august/september 2013 - rala€¦ · main catalogue 4 2013-2015. 6 lighting magazine |...
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august/september 2013
Public Domain LightingFighting crime with light | Lighting the TRI
Wellington Lux review | Using LEDs in public lighting
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2 LIGHTING MAGAZINE | August/September 2013 August/September 2013 | LIGHTING MAGAZINE 3
contentsAUGUST/SEPTEMBER 2013
14 Public domain lighting in crime prevention
By Claire Thompson
22 Lighting the Translational Research Institute
By Jared Lillywhite
30 Lighting up the darkest nights – Wellington Lux light festival and symposium
By Helen Frances
36 Designer Q&A – Kevin Cawley By Helen Frances
40 Landscapes – Painting with Light
By Fiona Venn
42 The relevance of current Standards when using LEDs in public lighting
By Peter McLean and Warren Julian
04 From the Editor
07 Letters to the Editor
12 President’s Message
13 IES Corporate Members
49 IES Updates + Posts
55 Events Calendar
IBC Subscription Form
Illuminating Engineering Society
of Australia and New Zealand Ltd
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For information please contact your local
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Lighting the official publication of the IESANZ – The Lighting Society is published bi-monthly by RALA Information Services.
EdIToR Dr Warren Julian AM, Emeritus Professor,
Faculty of Architecture, Design & Planning,
University of Sydney NSW 2006, AUSTRALIA,
IES EdIToRIAL AdVISoR Vessi Ivanova
SPECIAL FEATuRES WRITER Claire Thompson
PubLISHER & MAnAgIng EdIToR Barbara Cail
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SubSCRIPTIonS Joanna Lee
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without the permission of the publisher. ISSN 1320-8403 Lighting Art & Science for International Designers is the official journal of the Illuminating Engineering
Society of Australia and New Zealand Ltd.
53 Lighting Suppliers Directory Profiling companies & lighting solutions
Volume 33, Issue Four
August/September 2013
Front Cover: Gamma Illumination
ProjeCt: royal Australian navy
Heritage Centre
Yet again,Gamma has provided a stunning lighting solutionfor a wonderful piece of
Australian history.
Also seeInside Front Cover - Page 1
Pages 10-11
4 LIGHTING MAGAZINE | August/September 2013
C o n t r i b u t o r s
PETER MCLEAN
Peter is a lighting designer with more than 40 years experience in government and private
practice. Peter is the founder of Lighting, Art and Science and teaches in the lighting
courses and professional development courses at several universities. Peter has a particular
interest in the design of public domain lighting and advocates that for the lighting of the
public domain to be successful it is not sufficient for it simply to comply with the standards;
the space must also be pleasant, comfortable and visually interesting. Peter is a member of
several Standard committees and a Life Fellow of the IES.
JARED LILLyWhITE
Jared is an Associate and
lead lighting designer based
in Aurecon’s Brisbane office.
He has almost 15 years’
experience in concept
planning, detailed design
and implementation of
lighting projects for various
Clients throughout Asia
Pacific. Jared is particularly
passionate about using light
in a qualitative way, as an
architectural tool, to create better places for people.
FIoNA VENN
Fiona is a Senior Lighting Designer with WSP Vision Design and heads up the Sydney
lighting design team. Fiona brings over ten years of international lighting design
experience to the WSP Vision Design team. She began her design studies in interior
design while based in San Francisco and has lived and worked for design practices
in Tokyo, London and Sydney. Fiona is interested in the interaction between light and
environments, the emotional qualities of light as experienced by people and the creation
of well- lit spaces. She also appreciates the artistry of lighting design and has successfully
exhibited light art installations at the Vivid Sydney Festival, 2009 and 2011.
CLAIRE ThoMPSoN
Claire has been working as a writer, editor and communicator for over 10 years. She has
extensive experience in the health, education and R&D sectors and has worked as both
a corporate communicator and creative writer. A keen reader of everything from poetry
to technical manuals, Claire approaches her writing and editing work with the belief that
everybody has a story worth telling. She is currently writing extensively on research and
technology development and commercialisation for organisations that include the
University of Technology Sydney and Gemaker. She has lived and worked in Canberra
and Montreal and is now based in Sydney.
hELEN FRANCES
Helen Frances is a
New Zealand based
freelance writer. She
writes for a range
of magazines and
newspapers with
a special interest
in design and
construction.
MAIN CATALOGUE 4
2013-2015
6 LIGHTING MAGAZINE | August/September 2013 August/September 2013 | LIGHTING MAGAZINE 7
f r o m t h e e d i t o r
I’ve just returned from the Guangzhou International Lighting Exhibition and a few weeks’ travelling in in China, mostly in the foothills of the Himalaya in Yunnan Province. A report on the exhibition can be found in this issue. Apart from the countryside and the people, the most striking thing was the uptake of LED lighting in areas remote from the big cities. Much of it was in shops and restaurants and a lot in signage but it was interesting to see good products, mostly downlights that needed a double take to confirm that they were LEDs and not MR16s or metal halide. I cannot comment on the price of the products or what their lives were but it was impressive.
I have also seen good examples here, again of similar products. What seems to be less successful is the use of linear LED products, especially in applications using inadequate diffusers or where gloss surfaces are involved. The former includes the new suburban rolling stock for the Sydney trains where the individual LEDs can be seen through the too-thin diffusers, along with their colour variations. The new metro stock in Shanghai has an almost identical problem. A coincidence?
Designers who use lines of LEDs in coves and niches to wall wash often forget about non-matte surfaces that will image the LEDs, spoiling the effect with unwanted reflections of hundreds of dots, often of various versions of white.
The European mandate for daytime running lights, to make cars more conspicuous, has succeeded to the extent that some cars, particularly Audis, are so conspicuous that they are distracting leading to, perhaps, fewer head-on collisions but many more rear-enders?
I was recently in a restaurant and wondered why the pendants that contained clear candle lamps were producing strange dazzling effects. A closer inspection revealed the cause; it was an LED retrofit with a line of LEDs where the filament would have been. The dots almost merged at my viewing distance but not quite and produced a jittering dazzle as my central vision past over them.
It is well known that some regular dot (and line) patterns can produce discomfort with extremes of nausea and in some cases, seizures. I presume this is because the visual system evolved in world in which they don’t occur. In nature, dots tend to be in random patterns, as the stars or in the camouflage used by some animals. The unpleasant effects are most noticeable at certain spatial frequencies.
It would be nice if the dots could by joined into single lines but the lenses or diffusers needed to do that reduce luminaire efficiency which is a no-no. On the other hand, Standards could mandate that all interior finishes must be matte at all viewing angles at which lines of LEDs might be visible by reflection. I exaggerate but…
Something certainly needs to be done, not only with daytime running lights but with display cabinets in stores and even museums and the ubiquitous drinks refrigerators most of which have lines of LED dots directly visible as well as by reflection, producing lots of distraction and at times, disability glare.
So, please, lighting industry, join the dots before we all go dotty.
This issue explores the difficult-to-design world of public domain lighting. This can sometimes be a world of very bright, not so small dots, or one where the lighting greatly increases the amenity of outdoor spaces at night.
Warren JulianEditorJoining the dots
l e t t e r s t o t h e e d i t o r
Now the real road lighting savings impacts can be practically determined
Your recent observations in the Letters to the Editor section of the April/May Lighting on the energy and economics of road lighting technology developments brought to the fore some issues that have long remained unaddressed. As you suggest, it is not just the operational energy and environmental impacts of a road lighting system that deserve scrutiny but also the embodied and end-of-life impacts of the whole constructed road lighting system.
The science and methodologies to measure and calculate the whole cradle-to-grave energy and environmental impacts of building and infrastructure construction have long been available as a part of the environmental engineer’s toolkit; Life Cycle Assessment (LCA). This was, however, a laborious and arcane subset of this branch of engineering and seldom saw application in the wider sphere of design and construction, let alone in the lighting world.
In recent times things have changed for the better with the development of ISO and EN standardised structures for determining the “full circle” impacts of energy use and environmental cost of built assets. Even better, there are now international standards based Product Category Rules (PCRs) available for luminaires and associated equipment so that LCA based, independent third party verified Environmental Product Declarations (EPDs) can be compiled for lighting systems, over whole of life.
These EPDs facilitate manufacturers to offer credible, internationally comparable, science-based quantification of product and system performance and to deliver “greenwash free” hard data to the market place. RFP and tender processes for road authority procurement can now request this information and used to numerically rate and rank competing offers in a meaningful, transparent and auditable way.
The movement towards LCA-backed EPDs was originally spearheaded by German and French manufacturers of sustainably-produced lighting columns but with the arrival last year of luminaire specific PCRs, this is now being further advanced, most notably by German-based luminaire manufacturers.
So the “real” road lighting energy and environmental savings impacts can now be practically determined and
any measures to “reduce/reuse/recycle” can be fairly and impartially evaluated.
In a lighting world awash with fulsome but unsupported claims of energy or green superiority, this is a refreshing development.
Bryan King, DirectorLighting Management Consultants Ltd – Auckland, nZ
T hank you for your comments. It has been a pity that capital cost often rules in the procurement of lighting but now we
see, particularly with LED retrofits, that the high capital cost is offset by payback periods based only on the assumed energy saved.
In general, there is silence on life cycle costs, including the disposal (waste) of existing serviceable hardware. Matters get worse, as I suggested in my June/July editorial, if the cost and environmental impact of the embodied energy and consequential greenhouse gas emissions and pollution effects are conveniently ignored for both the new and replaced hardware.
– Warren
An impressive read
Having just subscribed and received my first edition (June) of your Lighting magazine, I must say I am impressed by the standard of content and layout.
The NDY project showcase on pages 48-52 is impressive and indeed the whole edition is a fascinating read. Well done.
ric navarro, Communications Directornorman Disney & Young
T hank you, Ric, for your praise. Everyone involved will take heart from your kind words – W
Addendum to the article ‘The retrofit equation’ that appeared
in the June/July issue of the Lighting Magazine. All images
displayed in the article were supplied by Arup, and show two
projects for which Arup provided lighting design services:
ground floor foyer 101 Collins St Melbourne, and GPT
Headquarters Sydney.
