Lighting for LandscapesCarl Gardner, lighting designer and former Editor of Lighting Journal

IntroductionIntroduction

What follows is mainly taken from the latest ILP publication, Lighting Landscapes, which is on sale here

I was a co-author of the publication, which is aimed primarily at those who commission lighting for landscapes, both public and private

The core purpose of the booklet is to explain how to get the best out of lighting design -- and how to work most fruitfully with your lighting designer

This is not a ‘how to turn yourself into a lighting designer in 24 hours’ – it is about guiding commissioners to the best solutions

Lighting Design: Speirs & Major. Photo: James Newton

Who is the Guide For?Who is the Guide For?

Landscape ArchitectsPlanning AuthoritiesLighting EngineersElected Members of Local AuthoritiesPublic Consultation bodiesArchitectsContractorsStudents of design, architecture and engineeringProspective clientsLighting Designers

The Importance of Lighting in the Public RealmThe Importance of Lighting in the Public Realm

This guide starts from one basicpremise – that public space, the public realm, is a crucial component of successful, well functioning towns and cities in which people can work, relax and socialise in a harmonious manner.

Even the best-designedpublic squares, parks, pedestrian areasand gardens, which may be havensof sociability or serenity by day, canbecome unprepossessing, and eventhreatening, places after dark.

Lighting Design BDP. Photo: Martin Lupton

Photo: Carl Gardner

The Importance of LightingThe Importance of Lighting

We now live in the ‘24-hour city’… or at least the ‘18-hour city’ (or town) where most public spaces will remain in use well after daylight, particularly in the winter months.

Therefore, to be successful, the architectural and landscape design for these spaces needs to take that into account.

Good, skilfully conceived lighting should be seen as an integral part of the design of public spaces of all kinds – and it needs to be routinely considered from the beginning of any scheme Design: DPA Lighting Design. Photo Iain Carlile

1. Why Light 1. Why Light Landscapes?Landscapes?

Why Light Landscapes?Why Light Landscapes?

Lighting to make the space appear safe and secure.

Safety is only the most basic provision – today’s urban spaces deserve well-designed lighting that enhances its fabric, highlights the architecture and planting – and intrigues and excites its citizens.

Artificial lighting applied to landscapes, gardens and squares, extends their ‘working day’ … and maximises the high investment necessary for high quality landscapes

Lighting design: Maurice Brill Lighting Design. Photo: Tom Brill

1a. Creating a New Identity 1a. Creating a New Identity

In some cases, lighting may be applied to existing or recently refurbished landscape areas

Here it can be used to create a new ‘mood’ for the spaces, through careful variation in intensity, shadow, colour temperature and discrete colour highlights.

In this way, lighting may even help to establish new night-time views and vistas, by exploiting an area’s intrinsic topography, historic assets and notable features.

Lighting design & photo: Stainton LDS Lighting design: BDP. Photo: Sanna Fisher-Payne

Creating a New Identity Creating a New Identity

Taken together, these various ways of using light create a distinctive identity or image for a town, city or area by creating a genuine sense of ‘place’.

This is very important in the context of the UK’s town and city cultures, which have become homogenised by the repetitive appearance of the same retail outlets and eating establishments.

Lighting, particularly lighting of landscapes, can give cities and towns a distinctive identity and aid their competitiveness, compared with other urban centres.

Left: lighting design & photo: iGuzziniAbove: lighting design and photo: Carl Gardner

1b. Economic and Civic Effects1b. Economic and Civic Effects

Lighting of a notable historic feature or new structure can create a new visitor ‘destination’

Illuminated parks and gardens, previously inaccessible after dark, can be brought intonight-time use, encouraging visitors to stay and linger

Left: Lighting design and photo by DPA Lighting Design Right: Lighting design by Sutton Vane Associates. Photo: Commercial Lighting

Economic and Civic EffectsEconomic and Civic Effects

Where these features or areas are located adjacent to commercial areas, with restaurants or bars, this in turn can help stimulate the ‘evening economy’ of a town – it may even attract new catering/retail facilities and encourage economic growth

The new lighting can alsohelp instil feelings of civic pride in the local population – and reduce vandalism and neglect.

Lighting design: Lighting Design Associates. Photo: Rob Moore

1c. Security & Orientation1c. Security & Orientation

Without light, modern towns and cities can be difficult to navigate at night. lighting public spaces can help enormously to aid pedestrian orientation and way-

finding, making the city legible and navigable.

