OMS Lighting

Europe's fastest growing LED lighting provider

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NOVIEL example application 1: multifunctional space

When we talk about a multifunctional space, we are referring to larger meeting rooms that may be used for a wide variety of activities besides meetings. Such spaces can be found in office buildings, hotels, congress centres, public buildings, and industrial buildings. They are mainly used for meetings, conferences, and seminars, but can also be used to host parties and receptions.

Multifunctional spaces are often equipped with partitioning systems that allow the space to be easily separated into smaller spaces, making it possible for multiple events to take place at the same time. This demands that the lighting design be created in such a way as to provide effective illumination for the whole space or for individual spaces based on the configuration of the partitions.

Such spaces need lighting that is both functional and attractive, as the variety of events requires that the lighting be suitable for the performance of visual tasks as well as for more relaxed events. And the fact that the lighting must operate on a grouped basis means that it can be very flexible, and easily controlled as a whole or according to its constituent groups.

Functional general illumination can easily be ensured using downlights, while accent lighting can be accounted for using spotlights.

We have designed two lighting design alternatives suitable for an example multifunctional space.

Lighting design 1 – Several rows of downlights (NOVIEL M) are arranged in a regular pattern across the whole ceiling in such a way as to provide suitable general illumination whether the space is partitioned or not. Two additional rows of track spotlights (ZIPAR TRACK) are located at both ends of the space to provide suitable accent lighting in the case that the room is used as a whole or as two separate areas.

ZIPAR TRACK - http://www.omslighting.com/products/type/SAO

NOVIEL M - http://www.omslighting.com/products/type/DEH

Lighting design 2 – Here, the two sides of the space are equipped with a symmetrical arrangement of downlights (NOVIEL M), spotlights (ZIPAR TRACK), and small recessed adjustable downlights (TARF ADJUSTABLE). Both sets of downlights are arranged in a staggered pattern with the spotlights located in between. The larger downlights provide suitable general illumination, while the smaller adjustable downlights are ideal for use at festive events or to provide lower levels of general lighting during presentations. The spotlights are used to provide suitable highlight illumination for presentations and accent lighting according to need. Each luminaire type can be controlled independently, making this system very flexible and adaptable to a wide range of activities.

ZIPAR TRACK - http://www.omslighting.com/products/type/SAO

NOVIEL M - http://www.omslighting.com/products/type/DEH

TARF ADJUSTABLE - http://www.omslighting.com/products/type/DGY

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NOVIEL example application 2: museum with display cases

Museums represent a specific challenge for lighting because often the majority of the exhibited artefacts are displayed within glass cases that serve to protect the artefacts. Such glass display cases have complex lighting requirements that become central to the overall lighting design of the space, taking precedence over any general or architectural illumination so that the displayed items take visual priority.

The primary role of display case lighting is to meet the specific needs of the artefacts on display. This includes such characteristics as structure, colour, and transparency. In this case, it may be necessary to use luminaires offering especially high CRI values.

Display case lighting usually takes the form of spotlights, which are easy to adjust as exhibits come and go, often offer superior colour rendition, and are of course ideal for creating accent lighting effects to pinpoint, model, and emphasise objects rather than their surroundings.

A key factor to consider is that the lighting must not cause deterioration to the artefacts. LED light sources are a perfect choice as they emit very little UV or IR radiation in the light beam, which protects objects from fading and heat-related damage. To further minimise damage, an illuminance of 50 lx is used to illuminate very delicate items such as textiles, books, and watercolours; 150 lx is generally used for the illumination of less delicate items including oil paintings; and 300 lx for the illumination of more robust items such as those made from stone and metal. Lower accent lighting values necessitate that the ambient lighting levels also be lower to allow the accent lighting to always stand out. Ambient lighting can, in fact, be reduced as low as navigational lighting only.

Yet another factor to take into account is glare. As display cases are almost entirely made of glass, it is important to minimise reflections as these will be visually uncomfortable and may well veil displayed artefacts. This applies to light reflected from both luminaires and windows. Blinds are often sufficient to control any available daylight, however, the minimisation of glaring reflections from luminaires can be more complex. The most effective way to reduce reflections is to use luminaires integrated into the display cases themselves and can cast light from above or below depending on need. This means the light is within the case, which removes the occurrence of reflections on the glass from outside. In the case of requiring lighting from outside, ceiling-mounted lighting is preferred, with the light directed in such a way as to ensure that any reflections caused do not shine into the eyes of visitors when looking at the displays, whether from the side or above.

Integrated lighting removes the cause of possible reflections and glare.

Take care about the angle of reflection in order to minimise glare when using ceiling-mounted luminaires.

We have developed one lighting design for this example application.

