Located near the Palace Pier and along Madeira Drive, the Grade II listed columns have been carefully repaired, restored and returned to their original positions following decades of exposure to the harsh coastal environment.

CU Phosco has played a key role in the project, manufacturing new heritage-style lanterns designed to preserve the original architectural character of Brighton’s historic seafront lighting while delivering the performance, reliability and efficiency expected from modern lighting technology.

The project forms part of Brighton & Hove City Council’s wider programme to restore and protect important elements of the city’s seafront heritage.

Combining heritage with modern engineering 

Working alongside restoration specialists Cast Iron Welding Services (CIWS), CU Phosco developed bespoke lanterns using original designs and historically sympathetic detailing approved by Historic England.

While maintaining the appearance of the original lanterns, the new designs incorporate modern engineering and LED technology to improve durability, reduce maintenance requirements and enhance long-term performance in Brighton’s demanding marine environment.

Extensive testing, including salt spray assessments, was carried out during development to ensure the lanterns could withstand long-term coastal exposure.

The LED optical package was carefully specified to replicate the original colour temperature and night-time character of the historic seafront lighting while delivering the performance and longevity required for a modern coastal installation.

Supporting the restoration of an iconic seafront 

The reinstatement of the first columns represents the latest stage in a project CU Phosco has supported from the early design and public consultation phases.

In 2025, prototype lanterns manufactured by CU Phosco were displayed publicly at Brighton’s Jubilee Library, allowing residents and stakeholders to view the proposed designs before production began.

Now installed on the seafront, the finished lanterns once again form part of Brighton’s recognisable skyline, helping preserve the character and identity of one of the UK’s most well-known coastal destinations.

Councillor Birgit Miller, Cabinet member for Culture, Heritage and Tourism at Brighton & Hove City Council, said:

“It’s great to see this iconic lighting back in all its glory – the column feels brand new and the brackets and lanterns look absolutely stunning. The craftsmanship and expertise should be applauded.

“This is such an important project for restoring and renewing the heritage of our fabulous seafront. The columns, lanterns and brackets are part of the city. Whether silhouetted behind the setting sun or lighting up a darker evening, they’ll remain a feature of our skyline for years to come.”

Matt Murray, Sales Director at CU Phosco, added: “This project has been about far more than replacing lighting. It has been about respecting Brighton’s heritage while ensuring these historic features can continue to perform for decades to come.

Working alongside Brighton & Hove City Council, Historic England and the wider project team, we have been able to combine traditional design principles with modern lighting engineering to carefully recreate the character of the original lanterns while improving durability, efficiency and long-term performance for the seafront environment.

Seeing the first restored columns and lanterns back in position on the seafront is a fantastic milestone for everyone involved.”

Further restored columns are expected to be reinstalled along the seafront in the coming weeks as the pilot programme progresses.

The post Return of a seafront classic appeared first on A1 Lighting Magazine.

On Luz’s lighting rig were some core Robe products, including WTF! IP rated LED strobe-wash-blinder fixtures, Tarrantula wash beams and four RoboSpot systems running with 18 BMFL FollowSpots, all supplied by Christie Lites, co-ordinated via their UK office.

Luz Studio was brought on board to produce a completely fresh live performance environment for the band, which involved delivering a full visual package, including a stage set and some very striking video content. Embracing all the visual elements collectively ensured great optical harmony and balance, a creative treatment noticed and very much appreciated by fans.

A starting point for the stage aesthetic was a massive 110 ft wide by 40 ft high upstage LED screen, with a triangular-shaped double-layered set of risers in front, flanked by two diagonal staircases and two ground-level raked diagonal trusses per side.

The band made their entrance via the venue’s large stage lift, and the show started with them ascending to stage level and initially being framed by an automated ‘hero’ triangular-shaped truss that flew out during the first number, completing the last segment of a Union Jack-shaped truss facing the audience. This was a nod to their British roots, hailing from Sheffield in the late 1970s.

As the design started to evolve, creative director Matt Larivee knew early on that they wanted to use WTF!s and RoboSpots.

He had seen the WTF!s during a visit to the Robe factory in the Czech Republic at the end of 2025. “They looked fantastic, so I thought they would be ideal for this residency, especially to cut through the massive video wall. I really needed fixtures with plenty of power and options.”

