land, and boundaries (elimination of movement restrictions
and entrapment areas).
Parking lots often share boundaries with streets and lanes.
Care should be taken to ensure that these public areas
reinforce the perceived safety of the lot, rather than detract
from it.
Lanes should not rely on private lighting from the parking
lot for illumination, and the design of public street lighting
might consider incorporating some light spillage to the lot.
Design with the pedestrian in mind.
Public parks
Parks provide an alternative landscape where pedestrians and
landscaping reverse the balance with vehicles and buildings. They
form a healthy counterweight to the streetscape, and establish a place
for a variety of activities not supported by the street scene. Use of
parks during evening hours for strolls and activities plays an
important role in the successful urban environment, and these
activities must be carefully supported and balanced with the relative
isolation of these areas at night.
The lighting of public parks should be careful to invite only
appropriate uses, and to reinforce pathways in a manner which
allows users to anticipate changes in path direction so that they feel
safe. Lighting should reinforce intersections, orientation, and
locations for egress or assistance.
Street visual clutter – particularly on light poles
Although this issue is not part of providing the night lighting, the
clutter of signs and equipment on the lighting hardware detracts from
the area’s appearance. The City and Toronto Hydro need to develop
a policy and standards for organizing this information and equipment
and attaching it in an orderly and attractive manner. Other cities offer
good examples, especially in Europe. Toronto can show leadership
by starting in the Old Town Heritage area and giving an example of
the positive impact this improvement can make.
Heritage Lighting Master Plan for Old Town Toronto
6.7.2 For Developers
Projects by private developers and building owners have a major
impact on the character of Old Town Toronto. There are a large
number of new housing towers with commercial spaces on the street.
As construction continues the City has the opportunity to encourage
sensitive night lighting solutions. For the existing properties, owners
should be informed and encouraged to modify their present lighting
if it can have a positive impact on the neighborhood at night.
A few examples of building lighting practice that should be
encouraged and incorporated in private developments are:
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Provide appropriate light at all building entrances. Choose
light fixtures that light the entrance area without glare and
indicate safe, comfortable access.
At service and vehicular entrances, avoid security-type
glaring lights. Use less bright, full spectrum lights to
illuminate entrance ways without trespass visibility beyond
the property.
Pay for streetlight changes in the public realm adjacent to
and in the vicinity of their building or project.
When possible, provide arcade or building edge lighting
along the property to supplement City street lights and
enhance pedestrian movement and comfort.
Manage interior lights of public areas so that they add to
presence of the building at night without excessive
brightness.
If it is appropriate to add exterior lights to enhance the
façades or building top, consult with City and BIA for
balance with the hierarchy of master lighting within Old
Town.
Control lights on signage to be in harmony with
surroundings and not over-bright.
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6.7.3 For Commercial Areas
Commercial streets and shopping areas are characterized by hustle,
bustle and the continual proximity of individuals, activities and
enterprises. The commercial streetscape should give a strong feeling
of enclosure to foster this type of contact. Ground floors of buildings
are intimately related to the life of the street and to its users. Upper
stories are connected to the street via doorways. These facades
become the visual border for the spatial corridor.
Where buildings in a streetscape are severely out of scale with
respect to one another, private lighting near the ground plane should
reinforce the pedestrian scale of the street, with other lighting
providing a presence on the skyline where appropriate.
Public lighting on commercial areas should provide a sense of order
to the streetscape. Public lighting should form a base rhythm to unify
the more distinct private contributions to the street, and act as a line
of reference for the many streets which cross it and the many
different zones through which it passes.
The success of commercial streets as pedestrian spaces must
inevitably come from pro-active attention by private property owners
to the lighting design of displays, entries, and signage. Illuminated
signage should address the pedestrian whenever possible, and should
be subordinate to window displays. The written word and harsh
backlit signage should be discouraged. Over-scaled signage directed
at vehicles only should also be avoided. Lighting of window displays
should work in concert
with overall display design to carefully connect the passerby and
encourage further investigation. The space of the street must
entertain and delight the pedestrian, and promote the "stroll".
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Store fronts and shop windows
Shop windows, signs, and even whole building facades reach across
the dividing line between public and private, and invite us to stop
and take notice. They are the offerings which together form the night
street scene and contribute to its quality. Their importance cannot be
overestimated. Public programs of urban infrastructure and
beautification cannot overrule the cumulative effect of these
offerings and the messages they communicate (both explicit and
implied). The success of a street at night lies for the most part in the
quality and care which is devoted to the street's walls.
The majority of these street walls are under the ownership and care
of private individuals and corporations. Each shop window, each
facade, is an offering to the passerby. It communicates values and an
implied relationship between customer and merchant. Our increasing
tendency to shout this communication through garish and brightly lit
signage and the written word cannot erase the implied
communication of other aspects of the building and displays.
Whether the sign says "caring, personal service and friendly
assistance" or not, a poorly cared for window, display, or facade tells
the customers all they need to know.
Lighting of the exterior facade and shop front window should be
careful to avoid excessive brightness which obscures views of the
rest of the store or restaurant.
Lighting is crucial to the success of display. Light quality, intensity
and colour all influence the characteristics of the merchandise itself.
Lighting creates interest, leads the eye naturally to what is
illuminated, and can communicate warmth, life, and attention to
Heritage Lighting Master Plan for Old Town Toronto
detail. During daylight hours, the contrast between bright exterior
and relatively dim interior can mean that the passersby cannot see
beyond the glass surface, viewing instead a reflection of the street.
The use of tinted glass or reflective film worsens this effect. At
night, however, the interior becomes a part of the streetscape and
reaches out to your customer. As a bonus, the police and passersby
can see into the store, providing surveillance.
Lighting of window items must be designed to reinforce the
relationships amongst the objects. Jewelry, for instance, should not
be lit with an overall wash of light. This approach shows the articles
as part of an array of "goods" when in fact jewelry is valued for its
singular and precious nature. Specifically focused lighting
emphasizes this quality, and develops strong contrasts between
items.
Lighting doesn't just mean shining bulbs at merchandise. Lighting
can often reach out from the display as well as illuminate it.
Appliance rental stores can accidentally show Hockey Night in
Canada on TV s. Almost any business can incorporate slide shows,
backlit photograph videos, and other lighting "props". The
possibilities are limitless, and businesses can create partnerships
amongst themselves so that displays incorporate cross-promotion and
continuity.
Some guidelines for relative brightness on commercial store fronts
and featured buildings are:
Surface Luminances
On Facades
Primary surfaces
Secondary
Minor but visible
Commercial signage
Display windows
Small featured elements
Average Surface
Luminance
8 cd./sq.m.
3 cd./sq.m.
1 cd./sq.m.
50 cd./sq.m.
20 cd./sq.m.
20 cd./sq.m.
Luminance of
Highlights
40 cd./sq.m.
20 cd./sq.m.
5 cd./sq.m.
500 cd./sq.m.
800 cd./sq.m.
500 cd./sq.m.
Private Parking Lots
Determine private parking lot ownership. Create pro-active programs
to inform and encourage improvements.