Lighting design 1 – We have used three rows of downlights (NOVIEL M) arranged in a regular pattern to provide visually comfortable ambient lighting. The downlights are positioned in such a way as to cause very little reflection on the display cases. For accent lighting, we have used very small, low-glare, recessed, adjustable spotlights (TARF ADJUSTABLE) that can be moved to precisely highlight displayed items while minimising the occurrence of reflections. The spotlights can also be used alone without the downlights to provide ambient and accent lighting in the case that lower light levels are desired.

NOVIEL M - http://www.omslighting.com/products/type/DEH

TARF ADJUSTABLE - http://www.omslighting.com/products/type/DGY

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PRETTUS example application 1: auditorium

Auditoriums are spaces used for a wide variety of purposes focusing on the deliverance of talks and presentations to an audience. These activities may include the use of presentation equipment such as a whiteboard or projection or video screen as well as for practical demonstrations, seminars, and podium-based lectures and discussions. Therefore, lighting for auditoriums should be designed to provide highly flexible illumination that can be easily and effectively matched to the specific needs of the activity.

The first fundamental aspect of the lighting design includes the provision of suitable general illumination for the audience. It is beneficial for this lighting to be dimmable as the light levels required depend on whether the audience is to focus on the speaker or screen and maybe take notes or if they are likely to perform a visually demanding task.

The second fundamental aspect is to provide illumination that highlights the speaker and/or presentation space – whiteboard, screen, or demonstration zone.

In the case that a talk or presentation uses projected presentations and videos or a video screen, the general illumination in the room and that focused on the presentation space should be reduced to a level that makes it easier for the audience to focus on the screen. In this case, the general illumination need only support safe navigation of the space and the taking of notes and allow for clear eye contact between the speaker and audience.

In the case that the space is used for a talk or discussion without any type of presentation, the general illumination level can be a little higher to promote interaction. However, it is still important that the speaker be highlighted with even higher light levels, maybe using additional spotlights.

We have developed two lighting design options for our example application.

Lighting design 1 – We have used recessed wallwashers (PRETTUS M ASYM POLISHED) to illuminate the front wall of the auditorium behind the presentation area. The presentation area is provided with general illumination by means of several downlights positioned in a staggered pattern (PRETTUS M MATT), with other smaller downlights positioned between those to deliver ambient lighting (PRETTUS TRIMLESS XS MATT). These two sets of downlights can be used together or independently according to the amount and type of light needed. There is also a single additional recessed adjustable spotlight (ZIPAR ADJUSTABLE) to highlight the speaker. General illumination in the seating area is ensured using two rows of downlights (PRETTUS M MATT)

ZIPAR ADJUSTABLE - http://www.omslighting.com/products/type/F06

PRETTUS M ASYM - http://www.omslighting.com/products/type/E08

PRETTUS M - http://www.omslighting.com/products/type/DEE

PRETTUS TRIMLESS XS - http://www.omslighting.com/products/type/E18

Lighting design 2 – Here, we have used wallwashers (PRETTUS M ASYM POLISHED) to illuminate the front wall of the auditorium, as well as along one side wall to provide navigational lighting. To provide additional highlight illumination for the platform area, we have used a row of ZIPAR TRACK luminaires that can be adjusted to direct their light as required. Above the seating area, several PRETTUS TRIMLESS XS MATT are positioned in a regular pattern across the ceiling. These serve to provide general illumination that can be dimmed according to need, for example, during presentations using a projection/video screen.

ZIPAR TRACK  - http://www.omslighting.com/products/type/SAO

PRETTUS M ASYM - http://www.omslighting.com/products/type/E08

PRETTUS TRIMLESS XS - http://www.omslighting.com/products/type/E18

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PRETTUS example application 2: cafe

A cafe is an establishment that falls somewhere between a functional canteen and a restaurant and can offer anything from coffee and snacks through fast food and basic meals to ice cream. People tend to visit cafes alone or in groups and often stay for a while, using the cafe as a meeting place as well as s source of refreshments.

Cafe illumination leans more towards mood lighting rather than purely functional lighting and is often used to support a brand identity. The spatial design of the space focuses on individual tables, which may be highlighted to provide differentiation as well to support visual acuity across the very small surface are. That lighting may be supported by additional, very low, ambient lighting if needed. Overall, the illumination should be bright, attractive, and comfortable, and support free and easy communication.

Specific lighting designs depend very much on the particular establishment and target clientele. It could range from a uniform lighting concept to one that makes use of strong light and shadow contrast and maybe even additional lighting effects to create a more dramatic atmosphere. As cafes are often open through the day and into the night, it is beneficial to use flexible and controllable lighting that can be adapted to need. For example, using a combination of luminaire groups that can be switched or dimmed independently either manually or via a programmable lighting control system.

