“The EcoVadis Platinum rating confirms the Zumtobel Group’s consistently pursued path: for us, sustainability is not a single project, but an integral part of our business. This success is only possible thanks to the joint commitment of our teams and the continuous implementation of our sustainability strategy. At the same time, we see this award as an incentive to continue advancing our ambitions – in the interests of our customers and partners, our employees and the environment,” says Alfred Felder, CEO of the Zumtobel Group.

Measurable sustainable development

The Zumtobel Group’s progress to the Platinum level demonstrates one thing above all: sustainable development always goes hand in hand with transparent reporting. Throughout the entire value chain, the company is implementing concrete measures with quantitative targets as part of its sustainability strategy – consisting of the Net-Zero, Circular Economy and Partner of Choice goals. Regulatory frameworks, such as the ESRS (European Sustainability Reporting Standards), under which the Zumtobel Group reports on its progress in sustainability, are a significant catalyst for creating transparency.

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Located in Surfers Paradise and one of Australia’s leading arts destinations, the 17-hectare HOTA precinct caters to everything from theatre, dance, opera, comedy, and live music to children’s shows, cinema, and visual arts. Surrounded by parklands and a lake, it is a thriving cultural hub where art, entertainment, culture and lifestyle meet.

An investment in the future

As part of its ongoing commitment to technical excellence, HOTA selected 16 Elation Paragon M profile luminaires and 16 Proteus Rayzor 760 wash/effects fixtures to replace every moving light in its main theatre rig. The fixtures were supplied by ULA Group, Elation’s Australian distribution partner, with procurement facilitated by audio-visual production company Krank’d Productions. The project was led by Luke Farrow, Head of Lighting at HOTA, who also oversaw the lighting design for the upgrade. Installation was completed in December 2025.

For HOTA Precinct General Manager Chris Dignan, the upgrade represents an investment not only in technology but in the venue’s future ambitions. “As the demands of live performance continue to evolve in the industry, it is essential that our technical infrastructure evolves with them,” he stated. “This upgrade gives HOTA a future-ready lighting solution that meets the expectations of today’s world-class touring productions, while supporting our long-term ambition to attract bigger, more ambitious shows and continue lifting the bar for what we deliver on the Gold Coast.”

Meeting the demands of modern productions

HOTA’s aging lighting system had reached the point where its discharge-based spot fixtures and older LED wash luminaires could no longer match the output and performance expected by contemporary touring productions. Rather than supplement the existing inventory, HOTA chose to replace its entire moving light system, ensuring the venue would remain technically competitive for years to come. Following a demo and fixture shootout, the Paragon M and Proteus Rayzor 760 emerged as the preferred solution.

Greater output and creative flexibility

The new lighting system has significantly enhanced both the output and versatility of HOTA’s theatre rig. The Paragon M fixtures deliver high-output beam, gobo, and framing capabilities that provide greater precision and visual impact across a wide range of productions. Complementing them, the Proteus Rayzor 760 fixtures combine bright, high-qualitywash coverage with advanced pixel-mapping and effects capabilities, making them particularly valuable for live music and contemporary performance. Together, the two fixtures provide a flexible platform that adapts to everything from dramatic theatre and opera to high-energy concert performances.

According to Head of Lighting Luke Farrow, output was one of the most important considerations in the fixture selection process, and the Paragon M delivered exactly the level of punch they were looking for. “Its brightness and beam quality have significantly enhanced the visual impact of our productions, ensuring the rig can compete with the increasingly powerful lighting packages that touring shows bring into the venue.”

Beyond its output, the Paragon M’s color quality was another standout feature. “We found the fixture delivered excellent color rendering and consistency, providing greater creative flexibility for designers.”

Elation’s award-winning flagship luminaire series, Paragon is available in S, M, or LT models, all with IP54 ratings. The platform integrates multiple advanced systems, including Elation’s TruTone variable CRI technology, an interchangeable lens system (Profile, Fresnel Wash, PC Beam), and more. At HOTA, the addition of Fresnel lenses further extends their functionality, allowing the fixtures to function as high-quality wash lights when required.

“The ability to utilize interchangeable lens options was a major advantage,” says Farrow, “allowing the fixtures to be adapted for different applications without compromising performance. This versatility was a key factor in selecting the Paragon M as the cornerstone of our upgraded lighting rig.”

A versatile system for diverse programming

The installation includes sixteen Paragon M fixtures, with eight located in the overhead rig and eight positioned across the front-of-house lighting bridges. The overhead fixtures deliver powerful beam and gobo effects across the stage, while the bridge-mounted units provide flexible key lighting and multiple specials to accommodate the venue’s varied programming.