The four floor-level angled trusses traversed the stage set at around eight ft heigh, two each side, and the 18 WTF!s were deployed on these trusses.

The set was a combination of Def Leppard classic anthems, moments and greatest hits from their nearly five decades of popularity and success, together with edgy new material, so Matt needed plenty of latitude and dynamics in the lighting to cover all eras of the music.

He loves the WTF!’s zoom feature, as well as the pan and strobing options, but it was actually the warm white LED zone of the fixture that was a dealmaker for him.

This was because he knew he could get that classic retro blinder look that would help define a range of classic ‘big rock’ looks – which, together with the associated video content, were juxtaposed so elegantly.

The 24 Tarrantula wash beams were split into two batches of 12. One set was positioned on the downstage truss, used for general band and mid-stage wash, and picked for its intensity and relatively directional beam, so he could contain the field-of-light without it spilling onto the diagonal-shaped set piece upstage of the band.

The other 12 were on the floor, either side of stage, washing across the band from a lower level, again using the contained beam path to avoid messy encroachment onto the side walls.

A total of 18 x BMFL FollowSpots were utilised, running on four RoboSpot systems, each following the four mobile band members with three BMFLs from the front, plus either one of two from the back. The operators were all positioned offstage. Matt would have ideally liked to use FORTES on the system, but he was happy to go with BMFLs. They are reliable and a known fixture that have graced many of his previous designs.

Apart from the enormous flexibility that RoboSpot brings to any performance area, Matt specifically likes this remote follow system because of its straightforward application and abundance of good operators.

The fluidity and consistency unlocked by being able to imagine lighting and video worlds together with the 3D set parameters simultaneously for a high-profile show like this was visibly present, and, as with any Vegas residency, production values were high and there were many expectations.

“We – us, the band, management – all wanted the show to have an arc, so songs and timings were carefully selected where we could build those moments, and create big, bold, memorable looks that were not overcomplicated, so they really spoke out to the audience,” noted Matt.

These reinforced the songs and narrative while providing an additional tempo, framework and drama for the show with lighting and video combined. Notables included a giant leopard, which looked about to pounce off the screen and onto the stage at any moment, but these kept rolling through the nearly two hours of rock-tastic energy.

Many of the video environments also included virtual lighting, diligently calculated to riff and contrast with the real lighting onstage, evoking an eye-catching synergy of optical trickery that also helped move everything along.

The Luz Studio team worked closely with Def Leppard’s longtime lighting director, Cole MacDonald, who flew out to Montreal and pre-vizzed with them, as well as being on-site at the Colosseum and running lighting for the shows.

Luz Studio’s Pierre-Luc Bedard led the lighting programming with Philippe Marquis and Cole MacDonald.

The new-look stage presentation was a huge hit with everyone, especially the fans.

Def Leppard is a band with almost a cult following and many fans from different generations catching multiple concerts during a touring or performance cycle. Impressions from numerous comments suggest that for them, this – the band’s third Vegas residency – was a next-level, “best ever” live show phenomenon!

Photo credit: Luz Studio.

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formalighting, in collaboration with Light Scene, proudly presents a striking residential loft in Milano, Italy – the eclectic URBAN JUNGLE LOFT home where lighting is conceived as both a functional necessity and a tool. The project reimagines a domestic environment as an art gallery, using layered illumination to establish visual hierarchy, enhance atmosphere, and celebrate the homeowner’s expansive art collection.

At the heart of the design is the idea of the home as a living gallery. In the open-plan space, lighting is used to provide both general brightness and subtle highlights. This means each piece of artwork can stand out, while the space still feels warm and comfortable to live in. The careful use of light and shadow adds depth and interest, without taking away from the ease of everyday living.

A key challenge of the project was integrating a new lighting scheme within an existing electrical infrastructure and highly decorative interior language. Light Scene navigated this complexity by working in harmony with pre-existing fixtures, adapting to spatial constraints, and ensuring that the lighting interventions complemented their surroundings. The result is a scheme that feels both intentional and seamless, enhancing the environment without overwhelming it.

formalighting’s solutions played a central role in achieving a balance between technical precision and artistic expression. Custom-designed luminaires were introduced to illuminate artworks with both accuracy and flexibility, including motorised fixtures that enable precise beam adjustment, even in spaces with significant ceiling heights. This adaptability ensures the system remains effective as areas are re-designed or artwork is repositioned over time. In key areas such as the kitchen, bespoke mounting arms were developed to resolve spatial constraints, transforming a technical requirement into a design feature that aligns with the home’s aesthetic identity.

