august/september 2013 - rala€¦ · main catalogue 4 2013-2015. 6 lighting magazine |...

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

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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,


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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.

[email protected]

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


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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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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14 LIGHTING MAGAZINE | August/September 2013 August/September 2013 | LIGHTING MAGAZINE 1514 LIGHTING MAGAZINE | August/September 2013

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.


“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


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.”


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.


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.


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.


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


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.


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.


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


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)


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.


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


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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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.


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 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.


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


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!

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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

8101

8102

8100

8300

CommerCial & industrial light Fittings

• LED ExtErior • FLooD, ArEA, SportS & StrEEt• inDuStriAL & CommErCiAL• CAnopy & pArking• SECurity & AmEnity• FooD inDuStry & inFrAStruCturE

t 03 9800 5600e [email protected] www.adlt.com.au

110 Lewis RoadWantirna SouthVIC 3152 AUSTRALIA


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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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

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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

august/september 2013 - rala€¦ · main catalogue 4 2013-2015. 6 lighting magazine |...

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