Industrial Areas
Larger business industrial sites are often ignored in terms of their
effect on the night environment. Glaring security lights often
dominate. If the general principles of good lighting are practiced in
these areas, the building can appear attractive and safe vision can be
greatly improved, often within the same budget. Examples in Old
Town include the Grayhound Bus Station, the Esso Gas Station and
the Sun Newspaper Printing Plant.
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Vacant Lots
For vacant areas which are left over and have no assigned uses,
lighting must be combined with other design tactics to assist
wherever possible. Where areas are relatively isolated from adjacent
activity and observation, they must be categorized into two forms:
areas requiring use even though vacant, and areas not requiring use.
Lighting should be designed to reflect the degree of use, observance,
and activity which is likely to occur in these spaces. Lighting should
not be used to generate activity, since its promise may be a false one.
It should match the other environmental factors which provide
security, and invite use of paths only when they lead to legitimate
destinations and are likely to be reasonably frequented. Where there
is likely to be little activity, spaces should remain unlit, or lit in a
manner which clarifies the function as "security to buildings and
property only".
Some guidelines are: minimize hiding places and deeply shadowed
areas, maximize clear sight lines; increase the brightness of surfaces
for the ground plane, walls, and objects; use clear systems of
orientation, wayfinding, and security, and ensuring that these
systems are lit and visible in the night environment; and use fixture
style and patterning to invite use, or discourage, as appropriate
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Heritage Lighting Master Plan for Old Town Toronto
6.7.4 For Private Homes and Property
Throughout the Old Town neighborhood, there are many private
homes, some mixed with commercial properties and some on
residential streets. There are a number of ways private owners can
contribute to improve night lighting. Simple porch and yard lights
that are turned on by timer in the evening and off late at night make a
strong impact on the area.
Porches and entrances
Porch lights and other landscape lighting can contribute by accenting
entries and addresses and by providing additional yard illumination,
so long as glare is controlled. Lighting of the public way should not
be overly bright so that vision to the relatively darker front yard
areas is not compromised.
Where porches are very close to the public way, the effect of the
light on the quality of the streetscape can be a major one. Educate
citizens regarding the negative effects of "security" and other bright,
glare-producing fixtures.
Each front door and porch should have a "beacon" light which uses a
warm lamp (giving a yellowish light and warm, welcoming
atmosphere) Cool light sources such as fluorescent 4000k, do not
provide the same sense of welcome. The porch light should be
shaded by a translucent housing, reducing the intensity and
brightness of the lamp. Where transparent housings are used, lamps
should be of lower wattage and several smaller lamps should be used
in lieu of one larger, brighter source.
House and yard lighting
Private lighting also should not be excessively bright.
Apartment building drives, entries, private lighting and parking lots
should respect the scale and quality of the street, and establish
"coach-lamp" and other small fixtures which help continue the
rhythm of the residential yards and adjacent dwellings.
Movement sensitive security-lighting mounted on the building
facade can play a role in side and back yard situations, alerting
occupants and neighbors to the presence of an intruder (unfortunately
also to the presence of cats, dogs, and swaying branches). In the front
yard, however, these lights signal to passersby and visitors that they
are considered as potential intruders rather than as potential
neighbors. This can create an eerie sense of danger in the streetscape
for legitimate users of the public way, as each searchlight in turn
monitors their passage along the street. The severe glare from some
forms of lighting reduces vision for users of the street.
When lighting landscape elements, the trick is to design first the
lighting effect and its relationship to the residence, street, and
neighbors. Incorporate variety, and keep light levels generally low.
There's no need to blast away. A little light goes a long way if
carefully positioned and controlled. Try for soft light levels which
allow movement around the yard without having to adjust one’s
vision.
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Spotlight one or several objects of interest as a focal point for an area
of the yard. Do not overdo it, and be careful with placement of the
lighting, so that the background contrasts sufficiently with the object.
Silhouetting of interestingly shaped tree limbs or foliage is
accomplished by illuminating a vertical and relatively plain surface
behind the object. Conceal the light source, usually directly behind
and close to the object to be silhouetted.
Shadowing involves shining a point light source directly at an object
and projecting its shadow back onto a vertical plane behind it. Allow
some flexibility with the wiring, so that one can experiment with
different placement angles and heights.
Up-lighting of foliage produces a dramatic effect through the use of
one or a series of lights pointing up on hidden positions into the
under canopy of the plant. Be careful not to produce glare for the
neighbor’s upper floor windows, and don't use this technique near
paths without strict control of glare.
The design solution begins by ensuring that the yards are bounded
and marked as designed, semi-private space, either through short
hedging, changes in level from the sidewalk, fencing, or "gate"
designs at the walkway thresholds. Driveway widths are minimized,
and maintenance of the space is made a priority. Property lines are
subtly accented with low fencing, planting, or other forms of
marking. Front yard elements should be kept low, or designed so that
vision from the sidewalk is not overly obscured. Places to hide
should be minimized.
lighting. Pathways from driveways should be secondary. The
connection to the sidewalk should always be primary.
The distinct features of the home and yard should then be accented
using common landscape techniques identified in the Lighting
Strategy. Consider the effect of light from the interior of the
residence as it emanates from windows. Translucent curtains allow
light to filter through, can transform the light with colour or pattern,
and can be exploited for exterior effect.
Seasonal lighting displays can give streets a sense of event and
rhythm in tune with the seasons. Consider displays which use
"winter" as a theme, rather than restricting the theme to the Holiday
Season. In this way, the display can assist the quality of the
streetscape during the relatively darker evening hours of winter.
There is no need for expensive fixtures. Use more and smaller, lower
cost fixtures in a coordinated design, rather than investment in one
expensive large fixture. Local lighting supply stores all have a
selection of fixtures for various tasks and situations, at a range of
price points. Leave the beacon porch light on at night. For pennies an
evening, your street can enjoy the benefits of the light, the sense of
human presence that the light gives, and the ability for pedestrians to
see movement and silhouettes passing in front of these lit surfaces.
Another layer of design adds an accent on the front entry and path, in
order to mark the route to the residence itself. In case of long paths,
this may take the form of path side landscaping, including path
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Heritage Lighting Master Plan for Old Town Toronto
6.8 Public / Private Partnership
For this lighting plan to become successful, the City of Toronto and
the local BIA’s must encourage the public to become involved in the
lighting improvements. Here are some examples of possible actions.
Implement and sustain a program of public/private
partnership which seeks to educate and involve private
property owners in the construction and maintenance of a
quality night streetscape. Actively seek and support pilot
projects which can demonstrate lighting effects.
Work with neighborhood associations and other groups to
institute and maintain "Porch Light" programs throughout
the area.
Promote and maintain safety audit programs and work in
coordination with transit drivers, cab companies, the police
service, and the public to develop an extensive network of
communication and feedback.
For new development, use the site plan review process to
inform project proponents of the benefits of lighting for their
projects, and focus on both quality and quantity issues when
evaluating proposals.
Provide information and outreach to local lighting retailers regarding
lighting issues. Support their role as ambassadors for quality lighting
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APPENDICES
A. SAFETY AND SECURITY
An important goal of lighting is to ensure that the streets and public
spaces of the city provide a sense of security. The lighting must
allow a level of visibility which deters crime and promotes
pedestrian activity. The ability to see one’s environment well
enough to sense danger helps to give one the feeling of security. At
the same time one must be able to see a potential attack in order to
avoid it. Because an attacker may approach or wait on a pathway,
areas adjacent to walks must also be visible in all directions. This
does not mean that uniform lighting intensities are required
everywhere or in all directions, but that the lighting must be
organized in such a way as to ensure the minimum level of visibility
necessary to permit safe passage.
