The River Thames is aglow with light reflected from the Vauxhall and Nine Elms skyscraper clusters [left] and the illuminated face of the Millbank Tower [right].
In the chill of a London spring night, under overcast skies, iconic Trafalgar Square opens around me. Admiral Nelson rises on his pedestal, the National Gallery rests behind, the church of St Martin-in-the-Fields sits nearby. From the 13th century, the site served as the Royal Mews for hawks and then horses. By 1844, it was a public space at the heart of one of the biggest cities in the world.
Despite the square’s presence through that grand sweep of history, it’s not why I’m here. My interest is far more specific: I want to find out what happens to spaces like this when artificial light, specifically from light-emitting diodes (LEDs), intrudes. My companion tonight is Simon Thorp, a local lighting designer, who crouches in the shadows near Nelson’s spire, light meter in hand. “Two lux,” he reports, “and it’s very comfortable here.” Two lux is 10 to 20 times the illuminance of a full moon. We can see each other clearly, and a nearby sign assures us that closed-circuit television (CCTV) is in operation for safety’s sake.
Light designer Simon Thorp uses a luxmeter to measure the intensity of light emitted by a street lamp in St. James’s Park, London.
Luigi Avantaggiato
Trafalgar Square captures the relationship between lighting and darkness that exists in almost every city, suburb, small town, and village around the world. The lighting here is a mishmash of old technologies and new, of shadow and glare, the ornamental gas lamps fronting the National Gallery all but washed out by the LEDs inside modern versions of traditional “brass and glass” fixtures a few meters away—21st-century technology housed in 19th-century designs.
The ugly truth of artificial lighting today is that in parts of London, as in many cities around the world, lighting levels are excessive, with unshielded illumination blasting in all directions. And the irony is that too much light invites danger: It creates shadows, impedes our vision, and gives the illusion, without the reality, of safety. Thorp notes that modern CCTV cameras are “pretty great” even at low-light levels, while harsh light makes it hard for both human eyes and digital sensors to see.
“The more bad light we add, the more bad light we think we need,” says Thorp. “We can’t see because of the light we’ve added. And it makes areas that were perfectly okay seem darker.”
Among the costs of this excess, the most alarming may be its toll on human health (and that of other animals) by disrupting circadian rhythms, impeding the production of melatonin, and contributing to sleep disorders that are tied to every major modern disease. New research shows that increased exposure to blue light from LEDs is having “substantial biological impacts” such as suppression of the sleep hormone melatonin and an increased risk for obesity, certain cancers, and type 2 diabetes.
A panoramic view from the Eiffel Tower looks down the Pont d’Iéna and the Palais de Chaillot [in the center], with the imposing silhouette of the La Défense business district visible on the Parisian skyline.
Luigi Avantaggiato
I have come to London and Paris—which led the way in the expansion of public street lighting in the 19th century—because they embody both the current enormity of the problem as well as a future certain to be lit by trillions of chips: controllable, tunable, and energy-efficient LEDs.
Living with artificial light at night
The standard justification for nighttime illumination is public safety. Lighting experts’ term for the phenomenon is “artificial light at night.” While people won’t often admit it, the desire for light at night seems to stem from a primal fear of the dark. Darkness is where the bad guys hide. And if dark is bad and light is good, then more light can only be better.
This assumption has guided our use of nighttime light for hundreds of years. And yet, high-lumen output doesn’t necessarily correlate to a reduction in crime, research has found. In other words, if we relied on the data as much as we do our primal anxieties and paused those anxieties long enough to learn how light and darkness interact, our nights would almost certainly be lighted differently—especially now that we have the extraordinary technology that is the light-emitting diode.
A 19th-century gas lamp [white square] manufactured by William Sugg & Co. next to a pedestrian path in Trafalgar Square, along with the architectural floodlighting on the neoclassical facade of the National Gallery, showcase the interplay between modern and historic lighting systems.
Luigi Avantaggiato
The first visible red light-emitting diode was invented by Nick Holonyak in 1962, but LED lighting technology took several decades to develop, before exploding in recent years. Just a decade ago, LED streetlamps were rare. By 2019, more than half of U.S. streetlights were LEDs, and that number is predicted to top 90 percent by 2030. Similar uptake has occurred around the world, even in developing countries, where inexpensive Chinese-made LED fixtures are increasingly common.
