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Preface to the Call For Papers

Dear Friends of PLDC, dear Lighting Design Community,

The sixth edition of the Professional Lighting Design Convention, PLDC will be taking place in Paris/F from 1. to 4. November, 2017. This may initially sound or read as being pretty much matter-of-fact and sober. But it in fact marks something very special and a real chance for the lighting design community. Allow me to elaborate on this a little.

Over the last ten years, since the very first PLDC in London back in 2007, we have – through PLDC and the PLD – witnessed and been part of a fundamental change in the lighting design world. In London, those present adopted a Declaration on Lighting Design as a profession for the first time. This was disseminated worldwide, providing the initial impetus for many to become pro-active. In the meantime, the Declaration has been translated into different languages and has served as the basis for defining a lighting designer’s scope of work and responsibilities.

And yet here we find ourselves, ten years later, on the threshold of an even more radical change – in both the technological sense and with respect to the profession. The motto for PLDC 2017 in Paris is “Shift happens”, which couldn’t be more apt. It was not without reason that we opted for Paris as the location for the next PLDC. This motto is equally meaningful for the City of Paris, given their reputation as the first City of Lights.

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The PLDC team have continued to develop the event over the years, expanding the conference and the accompanying programme and aligning it to address current trends and requirements. The market has responded with gratitude and increasing interest, as the growing numbers of attendees show. In 2007 we recorded over 1000 attendees, and at PLDC 2015 in Rome we attracted 1700. There is every indication that the number of PLDC attendees in Paris is not likely to be below that of Rome. Our objective is to be the largest effective platform dedicated to the development of Lighting Design worldwide.

But it is not the number of attendees that decides how successful a PLDC is, but rather what results from the papers presented and the other educational opportunities and discussions on and around lighting and the profession. The higher the quality of the content and the presentations, the more dynamic Lighting Design will be able to develop. The more interesting and interested the attendees are, the greater the chance is to change the market and play a pro-active role in achieving that. In past years, PLDC has sent out strong messages – with effect. Key developments, and even trends have been born at PLDCs and established in the industry as a whole. This is where ideas are presented and solutions found. But this is also where critical issues are raised, and discussed and debated openly. PLDC is THE international platform for independent, state-of-the-art lighting design – not to be missed if you want to be part of the future.

Smart

In Rome, a Think Tank comprising seven experienced professionals from the world of architecture, lighting design, lighting education and research, and with experience in working with public and private clients, met to analyse and discuss PLDC and the lighting design market. The Think Tank discussions concluded by defining PLDC as the “Thought Leadership Event” of international lighting design. As a concrete result of these discussions, we have taken it upon ourselves to take crucial steps to develop PLDC and accept responsibility for the market. VIA-Verlag has undertaken everything in the last few months to create the right framework to provide the international market with an appropriate platform.

 

Now it is up to you – the lighting designers, researchers, educators, architects, clients and, of course, the lighting industry, to fill this framework with life. We are looking for the best, the most future-oriented and relevant contents for the best community of lighting specialists, who come together in the same place at the same time to learn and discuss what the future holds in store. We are not looking for lectures which have already been presented and discussed elsewhere, but for approaches and information that is new and can inspire us all to overcome the challenges of the future. We are looking for designers and others who are prepared to work together to shape the lighting design world and gain the recognition for the profession that it deserves.mediale Stadt

 

Do not restrict your input to simply responding to the Call for Papers, but consider this overall process as a real chance for Lighting Design. Take the time – through your cooperation, your know-how and your thoughts – to be part of the start of a further development in the lighting design world. We have engaged the assistance of more than 20 practising professional designers to read and evaluate your submissions in a blind review process. You can be sure that this will enable us to again compile the best possible programme for the coming PLDC 2017 in Paris.

It is now up to the lighting design community, and to you personally, to again make PLDC an educational event that will benefit every individual attendee and support the call for recognition of the lighting designer within society as the truly qualified expert when it comes to all aspects of designing with light.

Joachim Ritter, September 2016

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Are they serious?

by Joachim Ritter

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Competition for lighting design and light art … without any lighting experts on the jury!