Complementing the profiles are sixteen Proteus Rayzor 760 IP65-rated wash/effects fixtures. Their SparkLED background twinkle technology adds an engaging visual layer for concerts and live events, while their output and zoom range enable them to deliver a bright, even wash across the performance space. Together, the two fixture types create a highly adaptable lighting system capable of meeting the demands of everything from theatrical productions to contemporary live music performances.

Supporting the venue’s house lighting infrastructure are two Netron EN12i Ethernet-to-DMX gateways paired with BS10 button panels from Obsidian Control Systems, providing intuitive control and reliable distribution for the house lighting system.

A collaborative project

Installation was completed by HOTA’s lighting department under the leadership of Head of Lighting Luke Farrow, alongside Marcus du Toit (Technical Operations Manager) and Thomas Connolly (Director, Technical and Production).

Throughout the project, ULA Group provided technical guidance and strategic support. “ULA Group was an invaluable partner throughout the project,” said Farrow. “Rod Marshall provided significant support during the process, helping us assess the available options and identify the best solution for the venue’s needs.”

Beyond the technical aspects, Marshall also played an important role in articulating and presenting the long-term vision for HOTA’s lighting infrastructure. His expertise and industry knowledge were instrumental in building a strong case for investment, ensuring the final solution would not only address immediate requirements but also support the venue’s future growth and evolving production demands.

With a fully modernized moving light rig built around Elation’s latest technology, HOTA is now equipped to support an even broader range of productions while meeting the technical expectations of today’s designers, artists, and touring companies.

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Lighting designer, Ben Sassoon, has lit many of them, but this is his first time using Ayrton Diablo fixtures, which he specified after seeing lighting designer, David Howe’s, use of them on the West End production of A Christmas Carol Goes Wrong. This is also his first time working with Sparks Theatrical Hire which supplied nine of the compact Ayrton units as the show’s workhorse fixtures. “Sparks’ customer service is outstanding,” says Ben. “They have an incredible passion for theatre, and Paul Anderson is amazing. They have been true collaborators for us. As a non-profit organisation we don’t operate the same way as other productions but they were so helpful – they literally made miracles happen!”

Sister Act is set in the 1970s, and focuses on Dolores, a club singer who goes into police hiding in a failing nunnery, disguised as a nun, which she saves by the power of music, reinvigorating its choir to sing her style of soul disco music, and thus saving the church from financial ruin. This gives the lighting designer plenty of scope to play with the juxtaposition between dingy environments within a penniless nunnery and the colourful fantasy world of disco.

“I needed a fixture that was versatile enough to do all these things, but I didn’t have a lot of space or weight available to me,” says Ben. “The show has a lot of flying pieces, and the weight allowance on the bars was really quite tight, so I needed something that was small, lightweight, but still punchy.

“The theatre’s trim height is relatively low at 6.5m, so the fixture needed to have a really big zoom too. So, when you need something small, lightweight, bright and punchy with a big zoom, I think there’s really only one choice, which is Diablo. These things are amazing. You can literally carry them with one hand!”

Ben rigged seven Diablo over stage for back and high side light, keeping them close together to counter the lack of space, and two front of house for specials and general washes, and for ‘pulling out bits of scenery’.

“The show needed to move between many locations – the street, a club, the church – and moods, so I wanted to have the ability to go from really dingy moments when we first see the impoverished church, to really bright, poppy looks full of saturated colour for the disco fantasy moments,” he says. “To be able to show that big disparity was definitely key to the look I was trying to achieve.

“For the church, we kept to cools and gentle warms, and used the framing shutters on the over-stage Diablos to set the scene. We wanted to make it feel like you were in different locations without it looking repetitive, so being able to use the framing shutters to close in on different areas, make interior rooms and corridors, and really hone into specific areas was quite crucial.

“We also had a custom gobo of a gorgeous rose window made, through Sparks, to enhance the big stained glass rose window located at the back of the set. We put this in the upstage Diablo, which was rigged in a very tight space between two pieces of set, in a super wide focus and it filled the whole stage to give a nice shadowy, atmospheric effect. It was the only fixture that would fit in that space.”

For the disco fantasy moments Ben moved into ‘supersaturated mode’ to transform the vibe into true ‘70s vividness in the most dramatic way. “Diablo’s colours are great and still really bright, even when they’re saturated, which was extremely helpful,” says Ben. “We also used the front-of-house Diablos to project saturated colours onto a mirror ball, enhancing the effect on stage by using the prisms and dot gobos in the on-stage Diablo fixtures. The result was a massive area of light with all those little dots and cool beams across the set and auditorium, taking the mirrorball effect right out into the audience.”

