Lighting : Lighting October 2015 - Vol 35 Issue 5
10 LIGHTING MAGAZINE | October/November 2015 FROM THE EDITOR The theme of this issue is lighting for education and in thinking about the content, I was reminded of the importance of the inverse of the theme; education for lighting. Both lighting for education and education for lighting need attention. Let me take lighting for education first. I think everyone has been in a classroom, lecture theatre, hotel conference centre, town hall or a special hi-tech audio-visual facility where the opportunity of seeing both the speaker and the AV presentation is impossible. I have sat in many, many conferences in darkened rooms where a disembodied voice rambles on to a PowerPoint presentation (packed with text and images too small to read) where the only thing that keeps you awake is watching the laser-pointer’s excursions around and through the audience, hoping that the speaker hadn’t bought an illegally powerful one capable of producing immediate, irreparable retinal damage. Scary stuff! As you read this I will be sitting in a number of such presentations at a number of locations in Asia. “Why is the design so bad?” I always ask myself, knowing full-well why it is. One reason is that the lighting designer may not have been involved in the design until after all the major decisions have been made. Or there may not have been a lighting designer. Or the lighting designer, used to lighting horizontal flat surfaces, assumed that a narrow-beam downlight would be good for lighting the speaker without any spill light onto the screen. We’ve all seen it: the floodlit baldpate and the long shadows of the nose and eyebrows almost reaching the floor. And when the speaker moves out of the beam, she/he disappears with only the lethal laser-pointer giving a clue to location. Now, if the designer understood how to illuminate a speaker so that the person could be seen, no matter where they stand on the podium, that would be a great improvement, especially if it can be achieved without reducing the brightness of projected images. That understanding can come from trial and error, an apprenticeship with a competent designer or from education. Ideally, education also includes the other two inputs. I have intentionally used “understood” and “understand” because if the designer understands the generic problem, the designer will know what is needed to solve specific problems. Understanding is different from knowing; I might know that the colour rendering index (CRI) of a light source is 80 but what are the implications of using that source for a specific application? Unless I understand what the CRI is, I cannot really make an informed decision. In most of the world, education for lighting is mostly non-existent, except for in-house training by some suppliers. Most people undertaking lighting design have no formal lighting education. Some are self-taught, which is great but most people benefit from a guided program of study delivered by people who understand what they are teaching. When I became involved in lighting in the 1970s, Australia had lighting education, delivered through TAFE, in all state capital cities except Hobart. Now, with almost double the population and a more sophisticated society, there is university education only in Sydney and TAFE education in Melbourne and a course in Adelaide. This tragic situation is the result of the neglect of TAFE by state and federal governments, the privatisation of training and the underfunding of universities. The lack of education opportunities around most of Australia is an impediment to the development of the lighting industry at every level. The demand for education isn’t just at the professional level. The supply and manufacturing industry has always supported and used lighting education. I hope you can see that good lighting design for education needs good education for lighting. In fact, all lighting design needs a solid educational base. Warren Julian Editor Lighting for education; education for lighting IGHT MITTING REAMS LED AWAKEN YOUR IMAGINATION LS411COB LS9120 LS9140 LS3080 LS9050 Design. Create. Illuminate. www.lumascape.com LS411COB Features ‘Chip on Board’ technology to deliver powerful illumination and efficacy in a compact package. The high lumen density, combined with the traditional ‘lamp and reflector’ optics package makes the LS411COB ideal for applications requiring wider distribution such as landscape lighting. LS9120 and LS9140 A superior lighting solution for complex architectural projects from floodlighting to wall washing or accent lighting. Available in 50W (LS9140) and 30W (LS9120), these powerful luminaires offer best-in-class performance with exceptional light output at 4600 lumens and 2700 lumens respectively. LS3080 Based on the hugely popular LS343 platform, the LS3080 takes performance to a new level with an industry leading lumen package and high level control resolution in a precision engineered stainless steel housing. LS9050 The linear LED luminaire is available in four fixture lengths and ideally suited for a wide range of façade or surface illumination applications. High performance optics deliver exceptional uniformity across a range of standard color temperatures and beam angles, allowing for generous spacing between fixtures. Available in 15W per section or 24W per section configurations.
Lighting August 2015 - Vol 35 Issue 4
Lighting December 2015 - Vol 35 Issue 6