The City of London is rated as one of the world’s largest cities. Along with Paris, New York City and Tokyo, the British capital ranks as a trendsetter.

And this also applies to lighting design. Many designers are based in these huge cities, and work from there. Wouldn’t you think that means that there should be a sufficient number of professional people in London, for example, who have know-how and expertise when it comes to judging the quality of light and lighting?

The City of London recently launched a design competition to illuminate 17 bridges along the Thames from Albert Bridge to Tower Bridge. The competition finalists will be asked to conceive a design masterplan for the project, while providing a concept design for four specific bridges Westminster, Waterloo, London and Chelsea. The winning concepts resulting from the international design competition are to be realised by 2018. So far, so good.

What is rather strange about the whole set-up is that not one of the seven jury members can claim to be a lighting expert. That doesn’t mean to say that Lord Rothschild, Architect Malcolm Reading, Prof. Ricky Burdett representing Urban Studies, or Justine Simons, Head of Culture at City Hall in London, do not or should not have an opinion about light and lighting. But not to have any expertise at all when it comes to judging the quality, contemporary nature or feasibility of any of the design proposals submitted smacks of gross negligence to me. The design criteria stipulate that the design needs to display outstanding aesthetic quality, show innovation and incorporate energy-saving technologies, and feature interactivity. Who in the jury is able to address such issues when evaluating submissions?

This again shows that “people” are certainly aware of lighting design in architecture, but not aware of who lighting designers are and what their skills are. Neither associations nor education programmes have managed to establish themselves as an essential part of design competitions of this kind. Apart from the fact that in this Call for Proposals the boundary between lighting design and light art seems to be more blurry than it is helpful. The competition claims to be looking for a public art installation, while the strategic priorities contained in the brief give the impression that it is a lighting design they are looking for. To be honest, it is hard to decipher exactly what the expectations are.

All that remains is for the professional lighting designers (or light artists, who knows?) to use the competition to set themselves apart from other disciplines and to call attention to the difference they make.

For information on the competition click here.

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Characters in the lighting industry: Rogier van der Heide

by Joachim Ritter

It is often the characters circulating in a particular industry that give it its inimitable “flavour”, special characters who tend not to mince their words, who everyone knows, and who often leave the community split into two: those who are declared fans, and those who do not share that level of enthusiasm.

Rogier van der Heide is one such character, the lighthouse among all lighting experts. Formerly a lighting designer of the category IALD Full Voting Member, he is still a lighting designer, but one who is firmly positioned on the other side of the fence and is now regarded differently, or sometimes ignored, by his former independent colleagues. That does not mean that he has not maintained the skills to design lighting or that he has lost any of his design qualities. But the purists in the lighting design world tend to presume the latter is the case. Rogier has opted to view lighting design from another perspective. To be honest, at least he has the advantage of being able to spot developments and potential before many independent designers can do so. And yet many lighting designers cannot, or do not want to, accept this.

At times, Rogier van der Heide can be a bit of a Fidgety Philip. He is regularly invited to give a talk at events around the world. Standing on the stage, doing his best to impart his know-how, he simply cannot stand still and needs two to three square metres, sometimes gesticulating wildly, to express his opinions and communicate his statements. His long blond hair falls forward, half covering his face, and everyone can see how pointless it is to continually attempt to push it back or to one side. For a split second you can see his face and his eyes, which usually look pretty tired given that he spends a lot of his time jetting from conference to conference to represent his current employer through his unique charisma. As a rule, Rogier has to bend over to have a meaningful conversation with an individual. And everyone is waiting for the moment when he engages in a dialogue with Kaoru Mende.

His texts can be clever and witty, and laced with his special sense of humour. Even the way he embarks on a presentation at a conference is unique. Whereas all other speakers graciously thank the organisers for the invitation and opportunity to give a talk, Rogier van der Heide thanks the audience for attending his lecture. Sounds plausible in the first instance, but completely ignores the fact that attendees may also value other speakers and are sitting in the audience because they will also be presenting. Looking back on his professional career, he sometimes associates it with a bike ride from Amsterdam to Dornbirn. Who else, apart from Rogier, would come up with such an analogy? But you can’t really hold anything against Rogier, not anymore.