Diablo’s speed was also essential part of Sasoon’s design: “With such a limited rig, the fixtures had to be able to jump between locations at great speed,” he explains. “For one song, Raise Your Voice, the action jumps between a series of quick-change locations in a montage as the nuns learn to sing – the hallway, the choir room, even in the shower – so it was crucial to be able to jump around all those places really quickly. With only nine fixtures, I didn’t have the luxury of a separate light for each location – just the same lights multi-tasking – so Diablo’s ability to make super-fast movements during the dark moments and come up in the right place was paramount.”

Diablo’s quiet operation, despite this being a musical, proved equally important for the quieter moments. “There’s a moment near the end of Act II where, in one of the fantasy dream sequences, the band suddenly stops and the whole stage goes silent, with Dolores in a solo, hard-edge spot from the Diablos. The audience is in close proximity to the fixtures, but you just can’t hear the Diablos at all: no loud fans, just silence, which is exactly what you want in those scenarios.

“The Diablos were definitely my workhorse, and I was very impressed with them. Many of the theatres I work in don’t have the best weight limits or space availability, so being able to pack loads on a bar is very helpful and not something you can do with many other fixtures. Diablo is definitely going to be the fixture I ask for in future.”

Paul Anderson, managing director of Sparks Theatrical Hire, comments: “We invested in Ayrton’s Diablos about four years ago, just as we were emerging from COVID, and they have proved to be very popular ever since. Their compact size is a big factor in their appeal with many of our clients, and what they pack into such a compact unit is staggering.”

Despite their small footprint, the Diablo fixtures deliver an extensive feature set including CMY colour mixing, a colour wheel, iris, shutters, seven rotating gobos, animation wheel, plus an exceptionally impressive zoom range. “I don’t know how they fit everything into such a small unit,” added Anderson “We are always topping up our Diablo stock levels, as we never quite seem to have enough.

“I was thrilled to be able to help Ben Sasoon with ‘Sister Act’ at the John McIntosh Arts Centre, supplying quite a large supplementary rig to complement what the theatre already owned. The lighting states Ben created were absolutely stunning, and I was very proud to play a small part in that.

“For me, it’s all about the relationship with designers, and I hope this is the start of a very fruitful one. The continued expansion of our Diablo inventory reflects growing customer demand for versatile, high-output fixtures capable of delivering premium performance in space-conscious applications.”

Ben was aided by associate lighting designer, Paul Evans, and production electrician, Robbie Bradshaw. “Paul and Robbie were essential to getting the show up and running in the limited amount of time we had available to us,” Sassoon says. “Their incredible support helped us achieve the impossible.”

Photo credit: © Ben Sassoon.

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Now set to become one of New Zealand’s premier aquatic and recreation destinations spanning 32,000 sql, the Parakiore facility has been designed to provide accessible and engaging experiences for visitors of all ages and abilities. As part of the development, a new Sensory Aqua Centre was created to deliver a dedicated interactive sensory room. Combining lighting, water effects and integrated control systems, the space offers a safe, adaptable environment that promotes relaxation, sensory stimulation and meaningful interaction for its users.

Lighting controls specialist Annelise Goodwin of LS Group was appointed to deliver the lighting controls solution for the sensory room via Grant Robertson of The Light Site. The design brief called for a highly flexible and intuitive system capable of supporting multiple room states, interactive experiences and personalised user settings, while integrating seamlessly with wider building operations.

At the heart of the installation is a single-universe Pharos Designer LPC controller with two Pharos four-port DMX repeaters. Together with a Q-SYS integration platform, the system enables sophisticated control across interactive water features, lighting zones and sensory elements.

The Designer LPC provides the processing power and reliability required for the complex installation, managing more than 100 custom scripts and over 400 commands across the sensory environment. Through a combination of LUA scripting and the Pharos API, the project team developed advanced control functionality that allows dynamic timeline shuffling for the bubble wall installation, as well as simplified recall of individual timelines without the need to create hundreds of separate triggers.

The system controls 10 interactive water features, four non-interactive water features, lighting across four separate zones and an integrated bubble wall feature. Q-SYS is utilised to trigger commands within the Pharos system, allowing the various sensory experiences to operate seamlessly together while providing intuitive control for staff and users.

To enhance accessibility and ease of operation, the installation includes five customisable user presets for regular instructors and returning guests, alongside five base room states (Calm, Colourful, Full Room, Party, Interactive). These presets allow the sensory environment to adapt quickly to different users, activities and therapeutic requirements.