We have provided two lighting design concepts suitable for cafes.

Lighting design 1 – This is a simple lighting design using a single type of luminaire. However, it does not compromise on the creation of a stimulating atmosphere. We have mounted five rows of spotlights (ZIPAR ADJUSTABLE), some of which are staggered, in installation channels across the width of the ceiling to provide accent lighting for the tables and counter. This provides interesting areas of light and shadow to create a dramatic overall effect.

ZIPAR ADJUSTABLE - http://www.omslighting.com/products/type/F06

Lighting design 2 – This second design makes used of three different luminaire types to create a more versatile lighting concept. We have used rows of wallwashers (PRETTUS M ASYM POLISHED) along the two side walls of the cafe to provide general illumination via reflection of the light from the walls into the space. Three rows of recessed downlights (PRETTUS M POLISHED) arranged in a regular pattern provide direct lighting for each table. For the counter, several recessed adjustable spotlights (ZIPAR ADJUSTABLE) provide more dramatic accent lighting to draw attention to the products on offer.

PRETTUS M - http://www.omslighting.com/products/type/DEE

PRETTUS M ASYM - http://www.omslighting.com/products/type/E08

ZIPAR ADJUSTABLE - http://www.omslighting.com/products/type/F06

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PRETTUS example application 3: canteen

Canteens are spaces where many people eat at the same time. Visitors to canteens tend to stay only long enough to eat their meal, for example, during a lunch break at work. The food is usually served at a counter at one end of the space. Canteens are often also used for other activities such as parties or larger meetings.

Canteen lighting must fulfil two basic requirements: to be efficient as it covers a larger area, and to provide such lighting that creates a friendly and comfortable atmosphere. Efficiency is guaranteed by using LED luminaires that use very little energy compared to older conventional lights sources and last longer. In terms of providing the right kind of light, it is important to deliver uniform, relatively high light levels with sufficient focus on vertical illumination. This ensures that those eating their meal stay alert while also feeling relaxed and communicative.

As the space is likely to be used for other activities, it may be beneficial to provide additional, independently controllable lighting of a warm white colour that feels more relaxed and festive.

We have developed two lighting designs suitable for a canteen.

Lighting design 1 – We have used efficient LED, high-IP protection panel luminaires with microprismatic diffuser optics (GACRUX XTP) to provide bright, uniform, and visually comfortable general illumination both in the kitchen and serving area and the seating area. The addition of recessed downlights (PRETTUS M MATT) positioned between the panel luminaires in the seating area adds a sense of prestige to the space. Each luminaire type can be controlled independently and so can be used together or separately according to need.

GACRUX XTP - http://www.omslighting.com/products/type/F09

PRETTUS M  - http://www.omslighting.com/products/type/DEE

Lighting design 2 – Here we have combined linear recessed luminaires (DECLAN) equipped with the special low-glare Infinitas 3in1 LED module and downlights (PRETTUS M MATT). There is one downlight positioned at both ends of each linear luminaire, creating an interesting pattern of light across the ceiling. Each luminaire type can be used independently. Together, they provide excellent, visually comfortable general illumination with a stylish design that is suitable for both the normal use of the space as well as for events and meetings. For events such as parties, the downlights alone provide lower levels of ambient light for a softer, more relaxed atmosphere.

DECLAN - http://www.omslighting.com/products/type/E06

PRETTUS M  - http://www.omslighting.com/products/type/DEE

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Optical design and glare reduction part 4: steps to create the best light and minimise glare

The final post in this series is a little lighter than the ones before. Today we will look at the simple steps you can take to make your lighting more effective and less glaring. These steps focus on basic lighting design issues and are a great starting point when designing or redesigning your office or classroom space.

1. Maximise the use of daylight – More and more emphasis is placed on light’s contribution to wellbeing than ever before because our natural need, as humans, is for the healthful properties of daylight that support our physiological and psychological health. Human centric lighting is the lighting industry’s answer to bringing the properties of daylight indoors, but of course, the best “daylight” is the real stuff.

What to do: if you are designing a new office or building, be sure to include your lighting designer in discussions with your architect. Together they will be able to design the very best configuration for utilisation of natural light in a way that gives you’re a beautiful, functional, and healthy building. If you are simply updating your lighting system, your lighting designer can help you make the best use of daylight.

Also be sure to position works spaces perpendicular to windows as this means there is plenty of natural light falling on the task area without is shining directly in anyone’s eyes or on computer screens.

2. Control all that lovely daylight – Now you have all that sunshine entering your room, you need to control it. Sunlight is very strong and can easily cause significant glare issues.