Roger van der Heide is able to put together presentations and communicate messages that remain in your head forever! Not always, but sometimes – and at any rate no less frequently than any other lighting designer who can go on for hours about his/her career as an independent lighting designer.
Rogier has stopped growing in height, but not when it comes to content. Which is why he continues to find fans and followers around the world who are inspired by his observations and knowledge and his dry sense of humour – or sometimes not.

An industry thrives on the community that forms it – special characters, like Rogier van der Heide.

Photo: Zumtobel

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LED-Linear to provide funding for the first endowed professorship at the University of Wismar

stiftungsprofessur_wismar_1-sIn the past years we have been honoured to welcome some of the greatest partners in the industry to PLDC. The exhibition staged for their benefit was certainly not of the standard format. The special quality of PLDC is that the conversations and discussions that take place there lead to new ideas, new developments and solutions. The exhibition hall at PLDC is a vibrant hub for such activities, and in that sense points the way to the future.

One company that has developed extremely well in recent years is LED Linear. LED Linear have been a Partner of PLDC since 2011. They have won a number of design awards in the meantime, but have also opted to assume more responsibility to support the interests of designers. This year LED Linear embarked on a new project in support of the lighting market of the future…

On 9. July, 2015 LED Linear signed an agreement with the University of Wismar to establish and finance the first endowed professorship, thus building a bridge between business and science, and making an essential contribution to strengthening the Architectural Lighting Design degree programme at the University of Wismar. The professorship is limited to five years and LED Linear will be providing a six-figure amount to partly fund the costs for the professorship.

CEO Dr. Michael Kramer: “For us it is especially important to make a significant contribution to the advancement of research in the field ‘Lighting Design’. The targeted support and training of highly qualified young people is extremely important to us”.

The responsibilities linked to the professorship comprise the usual list of tasks and include teaching, academic administration, the supervision of theses and the processing of further assignments in the context of studies. One prime focus will be the exploration of new fields of application of light in buildings incorporating linear lighting systems, both from an economic standpoint and with regard to the development of new approaches to product and application designs.

On signing of the agreement, LED Linear CEO Dr.-Ing. Michael Kramer, and the rector of the University of Wismar, Prof. Dr. jur. Bodo Wiegand-Hoffmeister gave to understand that the endowed professorship is a mutually beneficial step for both parties. The university will benefit from the additional teaching activities, and the market can look forward to an expansion of marketable LED applications.

www.led-Linear.de

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Top 10 reasons out of a 100 that will convince you to attend PLDC 2015

PLDC – learn and enjoy!

by Joachim Ritter

Of course there are countless reasons why you should be attending PLDC! Should you have not yet made up your mind to attend the largest convention on lighting design worldwide, take a look at the following top ten reasons for being there:
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  1. Attend the most important architectural lighting design event this autumn
  2. Meet the anticipated 1,500 professionals and colleagues from the international world of lighting
  3. Dance at the legendary PLD community parties and evening events
  4. Learn about the latest research findings
  5. Participate in discussions and sessions in which lighting design trends are created
  6. Witness the next steps towards establishing the architectural lighting design profession, which is planned to be realised by 2017
  7. Shape your professional career by attending this CPD-acknowledged event (CIBSE and CNAPPC)
  8. Visit and experience Rome! One of the most historically and culturally interesting cities worldwide
  9. Listen to more than 70 papers and six inspiring Keynote Speakers
  10. Enjoy meeting colleagues, making new friends and finding business partners!