The system also integrates with the wider building management system (BMS), using relay triggers to automatically respond to occupancy and operational states, including open, closed, cleaning and unoccupied modes. This intelligent automation ensures the sensory room remains both energy efficient and easy to manage as part of the wider facility.

Annelise Goodwin of LS Group, said: “The goal was to create a sensory space that was immersive, adaptable and easy for staff and visitors to interact with. Pharos gave us the flexibility to develop highly customised scripting and control functionality, while still maintaining a reliable and intuitive user experience throughout the installation.”

From a Pharos perspective, the project demonstrates how lighting and show control technology can support accessibility and inclusivity within public environments.

Tony Symms, Regional Sales Manager for Asia Pacific at Pharos Architectural Controls, added: “Parakiore Recreation and Sport Centre is a fantastic example of how intelligent control systems can create meaningful and engaging experiences for users of all abilities. By combining an LPC with advanced scripting, API integration and Q-SYS control, the team has delivered a highly responsive sensory environment that showcases the creative flexibility of Pharos technology.”

The result is a future-ready sensory space that combines lighting, water and automation to deliver calming, interactive and engaging experiences, reinforcing Parakiore Recreation and Sport Centre’s commitment to accessibility, wellbeing and inclusive community design. 

Project Credits

Client: Christchurch City CouncilChristchurch City Council.

Project: Parakiore Recreation and Sport Centre.

Lighting Controls: Pharos Architectural Controls.

Lighting Controls Integration: LS Group – Annelise Goodwin.

Lighting Supplier: The Light Site – Grant Robertson.

Integration Partner: New Wave.

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Electrical Contractors’ Association (ECA) brought together Members from across the electrotechnical and engineering services industry for its National Business Day, showcasing the ideas, technologies and strategies that will help future-proof businesses in a fast-changing market.

Held at London’s iconic Science Museum on 18th June, the event welcomed senior leaders from across the sector for a day of insight, discussion and celebration as ECA marked its 125th anniversary.

The day opened with Rob Smith, BBC broadcaster, alongside ECA President and Director of Drax360 (part of Obsequio group) Glenn Grant, setting the scene for a programme focused on innovation, business growth and the opportunities ahead.

Tech journalist, TV presenter and AI keynote speaker, Georgie Barrat, explored how artificial intelligence and the electrification of everything will reshape both the industry and the wider UK economy.

Julie Beaufils, Secretary General of EuropeOn, shared a continental perspective, highlighting similar opportunities and challenges across Europe.

Panel discussions explored the scale of the opportunities ahead, including in data infrastructure and clean energy. Georgie Barrat and Julie Beaufils were joined by data centre expert Simona Capparella, Chris Sadler of ECA Member Kimbletech on solar power, and Chris Catterick of ECA Member SES Engineering on the role of gigafactories in building the batteries needed for electric vehicles.

A second panel discussion focused on what ECA Members need to do now to seize these opportunities. Wider industry perspectives came from Matt Adams, Head of Electrical Transport Systems., and Luke Osborne, Technical Director at Electrical Safety First, while ECA Members Chris Wright of Powercor and Chris Jenkins of RDM/EFT Consult shared practical insights from the frontline.

The final session brought together Ruth Devine MBE, ECA’s Immediate Past President and Managing Director of SJD Associates, and leading experts in business growth, Professor Paula Whitehouse of Aston University, and Professor Mark Hart of Warwick Business School. Together, they shared practical strategies for scaling up and building long-term success.

During the interactive lunch break, attendees also had the chance to meet exhibitorsand look at their displays of products both from the past and present.

There was also an interview with Cranfield University’s humanoid, as well as a demonstration from its robodog.

Andrew Eldred, ECA’s Managing Director, closed the day with his reflections on the event, reiterating ECA’s increasingly important role in supporting Members to overcome challenges, grasp opportunities, and build strong, successful businesses that last.

A celebratory drinks reception concluded the day, which marked ECA’s milestone anniversary.

Steve Bratt, Group CEO at ECA, said: “Our National Business Day showed exactly why our sector has such a vital role to play in the UK’s future. From artificial intelligence and electrification to clean energy, digitalisation and new business models, the opportunities for ECA Members are significant.

By bringing together expert insight, practical examples and forward-looking discussion, we wanted to give businesses the knowledge and confidence to take the next step, invest in growth and position themselves for long-term success.”

The post ECA National Business Day spotlights the technologies and trends reshaping the sector appeared first on A1 Lighting Magazine.

The contemporary glazed architectural masterpiece sits on the footprint of the previous 1976 theatre building (which replaced the original one built in 1934), providing a high-production-value performance environment and a cool 21^st-century counterpoint to the city’s historical Cathedral of St. John.