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12 LIGHTING MAGAZINE | August/September 2013
Playing with fire
p r e s i d e n t ’ s m e s s a g e
As I write this article there is a very interesting situation being played out involving photo luminescent signage. The Australian Building Control Board has issued a draft amendment to the National Construction Code to the effect that photo luminescent (glow in the dark) exit signage can be considered a viable alternative to an internally illuminated exit sign. If these alternative solutions for exit signage were to be considered equivalent you would expect them to be held to the same set of parameters – don’t you think? It appears not. Let’s examine this a little further.
There have been numerous studies conducted about the minimum sign luminance suitable for persons to clearly identify and find their way in emergency evacuation situations. Whilst they vary slightly, values between 15 Cd/sqm average and a minimum of 8.6Cd/sqm bracket range of values established in these studies and are those applied within AS 2293 Emergency escape lighting and exit signs for buildings and will certainly suffice for the purposes of this discussion. Would it not be reasonable then to expect that the photo luminescent sign be held to the same standard, after all it is considered by the ABCB as an equivalent solution? No, the photo luminescent sign acceptable criterion is far less demanding and need only be 30mCd/sqm (1Cd = 1000mCd), which is about 1/280th that expected of an internally illuminated exit sign. I would suggest this to be a not insignificant variation to be considered as equivalent.
It would appear that the testing methods employed to determine what the luminance threshold limit for the photo luminescent sign were not the same as those applied to the internally illuminated sign. The photo luminescent sign was assessed only after the test subject’s
eyesight was allowed to adapt to the dark before the testing commenced. What use is this situation when the true set of circumstances could involve any or all of the following, smoke, fire, panic, noise and flames. The regime applied appears more suited to establishing visual threshold limits for non emergency circumstances such as those that apply in darkened rooms such as theatres etc. I must add that I do not know the original aim of the study, only that it appears to not be a suitable set of circumstances for emergencies, so perhaps the benefit of the doubt can be extended. However, since the subject directly relates to the safety of persons evacuating a building I would consider adopting a requirement for one sign type and applying something far less onerous to another sign type that must do exactly the same thing is less than fair. This is particularly difficult to understand when there is ample, rigorous and consistent substantiation for the higher sign luminance.
If you and your family were in a hotel, which emergency exit signage would you feel safer having? Photo luminescence has a role to play certainly but I don’t think that it can be considered as anything near an acceptable replacement to internally illuminated emergency exit signs until it can match the luminance of these signs.
There are other issues that make this particular amendment a rather poor choice and I won’t bore you with those, but I am left to wonder how such a poor choice has got as far as it had without someone looking into this more closely. Is it not a reasonable assumption that the public can rely on the NCC as a document has its interests at heart. I am not sure that can be said here and that the ABCB are literally playing with fire.
Barry GullPresidentIES: The Lighting Society
August/September 2013 | LIGHTING MAGAZINE 13
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f e a t u r e
P ublic domain lighting plays a complex role in the life of a
city. From shaping the way that inhabitants move through a
space, to illuminating points of architectural interest and enhancing
physical form, the way a city is lit after dark is key to its urban
identity. But one of the most challenging roles of public domain
lighting lies in enhancing the safety and security of residents,
businesses and public infrastructure.
For lighting designers, the technical considerations of lighting
public spaces to preserve inhabitant safety are complex. According
to Jim Gaal, a lighting designer in Sydney-based agency Lighting
Art and Science, at a base level, public spaces must be illuminated
to a level at which people can clearly see threats to their personal
safety.
But not all inhabitants are alike; a designer developing a lighting
plan for a public park may have to balance the lighting and safety
needs of cyclists, pedestrians, sports teams and picnickers with
the need for nearby residents not to be disturbed by intrusive
light, all the while ensuring that the relevant lighting Australian/
New Zealand Standards relating to public lighting are met. These
standards include stringent guidelines for everything from roads,
public spaces, pedestrian crossings, tunnels and underpasses.
“The principles of lighting design revolve around basically what
[AS/NZS] 1158 states – the need to enhance the space, safety
issues and then the visual quality of the space that
you’re lighting,” says Gaal.
“Finding the right lighting equipment to enhance the spaces
and do the job properly is always a challenge.”
Public domain lighting in crime preventionBy CLAIRE ThoMPSoN
A lighting projection in the
back streets of Kings Cross.
photograph courtesy of the
Kings Cross light saver project at the uts Centre
for designing out Crime.
August/September 2013 | LIGHTING MAGAZINE 1716 LIGHTING MAGAZINE | August/September 2013
Gaal has worked on a variety of public
domain lighting projects in Sydney, including
haymarket’s Kimber Lane, Macquarie Place
Park in the CBD, and Prince Alfred Park in
Surry hills.
he cites his park work as a typical example
of the considerations required for effective
public domain lighting – park pathways are
typically in heavy use by both pedestrians
and cyclists, who need to be protected both
from collisions with one another and from
potential dangers elsewhere in the park.
“The pathways are the critical factor,
and then everything that runs off the
pathway becomes secondary to that,”
Gaal says.
“[The paths need to be] illuminated
so that pedestrians can see approaching
Well defined pathways
are uniformly illuminated in
Macquarie Place Park, Sydney.
photo courtesy of
lighting art and
science.
cyclists, and cyclists can see pedestrians on
their pathway, and obviously ensure that
there’s no places for people to hide.”
Further complicating the process is the
proliferation of LED technologies that are
slowly taking over the market. Councils and
government clients have firmly embraced
the sustainability impacts of LEDs or public
domain lighting, but are often unaware of
the complex technical considerations and big
price tag that can come along with them.
Designers need to be aware of the
challenges posed by the direct light source
that is a key characteristic of LED technology,
Gaal says. This light source is substantially
different to that of the metal halides and
compact fluorescents that were previously
the darlings of public domain spaces.
18 LIGHTING MAGAZINE | August/September 2013 August/September 2013 | LIGHTING MAGAZINE 19
“Because the beam is so controlled from
a pathway lighting point of view, you can
light a three-metre-wide path to the lighting
levels required by the code, but light none
of the surrounding space,” Gaal says.
“[Prior to LEDs], you had spill light
outside of the path area, and that spill light
was generally accepted as the light by which
people felt safe walking along pathways,
because the spill light enabled them to see
into the darkened areas.”
opportunistic crime is another area
of safety planning in which lighting
plays a major role. Rodger Watson, the
Deputy Director of the Designing out
Crime research centre at the University
of Technology, Sydney, says that criminal
activity is often a result of circumstantial
factors rather than malicious premeditation.
“For a crime to occur, there needs to be
a suitable target. There [also] needs to be
a motivator/offender, so someone who’s
willing to commit the crime, and there needs
to be the absence of what we call a capable
guardian, someone to intervene,” he says.
Watson, who is both a trained
criminologist and designer, says that lighting
influences the capacity of these so-called
‘capable guardians’ to see antisocial
behaviour occurring and to take action, and
also influences the likelihood that someone
will commit a crime. he uses the example
that in a well-lit street, an offender has less
incentive to engage in criminal activity
because there is a higher likelihood of them
being seen and stopped by passers-by.
Illuminated artworks add interest to connecting alleyways in Kimber Lane in Sydney’s Haymarket district.
photo courtesy of lighting art and science.
“Their decision making process, where
they’re weighing up the benefits of
committing the crime versus the risk of
getting caught, [leans] more towards ‘oh,
I’m going to get recognised and get caught
here’ rather than ‘No one’s going to see’,” he
says.
When crimes are committed, lighting
also plays a crucial role in the ability
for CCTV cameras to capture what’s
happening. Lux levels and colour rendering
are crucial for effective video footage,
and for witnesses of a crime to be able
to identify the perpetrators; if lighting is
dim or renders more yellow than white, for
example, the colours of identifying items
that are significant to the crime can be
compromised.
“If I’m out at night and I observe someone
coming towards me with a blue shirt on, if
the light is yellow then that blue shirt could
actually be one of a number of different
colours,” Watson says.
It’s these indirect, theoretical uses of
lighting in creating safe public spaces
that Watson and his Designing out Crime
colleagues and students are interested in.
The research centre is jointly-funded by
UTS and the NSW Department of Attorney
General and Justice and takes an integrated
approach to crime prevention, using a range
of design methodologies to reduce known
risk factors for criminal activity.
A previous student project called
the Kings Cross Light Saver Project, in
partnership with the City of Sydney, looked
at the role of public domain lighting in
reducing antisocial behaviour in high traffic
areas. The project had had a particular
focus on Kings Cross, an inner-city Sydney
suburb with a longstanding reputation
for alcohol-fuelled violence. The unrest is
the result of numerous factors, including
August/September 2013 | LIGHTING MAGAZINE 2120 LIGHTING MAGAZINE | August/September 2013
multiple late-night bars and nightclubs in
a small geographic location, limited late-
night public transport to get people home
at the end of a drunken night, and tens of
thousands of visitors congregating along the
suburb’s main thoroughfare on Friday and
Saturday nights.
“one of the big problems with Kings
Cross is pedestrian congestion – so you
literally can’t walk down the footpath in
some sections because there’s too many
people,” Watson says.
A network of back streets and alleyways
provides a potential solution, but poor and
uninviting lighting in the laneways leaves
them largely unused. In response, the
Designing out Crime students created a
lighting installation that encouraged patrons
to venture off the beaten path. human
figures were projected along the walls of
Kings Cross alleyways to demonstrate how
the space could be used; the figures walked
down the laneways or sat on existing public
benches, with the aim of drawing patrons
into the previously space and minimising the
risk of violence that overcrowding on the
main streets presented.
While the installation was only
temporary, Watson says it has provided
plenty of inspiration for future Designing
out Crime projects that use implicit
lighting communication to encourage
people to behave and move in certain
ways. For example, creating a harshly-lit
space in an area susceptible to vandalism
could encourage people to move through
the space quickly rather than loitering.
Projected light creates directional
signage to help patrons navigate
through the inner city streets and alleyways
(top) and provides public transport
information at Kings Cross Station
(bottom).
photographs courtesy of the Kings Cross
light saver project at the uts Centre for
designing out Crime.
Lighting installations, like the previous
laneways project, could use words,
symbols and projected images to steer
people away from potentially dangerous
areas, encouraging them to interact with
new city spaces. The approach is subtly
preventative rather than reactive, tackling
the root causes that lead to crime rather
than the criminal activity itself.