Within URBAN JUNGLE LOFT, the lighting is designed to be seen and felt, shaping how the space is experienced. It picks out key details, adds depth through texture, and supports the balance between everyday living and a gallery-like setting.

The post Flexible lighting solutions for ‘URBAN JUNGLE LOFT’ appeared first on A1 Lighting Magazine.

Illuminating a community hub

The inspiration for this upgrade came directly from the track itself. Paul Whittaker, who was working for Thorn at the time and is an avid club rider and event organiser, together with Key Account Manager Craig Lensky, who rode with the club in the 1970s, approached Pendle Borough Council with a vision to modernise the Sports Hub’s lighting. The original lighting and electrical installations were carried out by a local contractor (within a 5-mile radius), who also fitted the new replacement luminaires for this upgrade. Working in close partnership with club members, council officers, and Thorn’s project team, new luminaires were manufactured in Thorn’s Spennymoor factory and a local wholesaler less than a mile away from the track, ensuring high quality and low carbon footprint.

A collaborative lighting solution

Faced with forty-one fixed column positions around the circuit, Thorn’s Isaro Pro LED lanterns were selected for their precision optics and robust construction. Each lantern contains 24 LEDs with specifically tuned drive currents and appropriate lenses, these were configured to provide even, glare-controlled light across the entire track surface while keeping spill to a minimum beyond the boundary. The 4000K colour temperature LED chipsets ensures excellent visual clarity for riders and coaches during early-morning training or late-evening sessions.

Overcoming project challenges

Addressing dark spots between the existing fixed-position columns required precise optical specification. Thorn engineers produced a Lighting Design solution and conducted multiple site visits to select the correct distribution and lumen levels to check uniformity and light levels throughout the loop. Protecting the nocturnal environment was equally critical: by eliminating upward light and minimising horizontal spill, the scheme safeguards the bats, owls, hedgehogs and rabbits that share Swinden Playing Fields.

Delivering benefits for riders and wildlife

Since commissioning, the LED upgrade has cut energy consumption by approximately 45 percent, freeing council funds for coaching and track improvements. The Isaro Pro’s uniform, low-glare illumination enhances rider confidence and safety, while precise beam control preserves dark corridors for wildlife. Maintenance demands have dropped dramatically thanks to the lanterns’ long life and accessible gear trays, keeping the circuit open and welcoming to all.

Tricia Wilson, Project Manager (Engineering & Cycling), Pendle Borough Council, said: “This wasn’t just a lighting upgrade; it was a community effort. Club members and Thorn staff all contributed. The result is a safer, greener facility that honours Steven Burke’s legacy.”

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Glenn assumes this position in ECA’s historic 125^th anniversary year, following a year serving as Senior Vice President.

Having worked in the electrical industry since 1980, Glenn has been an active member of ECA’s East Region for over 25 years. During this time, he has held positions as Bedfordshire & Hertfordshire Branch Chair and East Regional Chair. He is currently on his second 6-year term as an East Region Council Member.

Glenn began his career in electrical wholesaling before moving to Gent in 1984, a fire detection and suppression systems design and installation organisation. He later went on to manage UK operations at Cerberus (now part of Siemens) before starting and running Wagner, aspirating smoke detection and fire suppression specialist. In 2001, he left Wagner to establish and run his own fire and security business. Following the sale of that business in 2018, he joined Drax360, where he remains today.

Originally from East London and now living near Cambridge, during his career he has gained a Higher National Certificate (HNC) in Business Studies, completed the first year of an Ordinary National Certificate (ONC) in Electrical Engineering and has achieved Institution of Occupational Safety and Health (IOSH) qualifications.

Commenting on his appointment, Glenn said:

“I am honoured to take on the role of ECA President, particularly during this landmark anniversary year. Throughout this year I look forward to continuing to represent ECA as we support the advancements in our industry, driving electrification, tackling the skills shortage and creating a fairer business landscape.

“I am passionate about the people in our industry and a key priority for me this year will be developing the skills of the next generation of talent. Promoting ECA’s Growth Hub, an initiative I have been closely involved with in its development and delivery, will be central to this work.”