The new venue is a radiant modern entertainment and meeting hub, buzzing with energy and creativity in the heart of this picturesque city.

The Robe moving lights are divided between Theater aan de Parade’s two multi-purpose halls, the 920-seater Casino Hall and the Plein Hall, which accommodates 400 people.

The Robe product count breaks down to 23 T2 Profiles, 83 T1 Profiles, 11 T1 PC, 80 LEDBeam 350s, 3 TX1s, 12 CUETE Spots, 14 Tetra2s, which are used as cyc lighting, and 4 RoboSpot BaseStations with MotionCameras.

All of this was supplied via Robe’s Benelux distributor, Controllux, together with a number of other lights that completed the specification, plus control and networking infrastructure. Controllux’s project and sales lead Kuno van Velzen started work on this installation in 2022.

Theater aan de Parade stages over 300 performances annually from numerous visiting companies, plus an array of festival and business events, explained head of technical, Alphons Verhallen, who oversees a tech crew of 16.

The T1 and T2 Profiles were selected as the “best multispectral profile moving heads on the market,” commented Alphons.

Having a multispectral LED fixture at the core of the house lighting systems – as opposed to a white LED source – was a cornerstone of the lighting tender.

It is a frequent consideration for theatres and performance venues where perfect colour rendition and skin tones are vital. Robe’s additive colour mixing techniques ensure that these fixtures deliver the richest of saturated colours and the most delicate pastel shades, all with theatrical finesse and quality.

Highly flexible CCT control provides another layer of premium-quality whites that are key in lighting theatre, drama and dance pieces.

The T1 and T2 Profiles are located on the lighting bridges and over-stage bars in both halls. Seven of the T1 PCs are rigged on the Casino Hall portal bars and four on LX2 in the Plein Hall, where they are providing good wash capabilities, with the TX1s also used overhead in this space.

The LEDBeam 350s are multi-use fixtures and, among other things, replace six-bar moving PAR light effects in both halls. The Tetra2s are proving to be handy for cyc and effects lighting in the Plein Hall, especially for bands, concerts and music shows, together with the CUETE Spots, which are in this same location.

The RoboSpot systems are usually used with the T1 Profiles in either hall. They bring all the flexibility of a quicker setup, being able to position the operators backstage or offstage and enable the LD to choose which lights are used for spotting.

Alphons is very happy with the scenario and confident that the venue can offer its clients great value with this combination of technology.

He notes that some of the incoming companies are making full use of the lighting setup now on offer, while for some older touring shows still on the road with performances based on static and dimmed lightsources, the adaptation may take longer, but the process is definitely underway.

Technical planning for the new theatre originally started in 2018, and between then and now, the specs were modified slightly as new and more appropriate product choices came to the market. When the old building closed, Theater aan de Parade continued producing shows in a temporary venue – again with Robe products in the rig – while the construction was completed.

Alphons, who took up the technical management position for the new theatre to open its doors at the end of 2024, is delighted with the results so far. Apart from all the obvious advantages, the all-LED stage lighting is saving considerably on the previous operational power requirements.

Robe is a brand Alphons has been more familiar with since visiting the 2019 Prague Quadrennial, where Robe lit one of the main centrepieces, “Blue Hour” by Romain Tardy.

Key members of the tech crew have also visited the Robe factory in Valašské Meziříčí, and Alphons highlights the importance of a strong working relationship both with the brand and the local distributor.

Controllux also coordinated the installation of the lighting systems and their related control network.

Photo credit: Kuno van Velzen.

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To bring the ambitious production to life, the lighting team at Concept K, led by French lighting, set, and multimedia designer Frédéric “Aldo” Fayard, collaborated closely with Artistic Director Stéphane Thiodat of SC Production. The event used an extensive Elation lighting package supplied by Novelty/Dushow Group, including 155 Proteus Maximus, 78 Proteus Hybrid, and 160 Sōl I Blinder fixtures.

Concept K was responsible for the lighting design, setup, and show programming, including lasers and fountains. The company had previously worked on the DGSN’s 69th anniversary celebration in El Jadida and was again entrusted with helping elevate the annual event.

“The first challenge was simply the scale,” explains Frédéric “Aldo” Fayard, founder and lead designer at Concept K. “We had to illuminate an area equivalent to two football fields filled with people, vehicles, horses, and military equipment. At the same time, we needed to provide sufficient brightness for the thousands of VIP guests and meet the requirements of the broadcast team and their cameras. It was essential to highlight and enhance the police forces during this important 70th anniversary celebration.”