Lighting can make us feel safer. Indeed, the psychological aspects of
security may be as important a reason for providing security lighting
as the practical ones. Lighted places suggest activity. They imply
that we will be able to see danger in time to react and that others can
see us if we are in trouble.
To ensure security, lighting must be adequate at a sufficient distance
to allow detection and time for evasive action. Spill lighting which
extends away from the sides of walkways is necessary, and should
not be considered lost. If there is no other background lighting,
lighting must be added to allow silhouette vision. Lighting sources
must never be so bright in contrast to their surroundings that vision is
obscured beyond the source. Light levels must be controlled so that
the viewer is not blinded by the sources. Low overall contrasts
ensure safety; there should be no “black holes” or danger zones.
Other people, objects and vehicles must be easily detectable.
Psychologically, pedestrians must sense that illumination is more
than adequate for them to perceive and avoid danger. Lighting levels
should be no higher than necessary to achieve these goals and they
must allow the character of each area of the city to be apparent.
Motion provides another dimension. Objects in motion are easier to
detect than still ones but do not always require front-lighting to be
perceived. Humans can be distinguished very well in silhouette.
Thus, an attacker might be in an unlit area but seen easily if in sharp
contrast to a lit surface.
A sense of security for one’s person and property comes through an
appropriately lighted environment. Yet, it also stands to reason that
in both human attack and property crime, the lighting alone cannot
provide security. If there are no witnesses to physically assist in
crime prevention, security will be threatened regardless of the
lighting system. Night lighting improves security which in turn
encourages pedestrian activity. Safety is thereby enhanced through
an increase in the numbers of people present. This activity strongly
contributes to one’s sense of security and should be encouraged
through the development of evening activities (restaurants, shops,
entertainment) along major pedestrian routes.
The ability to identify potential hazardous situations comes from
visibility. At this point it is important to reiterate that additional
quantities of light do not necessarily improve visibility. The glare of
many street lights impairs good vision as do their spectrally biased
colour. Bright lights do not necessarily provide good vision. By
using full colour sources of low brightness, placing them carefully
and, if necessary, using glare shields, the proposed lighting system
will provide better visibility with lower illumination levels than
presently exist on some parts of the city.
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B. PSYCHOLOGY OF NIGHT LIGHTING
The psychology of lighting can be subdivided into two general
categories; lighting which helps one to perform intellectual tasks,
and lighting which helps to achieve desirable emotional responses.
Intellectual Tasks:
In a sense, the assistance of night lighting for intellectual tasks is as
necessary a function as is lighting to assist one in physical
movement. Movement is aimless if we cannot see where we are,
where we want to go, and choose an appropriate route to get there.
Thus, another basic function of night lighting, and one which is
essential, is to help to give order to the city at night. Lighting can be
used to create visual identification of places, routes and destinations.
Lighting also should assist in explaining these physical parts of the
environment, and in differentiating between them by setting up
hierarchies of relative importance between places, routes and
destinations.
To accomplish these objectives, lighting can be used to mark or
identify, to create visual focal points, to define, and to connect.
Lighting can mark entrances to a city and to various spaces within
each area. It can identify passages between buildings or between
spaces. It can mark intersections of walkways or seats of activity. It
can emphasize existing focal points within spaces such as statues. In
addition, lighting can, by the relative numbers of fixtures and their
placement, create a hierarchy of visual importance between these
functions, and within each function. Lighting also must be employed
to emphasize graphic signs for direction, information and orientation,
even if this is accomplished by locating signs under lights, rather
than by installing special sign lighting.
Lighting can be employed to create visual events on which to focus
where none had existed. For example, a group of lights might be
placed in the center of a particular space to distinguish that space in
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the night environment from some other space; or a particular
building of a group of buildings might be floodlit to provide a
terminus or focus at one end of a walkway. By varying lighting
intensities, or numbers of fixtures, relative emphases can be placed
on various foci. In addition to the practical gain from relative
brightness emphases, the visual picture is made subjectively richer
and more satisfying.
Outdoor lighting can help to define various “ideas” in the landscape.
It can bring shape and definition to a particular space which
otherwise would be incomprehensible at night. It can, by the rhythm
and location of fixtures show that a walkway really is a passage from
here to there, and in the process show that here and there are linked
together. Lighting also can define the limits or boundaries of the core
zone if its character is sufficiently contrasted with the city lighting
that surrounds it.
There is an aspect of security lighting that is intellectual. This is the
role of general lighting to signal danger and illuminate one’s options
in the event that danger is recognized: how far one is from the safety
of a building, where other people are, where any refuge might be, the
characteristics of the danger.
Emotional Tasks:
The emotional and aesthetic use of lighting in the night landscape
environment are well known, but we have said that lighting no
longer can be employed solely for these purposes. Lighting will
either further aesthetic and emotional aims as a consequence of its
functional purposes, or it will interfere with those aims. With careful
planning and design, lighting can contribute to the aesthetic value of
the city both at night and during the day, as well as perform its
necessary practical functions. The physical appearance of the
luminaire; the colour, shape and scale; the placement, sequences, and
Heritage Lighting Master Plan for Old Town Toronto
rhythms of location; the continuity of fixture types; and the
appearance of the lighting quality: the brightness and colour of the
source; and the characteristics of the light pattern; all will evoke
emotional and aesthetic response in the viewer.
These visual aspects of lighting and lighting instruments must be
constructively employed to strengthen general landscape goals. For
example, lighting can be used to help provide a sense of life,
stimulation and vitality-or the opposite, a feeling of quiet. In a sense,
these qualities follow naturally from innate human needs: lighting is
not required if there are no people. We sense that where there is
light there is life, or the potential for life. Lighting that spills over
beyond areas that must be lighted, and light reflected from surfaces
that must be lighted helps to light the whole night landscape and
gives one a sense of the created environment, of foliage and
buildings.
Our city streets and parks are like the halls and living spaces inside
our homes. The streetscape is essentially and extension of our
personal space into the public space. A most essential viewpoint is to
see our cities as part of our home. We should be able to see our
children playing and see our neighbors and guests in the same quality
of light as we do in our personal spaces.
eloquently. To the extent that human needs invite emotional
response lighting should suggest a unified view and a consistent
approach to solutions. Lighting may be viewed as an integral
strengthening of the grand design of its environment. The placement
of groups of fixtures should be sympathetic and responsive to the
specific environment with the result, at best, verging on poetry.
In addition to its potential for enhancing our sense of beauty, lighting
can make us feel safe. Indeed, the psychological aspect of security
may be the real reason for providing enough lighting for personal
safety. Psychologically, lighted places suggest activity and safety.
They imply that we will be able to see danger in time to do
something about it and that others can see us if we are in trouble.
They suggest to the criminals that they will be seen and possibly
apprehended. Thus lighting should give us the feeling that we are
safe from potential danger. If we can see that no one is in the area
surrounding us, we feel safe. Lighting seen in this regard is lighting
that reduces fear. It also intimidates the criminal, who is no longer
able to operate “in the dark”.