What to do: make sure all windows and any doors that allow sunlight to enter are equipped with some kind of shading device. Anything from the simplest curtains and blinds to advanced louvre systems. Blinds are excellent because they not only block light if necessary, they also minimise any big differences in lighting intensity between areas near windows and areas further way. This will reduce the need to use additional indoor lighting to offset the brightness of the light coming in the windows.

Another possibility is to replace transparent glass with translucent glass. This is a like permanent, built-in blind of sorts. But it does destroy the view. For some types of space where the view is of no importance at all (or worth avoiding), you could even whitewash windows.

3. Select the best surfaces – Ceilings, walls, cupboard doors, and anything else that could potentially reflect light should be finished in an appropriate way. Glossy surfaces reflect light more and will do so harshly. While you may want to maximise reflected light in the case of daylight utilisation or indirect artificial lighting, you don’t want any light shining in your eyes either directly or in your peripheral vision.

What to do: use matt or silk surfaces. Matt surfaces reflect a lot less light than glossy surfaces and do so in a much more diffused manner. You won’t get any harsh reflections on a matt surface. Silk surfaces are not quite matt but not glossy either. They reflect more light but in some cases could reflect too much, so use with care.

4. Colours matter – Just like surface finishes matter, so do colours. Dark colours reflect less light than light surfaces. All professional lighting designs take surface finishes and colours into account during the design of an installation to make sure you get the required or desired lighting intensity.

What to do: We don’t suggest you have everything white to maximise the light your have. But, neither to we recommend you paint everything black to avoid reflections and glare. Just be aware that light surfaces help the light you receive do more. Dark surfaces, on the other hand, will absorb a lot of light and may require you to have a more powerful lighting installation to achieve a desired lighting intensity. Again, this is a topic you would do well to discuss with your lighting designer and architect in the case of building or renovating a space.

5. Minimise glare from light sources – This is where good luminaire and lighting design comes in. Nobody should be able to see a naked light source, not even a little bit. Especially not from where they are sitting or standing and working.

What to do: ensure that only office- and classroom-friendly luminaires are used. These are the ones that utilise optics such as parabolic louvres and microprismatic diffusers to stop light sources being visible at key angles.

If necessary, you can raise the installation height of suspended luminaires as long as this does not reduce the overall lighting intensity below that required by standards or desired by occupants.

Luminaires such as LAMBDA LED are ideal. This luminaire comes in a direct surfaced and suspended version with parabolic louvre or microprismatic diffuser optics, and a direct or direct/indirect suspended version with microprismatic diffuser optics. LAMBDA LED, if used in a correct lighting design, will ensure proper illumination of task areas with minimal glare. And the direct/indirect version also provides a soft, glare-free glow across the ceiling to help lift the atmosphere of the space, which is good for occupants both physically and psychologically, making it an ideal solution to meet LG7 standards.

6. Minimise reflected glare – Reflected glare is indirect glare. This is the most damaging type of glare because it tends to enter the eye from below, to which the eye is most sensitive.

What to do: make sure no naked light source or bright area of light can cause reflections on computer screens, task areas, or any other surface if at all possible. This may require you to change the position of a light source or luminaire. Another option is to cover glossy surfaces with matt materials.

The easiest option, however, is to change the location of a workstation or desk. Simply turning it slightly, or moving it just a little can make a big difference.

7. Maintenance – Make sure you are getting the most light you can from your natural and artificial light sources. It is not all about minimising glare. Good lighting is also about having enough lighting intensity.

What to do: Clean. Windows, doors, and luminaires.

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Optical design and glare reduction part 3: good vs. bad lighting design

Lighting has a profound influence on how we perform and feel. Bad lighting makes us more likely to have accidents, makes it harder to focus on what we are doing and to do it well, and can cause headaches and make us feel tired, demotivated, maybe even depressed. On the other hand, good lighting not only ably supports long-term visual acuity, it also supports our physical, physiological, and psychological health and wellbeing, and our overall performance.

The first thing to consider when describing the pitfalls of lighting design is the provision of too little or too much overall lighting intensity. Both can cause visual and physical discomfort and psychological unease. However, these are easy issues to overcome by increasing or decreasing the number or light output of luminaires and modifying the availability of daylight. Another factor is lighting uniformity, which refers to how evenly the illumination is throughout a defined area. Poor lighting uniformity demands that the eyes constantly adapt to different light intensities within the immediate field of vision, which is stressful for the eyes, and tiring.  A similar factor regards illumination of the task area relative to its surroundings and background. Here, the task area is provided with a higher light intensity, but to ensure that the eye is not unduly stressed, a defined surrounding area must be provided with a “transitional” light intensity that is less, but too much less, than that provided for the task area, and which helps the eye adapt smoothly and easily when a person looks up from their work to the background area or other areas within the space. Other elements that make lighting good as opposed to bad are a comfortable colour temperature (CCT) to support a desired activity, and good colour rendition (CRI) that enables precise visual performance.