The production site featured one huge stage, six towers, and a large guest tent, all integrated into a lighting and effects system that supported a parade showcasing various DGSN squads, including different police forces, vehicles, mounted units, and canine teams.

Beyond the technical requirements, Thiodat sought to turn the military parade into a spectacular show. To achieve this, Concept K worked closely with the artistic director, who outlined the sequences requested by the Colonel overseeing the event.

“During the creative process, the concept evolved and we adapted accordingly,” Aldo commented. “As always, we had to work within budget restrictions and, thanks to our long-lasting collaboration with Stéphane, the process was very smooth and efficient.”

To support the creative vision, Concept K expanded upon the original scenic design, using the entire structure as a platform for lighting and laser integration. Fountain effects were also incorporated into the setup, making weatherproof fixtures a necessity. Because the event was staged outdoors on open ground adjacent to the ocean, environmental conditions posed additional challenges, including dust and moisture exposure.

“We needed fixtures that were completely dust-tight and waterproof,” Aldo explains. “For key and side lighting, we were looking for a very powerful fixture with narrow zoom capable of covering long distances. Our conditions were demanding because the performance space covered approximately two football pitches. At the same time, for backlighting across the expansive performance area, we required a very wide beam angle to cover as much surface area as possible with a limited number of fixtures.”

The Proteus Maximus met all of those requirements while providing the consistency and availability needed for a deployment of more than 150 fixtures. Its competitive rental cost further strengthened its position as the ideal solution for the project. “Although it’s not the newest fixture on the market, it remains highly competitive compared to many more recent products,” Aldo said of the proven LED profile moving head.

The Proteus Hybrid fixtures, Elation’s groundbreaking weatherproof moving head in the Proteus series, complemented the design by providing versatile beam and spot effects throughout the production. “We’ve worked with the Proteus Hybrid many times before,” Aldo says. “Its IP65 rating and true hybrid functionality were its key criteria. There are very few fixtures capable of delivering both beam and spot performance while also offering the reliability needed for outdoor events.”

Concept K was among the first to use the Sōl I Blinder, thanks to Dushow’s early investment in France, and has been a fan of the multi-use blinder and effect light ever since. Some 160 Sōl I Blinders were used throughout the space for visual accents, rhythm cues, color washes, and dynamic backlighting.

“It’s lightweight, easy to rig, efficient, RGBLAW, offers a wide beam angle, carries an IP65 rating, and delivers exceptional value,” Aldo commented. “We used it for backlighting, effects, color rendering of each sequence, and to reinforce the rhythm of the show. The Sōl I is a true multitool—we love it.”

The event was successfully delivered to thousands of attendees and broadcast audiences, earning praise for its impact and contemporary show design.

“The event went very well,” Aldo concludes. “A huge thank you to Stéphane Thiodat for his trust on this very special project, and many thanks as well to Delight Event Management. We were also very happy to work with the Novelty / Dushow Group team, who provided full support from project preparation through on-site execution. A good result is always the outcome of a collective effort, and that was certainly the case here.”

Project Team

Concept K

• Frédéric “Aldo” Fayard
• Théo Broche Cannone
• Kelian Sevrée
• Paul Simon
• Santi Fernandez

Artistic Director

• Stéphane Thiodat

Production

• Delight Event Management

Photo courtesy of Concept K. 

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Headline sponsored by Robe and supported by official sponsors Absen, A.C. Entertainment Technologies and Leisuretec, the UK’s market-leading trade event for live entertainment technology will once again bring together leading brands, breakthrough products, practical training, live demonstrations and invaluable face-to-face connections across lighting, audio, AV, staging, rigging and production.

Taking place as Olympia enters an exciting new chapter of redevelopment, PLASA Show 2026 will offer visitors an enhanced experience both inside and around the venue, with refreshed facilities and new destination spaces set to elevate the show for exhibitors and attendees alike.

Leading brands and new names join the show floor

PLASA Show 2026 will welcome a wide range of established manufacturers, distributors, service providers, and emerging brands from across the live entertainment technology sector.

Visitors will be able to explore the latest lighting, audio, AV, staging, rigging, control, production and software solutions from companies including A.C. Entertainment Technologies, Ambersphere Solutions, ETC, Chauvet Professional, GLP, Highlite International, Prolight Concepts, Area Four Industries, Doughty Engineering, Total Solutions Group, TAF, Sixty82, Sennheiser, Audio-Technica, d&b audiotechnik, L-Acoustics, KV2 Audio, RCF UK, Nexo, EM Acoustics, Adamson Systems Engineering, POLAR, FBT Audio, PSCo Group, ROE Visual, Epson, Vectorworks UK, Rentman, Current RMS, Solotech, Leisuretec, Entedi, BeamZ, AED UK, Canford Audio, Link UK Solutions, Neutrik, Sound Devices, Solid State Logic, TiMax Spatial and many more.