Use of a full continuous spectrum source gives one a sense of the
richness and natural quality of materials and also provides continuity
with daytime perception The scale and the rhythms of the lighting
fixtures themselves can add a sure sense of scale to spaces, giving
them character, and help to tell us not only that we are in a space, but
what size of space it is.
By virtue of the physical needs of people for lighting, and the
placement of lighting to meet those needs, the installation can speak
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C. VISION: BASIC CONCEPTS
Luminance is equal to illuminance (incident light) multiplied by
reflectance (reflectivity of the surface). In the Illuminating
Engineers Society, terminology, luminance is expressed in units of
candelas per square metre. We seldom will use lux to describe
incident illuminance. In reality we see by photometric units of
luminance and not lux, or illuminance.
Day, night, dark vision:
Relating our three types of vision to units of measurement, we find
that daytime or “photopic” vision is generally associated with eye
adaptation to a luminance of at least 3 cd/m2. Dark vision, or
“scotopic” vision is associated with adaptation to a luminance less
than 0.034 cd/m2. Night vision, or “mesopic” vision, with
luminance conditions between photopic and scotopic vision, is
associated with adaptation to a luminance that is between roughly 3.4
and 0.034 cd/m2.
What do these luminances mean in terms of designing a night
environment for visual perception - assuming, of course, that to
duplicate daylight, brightness is neither possible nor desirable?
Scotopic vision:
We are able to walk confidently by moonlight in a meadow when
returning from fishing, enjoy the scenery and the stars, guided by the
beacon effect of a glowing window in a farmhouse. Moonlight
provides 0.2 lux of illuminance and perhaps 0.02 to .034 cd/m2 of
brightness under such conditions. Here we are using scotopic vision.
Mesopic vision:
When we reach the farmhouse we can read by candlelight or lamp
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light by holding the book in a favourable position with about 10 lux
of illuminance and perhaps 2.7 cd/m2 of brightness. Here we use
mesopic vision.
We can again go outside, take another walk and return to the
farmhouse with little adaptive difficulty; but we cannot take our
book with us and read it without the candle. Therefore, optimum
night lighting would seem to be attained somewhere between these
two lighting levels. In fact, most human vision researchers agree that
night vision will improve dramatically as the illumination level is
increased from 0.2 lux (moonlight) to 10 lux, where vision that
utilizes the “cones” of the eye begins to be dominant.
Importance of Colour:
While the photopic receptor system can readily perceive colours
throughout the visible spectrum, peak sensitivity is in the yellow
range. The scotopic system relies more on wave frequencies in the
blue green range. Sources that are deficient in blue prevent the
scotopic receptor “rods” from reaching the level of acuity of which
they are capable. The scotopic system is also largely responsible for
the detection of motion, and peripheral vision is almost entirely
dependent on the ‘rods’. Recent research also indicates that we are
also reliant on this system even when the photopic “cone “receptors
are in full use (i.e. interior conditions). Overall, this means that blue
deficient sources are particularly inappropriate for night lighting
applications.
The control system in the human eye that is responsible for pupil
size, (which in turn controls light intensity on the retina and depth of
field focus) is also dependent on blue light. The eye gauges total
light intensity at night using predominantly the blue portion of the
spectrum as an indicator. While viewing a blue deficient sodium
Heritage Lighting Master Plan for Old Town Toronto
source at night we sense less radiant energy than is actually being
emitted. As a result, pupil size becomes too large. The viewer is
blinded by glare, and will experience an “aura” or “halo” around the
source due to retina “over exposure”. This in turn obscures all other
less pronounced information in the field of vision. Also, visual
acuity (or focus) is reduced for approximately 1/3 of the population
who do not have proper corrective eyewear because when the pupil
is too large, the depth of field of focus is reduced, thereby reducing
the chance that the image will be properly focused on the viewer’s
retina.
It is proposed that exterior lighting levels should be designed for
mesopic, or night vision and yet occasionally be brighter in selected
areas to convey the appearance of brightness. Although the surfaces
will seem bright, the sources will not cause a night vision adaptation
problem. This is the best system to ensure enough visibility for the
potential of personal safety.
Limits of brightness design:
The primary surfaces we light should have brightness of no less than
0.034 cd/m2 (about half the brightness of moonlight) and will rarely
be greater than 3.4 cd/m2 to keep within the bounds of mesopic
vision. A few surfaces should exceed 7 to 17 cd/m2 and these
should have short transient viewing periods.
Where the design strays below 0.034 cd/m2, as it will at considerable
distances from luminaires, visibility potential will be reduced. These
levels are appropriate to areas where there are no vital visual tasks
and safety is not an issue. If the eye strays above 3.4 cd/m2 for too
long a duration, night vision adaptation will begin to be lost, and
with this loss, an ability to see beyond the immediate location. In
this circumstance, one’s sense of security and comfort will be
compromised. This problem occurs with over bright street lighting,
which in fact reduces the ability to see into the shadows.
Maximum brightness:
We have used the moon as our reference source, and we will also use
it as a guide to the maximum brightness of luminaires to be used to
achieve this night vision oriented lighting. The maximum
photometric brightness of the moon is 2400 cd/m2. This may be
exceeded without losing our night vision adaptation only if the areas
of higher luminance are kept at least 15 degrees off and above the
usual line of sight. The principal luminaires to be used should have a
brightness of less than 2400 cd/m2 when viewed at less than 15
degrees above the line of sight. This may be exceeded occasionally.
Street lighting luminaires presently used in most applications can
have excessive brightnesses. For many projects, we propose using
luminaires that are oriented to the pedestrian as well as to the
automobile, and are much shorter than street-lighting poles. For
effective night lighting, the brightness of the source is critical.
Visual tasks:
Do these low brightness levels provide illumination sufficient for the
“tasks” of night movement, identification and general observation?
As noted, one can easily walk across a meadow by moonlight, which
has a luminance of 0.021 to 0.034 cd/m2. Pragmatically, it has been
observed that one can move safely around a rough construction site
at night with incident illumination of from 0.2 to 0.1 lux, or
approximately from 0.02 to 0.01 cd/m2 ground brightness. At the
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lower end of this brightness range movement can be problematic,
while at the high end of the range, colours become perceptible.
Perception of brightness changes:
At low light levels, because the eye senses differences in intensity as
a percentage of change, even a small absolute light level change is
significant. A brightness change from 0.17 to 0.34 lux is a factor of
100% and would be noticeable. Thus, minor energy increases at low
lighting levels can produce major changes in visual perception, while
at higher levels, a much greater energy change is necessary to make a
similarly meaningful visual change.
Visual efficiency vs. light levels:
Beyond a certain point, no increase in the quantity of light will
improve task performance or increase safety in the environment. For
various tasks, for example, the following results were observed:
(from a 1970 report to the Illuminating Research Institute by Drs.
R.M. Boynton and D.E. Boss) difficult tasks were performed to 95%
accuracy in 43 lux. To achieve 98% accuracy required 1345 lux,
while 99% accuracy necessitated 43,000 lux. We see from this that a
maximum luminance level of about 2.7 cd/m2, which corresponds to
about 10 lux from an 80% reflective surface, will allow at least 95%
accuracy in difficult reading tasks, provided other factors (glare, dark
adaptability, contrast and movement) properly controlled. The
mesopic range allows a brightness of 3 cd/m2, equivalent to 13.5 32 lux, or more, depending on surface reflectivity.
