Carl talks about the ILP's guide to implementing successful lighting within the public realm. The publication aims to answer the questions why use lighting in landscape projects, and how do you employ and commission a lighting design. The presentation will be lavishly illustrated, as is the book, with finest projects found within the UK and elsewhere. The core purpose of the book 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. Talk by Carl Gardner, Lighting Designer

1. Lighting for
Landscapes
Carl Gardner, lighting designer and
former Editor of Lighting Journal

2. 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

3. Who is the Guide For?Who is the Guide For?
Landscape Architects
Planning Authorities
Lighting Engineers
Elected Members of Local Authorities
Public Consultation bodies
Architects
Contractors
Students of design, architecture and engineering
Prospective clients
Lighting Designers

4. The Importance of Lighting in the Public RealmThe Importance of Lighting in the Public Realm
 This guide starts from one basic
premise – 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-designed
public squares, parks, pedestrian areas
and gardens, which may be havens
of sociability or serenity by day, can
become unprepossessing, and even
threatening, places after dark.
Lighting Design BDP. Photo: Martin Lupton
Photo: Carl Gardner

5. 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

6. 1. Why Light1. Why Light
Landscapes?Landscapes?

7. 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

8. 1a. Creating a New Identity1a. 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

9. Creating a New IdentityCreating 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: iGuzzini
Above: lighting design and photo: Carl Gardner

10. 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 into
night-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

11. 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 also
help instil feelings of civic pride
in the local population – and
reduce vandalism and neglect.
Lighting design: Lighting Design Associates. Photo: Rob Moore

12. 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 important
means 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

13. ‘‘Well-designed ambient and featureWell-designed ambient and feature
lighting is a far preferable deterrent tolighting is a far preferable deterrent to
crime and anti-social behaviour thancrime and anti-social behaviour than
high-powered “security lighting”… whichhigh-powered “security lighting”… which
through brightness and high contrast,through brightness and high contrast,
destroys the comfortable night-timedestroys the comfortable night-time
ambience we all want to maintain.’ambience we all want to maintain.’

14. 2. How to Use2. How to Use
Lighting inLighting in
LandscapeProjectLandscapeProject
ss

15. 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

16. Where does Lighting Design Come From?Where does Lighting Design Come From?
3. M&E Consultants/Electrical EngineersM&E Consultants/Electrical Engineers
Because they deal with things electrical – are often called on to do lighting
design
Probably have no expertise in this area + don’t understand the latest
design techniques or have little knowledge of the range of products available
Often roll out the easiest, most basic and banal designs
4. Independent Lighting DesignersIndependent Lighting Designers
A profession which only emerged in last 30 years
Only earn their income from ‘fee-based’ lighting design
Have no commercial connections to manufacturing/supply
Can offer unbiased advice – and choose the best products for the project
from everything available

17. 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 the
technologies 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

18. The Competence RequirementThe Competence Requirement
‘‘No matter who the lighting design service isNo matter who the lighting design service is
being supplied by, the key question for allbeing supplied by, the key question for all
clients should concern the competence ofclients should concern the competence of
the people doing the design, as specified inthe people doing the design, as specified in
the CDM Regulations, 2007.the CDM Regulations, 2007.
What is their training and experience? WhatWhat is their training and experience? What
is the professional standard and quality ofis the professional standard and quality of
their education and training? What makestheir education and training? What makes
them competent to do this kind of work?’them competent to do this kind of work?’

19. 3.The Lighting3.The Lighting
Design ProcessDesign Process

20. 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:
Architect
Landscape Architect
Lighting designer
Electrical engineer
Public health engineer
Quantity Surveyor (QS)
Contractor
Water feature designers/suppliers (where relevant)

21. 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 context
New-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?

22. 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 budget
The morphology of the site
The main activities within the site
The main vistas and viewing points
The intended materials and planting
The boundaries of the site and impact
on neighbouring areas
The functions and locations of the
lighting etc etc.
Lighting design concept: Speirs & Major

23. 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

24. 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 & Major
Image right: Chris Fordham
and Carl Gardner

25. Presentation TechniquesPresentation Techniques
2. Computer Generated Image (Image: Jason Bruges)
3. Site Demonstrations
(Photos: Carl Gardner)

26. 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?

27. Detailed DesignDetailed Design
Other key issues of Detailed Design stage:
Capital costs, life cycle costs, energy consumption costs
Light sources and luminaire types – colour temperature
Control systems and the on/off/dimming regime that will be specified
Maintaining specification – and the constraints of procurement
Equipment delivery time-scales
Mounting 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.