This then increases night-time foot traffic and pedestrian use and helps bring neglected areas back to life after dark.

Lighting is also an importantmeans of reducing crime – a major Home Office study in 2003 concluded that ‘improved lighting... reduced crime by 30%’… and lighting was also much more effective than CCTV cameras, which registered only a 7% decrease in crime

Lighting design: Arup Lighting. Photo: Arup

‘‘Well-designed ambient and feature Well-designed ambient and feature lighting is a far preferable deterrent to lighting is a far preferable deterrent to crime and anti-social behaviour than crime and anti-social behaviour than

high-powered “security lighting”… which high-powered “security lighting”… which through brightness and high contrast, through brightness and high contrast, destroys the comfortable night-time destroys the comfortable night-time ambience we all want to maintain.’ambience we all want to maintain.’

2. How to Use 2. How to Use Lighting in Lighting in LandscapeProjectLandscapeProjectss

Where does Lighting Design Come From?Where does Lighting Design Come From?

1.1. Manufacturers/ SuppliersManufacturers/ Suppliers ‘Free’ design services – which aren’t really ‘free’ but hidden in the

price of the equipment Their ‘designers’ may be little more than CAD operators with no

design training Limited range of products which they fit to the scheme, regardless of

whether they are suitable Their business is selling products, so tend to over-specify

22. . Design and Supply Intermediate group of companies who do undertake more or less ‘fee-

paid’ lighting design work, but also supply a specific range(s) of lighting equipment, from which they take a commission

This commercial bias could compromise their designs Such companies need to be completely upfront about their status… or

they are deceiving their clients

Where does Lighting Design Come From?Where does Lighting Design Come From?

3. M&E Consultants/Electrical EngineersM&E Consultants/Electrical EngineersBecause they deal with things electrical – are often called on to do lighting designProbably have no expertise in this area + don’t understand the latest design techniques or have little knowledge of the range of products availableOften roll out the easiest, most basic and banal designs

4. Independent Lighting DesignersIndependent Lighting DesignersA profession which only emerged in last 30 yearsOnly earn their income from ‘fee-based’ lighting designHave no commercial connections to manufacturing/supplyCan offer unbiased advice – and choose the best products for the project from everything available

Lighting Design: an Art and a ScienceLighting Design: an Art and a Science

Distinctive feature of lighting design is that it combines both art and science

Practitioners need both an aesthetic under-standing of the building, space or feature being lit -- and the effect they want to achieve

They also need a scientific understanding of the physics of light and the operational features of thetechnologies required to achieve those effects

This is an unusual combination – the lighting designer’s skills bridge the gap between the Aesthetic sensibility of the architect/ landscape designer and the scientific/ mathematical knowledge of the engineer

The Competence RequirementThe Competence Requirement

‘‘No matter who the lighting design service is No matter who the lighting design service is being supplied by, the key question for all being supplied by, the key question for all clients should concern the competence of clients should concern the competence of

the people doing the design, as specified in the people doing the design, as specified in the CDM Regulations, 2007. the CDM Regulations, 2007.

What is their training and experience? What What is their training and experience? What is the professional standard and quality of is the professional standard and quality of their education and training? What makes their education and training? What makes them competent to do this kind of work?’them competent to do this kind of work?’

3.The Lighting 3.The Lighting Design ProcessDesign Process

Typical Design TeamTypical Design Team

On large projects, you might expect the team to be:On large projects, you might expect the team to be:

ArchitectLandscape ArchitectLighting designerElectrical engineerPublic health engineerQuantity Surveyor (QS)ContractorWater feature designers/suppliers (where relevant)

Getting the Brief RightGetting the Brief Right

The all-important brief needs to include all the key questions and issues:

The nature of the project, the client and the contextNew-build or refurbishment. Any conflicts between the client’s, landscape designer’s and lighting designer’s objectives?Existing urban lighting strategy? Which aspects of that strategy need to be adhered to?The constraints -- statutory (planning, building regulations, listing, nature conservation etc.) or site (topography, orientation, micro/macro climate etc.)Any risk factors that might hinder the project? How might they be mitigated? Potential light nuisance issues?Main activities that will be undertaken in the space?Operating hours?Type of contract – procured tender or design & build?Post-installation maintenance -- is there a revenue stream for this?CDM (2007) requirements on health and safety – are the correct arrangements in place?