“The measures that have been in
place [are] about taking on the criminal
behaviour directly. So, people are getting
too drunk and punching on? Let’s put liquor
restrictions on so they can’t drink spirits
after midnight. People are using glass to
smash each other in the face? Let’s make
sure there’s no glass after midnight,”
Watson says.
“So, you know, sensible stuff, not bad
stuff, but stuff that’s not going to solve the
whole problem.”
Instead, Watson says, there is huge scope
for lighting design to become a much bigger
part of the solution to a range of public
safety issues, particularly those that seem to
have no obvious answer.
“The question there is, well, what do you
do when you’ve got a problem that just isn’t
being solved by traditional approaches?”
Watson says.
“Let’s not think of light just as hard
infrastructure, but let’s think of it as a tool
that we can use to create safe environment
spaces.”
22 LIGHTING MAGAZINE | August/September 2013 August/September 2013 | LIGHTING MAGAZINE 23
f e a t u r e
ThE INSTITUTE
TRI, an Australian first, is a joint venture between The
University of Queensland, Queensland University of
Technology, Mater Research and Queensland Health that
aims to accelerate the delivery of new health treatments
for better health. Led by Australian of the Year 2006,
Professor Ian Frazer AC, TRI houses over 650 researchers
that collaborate their research expertise across cancers,
bone and joint diseases, diabetes and obesity, and
inflammatory and infectious diseases.
The Institute required a 39,500m2 building inclusive
of a variety of highly specialised spaces, such as PC2
and PC3 laboratories, a vivarium, scientific support
accommodation, high performance computing, state-
of-the-art teaching spaces and various support
infrastructure. A design competition in late 2007 resulted
in the appointment of Brisbane-based team Wilson
Architects + Donovan Hill as Architects in Association.
ThE ARChITECTURE
The architectural concept is motivating and inspiring,
a design that uniquely connects spaces literally and
figuratively, to support the collaboration. Intimate detailing
and inventive space creation provides a crafted finesse to
an environment with an industrial set of expectations.
Spatially, the U-shaped floor plate creates the civic
‘outdoor room’ — the heart of the building with a scale
that acknowledges the city beyond (Figure 1). The soft
landscaped elements provide respite from the intensive
research. Various circulation and functional spaces interact
with the outdoor room to reveal activity.
Lighting the Translational Research InstituteBy JARED LILLyWhITELIGhTING DESIGNER, AURECoN
Figure 1. The outdoor room; lighting contributes to distorting the boundaries between interior and exterior.
24 LIGHTING MAGAZINE | August/September 2013 August/September 2013 | LIGHTING MAGAZINE 25
ThE LIGhTING CoNCEPT
Architectural innovation is not without a lighting
design that is complementary and equally as
captivating. A successful lighting resolution
requires a lighting concept (or vision) that must
be created and then adhered to. Collaboratively
with the architect, the author developed
the concept, appreciating the physical and
psychological relationships that needed to
be formed between spaces and people. The
lighting was considered in this context, enabling
a conceptual lighting resolution to support the
journey.
The fundamental lighting design vision was
to use light to create luminance and contrast
associated with architectural themes and motifs,
with task luminance addressed as secondary.
The hierarchy of architectural themes was
identified. Evident as a primary theme, is the use
of circular and fluted shapes/features, utilised in
both 2D patterns and 3D forms. As an observer
of the built form, one might ponder the relevance
of the circles; considering the biomedical
research, the metaphorical concept of bubbles
forming and collecting in a petri dish may
become apparent.
To successfully realise this theme, good
fundamental lighting design principles must be
employed. Key considerations include visual
comfort, energy efficiency, budget, operation and
maintenance. It immediately became apparent
that a challenge existed; to create circular
luminescent forms without compromising other
design constraints such as visual comfort. The
matter of glare was further complicated by
the vast range of viewing angles of occupants,
particularly in the contexts of intimate (within a
room) to expansive (within the outdoor room).
It was obvious that using simple proprietary
circular luminaires was not necessarily plausible.
KEy LIGhTING RESoLUTIoNS
The solution started with the most prominent
parts of the building, the research write-up space
and outdoor room, as visually complementary.
For the write-up space, the theme of circular
luminance was considered in detail by the design
team, ultimately realised as a field of scattered
hanging cylindrical luminaires, so-called ‘light
sticks’.
The elongation of the light sticks emphasises
the Georgian proportions of the space and ties
the 3.6m high ceiling to the 2.4m architectural
datum. A secondary benefit is that safety-
in-design is addressed, as lamp replacement
can be achieved at the lower height. The light
sticks also created an opportunity to generate
higher vertical illumination, producing a more
humanistic feel to the space.
An intensive detailed design exercise was
carried out to realise the solution. Several
proprietary luminaires were considered but none
could address all criteria. A custom solution was
therefore warranted and local manufacturer Klik
Systems was engaged. The luminaire design
process took approximately 12 months from
concept selection through prototyping and to
final design approval. The overall process was
highly collaborative and also included input
from the client and the contractor.
The light stick has a chrome underside
cap with a Perspex ring, sometimes colour-
matched to the floor’s colourway. Occasionally,
the diameter of the luminaire becomes very
broad emphasising that they are a group. The
top of the luminaire allows light spill onto the
ceiling providing warm reflected light. T5 was
chosen over LED, for reasons of efficacy, ease of
lamp replacement and colour rendering ability
(notably applicable at the time of design).
Simple, yet innovative industrial design features
are employed to enable simple installation and
maintenance. Klik Systems maintained a very
high level of consistency in manufacture which
was also critical to the success.
The scattered cylinders were arranged to
suit broader theme and function. Within the
room, luminaires are configured to provide
sufficient task luminance for computer-
based activities. The light sticks were too
inefficient for fine reading tasks, so a linear
task light, concealed within the joinery, was
also developed. The custom designed linear
task lights are configured to enable various
workstation widths without the need for
alterations. Local control is integral to maintain
the ‘human’ factor (Figure 2).
At the macro scale, the light sticks are
arranged so that when viewed from the outdoor
room below, the light sticks cluster along
the edges, like an inverted view through a
microscope. The outcome honours the scientists
and their medical research as a sumptuous
furnishing to their workplace (Figure 3).
Figure 2. The custom ‘light
sticks’ are a sumptuous furnishing in the
workplace. Concealed linear joinery
lighting provides supplementary task
luminance.
Figure 3. When observed from
the outdoor room below, the ‘light sticks’
cluster along the edges, conceivably
like an inverted view through a microscope.
26 LIGHTING MAGAZINE | August/September 2013 August/September 2013 | LIGHTING MAGAZINE 27
The core lighting resolution, described
previously, was continued elsewhere in the
building with some variety and sub-themes.
In the 250-seat tiered auditorium the theme
of circular luminance was again desired,
however an alternative approach was
warranted due to the specialised function
and topography of the space (Figure 4).
The solution was a morphed version of the
light sticks, significantly shortened and using
different optics. The glowing circles exist
randomly amongst a field of over 1200 circular
fabric shrouds of varying sizes. The circular
luminaires were often placed eccentrically
Figure 5. From the intimate to the expansive, the lighting design is successful at all scales.
Figure 4. The auditorium, a random cluster of 70 custom luminaires amongst a field of over 1200 circular fabric shrouds. Luminaires are eccentrically located within the shrouds to create varying luminances amongst the field.
with respect to the shrouds, to create varying
luminance amongst the field of shrouds. An
intensive design process was undertaken to
realise circular luminance in association with
directional downward task light. The custom
luminaire uses circular fluorescent lamps,
configured with a highly specular reflector, to
give the required distribution. The motorised
luminaires can be lowered and raised for lamp
replacement and maintenance.
Supplementary lighting is provided in the
room for circulation, teaching and presentation,
however this is typically concealed so as to not
distract from the theme.
28 LIGHTING MAGAZINE | August/September 2013 August/September 2013 | LIGHTING MAGAZINE 29
In addition to custom luminaires solutions,
described previously, proprietary luminaires
have also been used in the building to establish
sub-themes and point of difference, yet still
responding to the essential circular theme. Key
lights include:
z Suspended, glowing spheres in the education
precinct informal lounge; another version
of the circular luminance theme (Figure 6).
Luminaires are occasionally suspended at task
level to give the perception of being amongst
the ‘bubbles’.
z General circulation spaces on the ground
floor use variations of the Louis Poulsen
‘concentric circles’ range of luminaires. These
exist both inside and outside, and contribute
to distorting the boundaries between the
interior and exterior. Moreover, they partially
penetrate some of the adjoining spaces, as a
DEDUCTIoN
The potential to influence people, their emotions
and their perception of space, through light
is virtually unlimited. By understanding how
people occupy, operate and interact in the
various spaces at TRI, and by believing in the
architectural motifs, a good lighting concept was
achievable. The lighting is attributable to both
architect and lighting designer.
By executing the design concept using
simple qualitative lighting design practices, the
resultant spaces and environments are inviting,
comfortable, free of glare and interesting;
all contributing to occupant satisfaction and
productivity.
Further world-class biomedical findings may
be closer than we think…
images courtesy of: Christopher Frederick Jones, Peter Waddington, Peter robey.
Figure 6. in the
education precinct,
occupants are literally
amongst the architectural
motifs.
Figure 7. in the boardroom, task lighting is ceiling suspended as a unique identifier.
transitioning tool, to tie spaces and sub-themes
together.
z In the shared administration spaces (meeting
rooms, staff lounge, etc), the Artemide Tolomeo
luminaire family were adopted (Figure 7). With
a fundamentally circular form, this family has
been used to subtly identify another particular
suite of spaces. They are used in various
ways to suit task and function: sometimes
wall mounted, occasionally table mounted,
scattered floor standing versions and even
ceiling suspensions.
Other noteworthy design initiatives were:
z The use of colour temperature: 4000K lamps
are used in laboratories, the vivarium and
the technical and plant spaces while warmer
3000K lamps are used elsewhere to support
the warmer colour tones and thus contribute to
humanising the building.
z The average luminance levels in spaces
are carefully considered, in the context
of task/function, adjacent spaces and
time of day. For example, laboratories
have high illuminances on white
horizontal surfaces, whereas the adjoining
write up spaces (with the light sticks)
have a higher proportion of luminous
flux on vertical surfaces with
complementary warmer colour tones,
thus creating comforting contrast.