28. 3. Main Landscape3. Main Landscape
Features for LightingFeatures for Lighting

29. 1. Pathways1. Pathways
Light Columns
Dramatic but expensive and relatively inefficient way of
lighting pathways
A strong architectural statement which needs to work
with the surrounding environment
Useful for creating a processional array or
‘gateway’ feature at the entrance to a space
Far left photo: We-ef
Lighting
Left photo: iGuzzini
Photo above: Woodhouse

30. Bollards
More common way of applying low level
lighting to pathways
With below-horizontal cut-off, offers
low glare effect, but difficult to obtain good
uniformity, so close spacing is required
In the UK bollards on pathways must be a
minimum of 1000mm high
Modern models can be customised to offer
360-degree, 180-degree or variegated light
Distribution
Susceptible to vandalism or vehicle
strikes
Top photo: We-ef Lighting
Photo right: Erco

31. 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-line
Photo: Woodhouse

32. Step Lighting
For safety reasons steps and other changes
of level within landscapes should usually be
illuminated to higher lighting levels
Particularly important for people with
visual disabilities
Again, integrated handrail lighting
might be used
Or dedicated lighting applied
to each step using light strips
integrated into the steps themselves
-- or fittings recessed into the side
walls
Photo above: Urbis
Lighting
Left: lighting design by
Speirs & Major. Photo:
James Newton

33. 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 and
the 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

34. Accentuate the VerticalAccentuate the Vertical
 This explains why traffic-style lighting from high level, creates spaces that are bland
and 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 Lighting
Photo left: Philips

35. 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 a
space, even with relatively low horizontal lighting levels,
make a space appear safe and visually comfortable
Above: Lighting design by
DPA Lighting Consultants.
Photo: Nick Hoggett
Left: Lighting design:
Patrick Woodruffe.
Photo: Adam Bassett

36. 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 & Major
Photos: James Newton and Colin
Philip

37. Photo left: Sill Lighting

38. 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 be
fruitfully 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 lighting
integrated into water features,
a specialist supplier/
installer may take final
responsibility for the lighting
Above: Lighting design by
John Cullen Lighting. Photo:
Luke White

39. 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 viewing
angles
 If lighting from a distance, be careful to model the statue in three
dimensions – and guard against glare and light spill by using
baffles and/or louvres
Right: lighting design and
photo by DPA Lighting
Design.
Right: lighting design and
photo, Light Projects
Above: Lighting design
and photo by Carl Gardner

40. 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 rapid
colour treatments

41. 4. Some Useful4. Some Useful
Landscape LightingLandscape Lighting
TechniquesTechniques

42. Uplighting for TextureUplighting for Texture
 Vertical uplighting of walls and trees
with relatively low wattage luminaires at
close-offset positions
 This avoids glare to landscape users and
overspill 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 Lighting
Bottom: Lighting design by Artec3. Photo: Andres Otero

43. 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 in
front of the lens, to throw interesting and
moody 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 need
conservationist involvement and
will need regular maintenance
Bottom: Lighting design by
Tonkin Liu. Photo:
Keith Collie

44. Under-bench LightingUnder-bench Lighting
 Benches and other forms of
seating offer numerous
opportunities for imaginative
lighting design
 In the hands of a creative
lighting 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, careful
concealment 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

45. Less is MoreLess is More
‘‘One of the main lessons of lighting for landscape projects… is that less isOne 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 toand gentle “painting” or washing with light… or picking out details to
create an illuminated focus to the scene, can be far more effective thancreate an illuminated focus to the scene, can be far more effective than
lighting everything.’lighting everything.’
Above: lighting design by John Cullen. Photo: Luke White
Right: Lighting design & photo by Carl Gardner

46. Multi-head Area LightingMulti-head Area Lighting
 How to light a large area without cluttering
the 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 (maybe
custom-made) column and attractive lanterns, this
technique 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 Lighting
Right: lighting design by Lighting
Design House

47. Catenary Lighting SystemsCatenary Lighting Systems
 Multiple column-mounted lighting in urban
spaces can quickly lead to visual clutter
 Catenary wire systems, where light fittings are
attached 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 have
increased maintenance periods consider-
ably and therefore the technique could
be reconsidered on these shores.
 Smaller, more compact LED fittings also
reduce their daytime visibility Top: Lighting design & photo:
LAPD Lighting Consultants
Bottom: Lighting design: DPA
Lighting. Photo: iGuzzini

48. 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 this
within the landscape.
 Integrated lighting details ‘built
into’ landscape and architectural
elements need care and attention at
an early stage and close collabor-
ation with materials fabricators
 Concealed integrated lighting
often provides a softer, more
diffuse lighting effect, as the light is
reflected indirectly from other
surfaces
Top: lighting design by Speirs &
Major. Photo: James Newton
Bottom: lighting design and photo
by Carl Gardner

49. Lighting ArtLighting Art
A huge subject worthy of its own seminar –
but an important component of landscape
lighting
Key issues:
Close collaboration necessary between
artist and design team
Lighting art must make a visual
contribution to the space by day and by night
Maintainability and durability not
always designed in – many failures
Public safety issues
Is the art a stand-alone piece – or
something that makes a contribution to
ambient lighting levels?
Will the piece be overwhelmed by
ambient lighting?
Top: design and photo
by Peter Freeman
Bottom: design and
photo by Ron
Haselden

50. Final WordsFinal Words
‘‘If they want to realise the maximumIf they want to realise the maximum
longevity of the original scheme, it islongevity of the original scheme, it is
crucial for all commissioners, fundingcrucial for all commissioners, funding
bodies or clients… to insist on a futurebodies or clients… to insist on a future
maintenance programme – and tomaintenance programme – and to
commit future revenue funding to carrycommit future revenue funding to carry
it out. This is not an afterthought, it is ait out. This is not an afterthought, it is a
key component of the design and needskey component of the design and needs
to be taken seriously.’to be taken seriously.’