Concept Design StageConcept Design Stage

The Designers:

This is the most creative part of the process, but it is not just a matter of throwing around design ideas, important as that is. During this stage, the landscape designer and the lighting designer will refine the brief and evolve the main features of the design, taking into account:

The budgetThe morphology of the siteThe main activities within the siteThe main vistas and viewing pointsThe intended materials and plantingThe boundaries of the site and impact on neighbouring areasThe functions and locations of the lighting etc etc.

Lighting design concept: Speirs & Major

Concept Design StageConcept Design Stage

The Client

There are 4 main issues that the client wants the concept design proposals to elucidate:

What will the landscape and lighting scheme look like?Is it buildable?Is it technically feasible?Can we afford it?

If the concept design proposals don’t answer these questions,it is inadequate… and needs re-thinking

Image: Speirs & Major

Concept Design StageConcept Design Stage

The way that the Concept Design proposals are presented to the client and stake-holders is important. Given that most non-lighting specialists won’t understand abstract lighting concepts, visual presentation is crucial.

The main options:

1. Artistic renderings Image below: Speirs & MajorImage right: Chris Fordham and Carl Gardner

Presentation TechniquesPresentation Techniques

2. Computer Generated Image (Image: Jason Bruges)

3. Site Demonstrations (Photos: Carl Gardner)

Detailed Design StageDetailed Design Stage

The last chance for the client to influence the final result It is the bridge between the aspirations of the project and its fulfilment. The lighting designer will finally button down which lighting equipment will be

used – and where it will go. Close co-ordination required with the other disciplines within the design team on

all the details (e.g. size and type of trees). As part of the detailed design, the lighting designer must demonstrate the safety

and longevity of the scheme. Safety of users/the public and the installation team Vandalism and durability, taking into account the weather, location, soil

conditions – and the materials, their IP ratings, IK ratings (impact resistance), recycling capability etc.

One key issue relates to future maintenance and replacement -- the comparative life-cycle of the hard landscaping (30 years?) and the lighting equipment (10-15 years?). How will replacement be planned for?

Detailed DesignDetailed Design

Other key issues of Detailed Design stage:

Capital costs, life cycle costs, energy consumption costsLight sources and luminaire types – colour temperatureControl systems and the on/off/dimming regime that will be specifiedMaintaining specification – and the constraints of procurementEquipment delivery time-scalesMounting details, if non-standard.With ‘design and build’ contracts there needs to be sufficient technical information for the contractor to complete their design responsibilities – and to complete the installation.

3. Main Landscape 3. Main Landscape Features for Lighting Features for Lighting

1. Pathways1. Pathways

Light Columns

Dramatic but expensive and relatively inefficient way of lighting pathwaysA strong architectural statement which needs to work with the surrounding environmentUseful for creating a processional array or‘gateway’ feature at the entrance to a space

Far left photo: We-ef LightingLeft photo: iGuzziniPhoto above: Woodhouse

Bollards

More common way of applying low levellighting to pathways

With below-horizontal cut-off, offerslow glare effect, but difficult to obtain gooduniformity, so close spacing is required

In the UK bollards on pathways must be aminimum of 1000mm high

Modern models can be customised to offer 360-degree, 180-degree or variegated lightDistribution

Susceptible to vandalism or vehiclestrikes

Top photo: We-ef LightingPhoto right: Erco

Integrated Handrail Lighting

One of the most innovative uses of LEDs which can be unobtrusively integrated into the lower edge of pathway handrails

Very efficient as light source is close to the surface being lit

Provides a continual line of light with high uniformity

Avoids the visual clutter of free-standing light fixtures

Easy to maintain – drivers can be hidden within the structure and individual LED strips easily accessed and changed

Low glare, with the light source below people’s eye-linePhoto: Woodhouse

Step Lighting

For safety reasons steps and other changesof level within landscapes should usually beilluminated to higher lighting levels

Particularly important for people withvisual disabilities

Again, integrated handrail lightingmight be used

Or dedicated lighting appliedto each step using light stripsintegrated into the steps themselves -- or fittings recessed into the side walls

Photo above: Urbis LightingLeft: lighting design by Speirs & Major. Photo: James Newton