The visual tasks to be performed outdoors are expected to be simple,
such as large scale human figure discriminations and the recognition
of clear, well designed graphics. Reading newspapers or writing
letters are thought to be indoor activities.
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Eye accommodation/adaptation:
The adaptation of the eyes to darkness is a principal reason for
keeping brightness levels close to the Mesopic or night vision range.
The adaptation of the eye to different levels of light and darkness is
brought about by two functions. In the first place, the pupil of the
eye increases in size as we go into a darkened area in order to admit
more light to the eyes; it tends to contract in bright light, in order to
limit the amount of light that enters the eye. This process takes
several minutes and as we proceed from one condition of
illumination to another, we may be partially blinded until this
process is completed. Under such circumstances, the cones which
are colour sensitive lose much of their sensitivity. In the dark, our
vision depends very largely on the rods, and colour discrimination is
limited. The time required for complete dark adaptation is usually
30 to 40 minutes. The reverse adaptation, from darkness to light,
takes place partially in seconds, and is completed in a minute or two.
Factors which affect visual discrimination, other than individual eye
mechanism differences, include luminance contrast, time, luminance
ratio, movement, colour, and glare.
Luminance contrast:
Luminance contrast refers to the difference in luminance of the
features of the object being viewed, and in particular of the feature to
be discriminated by contrast with its background. Within the city at
night, this condition refers principally to the design and lighting of
graphics and signage, such as the visibility of an arrow on a direction
sign against the background of the sign.
Heritage Lighting Master Plan for Old Town Toronto
Viewing time:
Within reasonable limits, the longer the viewing time, the greater is
the ability to discriminate. This argues further for the acceptability
of comparatively low night lighting levels for this project, especially
in areas where movement is expected to be by foot.
Luminance ratio:
The luminance ratio is the ratio between the luminance of any two
areas in the visual field, usually the area of primary visual attention
and the surrounding area. To some extent, due to outdoor mesopic
vision, the smaller this ratio, the greater is the ability to perceive
one’s total surroundings - except for objects perceived by contrast
such as silhouetted figures or obstacles in a roadway. Keep in mind
that luminance is a gray scale measurement and does not account for
perceptions of brightness associated with colour.
Dynamic visual acuity:
Movement of the visual object or the observer, or both, brings into
play a special type of visual acuity known as dynamic visual acuity
or DVA. It is closely coupled with length of discrimination time
discussed before. Such acuity generally deteriorates as a function of
increased speed of movement. Obviously, more visual information
can be taken in by a viewer on foot than one in an automobile.
view. “Reflected” or specular glare is caused by reflections of high
brightness from polished or glossy surfaces like building glass,
metal, or wet pavement that are reflected toward the eye. The
designer’s objective is the creation of lighting conditions that provide
adequate illumination/luminance levels while minimizing glare except where controlled glare, as from bare filament lamps, is used
for specific psychological advantage.
To minimize unwanted direct glare or contrast, low brightness
sources and glare shields should be utilized. Such sources will
increase the luminance of any area around the glare source to lower
the luminance ratio.
Summary of Basic Visual Response Criteria:
The exterior lighting design for this project deals primarily with
luminance, (the apparent brightness of surfaces or objects without
colour), rather than with illuminance, (the amount of light hitting a
surface or an object), because of the true physical nature of visual
perception. The design adjusts brightness, as far as practical, near
the “night vision” luminance condition of from 0.034 to 3.4 cd/m2,
equivalent to from about 0.2 lux to as much as 30 lux. For some
areas we may exceed these levels. Time of viewing will, however,
be controlled.
Glare:
Glare is produced by brightness within the field of vision that is
sufficiently greater than that to which eyes are adapted. Glare can
cause annoyance, discomfort, or loss in visual performance and
visibility. “Direct” glare is caused by light sources in the field of
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D. CHARACTERISTICS OF LIGHT SOURCES
Some of the aspects of man made light sources that must be
considered in their selection are efficacy, life, colour, spectrum,
directionality of light emission and size. The choice or compromise
among these factors should lead to conditions of maximum visibility
at least cost.
group relamping should take place before this time. Lamp life for
LED is considerably different. LEDs do not burn out like other
sources, but instead lose light output over an extended range. They
will still be ‘working’ even when they are emitting only a small
percentage of their original light output. Therefore, a new metric for
life is being developed. While not an adopted standard, a calculation
point of 70% of initial lumens is widely used in the industry to
describe the “useful life” of an LED.
Efficacy:
Rated lamp life for a range of ordinary light sources:
Lamp efficacy is the lumen output of light per watt of energy
consumed. Sources range widely in this regard:
Incandescent:
Linear Fluorescent
Compact Fluorescent
High Pressure Sodium
Ceramic Metal Halide
White LED
10 to 25 lumens per watt.
60 and 100 lumens per watt
50 to 70 lumens per watt
65 to 110 lumens per watt
60 to 75 lumens per watt
5 to 60 lumens per watt
The efficacy of a complete lighting system must also take into
account the energy consumed by other electrical components such as
ballasts, drivers and controls. Luminaire design also has a
significant impact on the efficacy of the lighting system, as some
fixtures can trap up to half of the light emitted by a source through
poor optics.
Life:
Life of sources is important both because of the cost of the lamp, and
costs associated with lamp replacement. The major cost of
relamping is usually labour, not the lamp itself. Relative to lumen
depreciation, and consistent with other requirements, lamps should
be chosen for maximum life. “Lamp life” for most sources is rated
at the point at which 50% of the lamps will still be burning, but
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Incandescent lamps:
Halogen lamps:
Linear Fluorescent:
Compact fluorescent:
Induction
High Pressure Sodium:
Metal Halide:
LED
up to 2,000 hours
up to 4,000 hours
up to 40,000 hours
up to 20,000 hours
up to 100,000 hours
up to 25,000 hours
up to 20,000 hours
up to 50,000 hours
Relamping should be scheduled for the number of burning hours
which relate to a preselected percentage of initial lumen output.
Light Loss:
The performance of all light sources varies as the sources are
operating over their useful life. The industry term for these changes
is termed “light loss factors”. The term is used specifically for the
reduction of light output over the life of a lamp, but this is not the
only factor to consider when comparing sources.
This varies from a minimal loss for incandescent sources to a major
loss for LED sources (see section on life for more on LED light
loss). Light loss factors must be measured for each source when
comparing the total performance of a system.
Heritage Lighting Master Plan for Old Town Toronto
Most sources experience some change in the light spectrum over the
course of their lives. For many sources this is a minimal concern,
including incandescent, fluorescent and high pressure sodium. LED
colour shift depends on the type of LED system, and may experience
a significant colour shift due to different LEDs (red, green, blue,
white) having different light loss over time, and by degradation of
phosphor components for some types. Metal halide lamps also suffer
from colour shifting. Older types of metal halide systems that use
quartz lamp jackets and magnetic ballasts suffered from significant
shifts, often appearing blue, pink or green as they aged. Newer
ceramic jacket metal halide lamps and electronic ballasts have
significantly reduced the problem to the point that these lamps are
now used in museum applications.