But now let’s look in a little more detail at the hazards of bad lighting design and the benefits of proper lighting design in terms of this month’s hot topic. Glare: the good, the bad, and the ugly! Glare is an adverse visual sensation that causes discomfort and fatigue, as well as impairing or even obstructing vision. It is caused by strong or inappropriately distributed brightness within the field of vision or large spatial or temporal contrasts of brightness. Fundamentally, glare is the result of the retina of the human eye being exposed to considerably greater brightness than it has adapted to, considering the time it takes the eye to adapt to different luminance levels. Depending on the degree of glare, it can be classified as discomfort glare, which is unpleasant but does not significantly disrupt visual acuity; disability glare, which greatly reduces visual acuity and makes it hard to recognise objects clearly; and blinding glare, which is so intense that it results in the inability to see anything while ever the source is present and for a while after its removal. Discomfort glare is also referred to as psychological glare while disability and blinding glare are physical phenomena. Glare can be both direct, such as when the light from a light source shines directly into the eye, and indirect, such as the reflections from a monitor, table, or magazine. Indirect glare in the most harmful as it enters the eye from below, at an angle to which our eyes are most sensitive, and this is the commonest type of glare found in office and classroom settings.

Only a bad lighting design would result in disability glare, and it is highly unlikely that there be any cause of blinding glare. However, discomfort glare is a real and common problem that can only be overcome by correct lighting design and the use of suitable, low-glare luminaires. A luminaire such as FREYN II PAR-L is ideal because it uses high-quality reflector and parabolic louvre optics to ensure low glare, as low as UGR <16 in situ. When positioned properly to provide light in the needed direction while shielding the light source from view and minimising any chance of light being reflected from computer screens and desk surfaces, FREYN II is free to provide high-quality illumination. For more information about the specifics of providing low-glare, quality lighting, see the European ISO 9241-307 standard.

How to work out a UGR rating – The Unified Glare Rating (UGR) is used for a unified qualification of the psychological glare rate defined by the Commission Internationale de l´Eclairage. European standard EN 12464-1 determines a maximum of UGR 16 for working or educational spaces with high demands on precision and with a high rate of eyestrain. UGR 19 is defined for standard offices and classrooms, and UGR 22 for general spaces such as lobbies and reception rooms.

Where: log = logarithm L  = luminance of the light source in the direction of the eye of the observer in cd/m2 Ω  = cut off angle of the luminaire relative to the eye of the observer in steradians p  = Guth position index representing the location of the observer relative to the light source Lb  = background illuminance in cd/m2

And in closing, it is important to remember that even the best products cannot save a bad lighting design. In our next posts, linked below, we will look at three different example lighting designs. All three achieve a different UGR depending on the lighting design.

Lighting design 1 – this design uses two rows of four recessed panel luminaires (GACRUX XTP LED) to provide suitable illumination for a small office. The first option uses luminaires equipped with opal diffuser optics; the second, microprismatic optics.

Lighting design 2 – this design uses three rows of three panel luminaires (GACRUX ECO LED) equipped with mircroprismatic diffuser optics. The first option uses surface mounted luminaires; the second, suspended luminaires.

Lighting design 3 – this design uses three rows of four recessed panel luminaires equipped with parabolic louvre optics (FREYN II PAR-L). There are two lighting design options, each using different reflective factors. The first uses standard reflective factors; the second, non-standard.

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Office lighting design 1

This design uses two rows of four recessed panel luminaires (GACRUX XTP LED) to provide suitable illumination for a small office. The first option uses luminaires equipped with opal diffuser optics; the second, microprismatic optics.

Room size: L 8.8 m x W 4.8 m, ceiling height 3.2 m

Option 1.1 GACRUX XTP LED with opal diffuser optical system, 40 W Two rows of four luminaires, recess mounted – 3.2 m

Option 1.2 GACRUX XTP LED with microprismatic diffuser optical system, 40 W Two rows of four luminaires, recess mounted – 3.2 m

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Office lighting design 2

This design uses three rows of three panel luminaires equipped with mircroprismatic diffuser optics (GACRUX ECO LED). The first option uses surface mounted luminaires; the second, suspended luminaires.