This rapid global migration to LEDs represents a shift in the fundamental physics of how we illuminate our world. From oil lamps and candles to gas lamps, early examples of artificial light at night relied on a burning wick, an incredibly inefficient way to create light. An incandescent bulb is effectively a heater that happens to produce light as a by-product, so it squanders nearly all of its energy as heat.
By contrast, LEDs use semiconductors to convert electricity into light. Through this process of electroluminescence, LEDs use up to 90 percent less energy than incandescent bulbs do, which has enabled municipalities to realize an immediate energy savings of 50 percent or more. This fact alone has fueled the technology’s worldwide adoption.
But LEDs aren’t just more efficient and less expensive. The use of solid-state technology gives the lights an extraordinary life-span, often measured in decades rather than years. This significantly lowers the maintenance costs, as city workers spend far fewer hours replacing broken or burned-out lights. Even more striking, by manipulating the properties of the semiconductor material, engineers can dictate the precise color and intensity of the output, something that gives LEDs incredible versatility. For a lighting designer like Thorp, LEDs offer countless possibilities.
Digital control for smarter lighting
Wandering from Trafalgar Square along the edge of St. James’s Park, Thorp and I find ourselves near Westminster Bridge, one of nine city bridges that in 2021 were part of the Illuminated River project, meant to make the Thames more beautiful at night. Each bridge now features a new LED lighting scheme that moves and changes color and intensity to create a coordinated work of art. But Thorp is frustrated that the project did nothing to correct the often glary lighting on the riverbanks. “Why don’t you pay the money to correct all of this bad lighting instead of adding new lighting?” he says. LED technology, he points out, has the potential to fix that problem.
The Illuminated River artwork for Blackfriars Bridge uses a color scheme that closely complements the red pillar supports that remain from the original Blackfriars Railway Bridge.
Luigi Avantaggiato
In fact, this may be the most meaningful potential of LEDs: the ability for a community to control when, where, at what levels, and in which colors its lights shine. A public space like Trafalgar Square could be lit more brightly during rush hour, then dimmed as the night progresses, the lights not only connected to one another but to the surrounding streetlights and commercial lights. Anywhere in the world, LED streetlights could be programmed to rise and fall in brightness depending on the time of night or time of year. They could even be turned off during bird migrations, to reduce the number of birds that are disoriented by the lights and ultimately killed in collisions with reflective and illuminated windows.
Up to now, LED public lighting has largely not been part of any comprehensive plan to curtail and control nighttime illumination. Most LED installations have simply replaced older, inefficient “dumb” electric lighting with newer “dumb” LEDs and thus made light pollution worse. The main reason? Because LED lighting is cheaper, we tend to use more of it—a literally shining example of the Jevons paradox. Even as awareness of light pollution grows, we aren’t yet taking advantage of LED technology’s full potential.
The good news is that we could start tonight. At DarkSky International, the world’s foremost organization fighting light pollution, CEO and executive director Ruskin Hartley tells me the organization has five principles for responsible outdoor lighting: It should be useful, targeted, low level, controlled, and warm-colored. “They’re enabled because of the capabilities of LEDs,” Hartley says.
The technology to control LEDs will be part of the solution. In the olden days of the analog era, a streetlight was either on or off. To change a lighting schedule, you had to physically rewire a circuit. Today, the Digital Addressable Lighting Interface (DALI) protocol turns each luminaire into part of a network, with its own digital address and a driver that reports to a central server. With DALI, the lighting is managed through software rather than physical switches.
Unfortunately, most LED streetlights have been deployed without this technology because it costs more. But Paul Drosihn, general manager of the DALI Alliance, says that using such controls makes the LEDs much easier to maintain. Before the new digital protocol, it took an average of nearly three visits to identify, diagnose, and repair a defective luminaire. “Now it’s one,” Drosihn says. “Saving the cost of sending two guys on a cherry picker to replace those [lights] is immeasurable. What I just described to you is pretty much all the utilities need to know.”
The intricate cast-iron understructure of Westminster Bridge glows in vibrant green and teal light as part of the Illuminated River public art project, a color palette selected to echo the green benches of the nearby House of Commons.
Luigi Avantaggiato
What’s more, DALI allows the tuning of the lights’ spectrum so that they become warmer and less disruptive as the night progresses. Digitally connected, full-spectrum luminaires allow cities to transform the nocturnal experience—saving money, increasing health and safety, and creating a warmer and more appealing atmosphere at night.