Ideally, all lamps and fixtures are replaced before they cease to
provide useful light. This is often not the case, and the performance
of a source near the end of life must be considered.
Incandescent sources exhibit the simplest end of life; they continue
to operate at a useable light output until they burn out. Some high
pressure sodium lamps will ‘cycle’ by turning on and off every few
minutes when the lamps are dying. Fluorescent lamps will exhibit
flickering and reduced output near the end of life. Integrally
ballasted compact fluorescent lamps can experience what the
manufacturers refer to as “non passive end of life”, a dramatic lamp
death that can include pops, bangs and smoke emitted from the
socket. LED sources continue to operate far past their useful light
output. This may result in lower than acceptable light levels if
maintenance is not completed because the fixtures are still
‘working’.
The end of life characteristics will impact the maintenance required,
including the cost, frequency and difficulty of evaluations required to
determine if and when units require maintenance actions.
Ambient Temperature:
The temperature of the environment surrounding a light source can
have a significant impact on the efficacy, colour and life of the
source. The temperature in question is the temperature of the source
itself; the lamp wall for fluorescent and HID sources, or the die for
LED sources. The operating temperature is affected by the outside
air temperature, heat created by the light source, the impact of
enclosures and heat sinks and the length of operating time.
HID sources are not significantly affected by temperature concerns.
Fluorescent lamps are affected by start up conditions and efficacy; a
fluorescent system will have a minimum required temperature to
start up, depending on the lamp and ballast selected. When
operating, fluorescent lamps exhibit a bell curve effect, with
temperatures above and below the preferred environment causing
reduced light output.
LED sources are the most impacted by their operating temperature.
They require carefully designed luminaires to prevent the die from
overheating, including large heat sinks and thermal coupling of
internal components. The lumen output, efficacy and life of LEDs
are severely degraded with elevated temperatures (referred to as
“junction temperature” for these sources). Unfortunately, there are
no industry standards for the measurement and recording of LED
operating temperatures at this time, causing many problems in the
evaluation of fixtures and the comparison of source performance.
Size and Directionality:
The size of the source is of great importance where control of the
directionality and control of light is sought by means of optical
characteristics of the luminaire which encloses it. The larger the
source, the more difficult is the problem of control, and the larger the
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fixture must be to effect control. When the interior surface of a glass
lamp is treated with phosphor or other coatings, the size of the source
is increased in proportion to the dimensions of the globe, making
control a larger-scaled operation. Fluorescent tubes are
comparatively large in diameter and length. HID lamps have
intermediate sized arc tubes which are amenable to control if
phosphor coatings are not added to improve colour output. LED
sources are very small, and can have very discrete directionality to
each die. Lighting for large areas, such as streets and parking lots,
require control to balance brightness or glare while directing
adequate illumination for general area lighting.
CCT of a source does not describe how the light source will render
specific colours. two sources, even of the same type (such as two
fluorescent lamps) that have the same CCT may appear to be very
different colours when seen side by side.
Colour:
A confusing aspect of the metric is the perception of ‘warmth’ of a
light source is inverse to the degrees Kelvin. A source that we
perceive as ‘warm red’ such as incandescent has a lower number,
while a source that we perceive as ‘cool blue’ such as a Cool White
fluorescent lamp has a higher number (it is in fact ‘hotter’ than the
‘warm’ source).
Desired colour characteristics
The colour spectrum of light emitted from different sources varies
widely. Sources may emit a light spectrum which is richer in some
colours than in others, and which may be smoothly continuous or
discontinuous between colours with little energy between “bursts” of
specific colour energy. The ideal light is the white light of sunlight
which we regard psychologically and physiologically as the norm.
Correlated Colour Temperatures for sample light sources:
Incandescent/Halogen:
Fluorescent:
High Pressure Sodium:
Metal Halide:
LED:
2700° K to 3000° K
2700° K to 5000° K
2700°K
3000°K to 4500°K
2700°K to 7000° K
These metrics are not indicative of the colour rendition of “skin
tone”. The colour of our skin is critical the perception of appropriate
colour and these numbers are of little use many colour judgements.
Correlated Colour Temperature (CCT)
Colour Rendering Index (CRI):
This metric describes the relative colour of a ‘white’ light source as
compared to other sources, through a range of ‘warm’ (more red)
sources through to ‘cool’ (more blue). The metric uses the
equivalent degrees Kelvin of a theoretical blackbody radiator. A
simple comparison is the heating of a piece of steel. At lower
temperatures, the steel glows a deep red. As the steel is heated more,
it will progress through more orange and yellow until finally it is a
very bright bluish white. It is important to remember that CCT is
only used for sources that are approximately ‘white’ light. There is
no CCT for a pure blue, green or red LED for instance. Also, the
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The colour rendering index is a metric that compares a light source
to a reference source of the same Correlated Colour Temperature,
within a scale from 1 to 100. A rating of 90 to 100 is considered to
be superior colour rendering, while as low as 70 may be acceptable
for some applications. It is an average of many spectral tests, and in
no way indicates which areas of the spectrum that each source
favours. It is a useful metric to compare sources through a rough
description of their colour accuracy. It does not provide enough
information to be a useful tool in the selection of one light source
Heritage Lighting Master Plan for Old Town Toronto
over another due to its simplification of many spectral tests into a
single number. The only useful way to compare light sources is to
evaluate samples of each source in the environment that they will be
used.
lamp. The colour quality differs greatly across the range. High end
lamps have good quality phosphors that produce a well balanced
colour spectrum. They are available in a wide range of colour
temperatures, from relatively warm sources to very cool blue.
Colour Qualities of Sources:
LED dies produce a distinct, monochromatic light in a specific
colour. The colour options available include red, yellow, orange,
green, blue and ultraviolet. White light applications typically use a
blue or UV die with a phosphor coating. The phosphor provides the
yellows, reds and greens to fill the remaining spectrum. The colour
quality of LED sources varies widely. The best LEDs have good
colour rendering and appear quite natural, while poor quality
versions can appear purple, pink or greenish. Colour and output
consistency is a major difficulty with LED sources. The
manufacturing process creates a range of dies, each with a different
colour output. These are ‘binned’ by the LED manufacturer into
groups of specific characteristics. Fixtures typically use 20 to 100 of
these dies. Manufacturers pay more money for closely matched
LEDs, and attempt to mix or blend LEDs of different outputs to
obtain a consistent result.
Incandescent light has a continuous and broad spectrum. The
spectrum tends to be comparatively richer in red and yellow light but
has less content in the blue and green range.
HID sources vary greatly in colour output but typically have
discontinuous spectra that tend to concentrate light energy in narrow,
intense bands of colour. When a spectrum of light includes
components of blue, green and red light - and their relative
intensities can vary significantly - the eye and brain integrate these
colours into a perception of “white” light.
Metal halide lamps are the most appropriate of the high output HID
sources for exterior use in terms of colour. Their spectrum is rich in
yellows, blues and greens, but includes enough red to produce an
approximation of “white” light. Newer ceramic metal halide lamps
provide excellent colour rendition for an HID source.