The 2026 show floor will also feature a strong line-up of new exhibitors, including 10K Used Gear, Arcane Wizards, Alustage, CableJoG, DAS Audio Group, DTS Lighting, FLIKO, MaestroDMX, MODE, Nosya Electronics Company Limited, Gloshine, Hong Kong Acme Electric, hyper.space, J-Power International, Mission Control, ModTruss, Naostage, PixelLogic Solutions, Raycom, Roadie Reboot, Smoke Factory, Spotrack, Sunbelt Rentals, Taylorleds UK/Audiotek and Visualization.

Together, the exhibitor line-up reflects the breadth of today’s entertainment technology industry, from major global brands to specialist suppliers, creative tools, technical services, and emerging product innovators.

Live demos, training and technical discovery

Over three days, visitors will be able to get hands-on with the technology shaping live events, theatre, concerts, installations, broadcast and production.

Headline sponsor Robe will return with live show-floor performances, giving visitors the chance to experience its latest lighting technology in action.

The show will also feature dedicated demo rooms from Absen, RCF UK, KV2 Audio and Barco, giving visitors the opportunity to experience the latest technologies in focused environments away from the busy show floor. Further details will be shared soon.

Popular show features will also return, including Classic Gear Live, the Innovation Gallery, the Careers and Networking Hub, and the PLASA Awards for Innovation.

A programme built around the industry’s biggest conversations

The PLASA Show seminar programme will return with expert-led sessions exploring the ideas, challenges and opportunities shaping the industry.

Designed for professionals at every stage of their career, the programme will offer practical insight for technicians, designers, engineers, production teams, freelancers, business owners, students and senior decision-makers.

Olympia’s next chapter elevates the visitor experience

As Olympia continues its major transformation, PLASA Show 2026 will take place at a particularly exciting moment for the historic London venue.

The redevelopment is set to bring improved facilities, new hospitality spaces and a more connected destination experience, helping visitors make even more of their time at the show.

For the entertainment technology community, PLASA Show remains not only a place to discover products, but a vital meeting point for collaboration, conversation and industry connection.

Celebrating innovation

The PLASA Awards for Innovation, run in association with LSi, will return to recognise the most forward-thinking products launched over the past 12 months.

Entries are now open, with an early bird deadline of 31st July 2026 and a final entry deadline of 21st August 2026. The awards are judged by an independent panel of industry experts, recognising genuine innovation in entertainment technology.

All nominated products will be displayed in the Innovation Gallery, giving visitors the chance to explore the technologies, tools and ideas pushing the industry forward. Winners will be announced during a special presentation at the show.

A vital gathering for entertainment technology

Sophie Atkinson, Head of Events at PLASA, comments:

“PLASA Show is where the entertainment technology industry comes together, to discover new products, share knowledge, strengthen relationships and celebrate the people behind live events and production.

With Robe returning as headline sponsor, a strong exhibitor line-up already confirmed, and Olympia entering an exciting new phase of redevelopment, 2026 is shaping up to be a standout year for the show.”

Register for free

PLASA Show 2026 takes place at Olympia, London from 6th – 8th September 2026.

Registration is free for a limited time. From 1st – 5th September, visitor registration will cost £15 + VAT, with on-the-door registration priced at £20 + VAT from 6th – 8th September.

To make planning a visit even easier for international attendees, the PLASA Show website is now available in Dutch, German and Swedish, alongside English.

Find out more and register for your free badge: www.plasashow.com

The post PLASA Show 2026 opens registration as the industry prepares to return to Olympia appeared first on A1 Lighting Magazine.

Luminaires from the EDITIONS series by Zumtobel have been recognised at the recent prestigious design awards: The compact TALUNA table lamp won the “Red Dot: Best of the Best” Award 2026 in the “Lighting and Luminaires” category. Only the best products in each category receive this quality seal. In the same category, the SKENA free-standing luminaire was awarded the Red Dot Award 2026. At the Austrian State Prize for Design 2026, on the other hand, the SOLENA glass tube luminaire was one of three nominated favorites in the running; SKENA received one of 14 special recognitions. With THE EDITIONS, Zumtobel offers a curated series of lighting solutions that are developed in collaboration with international architecture and design firms and lighting planners for exclusive architectural projects and set particularly high standards of design and functionality.