2. Vertical Surfaces2. Vertical Surfaces

Uniform lighting of the horizontal surface is the most efficient technique for lighting traffic routes…

BUT for pedestrian spaces, effective lighting of the vertical surfaces – walls, trees, planting andthe people in the space -- is equally, if not more important

Research has shown that for the seated or standing observer the most important part of the visual field is the ‘zone’ 20 degrees above and below a horizontal line drawn out from the eye

This generally takes in mostly the vertical surfaces in a room or outdoor space

In terms of visual interest, horizontal surfaces are less important

Accentuate the VerticalAccentuate the Vertical

This explains why traffic-style lighting from high level, creates spaces that are blandand uninteresting – photo right On the other hand a space with high vertical illuminance and low horizontal illuminance (below) appears interesting… and still safe

Photo above: Urbis LightingPhoto left: Philips

The Importance of Visible BoundariesThe Importance of Visible Boundaries

This also points up another principle of good landscape lighting – the importance of visible boundaries

Psychologically, well-lit vertical surfaces around aspace, even with relatively low horizontal lighting levels,

make a space appear safe and visually comfortable

Above: Lighting design by DPA Lighting Consultants. Photo: Nick HoggettLeft: Lighting design: Patrick Woodruffe.Photo: Adam Bassett

Trees and PlantingTrees and Planting

Trees and planting respond to artificial light to create a great visual asset for landscape schemes

Lighting techniques can vary from recessed uplighting to LED strings within trees to gobo moonlighting down through the branches

BUT…

All in-tree lighting techniques are high maintenance because trees grow and change

Uplighting deciduous trees can create a significant light pollution issue in the winter months

With new projects, careful liaison between lighting designer and landscape designer is crucial,to ensure the lighting fits the size and type of tree, in terms of size, angle, colour temperature etc.

Left and below: Lighting design by Speirs & MajorPhotos: James Newton and Colin Philip

Photo left: Sill Lighting

Water and LightWater and Light

Lighting and water are natural partners

Surface reflection offers ‘two for the price of one’ – and moving water amplifies any lighting effect

This is one of the areas where colour can befruitfully used

BUT water and electricity are deadly enemies, so attention to safety and the correct IP rating for fixtures close to (or in)water is vital – IP68 minimum

Quite often, with lightingintegrated into water features,a specialist supplier/installer may take finalresponsibility for the lighting

Above: Lighting design by John Cullen Lighting. Photo: Luke White

Statues & MonumentsStatues & Monuments

These often represent major features in the landscape – when illuminated they may form a focal point for the whole landscape

Can the lighting be integrated with the feature? This may bring out textures or accentuate key aspects

Design the lighting to favour the main viewpoints and viewingangles

If lighting from a distance, be careful to model the statue in three dimensions – and guard against glare and light spill by usingbaffles and/or louvres

Right: lighting design and photo by DPA Lighting Design.Right: lighting design and photo, Light ProjectsAbove: Lighting design and photo by Carl Gardner

Coloured Light: the PitfallsColoured Light: the Pitfalls

The indiscriminate use of variegated or constantly changing colour lighting has moved from novelty to urban blight in a decade (Too?) easily achieved with LED systems Lack of any consensus amongst designers Destroys the architectural integrity of many buildings Distorts the colour of natural materials – colour not recommended for trees in permanent schemes Rapidly changing colour can be psychologically disorienting, even disturbing, on a long-term basis Some modern structures can benefit from colour, but pale washes across large planes – OR small intensely coloured details work best With colour change effects, slow changes are preferred to rapidcolour treatments

4. Some Useful4. Some UsefulLandscape Lighting Landscape Lighting TechniquesTechniques

Uplighting for TextureUplighting for Texture

Vertical uplighting of walls and treeswith relatively low wattage luminaires at close-offset positions

This avoids glare to landscape users andoverspill into the environment

Close-offset lighting also renders the texture of stone, wood and other land-scape materials more effectively, as in the

examples opposite

But beware reflective materials

Top photos: Carl Gardner and Philips LightingBottom: Lighting design by Artec3. Photo: Andres Otero

Moonlighting and Gobo ProjectionsMoonlighting and Gobo Projections

Lighting mounted in trees can create unexpectedly magical lighting scenes

Can mimic the effect of moonlight through branches and leaves

The same technique can be used to project ‘break-up’ patterns, using cut-out gobos infront of the lens, to throw interesting andmoody effects on to the ground.