High pressure sodium lamps, which are employed to illuminate the
streets in many cities, produce light which is yellow-orange, with
almost no blue-green component. This light is relatively kind to
people and reddish building materials, but turns the green of foliage
to a dirty brown and makes landscape plantings appear to be dead or
dying. There are special types of high pressure sodium lamps that
has very good colour characteristics, but they are expensive and not
typically used in large scale projects.
Fluorescent sources, including linear, compact and induction lamps
get their colour characteristics from the phosphor coating on the
Colour Efficacy:
The Lumen is the international standard derived metric used for
measuring the quantity of light emitted by a source for calculations
involving human visual systems (as opposed to light for plants,
degradation of materials, etc). The Lumen is a standard unit that is
used for all light sources, regardless of their efficacy, colour or
spectrum.
There have been many discussions regarding the applicability of the
Lumen for architectural night environments, specifically for lower
light levels. Studies are ongoing with regards to how the human
visual system reacts to varying colours of light (spectra) and light
levels. The non-visual impacts of light are also being studied,
Heritage Lighting Master Plan for Old Town Toronto
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specifically the impact of light on health, hormonal regulation, and
alertness. These studies are not yet conclusive.
Many lighting manufacturers, (especially those marketing LED
products) use weighting factors or multipliers on the Lumen when
comparing their products to other sources. They use terms such as
“night Lumens”, “scotopic lumens”, “Led lumens” and others.
These multipliers are used to elevate the lumen output of their
product and make them appear to be more efficient when compared
to other sources.
The governing bodies of lighting science, specifically the
Commission International de L’eclairage (CIE) and The
Illuminating Engineering Society of North America (IES) have not
adopted any modifications to the Lumen. Therefore, for the purpose
of this project, we recommend that only the SI derived Lumen be
used.
energy use. The illumination levels, moreover, should be no higher
than what is necessary for safety, comfort and meeting the various
design objectives.
The key is in selecting efficient sources that produce the desired
effect. For example, although fluorescent sources are more efficient
than incandescent sources, they do not provide the sparkle,
excitement, directional control and warmth of incandescent lamps
and, thus, are not appropriate choices where such qualities are
necessary. From this point of view, an incandescent or a metal
halide lamp may, indeed, be the most efficient source available to
achieve the intended result.
A final suggestion is to provide light as simply as possible. Toward
this end, all decorative lighting should be functional, and functional
lighting should be decorative. Where one fixture can replace two,
conservation thrives.
Energy Ethic:
Energy conservation has become a significant issue in the design of
large-scale projects, not only because of an energy availability and
higher energy costs, but also because of the public attitude toward
energy use. This might be called the “energy ethic” of design.
Projects such as this have the opportunity and the obligation to
display an approach to energy conservation that, if emulated on a
broad scale, would result in more value received, and less energy
consumed.
Rather than concentrating on creating a design which merely uses a
lower amount of energy, the lighting designers believe that the most
important aspect of energy conservation is the elimination of energy
waste. Lighting levels should be consistent with visual requirements,
and should meet the established project criteria, not only minimize
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Heritage Lighting Master Plan for Old Town Toronto
E. BIBLIOGRAPHY
453; 1985.
Learning to See – A Matter of Light; H.M. Brandston; Illuminating
Engineering Society of North America; 2008
Concepts in architectural lighting; M. David Egan; 1983.
Lighting for Exterior Environments an IESNA Recommended
Practice, RP-33-99, 1999
The effect of HPS light on performance of a multiple refocus task;
LD + A; H. A. Piper; No. 2; 1981.
Eye and brain, third edition; R. L. Gregory, 1977.
I.E.S. Lighting Handbook, Reference Volume; Mark S. Rea, 1993.
Lighting Master Plan Report, University of Ottawa; Gabriel/design;
November 1992.
Energy Efficiency Consequences of Scotopic Sensitivity; S. M.
Berman, Journal of the Illuminating Engineering Society, Winter
1992.
Lighting Master Plan, University of British Columbia;
Gabriel/design; December 1991.
The effect of pupil size on grating detection at various contrast
levels; J.M. Woodhouse; Vision Research, 15; 1976.
Illumination, colour rendering, and visual clarity; H. E.
Bellchambers and A.C. Godby; Lighting Research and Technology;
4; 1972.
Depth of focus of the human eye; K. N. Ogle and T.N. Schwartz; J.
Opt. Soc. Amer. 49; 1959.
Bluer light, better sight; James R. Benya; Architectural Record
Lighting; February 1991.
Visual performance using reaction times; M. Rea & M. Ouelette;
Lighting Research and Technology; No. 4, 1988.
Pupillary Size differences under incandescent and high pressure
sodium lamps; S. M. Berman, D.J. Jewitt, L.R. Bingham, R.M.
Nahass, F. Perry and G. Fein; Journal of the I.E.S.; 1987.
National Capital Commission Ceremonial Route; Gabriel/design &
H. M. Brandston and Partners; 1986.
Effects of light source spectral distribution upon visual functions; H.
R. Blackwell; Proceedings of the N.Y. Academy of Sciences, Vol.
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F. GLOSSARY OF SELECTED LIGHTING TERMS
ACCOMMODATION - The process by which the eye changes focus
from one distance to another.
ADAPTATION - The process which takes place as the eye adjusts to
the brightness or the colour of the visual field. The term is also used,
usually qualified, to denote the final stage of the process. For
example, ‘dark adaptation’ denotes the state of the eye when it has
become adapted to very low luminance.
CORRELATED COLOUR TEMPERATURE - (Unit: Kelvin, K)
The temperature of a full radiator (black body) which emits
radiation having achromatically nearest to that of the light source
being considered. E.g: The colour of a full radiator at 2856 K is the
nearest match to that of a tungsten filament lamp. 4874 K is the
nearest match to noon sunlight, and 6774 degrees K is a combination
of clear sky and sun.
AMBIENT LIGHTING - Lighting throughout an area that produces
general illumination.
DARK ADAPTATION - The process by which the retina becomes
adapted to a luminance less than 0.034 candela per square metre.
BRIGHTNESS - Luminosity. The human perception of luminance.
GLARE - The discomfort or impairment of vision experienced when
parts of the visual field are excessively bright in relation to the
general surroundings.
BRIGHTNESS RATIO - The ratio between the brightness of any
two areas in the field of view. I.E.S. recommended ratios for the
area adjacent to the task are 1:3 desirable and 1:5 minimum. Ratios
for the general surrounding are 1:5 desirable and 1:10 maximum.
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(CRI) of sources most commonly uses the incandescent lamp as the
reference source.
Disability glare - Glare which impairs the ability to see detail without
necessarily causing visual discomfort.
COLOUR APPEARANCE - Of a light source; subjectively, the hue
of a white surface illuminated by the source; the degree of warmth
associated with the source colour. Lamps of low correlated colour
temperature are usually described as having a warm colour
appearance, and lamps of high correlated colour temperature as
having a cool colour appearance.
Discomfort glare - Glare which causes visual discomfort without
necessarily impairing the ability to see detail.