Another example is the amenities, deep
within the building and far from natural
light and the bright laboratories, where
luminances are limited to create a more
homely and comfortable feel.
z Simple control systems that are user
friendly, autonomous (occupancy-based)
where appropriate, and simple to maintain.
f e a t u r e
August/September 2013 | LIGHTING MAGAZINE 3130 LIGHTING MAGAZINE | August/September 2013
S ocial fireflies beamed from trees, pigeons flew out of the dark
and Andy Warhol posters flashed visitors’ photo booth portraits
across a wall of Te Papa Tongarewa, New Zealand’s national museum.
Wellington Lux light festival lit up the mood in New Zealand’s capital
city through some of winter’s wildest nights. But weather here changes
quickly. In the calm that followed an estimated 15,000 people enjoyed
the 18 artworks that celebrated the annual rising of Matariki, the Maori
name for the Pleiades star cluster and a seasonal time of renewal.
International and local light designers, many of whose works
were represented also gathered for a symposium that accompanied
the festival.
“It’s partly an urban invigoration project,” said organiser, Chris
Bennewith. “We wanted to create something spectacular for Wellington
in the winter, to celebrate Matariki and enliven parts of the city that are
perhaps less populated in the winter months – [making parts of the city]
safer and more sociable.”
Lighting up the darkest nights – By hELEN FRANCES
Wellington Lux light festival and symposium
Digital Wattle by Fresh Concept is one of the photographs selected in the top three of the photo competition. Wellington waterfront for WGTN LUX 2013.
photo credit: sean gillespie.
32 LIGHTING MAGAZINE | August/September 2013 August/September 2013 | LIGHTING MAGAZINE 33
Wellington Lux is sister festival to Oslo Lux,
organised respectively by Squidsoup members,
Bennewith and Anthony Rowe.
“LUX is very much a festival for the community
and the city of Wellington,” Bennewith said. “One
thing we noticed over the festival was the large
number of people out with cameras and the huge
amounts of photos and videos being posted on line
of the artworks.
When considering which images to go with
this article we thought it would be in keeping
with the spirit of the festival to crowd source the
best photographs from the public. We weren’t
disappointed and received some stunning imagery.
All of the photos submitted were exceptional but
the three selected really stood out and captured
the essence of the works.”
The top three, selected from among 34 entries
were – Digital wattle by Fresh Concept, (photo
Sean Gillespie), Distant light by Sang Jun Yoo,
(Anthony Muollo) and Tracing transience by Darklit
design, (Brendon Doran), included in this article.
Bennewith said the winning entries used
particularly interesting angles; “the vibrancy
and colour palettes in them all were amazing.”
To see the top ten photos go to the lighting
magazine website at http://www.rala.com.au/
lighting/news.do
While organisers took Wellington’s mid-winter
climate into account when selecting works, the
storm, gusting up to 200 km/h at its peak took
some of the artists by surprise, causing minor,
but reparable damage and the opening was
delayed by a night.
The festival, initiated in 2011, has moved
gradually from the university into the city.
Bennewith, Associate Pro-Vice-Chancellor
Enterprise, at Massey University and fellow
academics and students were responsible for
the curation and design aspects, whilst producer
Mary Laine and production manager David
Goldthorpe managed the roll out of the festival
with a team of interns and volunteers.
The curators invited cutting-edge works they
admired and selected others through an open
call for proposals. The four invited works were
Lit Tree (2013) by Kimchi and Chips, Social
Firefly by Design the Future, Digital Wattle by
Fresh Concept and Lightweight by Cornelia
Erdman. The artists adapted their works to their
individual sites.
In addition, Maori artist Rachael Rakena was
commissioned to produce a work she called
I ruia mai i Rangiatea specifically for Matariki.
Onto a black scrim screen under a wharf she
projected multiple images of a man eating,
immersed up to his waist in what appeared
to be some form of black liquid complete
with reflection.
“She had a very simple use of technology
but the effect was beguiling as you couldn’t
see the screen and the image looked like it could
almost be real. In addition there was a strange
optical illusion occurring as the reflection in
Rachael’s work and the real reflection of the
water were on different planes. This created
a very strange vanishing point and sensation
when looking at the work,” Bennewith said.
Chosen as one of the top three
photographs in the photo
competition is Transience by Darklit Design. eva Street for
WgTN LuX 2013.
Photo credit:
Brendon Doran.
Distant Light by Sang Jun Yoo
is nominated as one of the top
three photographs from the photo
competition. Leeds Street Laundromat
for WgTN LuX 2013.
Photo credit:
Anthony Muollo.
34 LIGHTING MAGAZINE | August/September 2013 August/September 2013 | LIGHTING MAGAZINE 35
Bennewith considers Lit Tree and Social
Firefly the most interesting use of technology
in the festival. Social Firefly was installed among
branches of pohutukawa trees on Wellington’s
waterfront.
“Design the Future has managed to create
a wonderfully playful installation that uses light
to both drive the exhibit, but also as part of the
aesthetic of the installation itself. The ‘fireflies’ in
the work start off very energetically and gradually
lose energy over time. They become re-energised
when light is shone onto them from one of their
fellow fireflies or from someone in the audience
[a human firefly] shining a torch on them. The
creatures have lights on their ‘faces’ which they
can use to interact with each other, but which also
attract visitors by the beautiful light show they
put on. I like this work because it is extremely
complex and yet is articulated in such an
accessible way”, he said.
One of Social Firefly’s designers Liam Ryan
said the concept came out of their interest
in natural phenomena – “the way real fireflies
communicate with each other and create
patterns of behavior that spread out over entire
communities. We thought that was fascinating
to try and simulate using robotics and software.”
Their work also incorporates emergence and social
networking theories.
To create Lit Tree (2013), Kimchi and Chips
used structured light to depth-map a tree
dynamically and subsequently projection map
back onto it. Projection mapping has been done
quite extensively on buildings, said Bennewith,
but mapping a tree (or any organic shape) that
is moving is far more complex and delicate.
“We are trying to consider digital as a semi-
material,” said Elliott Wood of Kimchi and Chips.
“Instead of designing a graphic to apply to an
object you design an algorithm, which reacts to the
form of the object [in this case a tree on Wellington
waterfront] and therefore reacts like a material.
Doing it in real time makes a more natural image.”
Wellington Lux winter festival will return next
year with art galleries and vacant shop windows
possibly providing additional internal spaces.
“I’m hoping we can have some more
performance based work too, so we’ve got our
eyes on a number of performers who work with
performance and light quite a lot,” Bennewith said.
And they will be upping the promotional anti to
increase awareness to the scale of Sydney’s Vivid.
Inspired by her impressions of New Zealand’s
landscape and the sea, Cornelia Erdman
designed her blue-green web Lightweight
using electroluminscent wire to create wave
and topographical forms with parabolic curves.
The material is robust and easily transportable.
Erdmann specialises in public domain and
commercial art. “The light festivals are more
playful, although they don’t last as long. With
a small intervention you can change a site. I
wanted people to wonder what that was about,”
she said.
While many of the artists, designers and
architects are using cutting edge technology in
their work, Bennewith said that for many it is not
the technology itself that really concerns them.
Most are interested in how they can humanise
the technology, ‘softening’ it through the way
they apply it, making it more approachable,
usable and understandable.
“Some ‘anthropomorphised’ the technology
within their work, creating recognisable
‘creatures’ or behaviours that invited spectators
to associate and sometimes interact with the
animations – in particular Social Firefly and
Belugas, the work of Ruari Glynn and Squidsoup.”
Social Firefly by Design the Future Frank
Kitt’s Park, Wellington waterfront.
Photo credit:
Jeff McEwan
Lit Tree (2013) by Kimchi and Chips. Frank Kitt’s Park, Wellington waterfront.
Photo credit Jeff McEwan
Lightweight by Cornelia
erdman, City to Sea Bridge.
Photo credit:
Jeff McEwan
36 LIGHTING MAGAZINE | August/September 2013 August/September 2013 | LIGHTING MAGAZINE 37
f e a t u r e
Do you work collaboratively with other design
professionals?
Yes. Normally everyone sits around the table and
works out a clearer understanding of the client’s
brief then we all work together to realise his or
her dream. For example I need to know what the
landscape designer’s planting is and what they
think they need illuminating then we can go into
discussion.
Does your input affect the landscape design?
Absolutely. I let them know what I think from a
lighting design point of view and that may change
their design. We are all working towards that final
result. However every project team is completely
reliant on the personalities in the team and every
project is different.
What parameters do you consider when designing
for public domains?
First and foremost you’ve got to use practical light.
There are regulations you have to abide by such as
luminance levels and particular spacings. If there’s
housing nearby there are certain cut off levels; you
can’t have spill lights spilling into people’s back
yards. If you are near an airport there are other
restraints. It’s about scoping the space and finding
out the regulatory boundaries.
Do you take account of light pollution?
I belong to the Dark Sky Society and we are very
mindful of light pollution. We consciously use
luminaires that throw light down rather than up
because it’s a waste of energy and it serves no
purpose. There’s nothing to light up there. It’s also
about cost effectiveness.
What are the emerging trends?
Coloured LED is now used and colour is great when
used for a purpose. Sandstone for example often has
a thread of amber gold through it; using soft
amber to enhance would look stunning. Coming
from the theatre we use colour to support the
production’s story that is why there must be a
purpose or a reason.
What kinds of technologies do you favour?
I like using sodium and LED – a combination of old
and new technology. LED is more energy efficient
and less expensive but the less expensive, energy
efficient LED chip is cold light and unfortunately
is becoming the most popular choice for outdoors
because of the cost. Manufacturers have told me
that it will be more costly to get warm LED. Again,
warm spaces make us feel warm. However in saying
this, there is a difference between brightness and
warmth. Brightness is the amount of light, and
warmth is the colour appearance of light.
you have designed lighting for several projects
in the public domain. What were some of the
challenges and technical solutions?
For the Ellerslie International Flower Show Bayley
Luu Tomes, a landscape design student from
Wellington, approached me because he wanted
to enter and win his category. He had very little
budget but such passion and enthusiasm that I
couldn’t refuse. The concept was to light a roof
top (living art) garden, to make it look stunning
but at the same time light the space for practical
use. The challenge was all about balancing the
light, getting it even without giving too much light.