Andrew Eldred, Managing Director at ECA, said:

“Glenn’s longstanding involvement with ECA is a great preparation for his success as President over the next year. Glenn’s experience and commitment will prove a great asset as we continue our work to help ECA Members build strong businesses and a resilient industry, at a pivotal time.”

At today’s ECA Council meeting, Andy Prager, Managing Director of ECA South East Member business, Paine Manwaring based in Worthing has been appointed as Vice President of ECA.

Jeremy Parkin has been made Senior Vice President, and Ruth Devine MBE becomes Immediate Past President.

www.eca.co.uk

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Signify’s professional sports lighting solution, Philips ArenaVision Gen3.5, is approved by FIBA’s Equipment & Venue Centre, which supports venue owners to deliver high-quality, broadcast-ready basketball environments that meet FIBA’s technical standards.

Signify’s ArenaVision LED professional sports lighting systems and intelligent lighting controls are designed for elite indoor and outdoor sports environments, these solutions deliver exceptional light quality, uniformity and visual comfort, while meeting international broadcast standards. Integrated controls enable remote management, scheduling and operational efficiencies, helping venues host elite competition, enhance the live fan experience, and operate more sustainably.

“Basketball demands absolute precision from lighting. Visual comfort, uniformity and glare control are critical for both player performance and officiating, while ultra-high-definition broadcasting requires consistent light quality to capture the speed and intensity of the game. For spectators, lighting plays an increasingly important role in shaping the live arena experience,” says Niels Geven, International Director, Sports & Arenas at Signify.

“Joining FIBA Equipment & Venue Centre Approval Programme allows us to be part of their mission in raising the bar for basketball lighting globally, delivering consistent, world-class performance under the fastest and most intense conditions. Aligned with FIBA’s forward-thinking approach, we’re combining light quality, energy efficiency and intelligent controls to help venues meet elite performance demands while supporting sustainability, innovation and global broadcast ambitions.

Bart Prinssen, Head of Equipment & Venue Centre, said: “We are pleased to welcome Signify to the FIBA Equipment & Venue Centre Approval Programme in the lighting category. Their expertise aligns well with our commitment to ensuring high-quality, consistent lighting conditions in the arenas that support player performance, officiating and broadcast across our competitions. FIBA Equipment & Venue Centre defines key performance parameters, including illuminance, colour temperature, colour rendering and flicker factor, ensuring optimal lighting conditions across the playing field”.

Signify’s sports lighting is already used in basketball venues including Roig Arena in Valencia, Gran Canaria Arena in Las Palmas, and the Barclay Arena in Hamburg reflecting how advanced lighting both supports elite competition and enhances the experience for players, broadcasters and fans.

Receiving the FIBA Equipment & Venue Centre approval builds Signify’s growing momentum in global sport, reinforcing its leadership in elite sports lighting.

The post Signify’s lighting solution, ArenaVision Gen 3.5 approved by International Basketball Federation (FIBA) Equipment & Venue Centre appeared first on A1 Lighting Magazine.

Peter Heath is stepping away from his role as managing director of the Professional Lighting and Sound Association (PLASA) to enjoy a well-earned retirement. He will remain in the position while a replacement is found and intends to continue to represent the Association through the #WeMakeEvents campaign and in a consultancy capacity post-retirement.

Since joining in 2016, Peter has helped transform PLASA’s industry perception – making it more approachable and collaborative while strengthening its financial position, supported by staff, the managing governing body (MGB), and the executive team.

Over the past decade at MD, Peter has overseen a number of significant developments for the Association, including the successful relocation of the PLASA Show from Excel London to Olympia. He also guided the organisation through the challenges of the COVID-19 pandemic, during which he played an active role in championing the industry and supporting the #WeMakeEvents campaign.

Alongside his work with PLASA, Peter has contributed to the wider industry as a trustee of Backup Tech and is a regular participant in events such as BikeFest, activities he plans to continue.

In a career that spans over 35 years, prior to his time with PLASA, Peter was a well-known senior figure at Roland Corporation, where he ultimately became head of pro AV for Europe.