COLOUR RENDERING - A general expression for the colour
appearance of objects when illuminated by light from a given source
compared, consciously or unconsciously, with the appearance under
light from some reference source. ‘Good colour rendering’ implies
similarity of appearance to that under an acceptable light source such
as daylight. The colour rendering properties of a lamp relate to this
effect under specified conditions. The Colour Rendering Index
Reflected glare - A term used to describe various visual effects, such
as reduction of contrast or distraction, produced by the reflection of
light sources or other bright areas in glossy or semi-matt surfaces.
Direct glare - Glare caused when excessively bright light source in
the visual field are seen directly. E.g: lamps which are inadequately
shielded.
ILLUMINANCE - (Unit: Lux) The luminous flux density at a
surface i.e., the luminous flux incident per unit area. (This quantity
Heritage Lighting Master Plan for Old Town Toronto
was formerly known as the ‘illumination value’ or ‘illumination
level’.) One Lux is equal to one lumen per square metre. One
footcandle is equal to one lumen per square foot. One footcandle =
10.76 Lux.
ILLUMINATION - The process of lighting an object.
LIGHT LOSS FACTOR - Maintenance factor used in calculating
illuminance after a given period (LLF)of time and under given
conditions. It takes into account temperature and voltage variations,
dirt accumulation on luminaire and room surfaces, lamp
depreciation, relamping and cleaning procedures and cleanliness of
the environment.
LUMINAIRE - A complete lighting unit, including lamps,
lampholders, wiring, reflectors, lenses or shields.
LUMINANCE - The physical measure of the stimulus which
produces the sensation of luminosity (brightness) in terms of the of
the light emitted in a given direction (usually towards the observer)
by unit area of a self-luminous or transmitting or reflecting surface.
It is measured by the luminous intensity of the light emitted or
reflected in a given direction from a surface element divided by the
area of the element in the same direction. The SI unit is the candela
per square metre or NIT.
LUMINOSITY - A term which expresses the visual sensation
associated with the amount of light emitted from a given area. It is
the subjective correlate of luminance.
LUMINOUS EFFICACY - The ratio of the luminous flux emitted by
a lamp to the power consumed by it. Unit: lumens per Watt.
MAINTAINED ILLUMINANCE - The mean illuminance
throughout the maintenance cycle of an installation and averaged
over the relevant area; this area may be the whole area of the
working plane in an interior or the area of the visual task and its
immediate surround. Calculated by use of a Light Loss Factor
(LLF).
RADIATION Visible - The visible range (violet to red light) has been defined as
covering the wavelengths from 380-770 nm (nanometres).
Ultraviolet - Radiation of wavelengths shorter than 400 nm. U.V.
radiation from the sun, sky and most artificial light sources is in the
range 300-400 nm.
Infrared - Radiation of wavelengths longer than 760 nm lying
beyond the red end of the visible spectrum.
Near infrared = 770-1400nm; Far infrared = 5000-10000nm.
SPECTRAL DISTRIBUTION (a) Continuous spectrum; A light source emitting radiation at all
wavelengths throughout the visible range is said to have a
continuous spectrum; a tungsten filament lamp is an example.
(b) Line spectrum; When radiation is confined to a limited number
of wavelengths, the light source is said to have a line spectrum;
examples are a high-pressure mercury and a low pressure sodium
discharge lamp. The fluorescent lamp has both a continuous and a
line spectrum.
VISUAL ACUITY - The measure of ability to distinguish fine detail.
LUX-HOUR (lx-h) - A unit of illumination overtime. It is the
density of light (lumens per square metre) delivered in one hour.
Heritage Lighting Master Plan for Old Town Toronto
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G. PROJECT CLIENT & CONSULTANTS
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Client Group
Consultants
Toronto Heritage Preservation Services
Paul Maka, Preservation Officer
pmaka@toronto.ca
416-338-1077
Sherry Pederson, Preservation Coordinator
speters@toronto.ca
416-338-1089
City of Toronto
City Hall, 2nd Floor, Suite A16
Toronto, Ontario M5H 2N2
Gabriel Mackinnon
Philip Gabriel, Project leader
phil@gabrielmackinnon.com
Andrew Mackinnon, Lighting designer
andrew@gabrielmackinnon.com
Michael Simon, Lighting designer
109 Murray Street
Ottawa, ON, K1N 5M5
613-241-1822
www.gabrielmackinnon.com
Stakeholders
The Architectural Conservancy of Ontario,
Rollo Myers
City of Toronto, Community Planning,
Katherine Sparks
City of Toronto, Councilor McConnell’s
Office, Thomas Davidson
Consultant, Edward Nixon
Corktown R/BIA, Cindy Wilkey,
Chris Hutchenson
GWNA, Anita McMaster, Lester Brow
Heritage Toronto, Gary Miedema
Lorraine Kimsa Theatre, Jill Ward
Old Town Toronto Alliance,
Michael Comstock
Ontario Black History Society,
Rosemary Saddler
Ontario Heritage Trust, Sheila Larmar
St. James Cathedral, Nancy Wallet
St. Lawrence Neighborhood BIA,
George Mibrandt, Al Smith
SNLA, Suzanne Kavanagh
Toronto's First Post Office, Janet Walters
M.M. Brandston & Co.
Howard M. Brandston, Lighting designer
LightPain@aol.com
348 Catskill View Road, P.O. Box 28
Hollowville, NY 12530
518-851-2402
www.concerninglight.com
du Toit Allsopp Hillier
Urban planners & landscape architects
David Dennis, Professional responsable
david@dtah.coms
50 Park Road
Toronto ON, M4W 2N5
416-968-9479 x247
www.dtah.com
Carl Bray & Assoc. Heritage planning
Dr. Carl Bray
carl@brayheritage.com
803 Johnson Street
Kingston ON, K7L 2B6
613-542-3393
Heritage Lighting Master Plan for Old Town Toronto
Commonwealth Historic Resource
John Stewart, Project Manager
53 Herriott Street
Perth, ON, K7H 1T5, 613-267-7040
Credits
Lighting Mock-up Event
Building Owners: Flatiron – Woodcliffe, Paul
Oberman, Frank Pal; 41/47 Front- Allied
Properties, Phillip Galin, Dane Ramoutar;
67/69 Front –Michael Cruikshank
Toronto City Hall: Councilor Pam McConnell,
Tom Davidson, Bruce Hawkins, Katrina
Patterson, Sherry Pederson, Paul Maka
St. Lawrence Market & Hall – Jorge Carvalho,
Henry Severeide, Ray Kessler
Toronto Hydro: Gary Soper, R. Cook
Theatrical lights and design: Tad Lighting Adrian Goldberg, Les Watier & Crew
Special Assistance – Al Smith, Lorna Ekbald &
Bob Kemp
Report
Produced by Gabriel Mackinnon
Graphics & Maps: Michael Simon, Danielle
Wojtniak & Stefanie Lange
Photo credits: all photos by Philip Gabriel,
except photos on pages 61, 64 & 69 by Ian
Steer & David Lester, and historical
photos, pages 10 & 11.
Historical Photos: 1,3,4,11 no attribution; 2
OA10021849; 5 TA f1568 it0275; 6,9 TA
f1498 it0002; 7,8,10 TA s0071 it8454; 12
TA s0372 it1419; 13 TA 0372 ss0032
it8515; 14 TA s0372 ss0066 it0040; 15 OA
10012520.