Without dimmers it was up to clever placement of
the light and different intensities to achieve visual
comfort. The design inspiration came from the
planting; the colour of the flowers, and the way
that light would enhance the planting at night. We
concealed the light fittings in joinery and used LED
strip in lengths to suit the required light output and
achieve balance. After much testing and playing
Kevin Cawley Lighting Designerd
esi
gn
er
Q&
A
By Helen Frances
Kevin Cawley is a Christchurch based, New Zealand lighting designer and associate member of
IESANZ. He has won many national lighting and retail design awards, more recently the 2012
IESANZ Award for Excellence for his work on earthquake-damaged Knox Church in Christchurch
(see Lighting December 2012). In the public domain Kevin also designed lighting for Christchurch’s
Pallet Pavilion and mentored up-coming landscape designer, Bayley Luu Tomes who won a double
gold award for the Ellerslie International Flower Show. Kevin’s portfolio includes retail, commercial,
hospitality, entertainment, theatrical and residential sectors. At present he is working on the
Christchurch casino and several residences.
August/September 2013 | LIGHTING MAGAZINE 39
with different wattages of strip we came up with a
perfect balance. Using LED gave us a great energy
efficient solution. The colour temperature was
constant and this made the space look and feel warm
and welcoming. This design started Bayley’s career
and he won an outstanding double gold award.
The Pallet Pavilion filled a gap where the Park
Royal Hotel had stood before the earthquakes hit.
It was an exciting temporary venue for all types of
activities, day and night. I was asked to light it for
no money but plenty of help … so I assembled a
team. About five percent of my work is pro bono
and I like passing on my knowledge. I had to design
a scheme that would look impressive and interesting
from the outside to entice the public inside. Being
an open space was one of the biggest challenges
as there where no hanging points overhead. I
was inspired by the blue of the pallets and chose
shades of blue with gels to create interest and
mystery. Since this was a temporary structure lamp
life was not critical but power consumption was,
so I managed to find 80 watt PAR 38 fittings for
the outside that were an aqua blue. That provided
great contrast to the blue of the pallets, while using
different shades of blue gave the four metre high
structure shafts of light and light and shade without
using dimmers. I hid the light source in a very simple
metal sheet rolled into the form of a cone and
painted red for difference, making the fitting and the
effect look great. For the inside we were given LED
floods and used them to flood from the top and
bottom of the building. You could see the shadows
of people through the pallets from the outside,
which created mystery. The staged light was LED
RGB controlled with a simple eight-channel mixer,
which achieved some stunning effects using the blue
base and introducing the RGB colour palette.
What do you think public domains need more
in terms of lighting design?
They need to be a warm and inviting space and
have the correct balance of light making the space
look and feel special and at the same time making
people feel safe. Great lighting design can do this by
showing respect for the space. Great lighting design
also has the magical power of creating an emotional
connection between you and the space.
de
sig
ne
r Q
&A
Pallet Pavillion 22
ellerslie international Flower Show (Double gold Winner)
40 LIGHTING MAGAZINE | August/September 2013 August/September 2013 | LIGHTING MAGAZINE 41
Imagine the scene, you are walking slowly up a
lonely hill on the blustery west coast of Tasmania.
It is a cold winter’s night and a blanket of stars
sparkles overhead. As you turn the corner you
see it. A golden paint stroke of light up above,
a warm candlelit glow down below. The church
beckons to you and your step grows faster. The
simple application of a few carefully chosen
strokes of light has created a strikingly beautiful
effect. Just four very narrow beam, warm white
luminaires were used to light the golden spire
of the church. These were carefully placed
and aimed to highlight the spire, symbolically
directing both the light and our thoughts to
heaven.
Now, imagine this scene again. Switch it
off! Yes, just turn the lights off! It is sublime and
ridiculous to realise that something so alive
with light is so easily transformed to shadowy
darkness. There is a wonderful gradation of
light between seeing and not seeing. When the
lights go off the church doesn’t just vanish into
darkness. We can still see it starkly silhouetted
against the night sky and understand its shape
and form from the wash of moonlight across the
slate roof and spire. As a lighting designer it is
important not design with light alone but to draw
a scene with shadows.
Lighting for nightscapes in the public realm
provides fantastic opportunities for working with
light and darkness, contrast and light intensity.
In rural situations, contrast is often high, so very
little light is required to have an impact. The
spectacular effect above was achieved with the
lights dimmed to 60% to improve the life of the
lamps. However, if you were to transplant this
church to an urban setting you would need to
reconsider the light intensity and the amount of
light required to create a similar effect.
Often the forgotten child of the architectural
family, light controls all that we see at night.
Illuminated architecture radiates something
indefinable and at night it can transform
architecture into something it never is in
daylight. We have the opportunity to change
the direction of light, to use colour, to work with
transparencies or projections, to vary intensities
and contrast – the options are many. It is our
obligation, as lighting designers, to ensure that
the lighting is interpreted and incorporated
into the architect’s expression of space, to
complement the environment and to enhance
the design intent.
Distance and key viewing points are important
considerations when composing an exterior
lighting design. Appearances can be deceptive.
I was walking around Circular Quay at the Vivid
Sydney Festival and in the distance I could see
what appeared to be a pumping, red-hot death
star from some 1970s science fiction movie. As
I drew closer and read my guide map I realised
it was Planet under Construction – a living,
breathing planet. Then as I got up really close, I
was surprised to find that this planet was made
up of lots of orange traffic cones! Normally, when
we look at traffic cones we see the reflected light
from the wide white central belt. It is intentionally
attention grabbing to warn us of hazards. How
amazing then to see how just moving the light
source to the inside of the simple traffic cone
transforms them into a living breathing, fiery
mass – a death star of traffic cones.
It seems to me that architects look at
buildings and see architecture and lighting
designers look at buildings and see a canvas.
How the canvas works very much depends on
the architectural materials. The Ateliers Jean
Nouvel residential towers at the new Frasers
Broadway Development in Sydney are like a
Monet-styled impressionist artwork. The vertical
living garden façades capture the flickering
sunlight shining through the leaves and flowers
creating a light and airy impression. At night
the pared back simplicity of letting the interior
apartment lighting filter through the same
tapestry of flower and leaves creates an ever-
changing green checkerboard of light. It is a
beautiful realisation of the architect’s vision.
Light is visual, it stimulates, informs and
excites us. It is an integral part of architecture,
revealing beauty, function and form. It describes
the colour and texture of buildings, landscapes
and cities. It defines boundaries and informs our
understanding of scale and distance. Light guides
us and takes us on unexpected journeys.
I wonder where it will beckon us to go next…
Note: Exterior lighting designs also need to
comply with Australian Standards, but we all
know this is a minimum compliance.
Landscapes - Painting with Light
o p i n i o n
By FIoNA VENN
Artists impression of the living walls from inside Jean Nouvel residential Towers
Artists impression of the exterior of Jean Nouvel residential Towers.
42 LIGHTING MAGAZINE | August/September 2013 August/September 2013 | LIGHTING MAGAZINE 43
t e C h n i C a l f e a t u r e
The relevance of current Standards when using LEDs in public lighting
Peter McLean and Warren Julian
The prime objective of all lighting systems is
to facilitate task performance as safely and as
comfortably as possible. There may be other
important criteria relating to appearance,
energy minimisation and cost. To assist
designers, there is a suite of joint Australian/
New Zealand Standards that provides guidance
and technical criteria which, if achieved, should
meet the prime objective. The Standards
are based on research and current good
practice based on the in-field experience of
users, designers and equipment suppliers.
That in-field experience includes what can be
achieved from quality lamps and luminaires.
The rapid uptake of LEDs in public lighting
has seen some unexpected results from
lighting systems that, on paper, should provide
better lighting than in the past along with
energy and maintenance savings.
This paper will explore the issues relating
to LED public lighting systems and will make
some recommendations regarding the need
to revise the public lighting Standards; it will
concentrate on pedestrian dominated lighting:
Category P in terms of AS/NZS1158.
AChIEVING ThE PRIME LIGhTING
oBJECTIVE
There are three components to the prime
objective of a public lighting system: facilitation
of task performance, safety and comfort.
Facilitation of task performance
This is seeing the task; seeing results from the
detection of contrasts (colour or luminance)
and their interpretation for meaning. Light
on objects and their surrounds can reveal
contrasts or the direction of the light may
create shadows, making objects visible. So,
illuminances on tasks are important. Standards
recommend illuminances (and sometimes
luminances), on planes where the tasks take
place. In public lighting the illuminances are
very low compared with interior lighting. This is
because public lighting is very expensive, since
large areas are lit. Public domain tasks can
be difficult (low contrasts), so even with the
modest illuminances recommended, the visual
system is not working under ideal conditions.
Lighting safely
This might imply electrical and mechanical
safety but it means that the task should be
lit in a way that allows its safe performance.
Lighting a road for driving safely means that
not only lighting the pavement but also the
verges so that pedestrian behaviour can be
seen. Lighting safely also means minimising
effects that could reduce task visibility.
Disability glare is a major problem in public
lighting: it reduces task contrast as a result of
light, usually from the luminaires themselves,
being scattered within the eye, producing a
“veil of light” through which the task needs
to be seen. Standards on public lighting have
various recommendations for minimising
disability glare.
Comfortable lighting
This suggests that the lighting equipment
should be comfortable if it is in the visual
field; it shouldn’t be distracting attention
from the task and it should not be so bright
that it causes discomfort (glare). Whilst it is
almost impossible to achieve “comfortable
lighting” in the public domain, since the
luminaires are usually visible, against a
dark background (the sky), it is possible to
achieve different levels of comfort in a design
solution. Standards on public domain lighting
have few recommendations on minimising
discomfort glare.
FIGUre 1. Path lit using full
cut-off MH pedestrian luminaires.
LAMPS IN LUMINAIRES
This is a brief discussion of “traditional” light
sources (lamps) and the characteristics of
quality luminaires used for public domain
lighting. Lamps have light emitting surfaces
that are either cylindrical or ellipsoidal. They
are also relatively large compared with the
luminaires that house them. To utilise lamps
it is necessary to redirect their light (flux) so
that it goes in the directions needed for the
lighting purpose. Disability glare also needs to
be controlled. The redirection of flux is usually
achieved using specular reflectors.