The TALUNA table luminaire impressed the jury of the Red Dot Design Award with its minimalist, forward-looking design, reliability and sustainability. At TALUNA, the design, construction, and number of components used are reduced to the absolute essentials. Timeless elegance, replaceable LED illuminant, recyclable materials such as sheet steel, and high manufacturing quality ensure the luminaire’s durability and substance. The housing made of bent sheet steel emphasises the minimalist style. The joints of the light housing are not welded. This reduces power consumption during production. Available soon in ten subtle pastel shades, TALUNA blends harmoniously into any room and makes a strong statement.

With the SKENA free-standing luminaire, another product from THE EDITIONS collection has received the Red Dot Design Award. SKENA is the result of a collaboration with the Hamburg-based office BAID Architektur and a customised answer to the requirements of modern working environments. The luminaire is perfect for open work zones or even double workstations. With the help of integrated sensors, it permanently adapts the light to the daylight and the presence of people in the room. With the optionally available swarm function, several luminaires can also be connected to form a so-called light cloud in order to create optimal workplace lighting as well as a pleasant atmosphere.

SOLENA made it into the top three products in the “Capital Goods” category at the Austrian State Award for Design 2026 and was thus nominated for the winner’s podium. The suspended luminaire was developed together with the architectural firm Herzog & de Meuron and the lighting designer Reflexion AG for the sustainable office building HORTUS. The luminaire combines design, function and aesthetics with a distinctive signature and radical simplicity. The result is high-precision light, efficient illumination and a fine shimmer of light that accentuates structures and gives the room atmospheric depth. SOLENA combines sustainability and design quality in one luminaire: designed to be modular, maintenance-friendly and recyclable, it impresses with maximum efficiency and visual excellence. In 2025, SOLENA was honored with the “Red Dot: ‘Best of the Best’” design prize for its outstanding product design.

“THE EDITIONS embodies our aspiration to rethink light, developed for exclusive projects in forward-looking design. We bring enthusiasts together and empower creative minds to realize visionary ideas, push boundaries and inspire others,” said Matthias Menke, Vice President Atelier at Light Zumtobel.

Photo credit: Isabel Bechter.

The post Luminaires from THE EDITIONS series awarded the Red Dot: Best of the Best Award 2026 and nominated for the Austrian State Prize for Design 2026 appeared first on A1 Lighting Magazine.

Dave Cooper succeeds Vince Arnold, bringing more than four decades of experience in the lift and escalator industry. Dave brings exceptional technical expertise, leadership and a strong commitment to the engineering profession. Throughout his distinguished career, he has built a reputation as an engineer, educator, author and advocate for safety, making a significant contribution to both the industry and CIBSE.

A longstanding and highly respected member of the Institution, Dave has played a pivotal role in the development of multiple editions of CIBSE Guide D: Transportation Systems in Buildings, one of the industry’s most influential technical publications. His contributions to engineering and professional practice have been recognised through the award of a CIBSE Silver Medal and an MBE.

Alongside his new role as 2026-2027 CIBSE President, Dave continues to hold a wide range of positions across industry, academia and charitable organisations. He has been a Professor at the University of Northampton, where he was involved with the MSc in Lift Engineering programme, and is currently serving as a Visiting Professor at the University of East London. He also sits on the executive committee and membership panel of the Society of Vertical Transportation, chairs The Institute of Healthcare Engineering and Estate Management Lift Panel for Authorising Engineers, serves as Middle Warden of the Worshipful Company of Engineers and chairs both The Rumford Club and the Trustee Boards of the Lift Industry Charity and the Lift Symposium Educational Trust.

His extensive involvement across standards, education and professional bodies includes membership of the British Standards committees for lifts, escalators and cableways, and participation in Safety Assessment Federation technical committees.

In his Presidential Address, Dave outlined his theme for the year, Future-proofing through resilience, highlighting the critical role engineers play in creating buildings and infrastructure that remain resilient, efficient and adaptable for generations to come.

Addressing members and guests at the AGM, Dave emphasised that engineering must extend beyond addressing immediate challenges and focus on anticipating future needs. His message was clear: “Future-proofing isn’t optional, it’s essential.”

Commenting on his appointment as 2026-2027 CIBSE President, Dave said:”It is a tremendous honour to serve as President of CIBSE for 2026-2027. Throughout my career I have been passionate about advancing engineering excellence, sharing knowledge and supporting the next generation of professionals. As our industry continues to evolve, we must ensure that the buildings and systems we design today remain resilient, adaptable and fit for the future. I look forward to working with CIBSE members across the world to help drive that ambition forward.”

You can read Dave’s Presidential Address HERE.

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