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You want to share your arguments for attending? Feel free to comment and let the Professional Lighting Design community know why you will be present at PLDC 2015 in Rome!

www.pld-c.com

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Kaoru Mende Travelling…

“Nightscape 2050 – a dialogue between Cities・Light・People in Future”
 Berlin >>> Singapore >>> Hong Kong >>> Tokyo
by Lighting Planners Associates (LPA)

Kaoru Mende is regarded as one of the world’s leading lighting designers. Together with his team from LPA – Lighting Planners Associates – he has realised more than 500 projects since the design practice was founded in 1990. This year marks his company’s 25th anniversary. Already a great work indeed. And yet reducing Kaoru Mende’s achievements exclusively to his design experience is really only half the story. He also deserves acclaim for his work as an educator, a pragmatist and a visionary, all qualities that demonstrate his true grandeur – and a practically perfect combination when it comes to staging a travelling exhibition about the future of lighting design in Berlin, Singapore, Hong Kong and his native city Tokyo. The exhibition is intended to be one of its kind on Light and Lighting sharing visions of the future of lighting, and the way designers can imagine using light with interested visitors.

How will we interact with light in the year 2050? In the exhibition Kaoru Mende and his team wanted to create a unique experience in which they share their ideas and thoughts with others. Rather than trying to predict the future, the goal was to seek discussion on how light may impact, or influence, our ‘way of being’ in future.

Nightscape 2050 – Theme and Concept
While creating an exhibition to share “hope and dreams of the future for light and human beings” with the visitors, Mende also wants to draw attention to the realities we are facing.
The exhibition is experiential, educational, imaginative:
•    experiential – visitors are able to feel the different lighting scenarios proposed
•    educational – learning from nightscapes around the world and holding thought-provoking interviews with visionaries such as architect Toyo Ito, physicist and researcher Shuji Nakamura, and industrial designer Ingo Maurer
•    imaginative – sparking the imagination of children through workshops to provide hope for the future.
The exhibition also represents clearly the philosophy of the design practice, which designs unusual living environments using light and underline the architecture as well as the lighting culture of the site or location.

LPA work on a wide range of projects from residential, hotel, commercial, public spaces, landscape to full-scale urban lighting projects, and have received numerous international lighting design awards.
LPA is also very active in promoting the appreciation of lighting culture and an awareness of good lighting through its non-profit wing, The Lighting Detectives. This forum gives the general public the opportunity to take part in discussions and workshops, helping them to understand how to better evaluate light and lighting. The annual Transnational Lighting Detectives event has been organised in over ten cities including Tokyo, New York City, Stockholm, Singapore, Beijing and Madrid.
The exhibition is due to open in August 2015 in Berlin and ends in June 2016 in Tokyo.
www.lighting.co.jp

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Tour

 

 

 

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“See the Light” – or … know what I mean?

A book about the common sense of lighting designers

A critique on Svante Pettersson’s Buch “See the Light” by Joachim Ritter

Imagine you get together with all your friends and colleagues from the lighting design community to sit around and talk about light. Through such activities you feel strengthened in your opinion or you learn something new, you describe what you think and hear what you have never put in words, developing your skills and beliefs in the process. A great feeling. Learning (not only) by seeing! Through the eye, but also through the heart.

By the same token you could sit yourself down and read Svante Pettersson’s book “See the Light”. It has the same effect as if you were discussing with and listening to colleagues. “See the Light” is a great work, a generously illustrated book with copious informative captions explaining how light works and how it triggers our emotions. It is not a work that describes and defines light in numbers, as is the case in other more technical fields, but is rather about the experiences the author, Svante, has made with light – as we all have done – and wants to share with us. I say Svante, because through the book he comes across as a close friend and a great colleague, one who feels what light is all about and can put it in a nutshell. EacSee the light freeh of the 14 chapters is like a segment of the lighting design world, with stories in words and pictures.

“See the Light” is a standard work, a highly inspirational book about light, the philosophy of light and the art of getting to know your visual sense. The latter is especially important, because everything that is described here is about our “sense of sight”, as it is referred to in the book – which is actually common sense.

The book comprises 14 chapters over 310 pages, beginning – not surprisingly – with Nordic Light, the light that obviously made the greatest impression on Svante, and continuing with topics such as Shadows, Glare, Light moments, the Tools of light, and many more.