Theoretical reflectors are designed assuming
point sources. Lamps are not point sources
and the larger the source with respect to the
reflector, the less efficient the luminaire and
the greater the dispersion of the light. As
a result, luminaires are not capable of tight
beam control. In addition, around 40% of the
flux leaves the luminaire directly, without ever
contacting the reflector.
Even with the smaller high pressure sodium
(HPS) and metal halide (MH) sources, a large
portion of the flux leaves directly with no
optical control over that part of the distribution.
Some luminaires use a lens in the bowl to
control the direct flux but these make only
small modifications to the distribution. Without
using complex lenses that significantly reduced
the efficiency of the luminaire, it is not possible
to build a streetlight or post-top that doesn’t
emit the majority of the flux down and a
significant amount forward and behind the
luminaire.
This sounds bad but it had some advantages
with regard to Standards and effective lighting.
When viewing the luminaire, the source
size is the combined area of the lamp and the
flashed reflector. Assuming that the majority of
the visible reflector is flashed, the luminance of
the luminaire (used in assessing disability glare)
at a particular angle is roughly the luminous
intensity in that direction divided by the
projected area of the optical opening.
Two examples of what can be achieved with
lamps in luminaires follow.
Figure 1 shows a path lit with full cut-off,
high colour rendering MH path lights. Note
that the full length of the path and the person
standing at the end can be seen. Note also
that the verges on either side of the path are lit
giving reassurance to the person that the path
is safe to use. This is the result of good design
44 LIGHTING MAGAZINE | August/September 2013
FIGUre 2. Path lit using mercury vapour sphere post-top luminaires.
FIGUre 3. Lens technology LeD luminaire. The high cut-off and soft-edged beam can be seen on the adjacent wall.
and the fact that the luminaire cannot produce
tightly controlled beams (to light only the path).
Figure 2 shows a path lit with mercury vapour
lamps in spheres. The luminaire has internal louvres
but these reduce the losses to the sky rather than
controlling the glare. The path is visible only because
it is partly glossy. Note that the space appears dark,
even though the illuminance is similar to Figure 1. In
this case the glare reduces the perceived adequacy
of the lighting and does little to reassure safety as
the glare inhibits distant views.
LEDS IN LUMINAIRES
LEDs are not lamps. They are very small, flat
surfaces that emit light. They are basically general
diffusing surfaces, with their beam width principally
determined by the chip housing and varies between
100˚ and 120˚. This wide distribution means that
LEDs are not practical for most lighting applications
unless their (relatively low) flux can be concentrated
into much narrower beams. Reflectors could be
used but the chip would have face into the reflector.
This is inefficient and complex to achieve with other
considerations such as heat. So, lenses are used,
either as “lens technology” or “direct projection”.
Lens technology luminaires
Here a lens is mounted in front of the LED to
modify its distribution to make a mini-luminaire
with the all or part of the desired luminaire intensity
distribution. Luminaires contain an array of LED+lens
combinations. The advantage of this is that a
luminaire can have a “softer” distribution, similar to
luminaires with lamps. In addition, as multiple LEDs
serve the same function, the failure of one does not
significantly compromise the performance of the
lighting system. The luminance of this type of LED
luminaire is the luminous intensity divided by the
projected are of the lens.
The disadvantage is that the lens reduces the
luminaire efficiency. Since the light is spread over
a larger area than from direct projection luminaires
(see next), lighting designs do not appear to be
as efficient. Figure 3 shows a lens technology LED
pedestrian luminaire.
Direct projection luminaires
These use an array of narrow-beam LEDs that are
directed into specific sections of the distribution.
This gives the ability to direct light precisely where
required, reducing or eliminating it from where not
required, resulting in a highly efficient luminaire by
providing light only where needed for compliance.
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46 LIGHTING MAGAZINE | August/September 2013 August/September 2013 | LIGHTING MAGAZINE 47
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Figure 4 shows a direct projection
LED pathway luminaire in the same
environment as Figure 3. It concentrates
its light into the zone where the vertical
illumination is required, as can be seen
from the bright patch on the wall. The
horizontal illumination uniformity is
better than in Figure 3, however, as the
horizontal illumination adjacent to the
pole is lower, the background luminance
is lower. Combining the higher
luminance of the luminaire with the
lower background luminance, the space
appears under-lit and a person standing
in the vicinity of pole is barely visible.
Direct projection luminaires may also
use reflectors surrounding the LEDs to
redirect some light to other areas of the
distribution but the majority of the light
leaves the LEDs directly.
A disadvantage of direct LED
luminaires is that each LED provides a
specific part of the light distribution; the
failure of one or more LEDs may create
a hole in the distribution. The luminaire
luminance will be the luminous intensity
of the LED divided by the projected
area of the LED. As the area of the
LED is very small, the corresponding
luminance can be high (see Table 2).
Direct projection LED luminaires provide
no glare control to avoid direct views of
the LEDs.
STANDARDS
The research that formed the roadway
lighting and public domain lighting
standards was developed in the
1970s and 1980s. The light technical
parameters (LTPs) that were set for the
design limits, with respect to uniformity,
glare and spread of light, were based on
the limitations of the lamps mentioned
above.
The Standard for public domain
lighting is AS/NZS1158.3.1: Lighting
for roads and public spaces Part 3.1:
Pedestrian area (Category P) lighting –
Performance and design requirements.
This defines the performance criteria for
TAbLe 1. Abbreviation of Table 2.10 from AS/NZS1158.3.1
FIGUre 4. Direct projection LeD luminaire.
pedestrian usage and covers residential
streets, paths and cycleways, external
assembly areas and external carparks.
It specifies the following LTPs: average
and minimum horizontal illuminances,
horizontal illuminance uniformity
and minimum vertical illuminance (in
some categories). All the illuminance
parameters apply only to defined
areas. The only acknowledgement of
surround lighting is that the design area
for residential roads is from property
boundary to property boundary.
It also specifies luminaire types 1 to 6
to categorise post-top luminaires based
on glare control limits and upward waste
light ratio (UWLR). The major criteria
are summarised in Table 1 where it is
seen glare control varies from type to
type: Type 2 uses luminance, Types 3
and 4 use relative intensity (cd/klm),
Type 5 absolute luminous intensity while
Type 6 allows no upward light but with
no intensity or luminance limits below
the horizontal.
type glare control maximum uWLr
1 No glare control – not recommended
2The average luminance of the enclosure shall not be > 10 kcd/m2 at γ (vertical) angles
between 70° and 90°0.4
3
Where the outline of the lamp is dispersed above γ 75°, as specified for type 2.
Where any part of the lamp or reflector is visible above γ 75° the intensity shall be
not > 270 cd/klm at γ = 80°; and 120cd/klm at γ = 90° at any angle of azimuth
0.2
4The intensity shall not be >: 180 cd/klm at γ = 80°; and 80 cd/klm at γ = 90° at any
angle of azimuth0.1
5The absolute intensity shall be not > 2500 cd at γ = 80° and 1000 cd at γ = 90° at
any angle of azimuth0.05
6 Zero cd at γ = 90° at any angle of azimuth 0
The majority of LED post-top luminaires are Type 6. The highly controlled distribution of the LEDs means that the luminaires
can achieve zero luminous intensity at 90˚ with a rapid increase a few degrees below. This means that the Standard has no glare
control limits for Type 6 LED luminaires, which are rapidly becoming the most common type for public domain lighting.
August/September 2013 | LIGHTING MAGAZINE 4948 LIGHTING MAGAZINE | August/September 2013
i e s u p d a t e s + p o s t s
Table 2 shows the approximate
luminance of streetlights calculated the
peak luminous intensity divided by the
projected area of the source and any
flashed reflector. The luminance of a lens
technology LED luminaire is about 50%
greater the HPS. The direct projection
LED luminaire luminance is up to 500
times that of the HPS luminaire.
APPLyING ThE STANDARD USING
LED LUMINAIRES
With LEDs it is possible to design
luminaires that meet the letter of the
law (a Standard) without necessarily
meeting the spirit of the law. The result,
although technically complying and
appearing to be very efficient, may not
achieve the lighting’s prime purpose.
As an example, for P1 category
pedestrian area lighting in AS/
NZS1158.3.1, a primary consideration is
the ‘high risk of crime’, with an emphasis
on vertical plane illumination to enable
facial recognition. The standard specifies
LTPs only for the path, although there
is a tacit assumption that there will be
spill light in the surrounding area as a
consequence of the luminaire’s light
distribution. In addition, the vertical
illuminance is defined at a height of
1.5 m, facing the light. For a luminaire
with a horizontal glass, the vertical
illuminance is difficult to achieve, so the
horizontal illuminance is generally much
higher than the vertical. This reduces
the glare as it increases the background
luminance (see Figure 1).
While it is possible to design an LED
luminaire that emulates the performance
and distribution of a conventional
luminaire, and many do, it is also possible
to design a luminaire that lights the path
alone, with virtually no light to the sides
and that specifically directs the light just
below the horizontal to maximise vertical
illuminance and therefore, the spacing.
The result is a luminaire that fully
complies with the Standard’s LTPS but a
person can stand a metre or two off the
path in relative darkness. In addition, the
glare from the luminaire, looking along
the path, makes the space appear dark
and inhibits the distant view (see Figure
4). By designing the luminaire to meet
only the specific acceptance criterion,
the luminaire can have a high efficiency
and that it “better illuminate” the space.
This suggests that it is important that
the Standards are reviewed to ensure
that the LTPs actually reflect the prime
objectives of the lighting.
CoNCLUSIoNS AND
RECoMMENDATIoNS
Standards are the result of research and
technology at the time of their writing.
At the time (2005) of the last revision
of AS/NZS1158, LED public domain
lighting was at the demonstration stage.
LED public domain lighting is being
heavily promoted for its potential to
save energy, to significantly reduce
maintenance and for political reasons
(appearing to be “green”) and many
public authorities are responding.
However, as argued above, many LED
installations appear to fail the prime
lighting objectives for the spaces
being lit, yet they comply with the LTP
requirements of the Standard.