Room size: L 8.8 m x W 4.8 m, ceiling height 3.2 m

Option 2.1 GACRUX ECO LED with microprismatic diffuser optical system, 43 W Three rows of three luminaires, surface mounted – 3.2 m

Option 2.2 GACRUX ECO LED with microprismatic diffuser optical system, 43 W Three rows of three luminaires, suspended mounted – 2.8 m

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Lighting design 3 – two options factoring in reflectivity

This design uses three rows of four recessed panel luminaires equipped with parabolic louvre optics (FREYN II PAR-L). There are two lighting design options, each using different reflective factors. The first uses standard reflective factors; the second, non-standard.

Room size: L 8.8 m x W 4.8 m, ceiling height 3.2 m

Option 3.1 Standard reflective factors

Option 3.2 Non-standard reflective factors

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Optical design and glare reduction part 2: choosing the best optical parts

Optimal luminaire performance can only be achieved if effective and appropriate optical parts are selected and refined to meet the specific needs of each product. There are several types of optical part to choose from, each with its own strengths and each suitable for different uses.

Reflectors and parabolic louvres Reflector optics are placed above a light source to capture and reflect the emitted light, and in doing so provide a desired light distribution. Louvres are a type of reflector placed below the light source to shield it from view at particular angles and so minimise both direct and indirect glare while maintaining the desired light distribution. There are many different types of reflector: conical, elliptical, zonal, hyperbolic, and freeform with polished, matt, or painted plain finishes, or faceted finishes, etc.

Refractors and diffusers Refractors modify a light ray’s movement through a material and provide uniform illumination with a specific light distribution. The most common refractive materials used in optical design are also diffusers as their refractive properties actually diffuse the light. There are also diffusers that do not refract the light. Selecting the best material and designing the optics to meet the needs of a specific product is a complex task, which we are highly experienced in.

Lenses Lenses are a type of refractive part, but rather than being a large piece of flat and generally translucent material placed below one or more light sources, they are usually fully transparent and small enough to modify the light output of individual light sources. Lenses are not really relevant for use with conventional light sources but are a flexible and interesting option for LED optical systems used in some types of luminaire.

Nano-optics We are leaders in the development and creation of nano-diffusers designed to meet the specific needs of LED light sources. Nano-diffusers can replace standard prismatic diffusers as well as reflectors and louvres and are made from a thin layer of PMMA applied with optomechanical nanostructures that control light distribution by modifying the surface or volume of the material. This process results in smaller optical parts that control light more precisely and with greater optical efficiency.

Hybrid optics It is sometimes more suitable, or more effective in minimising glare, to combine various optical parts. Common combinations include the use of reflectors and diffusers together, or reflectors and lenses. DECLAN is a luminaire built around hybrid optics as it has many tiny reflectors, one for each LED, combined with a diffuser. The result is very low-glare light that is seemingly invisible – that is to say, you see the light but the source of the light. We will look closer at hybrid optics and their place in the future of optical design at a later date.

To achieve minimal glare ratings, parabolic louvres and microprismatic diffusers are the most widely utilised options. Parabolic louvres ensure low glare by making it almost impossible to directly see the light source, whether fluorescent or LED, from where people are sitting or standing, and there is minimal occurrence of harsh reflections on computer screens or desk surfaces. In this way, there is no cause of direct glare unless a person looks up into the luminaire, and only negligible cause of indirect glare, which is usually soft and diffused in nature rather than sharp and uncomfortable. Microprismatic diffusers use a totally different method of controlling glare as the light “breaks” on the external edge of the material, on the so-called optical prisms. This ensures that the light is uniformly distributed and soft, which is visually comfortable and pleasing, and has a suitably low UGR rating. And of course, a microprismatic diffuser is not transparent meaning the light source is not visible from any angle.

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Optical design and glare reduction part 1: costs vs. light quality?

Cost is one of the primary factors driving product selection decisions, and rightly so as requirements become stricter and budgets tighter. So much is demanded of new lighting – ecology, low power consumption, safety, controllability, easy maintenance, etc. – that to tick all the boxes is quite a task. However, cost can often take priority at the expense of ticking those boxes in the best way possible. Ideally, there would be a middle ground, where cost and quality meet in a harmony that gives you what you need for a price that you can afford.

So, when it comes to lighting, it is true that you get what you pay for?

Yes – Many of the cheaper luminaires on the market are cheap for a reason. They utilise low-quality LEDs and optical materials in addition to having poor thermal management and low-reliability electronics.

Good light quality and reliable performance can only be guaranteed by quality materials, components, and construction. The first thing to consider when designing a luminaire is that it must meet the practical needs of its intended use, i.e., it must have a desired light distribution curve and glare rating as well as mechanical factors relating to IP / IK protection, maybe even a specific type of optical design, as well as being efficient, reliable, and long-lasting.