You should not read this book if you do not have the aptitude to follow what Svante is referring to in his reports, because you are dependent on technical data and numbers to be able to realise your designs. The only numbers you will find in this book are the numbers of the pages. And yet, if you wish to engage with lighting design at this level and find that after reading the book you have indeed understood how light works, you will be in a position to design more successfully and with more effect than you have ever done basing everything on lighting metrics and standards from the start.

I would definitely recommend this book and even go as far as to say it is a must – not just to buy and stick on the shelf, but for everyday use on your desk. Because, when necessary, this work can help you to regain a human-scale approach to design, when you have lost yourself in the plethora of engineering values, standards and regulations.

Reading this book means living what we like about life: learning by seeing and feeling, and on all accounts with a smile on your face.

Svante Pettersson
See The Light
310 pages with many coloured pictures
Arvinius + Orfeus AB
www.ao-publishing.com
ISBN 978-91-87543-24-1

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Throwing some light on the Gordian Knot of the lighting world

Text: Joachim Ritter

The call for recognition of the lighting designer, his/her profession and the value he/she brings to a project is becoming increasingly louder. There appears to be a general consensus on this in the lighting world, possibly with the exception of architects, clients, the industry, some associations, and all those who claim to design lighting, although they are not qualified to offer high-quality design services. You don’t understand what I am talking about? Well, let me try to explain where I am coming from.

A lot of people wax lyrical about lighting design being incredibly important and gaining in significance. It is not difficult to find a consensus in that sense. What is difficult is when you try to construe what people actually understand by “a professional lighting designer”.

Gordischer KnotenSimply a communication problem, you think? Not entirely, but certainly a basis for preventing or prolonging the process to establish the profession.

Let’s start with those who are regarded as being representative of their kind. When it comes to “recognition of the profession” the International Association of Lighting Designers, IALD have no true understanding of what that really means. What they understand is the recognition of their members as professionals and of their association as the only association worldwide that can define lighting design quality. This cannot be enforced politically but, in the apparent absence of any alternatives, sounds good enough.

In their recently published brochure on this year’s IALD Awards it say: “Advantages of membership: Be recognised as one of the best lighting designers in the world”. Is it really so easy to be recognised as one of the world’s best lighting designers? I could name 100 lighting designers who are not members of the IALD, but who are still great lighting designers.
Apart from the fact that the winners of the Radiance Award 2015 were not IALD members, and two of the three Awards of Excellence winners were apparently also not IALD members.

The IALD’s heavily promoted Certified Lighting Designer (CLD) programme is not going to change much either. Why not? Because it is a voluntary measure and not required by law to qualify as a Professional. I can still work as a lighting designer or call myself one – whether I am certified or not. In addition, the assessment is carried out by peers, you might even say competitors on the market. I am not implying that designers may be purposefully wrongly assessed by their peers, but such a system is not sufficient, or well-founded enough, to achieve official recognition of a profession. A doctor does not become a doctor because his colleagues or peers recognise him as such. He is obliged to prove he is qualified to practise as a doctor in accordance with existing stringent directives and regulations, and to confirm at regular intervals that he is able to maintain high standards through a designated CPD programme. CLD is definitely a marketing tool, but not an indicator of, or yardstick for, professional lighting design. And the IALD remains a promoter of their own association and members, but are not officially representative of a profession.

I am seeing increasingly more business cards with “Architect and Lighting Designer” printed on them. Objectively speaking, there is nothing wrong with this. Nobody can forbid architects from designing with light, or developing a lighting design concept and having this realised by a lighting manufacturer. Originally, the architect was responsible for the lighting, which makes me wonder why all architects are not members of the IALD. Are IALD members also allowed to be practising architects? Of course they are, even when their concepts are translated into lighting designs by manufacturers.

The lighting industry understands a lighting designer as someone who is able to specify and apply lighting products meaningfully and correctly – by design, so to speak. In the first place, this sounds fine. And since good quality lighting can only be achieved using high-quality products, it is perfectly rational that projects (and the architects who design them) need lighting specialists. Given their interests, the industry does not differentiate between lighting designers, lighting engineers, architects, interior architects or distributors or planners from their own design teams. The main thing is that experienced professionals are designing lighting and specifying products. Right now, of all the approaches under discussion, this comes across as being the most pragmatic.