There are impediments to a quick
revision of the Standard: lack of agreed
methods of photometry and absence of
research into glare from LEDs. It is also
likely that additional LTPs will be needed
to ensure that those parts of the visual
environment that were automatically lit
using conventional technology will be
intentionally lit using LEDs.
With regard to the latter, AS1158.3.1
should include:
z A requirement for illumination
on areas that surround a path or
cycleway to provide a wider visual
field to the user. This should include an
illuminance ratio and width of verge,
similar to that specified in AS1158.1.1.
z A consistent maximum luminance
parameter should be specified for
Type 2 to 6 luminaires. The luminance
should address the issue of actual
source size. Similarly, a method of
calculation and measurement that
adequately addresses the actual size
of the light source and any flashed
reflector is also needed.
While this paper is restricted to
pedestrian dominated lighting the glare
issue also applies to road lighting for
driving (AS/NZS1158.1.1).
STAnDARDS REFEREnCED
1. Standards Australia. AS/NZS1158.3.1.2005: Lighting for roads and public spaces Part 3.1: Pedestrian area (Category P) lighting – Performance and design requirements. Australian Standard.
2. Standards Australia. AS/NZS1158.1.1.2005: Lighting for roads and public spaces Part 1.1: Vehicular traffic (Category V) lighting – Performance and design requirements. Australian Standard
Luminaire
type
Light
source
typical
luminance at
peak intensity
kcd/m2
Streetlight 250W MV 23
Streetlight Aeroscreen 150W HPS 79
Streetlight Semi-cutoff 150W HPS 145
Streetlight Aeroscreen 250W HPS 140
Streetlight Semi-cutoff 250W HPS 250
LED streetlight direct view High performance 350mA 48000
LED streetlight direct view High performance 750mA 69000
LED streetlight direct view High performance 1000mA 120000
LED streetlight Lens 65˚ High performance 750mA 330
LED streetlight Lens 65˚ High performance 1000mA 390
TAbLe 2. Approximate peak intensity luminance of typical luminaires
Those attending the education Forum were (left to right) Steve Coyne, ian Johnson, Mick reidy, Trevor Stork, Steve Brown, gillian isoardi, ian Cowling, Barry gull, roy Speed, Wendy Davis, Warren Julian, emrah ulas and Paul good.
Important IESanZ EducatIon Forum to hElp SmallEr StatESThe IES Board convened a meeting in Sydney on 18 July to consider lighting education needs in Australia and New Zealand. All six Chapters were represented at the Education Forum by lighting educators or Chapter representatives. Particular attention was devoted to the needs of Western Australia and South Australia. After the meeting IES President Barry Gull said, ‘As a consequence of the valuable work of the Education Forum the Board, as a matter of priority, will be adopting a strategy to address the education needs of Western Australia and South Australia.’ He also said that the outcomes of the meeting will be important for the Board in considering future education needs of the Society.
cIE 2014 lIghtIng qualIty & EnErgy EFFIcIEncy The CIE, which recently celebrated its centenary, is the oldest and most respected international scientific and standards organization in the field of light and lighting. It is totally committed to the development of energy efficient lighting technologies and standards, but without sacrificing lighting quality, the safety and security of human well-being, the environment and the economy. This objective can be achieved through the intelligent use of new technologies and a scientific understanding of the varied human needs for different types of lighting in different settings:
z A more efficient use of daylight, augmented with the use of more efficient lamps and the latest lighting technology, should enable us to save energy without sacrificing quality of lighting.
50 LIGHTING MAGAZINE | August/September 2013
2013
13-16 September
Light India Internationalwww.lii.co.in
ChENNAI, INDIA
24-26 September
LED Lighting Technologieswww.led-professional-symposium.com/symposium/LpS 2013 - Introduction
BREGENZ, AUSTRIA
3-5 October
IALD Enlighten Americas 2013www.iald.org/about/events/IALDEnlightenAmericas2013.asp
MoNTRéAL, CANADA
8-9 October
CIE Expert Workshop on Advanced Methods for Photometrywww.sdr.si/sl/div2.html
BLED, SLoVENIA
16-18 October
LED Japan/Strategies in Lightwww.sil-ledjapan.com
yoKohAMA, JAPAN
30 October – 2 November
Professional Lighting Design Convention www.pld-c.com/
CoPENhAGEN, DENMARK
11-13 November
10th China International Forum on Solid State Lightingwww.sslchina.org
BEIJING, ChINA
14-16 November
GreenLighting Shanghai Expo and Forum 2013www.chinaexhibition.com/trade_events/3295-Green_Lighting_Shanghai_Expo_2013
ShANGhAI, ChINA
whole range of solid state lighting. Many of the machines were working, as were the goniophotometers and die binning spectrophotometers from the test-equipment companies.
As well as the exhibition, there was, depending upon your interests, a large a diverse fringe festival, jointly organised with industry associations and media outlets, of 120 sessions of seminars and networking events. Many were given in English or simultaneous translation was available. Some were free while others charged a fee. At the 9th Asia Lighting Arts Symposium, Kaoru Mende, Principle Lighting Designer at Lighting Planners Association, was a keynote speaker on lighting design, particularly in the hotel sector. The Lighting Design Gallery provided a platform for the Chinese Lighting Design Association to network with others, such as PLDA, LUCI and IALD, as well as share the latest concepts from the industry’s top designers.
Top brands were invited to share their expertise on the growth of LED lighting at the Asia LED Summit, attracting over 1,000 industry professionals. As well there were two well-attended events on China’s lighting market: the China Lighting Distribution Market Summit and the China Urban Lighting Development Summit. Celebrating the achievements of the Chinese lighting industry, the inaugural Guangzhou International Lighting Exhibition – Alighting Awards were made at a gala dinner at the show.
One of the most interesting events was the AGORA (market place) held in a recess in the main circulation path where industry associations, manufacturers and buyers were able to meet, share and exchange expertise. Bryan Douglas CEO of the Lighting Council of Australia gave a presentation on Australia’s electrical safety and EMC requirements for importers. His skills in Mandarin came in handy during the Q&A at the end of his presentation. Bryan was assisted by President, Russell Loane.
The organisation and presentation of the fair was excellent, as was the easy access to the Guangzhou metro. I recommend a visit to next year’s exhibition.
The Guangzhou International Lighting Exhibition is headed by the biennial Light + Building, which will take place from 30 March – 4 April 2014 in Frankfurt, Germany. The next edition of the Guangzhou International Lighting Exhibition is scheduled to take place from 9 – 12 June 2014 at China Import and Export Fair Complex.
In a surprise announcement, the inaugural Shanghai International Lighting Fair is scheduled for 3 – 5 September 2014 at the Shanghai New International Exhibition Centre, where lighting manufacturers will to promote to the fast growing project-based business market in the Eastern region in China. In differentiating itself from the Guangzhou International Lighting Exhibition, the Shanghai fair will place a strong focus on project-based business, highlighting energy saving technology. There will be four core themes for the Shanghai show, including technical and decorative lighting, LED retrofit lamps and lighting luminaires, energy-efficient light source as well as lighting components and accessories.
– Warren julian
z Findings in medical science reveal that light plays important roles in maintaining optimum regulation of biological rhythms and hormones on a daily basis. While this knowledge can be used to positive effect, it also shows us that ill-conceived lighting can be detrimental to health and safety.
z Darkness has many benefits: electronic control systems enable us to adapt light levels and timing of artificial lighting to direct need, and thus minimize both energy consumption and unintended effects on living systems.
z Good lighting brings safety, security and a better quality of life to all but needs to be supplied in a task-dependent manner, that is of a quantity and quality appropriate to the task, and with the minimal use of resources. These are the main themes of CIe 2014 Lighting Quality
& energy efficiency a unique forum for discovering the latest developments and results from the lighting world. The meeting will be held in Kuala Lumpur, Malaysia from 23-26 April 2014. Abstracts are invited by 30th September 2013. For further information: www.cie.co.at/index.php?i_ca_id=920.
cIE ExpErt WorkShop on advancEd mEthodS For photomEtry This is a two-day workshop on state-of-the-art techniques in the field of photometry. Invited experts will present lectures on basic concepts to advanced techniques in photometric and colorimetric measurements, aimed at engineers and researchers in LED and solid state lighting measurement and other fields. Major topics will be: Measurement uncertainty in photometric testing of SSL products and Sampling theory in photometry and spectroradiometry.
The event is organised by CIE Division 2 in cooperation with the Lighting Engineering Society of Slovenia (SDR). Workshop will be followed by the annual international lighting conference razsvetljava 2013. Papers in English will be on the first day of the conference.
This meeting is open to everyone with an interest in any aspect of optical radiation measurements – photometry, colorimetry, and radiometry. The workshop will be held 8 – 9 October 2013 with CIE Division 2 Technical Committee Meetings on 7 October 2013 at Hotel Park, Bled, Slovenia. For more information: www.sdr.si/sl/div2.html
Part of one of the two huge exhibition buildings used for the fair. each was the size of Sydney airport. Careful planning was needed to eliminate lengthy but healthy backtracking.
One of the cleverest stands — promoting tunnel lighting luminaires.
2013 guangZhou IntErnatIonal lIghtIng ExhIbItIon This year I visited the exhibition after a gap of about seven years as a guest of Messe Frankfurt, the organiser. It’s hard work getting around the halls in three days with 116,000 others from 120 countries at the China Import and Export Fair Complex in Guangzhou. I think I saw most of the 2,588 exhibitors from 27 countries and regions; some more briefly than others. There were four international pavilions (Hong Kong, South Korea, Taiwan and the US) promoting their LED and lighting technology firms. Along with the smaller Guangzhou Electrical Building Technology and Building Solar China, the three shows used 21 halls, covering 215,000m2.
There was a wide range of products on show and compared with my previous visit, more products were aimed at the international professional market. Many lighting products had controls built-in, rather than adding them later.