The first component to consider in the creation of the perfect lighting equation is the light source. Here, we will focus on LED. Poor quality LEDs are cheaper, yes, but they are really rather horrible. They tend to emit very blue light, which is more efficient but very unpleasant and can even be harmful if that light includes higher levels in the hazardous part of the spectrum. What’s more, such LEDs have much lower real lifetimes than high-quality LEDs. They also flicker, which although invisible to us is damaging to our eyes and overall health. There are many other warning signs too. Good LED design is the alchemy of the materials inside an LED module to produce an optimal balance between lifetime, light quality, light output, light power, and price. There are many LED manufacturers on the market so there is no reason not to find an acceptable product.

Next, we need to think about thermal management. Low-quality luminaires skimp on material, not only for the LEDs, but also for the whole luminaire. A thin heatsink simply cannot dissipate sufficient heat. As LED luminaire performance depends greatly on good thermal management, stay clear of flimsy feeling products. This also applies to optical materials. Good optics are not generally insubstantial (although we are designing ultra-low profile nano-optics, which you can read about it the next post), and need to be made of quality materials that offer the required characteristics for the entire lifetime of the luminaire.

Then there are the electronics. Low-quality and poorly designed electronics are not reliable and are unlikely to last, especially under poor thermal management conditions. Components such as low-life capacitors make drivers fail.

This is a brief overview of the technical factors of a bad luminaire. But don’t forget that poorly designed products are unlikely to provide good light control in terms of both light distribution and glare minimisation. Cheap, badly designed, poorly constructed products = a lose, lose situation. Is it really worth saving a little and getting this as a result?

No – Sometimes you pay a premium for a name, or for added features that are of little functional value. It is easy to be tempted by reputation and gimmicks, but there lesser-known manufacturers who offer well-designed products made from quality materials and components. These products may seem “simple” in comparison (but not necessarily), or less prestigious because they are lacking a big brand name, however, if you want quality and useful functionality for a good price, you will not be disappointed at the choices available if you go into the decision-making process with an open mind and enough time to do some searching.

OMS is a well-known and trusted manufacturer of quality products with a loyal customer base. We offer a comprehensive range of truly innovative and sometimes market-leading, high-performance, high-quality products that meet the needs of the widest market. Every one of our products is developed to be financially viable to our customers. We streamline product development, manufacture, and logistics to minimise costs – savings we pass to our customers – yet we never compromise on design, materials, components, or quality construction.

Our core office and education product FREYN II is a perfect example of cost and quality existing in harmony. Cost-saving simple aesthetics and clever construction are accompanied by excellent electronic, thermal, and optical design. FREYN II comes with either parabolic louvre or microprismatic diffuser optics, provides high-quality illumination in a suitable light distribution, and has minimal glare with as low as UGR <19 possible in situ. And, of course, it is very efficient with efficacies above 140 lm/W.

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Inside IMMA part 4: ideal for smart lighting control

Modern urban lighting is about much more than just using more effective luminaires like IMMA. The luminaires must also be controlled in more effective ways. Control can be as simple as using photocells that turn the lighting on and off according to real ambient lighting levels rather than based on calculated times. It can take the form of stepped dimming that allows for light output to be reduced during quieter times to minimise energy use and light pollution. Or it can be something more advanced such as a centralised, computerised, and automated smart city system that not only regulates light output based on schedules but also according to real-time activity, as well as monitoring the technical performance and health of the installation.

Whatever form the control takes, you can be sure to reap a myriad of benefits from taking the step to use it.

The newest and most effective type of control is the smart city system. Here, comprehensive lighting control is just one part of an advanced, automated yet responsive method of monitoring, understanding, and regulating urban environments in a way that makes them greener, more sustainable, safer, more usable, and generally better to live, work, rest, and play in.

The OMS smart lighting control system is made up from several components that use the Internet Of Things philosophy as the foundation for highly effective monitoring and control of the installation. Luminaires can act autonomously both individually and in groups based on schedules or real-time data input such as ambient light levels and activity. They can also be manually regulated via the central control software using smart tools during special times or according to exceptional events or activity. Such urban lighting control allows urban administrators to keep a close eye on every aspect of the lighting installation, from energy consumption and operating times to unauthorised tampering and device failures. Whatever happens, you’re covered.

IMMA datasheet

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Inside IMMA part 3: superior optical design

One of the key features of IMMA is its single, large lens. It’s a bit strange. But not without reason.

You see, most LED street and urban luminaires use large LED arrays and some kind of multi-lens optical system. This is a due to the predominant use of the now standard SMT (surface mount technology) method of creating LED modules. Such lens arrays use many individual LEDs, each needing its own optical modification. IMMA, on the other hand, is built around an innovative COB (chip on board) LED module. Here, many LEDs are combined into a single unit and only that unit needs optical modification.