To achieve official recognition it is essential that the title Lighting Designer be bestowed by an independent institution. The designer may be a person who works in the lighting industry. Or he/she may be an architect working in the industry. Can this person also be a member of IALD, although he/she is an architect and has evidence of being qualified to design high-quality lighting? No, because the IALD presumes that anyone employed in the industry does not design well enough and would even go as far as to refuse architects recognition.

The problem is that Lighting Design is not clearly defined as a profession in its own right, and that such a definition does not enjoy social and political recognition. Everyone can basically describe – and bend and twist – the term Lighting Design to suit his/her own perception and needs. A definition and recognition of the profession are necessary – like the Gordian Knot, highlighted and disentangled at last by an independent body.

A lighting designer is a specialist who can learn and acquire the evidence-based knowledge and skills required to practise, who is aware of his/her ethical responsibility, and applies his/her know-how in the interest of the user and does not misuse it. Knowledge plus professional ethics.

It is time to set personal interests aside for the benefit of the overall market, to produce a clear definition of what a Lighting Designer is and does, and gain official recognition for the profession at last.

PS.
“The Gordian Knot” is a legend of Phrygian Gordium associated with Alexander the Great. It is often used as a metaphor for an intractable problem (disentangling an “impossible” knot) solved easily by “thinking outside the box”.

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UL and the call for quality

Official PLDC warm-up in collaboration with UL

by Joachim Ritter

The call for a minimum level of quality is becoming louder. Many designers and clients feel overwhelmed and unable to cope with the issue of whether they have managed to reach the level of safety stipulated for the products they specify or apply. The reasons for more stringent quality management requirements lie, on the one hand, in the risks arising from a global market and, on the other hand, in the competition through the price pressure from the Far East, which is swamping the globe. Strangely enough, very few people link the price of a product with the quality of that product. As a result, even high-quality suppliers of lighting solutions are compelled to succumb to lower pricing and forgo larger profit margins. There comes a point, however, where someone has to put his foot down with a firm hand. Especially when the quality of light is not only a question of technology but also a human-oriented issue.

The term Human Centric Lighting (HCL) is widely used by high-quality suppliers of lighting products and systems right now… and actually describes the work a lighting designer does pretty well: designing spaces for humans. This is therefore also an argument for gaining more recognition for the lighting design profession – a big chance to come nearer to establishing the profession – provided lighting designers can prove they know how to design lighting in order to satisfy the demands of this new approach.

Manufacturers of high-grade HCL products and product ranges are prepared to go to considerable lengths to ensure their quality products end up in the hands of qualified designers. Otherwise they would once again be compelled – as they were in the seventies – to continue to activate, or educate, their own design departments. That would be like making the same mistake all over again, which neither the lighting design community nor the lighting industry really want, but which will become unavoidable if the independent lighting designers don’t deliver.

Who is in a position to offer Human Centric Lighting products on the market today is another question. UL stands for Underwriters Laboratories and is originally from the USA. UL is a global independent safety science company with more than a century of expertise innovating safety solutions from the public adoption of electricity to new breakthroughs in sustainability, renewable energy and nanotechnology. Dedicated to promoting safe living and working environments, UL helps safeguard people, products and places in important ways, facilitating trade and providing peace of mind.

In the field of lighting UL is now globally promoting new standards and offering services to certify quality products and services. We as the organisers of PLDC 2015 are happy to welcome UL as a sponsoring partner of the event in Rome. In collaboration, we are also staging a warm-up in Milan together within the framework of Euroluce. Please note down the 15. April, 2015.