Where facades are close to trees, projectors can also be mounted on those

The logistics of strapping lighting to trees need to be considered – may needconservationist involvement and will need regular maintenance

Bottom: Lighting design by Tonkin Liu. Photo: Keith Collie

Under-bench LightingUnder-bench Lighting

Benches and other forms ofseating offer numerous

opportunities for imaginative lighting design

In the hands of a creativelighting designer, working closely

with the landscape designer and fabricator, they can be turned into things of nigh-time beauty

They can add an aesthetic dimension to the landscape and

invite people to sit, linger and enjoy the night-time scene

In addition, carefulconcealment of the fittings can

make them fairly inaccessible and reduce vandalism

Design: Artec3. Photo: Andres Otero

Top: lighting design and photo: Sutton Vane Assocs.Bottom: photo Woodhouse

Less is MoreLess is More

‘‘One of the main lessons of lighting for landscape projects… is that less is One of the main lessons of lighting for landscape projects… is that less is indeed more. In intrinsically dark areas, a little light can go a long way – indeed more. In intrinsically dark areas, a little light can go a long way – and gentle “painting” or washing with light… or picking out details to and gentle “painting” or washing with light… or picking out details to create an illuminated focus to the scene, can be far more effective than create an illuminated focus to the scene, can be far more effective than lighting everything.’lighting everything.’

Above: lighting design by John Cullen. Photo: Luke WhiteRight: Lighting design & photo by Carl Gardner

Multi-head Area LightingMulti-head Area Lighting

How to light a large area without clutteringthe space with conventional street lighting columns?

One solution may be multi-head columns, fitted with well controlled, low glare directional floodlights

When well designed, with a stylish (maybecustom-made) column and attractive lanterns, thistechnique can both project pools of light across a wide

area and create an interesting architectural focal point for the space

However, this success of this solution depends on both attractive equipment and excellent optical control

Photo top: Woodhouse LightingRight: lighting design by Lighting Design House

Catenary Lighting SystemsCatenary Lighting Systems

Multiple column-mounted lighting in urban spaces can quickly lead to visual clutter

Catenary wire systems, where light fittings areattached to cables spanning the space or street

from building to building (or from columns) are commonplace in Scandinavia, but are less

popular in the UK – due to maintenance and ‘wayleave’ issues

New ultra-long-life LEDs haveincreased maintenance periods consider-ably and therefore the technique could be reconsidered on these shores.

Smaller, more compact LED fittings alsoreduce their daytime visibility Top: Lighting design & photo:

LAPD Lighting ConsultantsBottom: Lighting design: DPA Lighting. Photo: iGuzzini

Concealment and IntegrationConcealment and Integration

Concealment and integration of lighting equipment should be watchwords in modern landscape lighting

LED lighting systems offer new opportunities for thiswithin the landscape.

Integrated lighting details ‘builtinto’ landscape and architectural elements need care and attention atan early stage and close collabor-ation with materials fabricators

Concealed integrated lighting often provides a softer, more diffuse lighting effect, as the light isreflected indirectly from other surfaces

Top: lighting design by Speirs & Major. Photo: James NewtonBottom: lighting design and photo by Carl Gardner

Lighting ArtLighting Art

A huge subject worthy of its own seminar – but an important component of landscape lighting

Key issues:

Close collaboration necessary betweenartist and design teamLighting art must make a visualcontribution to the space by day and by nightMaintainability and durability not always designed in – many failuresPublic safety issuesIs the art a stand-alone piece – orsomething that makes a contribution to ambient lighting levels?Will the piece be overwhelmed by ambient lighting?

Top: design and photo by Peter FreemanBottom: design and photo by Ron Haselden

Final WordsFinal Words

‘‘If they want to realise the maximum If they want to realise the maximum longevity of the original scheme, it is longevity of the original scheme, it is crucial for all commissioners, funding crucial for all commissioners, funding bodies or clients… to insist on a future bodies or clients… to insist on a future

maintenance programme – and to maintenance programme – and to commit future revenue funding to carry commit future revenue funding to carry it out. This is not an afterthought, it is a it out. This is not an afterthought, it is a key component of the design and needs key component of the design and needs

to be taken seriously.’to be taken seriously.’