The use of COB LED technology afforded our product develops the opportunity to take street luminaire design in a new direction. Basically, the luminaire electronic and optical design can be much denser, simpler, and more effective, and mechanical design focused on robustness and ease of manufacture. The result is the striking and highly practical mono-lens within a luminaire that is built to last.

But the advanced optical design doesn’t stop there. In fact, it is only the beginning. Our optical engineers have used the very best optical materials to provide a superior product with performance that lasts. The mono-lens is made from high-grade silicon with exceptional optical and mechanical properties that make it stand out against standardly used plastics such as PC, PMMI, and PMMA. The lenses have excellent light transmission and lens clarity, isotropic performance, and no birefringence. These features are maintained throughout the lifetime of the luminaire thanks to the silicon being UV-resistant, which ensures the lenses stay clear, without performance-detrimental yellowing over time. Overall, this means that the light is delivered very effectively where it is needed with a rarely seen precision, negating the need for additional covers and minimising light pollution. From a mechanical point of view, the silicon remains flexible no matter how cold it gets, is very thermally stable, and does not deteriorate as much as other materials, and so practically eliminates the occurrence of stress-related damage such as micro-cracks. What’s more, the single lens, combined with straightforward mechanical design, means that the IP 67 rating is one that will last as there is really very little to go wrong that could allow water or dust to get inside.

The use of this type of silicon also provides us with many benefits during manufacture thanks to its ease of handling, resilience, and simplicity of application in final products. This allows us to save time and minimise costs, savings that are ultimately passed on to our customers.

So, take a closer look at IMMA. You’ll see that there is so much more to this luminaire than meets the eye. Designed and built to fully withstand the elements through its entire lifetime, and so minimise maintenance and costs, with all modesty, we think it is a technological breakthrough.

IMMA datasheet

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Inside IMMA part 2: destined for success

As we’ve seen from the previous blog posts in the “Inside IMMA” series, there are a world of benefits waiting to be taken advantage of with this exceptional luminaire. But does that guarantee success? We think not. We think that success is about more than the creation of a superior product, it is also about how that product fits into the everyday and very real lives of customers, how it takes account of the practical and financial limitations we all face. Basically, success depends of deliverance of an exceptional product that is also real-world oriented.

IMMA does just that.

We believe IMMA is destined for true success, a success that comes around rarely. We believe IMMA will become one of the defining products of OMS’ history. And here is why, in the words of the men who should know, Anton Kozubik, Head of Product Management and Marketing, and Milan Leitman, Lighting Designer.

“Thanks to the use of COB LEDs combined with mono-lens optics, this luminaires offers a high level of customisation in terms of CRI and/or CCT. In addition, the simple, robust optical and mechanical design means that the luminaire really has no area of weakness that could cause issues later in its life. What’s more, the simple, cost-effective design means that when necessary, it is also viable to replace the entire fixture to meet changing needs. This assures the product of great success in its segment of the market, especially considering its excellent efficiency that brings high energy savings. OMS always applies the latest knowledge and technologies to its products meaning that our clients can expect trend-setting products that are not standard on the market. OMS’ goal is to be exceptional and professional in all ways, and to offer the right light to customers.” Anton Kozubik

“The special optical system and the option of varied Light Distribution Curves means every client has the possibility to choose the performance and light distribution that fits exactly to their project. Together with the quality of the materials used for the optical parts and the luminaire’s high system efficacy, the quality of the light emitted by the luminaire is stable and reliable throughout the entire lifetime of the product.” Milan Leitman

IMMA datasheet

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Inside IMMA part 1: a lighting designer’s dream come true

IMMA is designed for use in urban environments such as pedestrian and shopping zones, squares, parks, and in the vicinity of hotels, conference centres, and even commercial and private buildings, as well as in residential areas. The soft and clean, modern yet familiar form of IMMA lends itself perfectly to its designated applications. It has a sense of the new as well as the traditional in its lines and provides ultra-modern lighting without the harsh style of many new LED street luminaires. This means lighting designers and architects need look no further for a high-performance yet comfortably styled answer to their lighting needs.

But that is just looks, and as we know, there is so much more to everything and everyone than external appearance. Behind its styling, IMMA also comes with five different light distributions that allow designers to provide the perfect light for every location without worrying about using alternative products or needing product customisation. IMMA, in one design, can fulfil the lighting needs of even the most complex and varied urban and residential areas with ease.

And in the interests of the environment, IMMA effectively minimises light pollution and glare thanks to its precise directing of light only where needed. What’s more, boasting efficacies of up to 143 lm/W, IMMA also means cities, towns, villages, companies, and people, can greatly reduce their energy consumption and related CO2 emissions and pollution.

It’s a win-win situation and sounds like a dream come true.

IMMA datasheet