FullOfLightExperienceUL services and expertise bring new opportunities to light.
Rapidly evolving thinking about energy efficiency and public safety – along with exciting technological advances – is driving the evolution of the lighting industry, providing greater opportunities and growing challenges. Designers and manufacturers can leverage UL’s safety science expertise, worldwide presence, and active involvement in the lighting industry to gain accelerated access to the global marketplace and to meet regulatory requirements.
Leverage UL’s global lighting expertise in testing, certification and standards development activities.
UL testing, certification and global market access services provide efficient, cost-effective entrance to over 50 countries.
UL works to build relationships with the entire lighting supply chain, including manufacturers, retailers, showrooms, designers, regulatory authorities, government agencies and consumers. UL is the only independent laboratory currently serving on the Zhaga Consortium Steering Committee, an industry group that is developing specifications to enable interchangeability for LED light sources made by multiple manufacturers.
UL meets the needs of the lighting industry so effectively because they know the industry from the inside out. Their active leadership in lighting standards development committees and industry technical task groups and their participation in global industry conferences and trade shows allow them to deepen their understanding of the ever-evolving lighting industry and to share this critical business intelligence with customers.
In response to the high-pressure deadlines that are part of doing business in this industry, they have further enhanced their capacity to accommodate short turnaround time requests. UL’s five state-of-the-art performance and energy efficiency laboratories, located around the globe, help speed the testing process. Test results can be delivered in just five business days for IEC’s LM-79 testing and in seven days for DesignLights Consortium testing.
The breadth of UL service offerings enables customers to take advantage of cost-saving bundling offers and to eliminate unnecessary redundant testing. Thus customers can meet the performance and energy efficiency requirements in support of programmes such as ENERGY STAR®, California Energy Commission, DesignLights Consortium, Lighting Facts, NRCan and Zhaga. Additionally, UL regularly conducts testing to IESNA LM-79, IESNA LM-80, IESNA LM-82 and fluorescent lamp ballast testing requirements. UL’s trusted expertise and network of accredited global laboratories convincingly demonstrates adherence to safety and energy efficiency standards to regulatory authorities.

Anyone who is interested in learning more about UL is welcome to attend the official PLDC warm-up on the occasion of Euroluce 2015 in Milan. Please register here. Tickets are limited.

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Who I will meet at PLDC 2015 in Rome?

by Joachim Ritter

Of course, we can’t give you the final list of attendees at PLDC 2015 in Rome now already. But what we can say is that the chances are very high that you will meet many renowned, experienced and ongoing lighting designers as well as clients, architects, researchers, educators, students and lighting industry people from all over the world. More than you would ever meet at any other conference around the globe. Some lighting design practices will even be closing their offices down completely during the week PLDC takes place.

A leading lighting design practise from UK has decided to bring his complete team to Rome. That means 18 lighting designers. Lighting designers sees the value PLDC offers in the way of high-quality education, discussions and activities – and the international network – for his design team. From previous years we know that other design practices have made similar decisions. During the PLDC week, the lighting design world in the offices takes a break, and a deep breath, to be able to take the next step into the future based on educated decisions.

We also often see groups of designers forming and coming as a delegation representing their respective country. For example, a group of 20 lighting designers plus ten architects from Iran are expected to attend this year’s event in Rome. This is ten times more than we counted for PLDC 2013 in Copenhagen. Traditionally the Finnish designers also come as an organised group. Up to 30 designers are expected from this part of Northern Europe – and that is without those who register individually. For groups of at least ten we offer special deals and arrangements. Group registration forms are available.

Specific international networks will be holding meetings at PLDC. The EILD group has been a partner of PLDC since 2011 in Madrid. They will be meeting to prepare their 2016 conference in Brazil on board level. We also welcome the Visual Ergonomics researchers. They will offer a workshop for everyone on the Wednesday afternoon in the form of a pre-convention meeting.

Statistik 02_2015Also we notice a tremendous growth of interest on our website. This year the page impressions on our website are extraordinarily high. Compared to the same time two years ago, we have counted a total growth in page impressions of over 120%. In February 2015 alone, when the programme was released, growth was recorded as being at 150%. The third year in a row we are doubling the numbers of page impressions on our website. Until now we have counted 180,000 impressions. By PLDC, we expect around 500,000 impressions in total.

We also expect a strong growth in the number of architects and clients attending PLDC this year. The event is seen as an increasingly important marketplace to further development in the field of professional politics and lighting design knowledge. Slowly but surely light is becoming acknowledged as an important issue in architectural design – and this needs taking care of by skilled designers.

 

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