This digital intelligence is equally transformative for the “bleed lighting” that spills from building interiors, Drosihn says. “You don’t think of night lighting as coming from inside buildings, but it does,” he says. “Particularly in the States, you drive through any major city and all the lights are on, on every floor of every high-rise, even if no one is home.”
Already, the use of digital controls for interior lighting has become commonplace in some European cities, Drosihn says. By integrating DALI with occupancy sensors and building-management systems that monitor HVAC, electrical systems, and security networks, a skyscraper can become a dynamic participant in the urban environment—dropping a floor’s interior lights to zero the moment the last person leaves. As a result, electronic controls combined with LEDs can act like a dimmer switch for a city’s entire skyline.
White light blights the night
With all the possibilities from LED technology, why are our nights too often lit with harsh and clinical light, casting glare and creating shadows, disrupting human and ecological health, erasing the stars from our skies? The answer starts with the color of LEDs. At first glance, an LED streetlight looks like a collection of small white bulbs, but it’s not. To produce a light we perceive as white, most manufacturers coat a blue semiconductor core with a yellow phosphor material that absorbs a portion of that high-energy blue light. The problem is that this “white” light is still heavily blue, which is exactly the color no species has evolved to expect at night.
A historic three-lantern cast-iron street lamp along the pedestrian walkway of Westminster Bridge casts a glow against the night sky.
Luigi Avantaggiato
And because blue light is the second most energetic part of the visible spectrum (violet is the most), it doesn’t just illuminate our streets and invade our homes. Blue light also scatters in the atmosphere more easily than any other color, which helps to create the hazy, illuminated fog known as sky glow over every city of any size.
“Cooler” colored LEDs in the 4,000- to 6,500-kelvin range offer the most lumens at the lowest cost, so most early adopters installed these blue-rich white lights. The good news is that LED technology has continued to advance, and a growing number of communities are choosing warmer-colored streetlights that have less blue. (Phoenix, for example, converted 100,000 streetlamps to 2,700 K LEDs in 2020.) And, of course, light pollution isn’t just a result of LEDs. Older lighting technology also adds to the glare—bright white metal-halide lights, especially—and cities are loath to replace something that isn’t yet broken.
But our main failure isn’t a technical one. It’s that we have yet to revise our thinking about lighting at night. We use LED technology just as we did the old sources of light. As a result, we have largely offset the gains that were promised in terms of reducing energy consumption and carbon emissions by making light pollution worse, and have so far let an incredible opportunity go unrealized.
Can the City of Light do it right?
Across the Channel in Paris, the failure to realize the potential of LEDs feels even more palpable. Unlike London, which suffered heavily from German bombs, the lovely 19th-century Paris that Baron Haussmann created largely escaped destruction in World War II. To nearly 50 million annual tourists, the beautiful uniformity of the architecture is instantly recognizable. But the City of Light’s nocturnal atmosphere is also part of the draw, and extensive attention has been given to relighting its buildings and monuments. When I wander into the Cour Carrée in the Louvre, for example, I’m stunned by rows of amber LEDs that together create a warm glow along the palace facades. When I see the Eiffel Tower, first from a distance walking along the Seine and then up close, I find myself staring as I would at a campfire, the structure’s metalwork amber-lit with more than 336 high-pressure sodium bulbs.
The Eiffel Tower's signature golden illumination was inaugurated in 1985. The 336 high-pressure sodium projectors are installed directly inside the monument's structure.
Luigi Avantaggiato; Lighting designer for the golden lights of the Eiffel Tower: Pierre Bideau
Still, the city’s night lighting is far from perfect. With millions of residents, thousands of stores and restaurants, and 300,000 streetlights, the city overall is among the world’s brightest. Even at the base of the Tower, bright white LED lamps illuminate the African émigrés selling cheap berets and Eiffel Tower trinkets. And the city has been replacing its old sodium streetlights with new LEDs, swapping the warm yellow tones for which the city has long been known for bright white lamps no one wants to look at.
Street vendors display souvenirs at the foot of the Eiffel Tower. Their merchandise is lit by harsh white LED systems, which starkly contrast with the warm golden sodium-vapor light illuminating the tower above.