What I found fascinating was variety of machinery and systems for the development of chips, wafers, die-bonded materials, encapsulation, packaging, drivers, heat sinks, thermal management and lens systems for manufacturers over the
Events Calendar
August/September 2013 | LIGHTING MAGAZINE 5352 LIGHTING MAGAZINE | August/September 2013
Events Calendar2013
19-21 November
Strategies in Light Europewww.sileurope.com
MUNICh, GERMANy
2014
30 March – 4 April
Light + Buildinglight-building.messefrankfurt.com
FRANKFURT, GERMANy
23-26 April
CIE 2014 Lighting Quality & Energy Efficiencywww.cie.co.at/index.php?i_ca_id=920
KUALA LUMPUR, MALAySIA
29-31 May
PALM Expo 2014http://www.palmexpo.in
MUMBAI, INDIA
1-5 June
Lightfair International (LFI)www.lightfair.com
LAS VEGAS, USA
9-12 June
Guangzhou International Lighting Exhibitionwww.light.messefrankfurt.com.cn
GUANGZhoU, ChINA
3-5 September
Shanghai International Lighting Fairwww.messefrankfurt.com.cn
ShANGhAI, ChINA
18-21 September
Light India 2014http://www.light-india.in/
NEW DELhI, INDIA
16-18 October
IALD Enlighten Americas 2014http://www.iald.org
SAN DIEGo, USA
call For applIcatIonS global SSl ShoWcaSE top 100 and EvEntS oF thE yEar 2013Global SSL Showcase Top100 and Global SSL Events of the Year are regular events of the International Solid State Lighting Alliance, which aims to identify the premium SSL projects and events worldwide and introduce them to the industry and the public. These two events were successfully launched in 2012 and many extraordinary and influential SSL showcases and events were selected as the winners. In order to continue the work and provide valuable service to our members and the SSL industry, these are now open for applications.
Submission can be made by: 1. ISA members; members may also solicit entries from others; 2. Lighting Societies (e.g. IESs or IALD, etc) of winners of
their lighting awards; 3. Any designer, supplier or installer that believes their
project meets the selection criteria. Submissions must be a completed project in which SSL
technologies and/or products are used exclusively or for the achievement being claimed (e.g., energy saving). Possible project types include: buildings, museums, towers, monuments, roads, landscapes, public spaces, etc.
Submissions close on 31st August 2013. For more information: isa-world.org/info.aspx?id=403&t=3.
Leading lighting companies select ZigBee Light Link In mid-July the Connected Lighting Alliance announced its
endorsement of ZigBee Light Link as the preferred common open standard for residential connected lighting applications, simplifying choices for both lighting companies and consumers.
ZigBee Light Link allows consumers to gain wireless control over all their LED luminaires, lamps, timers, remotes and switches, using systems developed by an array of manufacturers. Currently, several companies offer wireless lighting products for the residential market. However, these are not based on common interoperable standards. This decision represents the first time an alliance of leading lighting companies has unanimously endorsed a common open standard for wireless lighting solutions.
The Connected Lighting Alliance was founded by GE Lighting, Lutron, OSRAM, Panasonic, Philips and TOSHIBA in August 2012 as the primary advocate of wireless connectivity in lighting applications. For more information: www.theconnectedlightingalliance.org. For more information about ZigBee Light Link: zigbee.org/Standards/ZigBeeLightLink/Overview.aspx
countIng thE lEdSAccording to IMS Research, 100 billion LED chips based on the light-emitting semiconductor gallium nitride, or GaN, will ship this year – that’s 15 for every person on the planet!
COMBRITE RANGE OF LIGHTING CONTROL GEAR
Comm-Chem materials Pty ltd5 Spireton Place Pendle Hill NSW 2145Ph: 02 9896 5466 Fax: 02 9896 5010www.commchem.com.au
l Electronic Ballast for T5 and T8 lampsl Electronic Ballasts for compact lampsl Dimmable Electronic Ballast 1-10V and DALIl Electronic HID Ballast 20W-250W to suit Metal
Halide and High Pressure Sodium Lampsl LED Drivers – Constant Current and
Constant Voltagel Emergency Lighting invertersl Australian and International Approvalsl EMC Compliant
8000
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t 03 9800 5600e [email protected] www.adlt.com.au
110 Lewis RoadWantirna SouthVIC 3152 AUSTRALIA
54 LIGHTING MAGAZINE | August/September 2013 August/September 2013 | LIGHTING MAGAZINE 55
L E D P R O F E S S I O N A L S E R I E S
L E DD O W N L I G H T
1065
MANUFACTURED IN AUSTRAL IA
MIN IM IS ING YOUR POWER CONSUMPT ION
MAX IM IS ING I L LUMINAT ION FOR STR ICT BCA STANDARDS
www.gammaillumination.com NSW (02) 9822 7333 / VIC (03) 9801 7777 / QLD (07) 3806 4466 / SA (08) 8260 1444 / WA (08) 9377 1322 / ACT (02) 6241 1388
B O R N T O P E R FO RM 30W – 60W
Unique square Double Batwing
light output
14 Leighton Place, Hornsby NSW 2077
Ph: (02) 9477 7716 • Fax (02) 9477 7732E: [email protected] • www.coloniallighting.com.au
z LED lighting z Commercial z Architectural z Industrial z Roadway and Street Lighting z Flood and Area Lighting z Bollards z Wide range of Spheres
AuStRALIAn FAmILy OWned COmPAny
Both of these fittings are made in Australia at our factory from Australian manufactured components.
Handmade lighting
VICTORIAPO Box 391, Bentleigh VIC 3204 | Contact: John Daykin
T: +61 3 9553 2330 | F: +61 3 9553 2335M: 0408 542 805 | E: [email protected]
SYDNEY5/43 Leighton Place, Hornsby NSW 2077 | Contact: Ned Kacavenda
T: +61 2 9476 6966 | F: +61 2 9477 1339E: [email protected]
www.dascolighting.com.auAgent for: Architectural Lighting Products 39 Tinning Street Brunswick VIC 3056
PO BOX 5084 Moreland West VIC 3055P: 03 9222 5522F: 03 9222 5521E: [email protected]
Efficient Lighting Systems
With over 20 years of experience in manufacturing light fittings, ELS knows what is required to make quality products. ELS is also the Australian distributor of Ligman exterior lighting products and Spittler interior lighting products. This diverse range offers top quality, energy efficient, SAA and EMC approved products suitable for all Australian installations.
l Industrial, Commercial, Residential, Retaill Architectural, Landscapel Lighting package specialistl Lighting project specialistl 40 Years lighting experiencel SAA & EMC compliant productl Member Lighting Council of Australia1/19 Macquarie Drv, Thomastown, Vic 3074PO Box 24 Sth Morang, Vic 3752T: 03 9464 6642F: 03 9464 5504E: [email protected]
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56 LIGHTING MAGAZINE | August/September 2013
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AN ABSOLUTE MUST READ!
raLa INfOrmatION serVICes pty Ltd (ABN 37 003 849 483) | 1A/551 Mowbray Road West, Lane Cove North NSW 2066 AUSTRALIA |
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LOFOOTAvailable from:
Lighting Options Australia50 Kent Street, CANNINGTON WA 6107P: 08 6142 4977 M: 0410 575 180 E: [email protected]: www.lightingoptionsaustralia.com.au
A PHILOSOPHY IN LIGHT
PROJECTORS \ IN-GROUNDS \ BOLLARDS \ LIGHT COLUMNS \ POST TOPS
SOLAR SOLUTIONSSOLAR SOLUTIONS
07 5559 1666www.orionsolar.com.au
Unit 3630 Mudgeeraba Road Worongary QLD 4213
Recognised as the leading sup-plier of solar LED solutions to meet
outdoor off-grid lighting needs. Trusted by municipal, govern-
ment and commercial agencies, our EverGEN solar LED lighting systems deliver specifier grade
performance, making them ideal for street, parking lot, park and
pathway applications.
Contact Hugh RabonePhone: +61 (0)2 9634 6244 Fax: +61 (0)2 9634 3422
Mobile: +61 (0)406 754 724 Email: [email protected] 14/7 Hoyle Ave, Castle Hill NSW 2154 Australia
www.norlight.com.au
SpecialiSing inn leD DiSplaY FiXTUReSn leD ReceSSeD lUMinaiReS n MeTal HaliDe lUMinaiReS
n Bca cOMpliancen ligHTing planS n ligHTing SOlUTiOnS
commercial & architectural lightingcommercial & architectural lightingPTYLTD
C
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CM
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CMY
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We specialise in:l Metal Halide Globesl High Pressure Sodium Globesl Mercury Vapour Globesl Halogen Globesl LED MR16s
T: +61 (03) 97082552 | F: +61 (03) 97082553Unit 17, 47-49 Frankston Gardens DriveCarrum Downs, Victoria 3201, [email protected] | www.plusrite.com.au
Philips Lighting See what light can do
Philips Lighting is a global leader in lighting, providing a unique combination of technologies which include lamps, optics, luminaires, controls and accessories.
Sales/Service toll free 1300 304 404Project Quotes 1300 915 [email protected]
www.lighting.philips.com.au
LED ROADWAY LED COMMERCIAL LED INFRASTRUCTURE
120 YEARS OF EXPERIENCE HAS GONE INTO OUR LIGHTS
120 YEARS OF EXPERIENCE HAS GONE INTO OUR LIGHTS
NSWToshiba International Corporation Pty Ltd2 Morton Street, Parramatta NSW 2150Tel: (02) 9768 6600 Fax: (02) 9890 7546
NEWCASTLEToshiba International Corporation Pty LtdUNIT 1 / 18 Kinta Drive, Beresfield NSW 2322Tel: (02) 4966 8124 Fax: (02) 4966 8147
QUEENSLANDToshiba International Corporation Pty LtdUNIT 4 / 20 Smallwood Place, Murarrie QLD 4172Tel: +61 7 3909 9000 Fax: +61 7 3909 9090
MACKAYToshiba International Corporation Pty Ltd1st Floor 41 Wood St, Mackay QLD 4740Tel: (07) 4953 4184 Fax: (07) 4951 4203
VICTORIAToshiba International Corporation Pty Ltd411 Fern Tree Gully Road, Mt Waverley VIC 3149Tel: (03) 8541 7960 Fax: (03) 8541 7970
WESTERN AUSTRALIAToshiba International Corporation Pty Ltd10 Anderson Pl, Perth International Airport WA 6105Tel: (08) 6272 5600 Fax: (08) 6272 5601
TOSHIBA INTERNATIONAL CORPORATION PTY LTD www.tic.toshiba.com.au/lighting