Luigi Avantaggiato
Nonetheless, the potential is here. In 2019, France introduced a nationwide law to reduce levels of light pollution, setting rules about both public lighting (preventing light from being projected above the horizontal) and private lighting such as stores, which are required to turn off their exterior and shop window lights after 1 a.m. In addition, an increasing number of French communities dim or turn off municipal lights after midnight to save energy and reduce carbon emissions. Although light pollution worldwide continues to increase by nearly 10 percent per year, France has managed to reduce its overall level. Chloé Beaudet, a researcher at Université Paris-Saclay, documented local light-reduction measures and found people generally agreed with the notion of dimming or turning off the lights, mainly for energy savings and ecological concerns.
Researcher Chloé Beaudet looks toward the Notre-Dame cathedral from the nearby Pont de l’Archevêché (Archbishop’s Bridge).
Luigi Avantaggiato
“What I find is that people living in urban areas, they accept this kind of policy,” she tells me. “They’re like, okay, I don’t really use public space at night as a pedestrian, so what’s the point of having lights on?” For her, a key takeaway is that one lighting level does not fit all areas. “I think there is really a need for policy that is differentiated according to the neighborhood.”
The west facade of the Notre-Dame cathedral glows at night following its restoration, with architectural LED lighting illuminating the three monumental portals, rose window, and twin towers in a warm white light that preserves the medieval limestone details.
Luigi Avantaggiato
In another positive development, the country has been minimizing artificial light to create ecological corridors designed to protect nocturnal species such as birds, bats, and insects. These corridors are connected and dark, mitigating the disruption to the 30 percent of vertebrates and more than 60 percent of invertebrates that are nocturnal. Even for city dwellers, this trame noire (“dark infrastructure”) helps to raise awareness of why controlling light pollution is important for life on Earth. Nationwide laws to control light pollution, the ability to light different parts of a city differently, dark corridors to protect biodiversity—these are exactly the kind of changes made possible with LEDs.
The iconic I.M. Pei Pyramid glows softly at the center of the Cour Napoléon at the Louvre Museum, its warm LED illumination flowing through the geometric glass-and-metal structure with a symmetrical framing of the surrounding historic pavilions against the night sky.
Luigi Avantaggiato
That’s not all. Almost until 1920, astronomers at the Paris Observatory were still gazing at the Milky Way. That’s impossible nowadays, but it could happen again. Despite the bright white LED streetlights now lining so many Paris streets, networks of LEDs using controls could lower lighting levels enough each night, so that the Milky Way could once again be visible over the French capital. And in the process, Paris could become the City of Light in ways that would set an example for other parts of the world.
New lighting demands new thinking
“I think we should aspire to have cities that see the stars,” Simon Thorp says when I mention this view of Paris. “You just need everything to be coordinated.”
Nearing the end of our London walk, having turned from the river and back up toward the Strand, Thorp brings me down narrow Carting Lane behind the Savoy Hotel, to where a gas fixture tops a thick lamppost, an original from 1870. A small plaque reads, “The last remaining sewer gas destructor lamp in the city of Westminster.” Thorp explains that the thick pole hides a tube that allowed methane from the sewers to get burned off at the mantle. “An early example of renewable energy,” he jokes.
The fire-orange flame is pleasing to the eye. But even here, on a narrow lane with no vehicle traffic, in a touristy area of the city, the flame is overwhelmed by a nearby, unshielded LED security light. Thorp shakes his head. “It’s stunning that someone could put in a light like that and think, ‘Great, nice job.’”
Tourists gaze at the Webb Patent Sewer Gas Lamp, London’s last remaining Victorian sewer-ventilating street light, which illuminates the rain-slicked pavement of Carting Lane just off the Strand. Invented in the late 19th century by Joseph Webb to burn off methane from the subterranean network, the lamp operates 24 hours a day.
Luigi Avantaggiato
Here is the crux of contemporary artificial lighting at night. We know how to light well, and LEDs give us the ability to do so. But while our technology is 21st century, too often our thinking about light and darkness, safety and security, is stuck in the past. We could be doing so much more with this technology than we are. We could relight our nights in ways that would not only reduce energy and maintenance costs but also bring a slew of benefits, including healthier nights for humans, safer skies for nocturnal creatures, and a restoration of the stars.
In 2026, the tale of these two cities and their artificial light at night is that of a brilliant technology that we’ve engineered but haven’t yet learned to master. In short, we have yet to change the way we think about artificial light at night and to use it more thoughtfully and carefully—as we might, as one hopes we will.
This article appears in the August 2026 print issue as “The Wrong Way To Light a City.”
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