Reflecting on his time at PLASA, Peter comments: “Heading up PLASA has been a real privilege and a challenge. On the outside PLASA seems uncomplicated, however in reality it’s a very diverse business covering many areas within the industry and requiring a really strong team to make it work. The current PLASA team does that in spades. I’ve always focused on working together and expanding our reach and collaborative efforts – this is needed now more than ever if we are to achieve adequate understanding and recognition from governments.

I recognise that all journeys must end and mine is no exception. I’ve really enjoyed learning and shaping the business. Our members are absolutely core to everything PLASA does and they are an amazing diverse group that make all the effort absolutely worthwhile.”

Matt Lloyd, Chair of the PLASA board, adds: “I would like to take this opportunity to thank Peter for his energy, dedication and humility during his time as MD of PLASA. I was already on the board when Peter was appointed at what was a very tough time for PLASA – both from a reputation and financial standpoint; we really were against the ropes. It is fair to say that Peter embraced that challenge head-on, in the determined way that is so characteristic of him.”

He continues: “Around 2018, we joked about needing to wear hard hats when speaking to people in the industry in case they wanted to throw something at us! Peter has since developed and led the team to where we are today – the best financial health PLASA has ever been in, allowing us to do a record amount of work across the industry in supporting it. I hope Peter can look at what we have achieved and feel enormous pride in how he nurtured PLASA back to health, supported by an amazing team and board. We wish him all the very best in his next chapter, whatever that may bring.”

Peter concludes: “The bonds and relationships formed during my tenure will stay with me for the rest of my life and I look forward to staying connected where possible. Thank you to the staff, the executive board and the MGB, the members, other associations and all those who supported my efforts. It’s been a really great decade.”

Alongside consultancy and Backup Tech involvement, Peter plans to spend retirement “playing more music, playing more golf, and enjoying more time with family and grandchildren”.

The post PLASA’s Peter Heath announces retirement appeared first on A1 Lighting Magazine.

Glamox has received a prestigious Red Dot Design Award for its newly launched Luxo Align office light. In recognition of its high design quality, the stylish free-standing office light received the Red Dot Award 2026 in the Product Design category. This latest award is the second major design award for Luxo Align, following its Best Industrial Design award at the IDC.25 Awards last year in Norway.

Luxo Align is a family of free-standing and pendant luminaires designed to integrate into any modern office space. With a minimalist Scandinavian aesthetic and flexible configurations, the Align range allows you to personalise your lighting to suit any office layout.

“Winning the Red Dot Award for Luxo Align is a strong validation of our focus on high-quality design and continuous innovation,” said Astrid Simonsen Joos, Group CEO of Glamox. “We supply lighting solutions to commercial office buildings all over the world and we are seeing demand for products that are not only aesthetically pleasing but are also highly energy efficient, environmentally friendly, and durable.”

“At Glamox, the research and development of our lighting products are led by the needs of our customers. Through our range of quality lighting brands, we create comfortable, flexible and stimulating working environments. Our office lighting is also built with sustainability in mind, helping our customers to reduce their energy footprint, as well as costs.”

The collection features a slim, free-standing single-arm model suitable for 1-2 desks and a double-arm model for 2-4 desks. The Pendant variations use clean line design principles and seamlessly blend into any office environment.

Built to be highly energy-efficient and sustainable, the Align family is created using circular-economy design principles. All models are constructed using 75 percent recycled aluminium and are equipped with presence sensors and support daylight harvesting to reduce energy consumption when natural light is available.

The environmentally friendly LED luminaires provide an energy-efficient 144 lm/w, while an innovative reflector design provides comfortable light with good distribution, upwards (Ca. 70 percent or 80 percent) and downwards (Ca. 20 percent or 30 percent), eliminating the need for ceiling lights.

Smart technology is incorporated into both the free-standing and pendant designs. In the free-standing models, light output is easily adjustable via built-in controls on the pole or remotely through Bluetooth via an app. The pendant version uses an IR switch for individual light control. The luminaires are matte powder-coated and available in white, grey, or black. Users can personalise their light by dimming it and selecting the light temperature that’s best for them.

“When designing the Luxo Align, we wanted to create a lighting solution for the modern office environment that combines style with long-term usability,” said Hans Bleken Rud, Industrial Designer at Glamox. “The project builds on Luxo’s heritage in task lighting, where ergonomics and visual comfort are fundamental. By rethinking how one luminaire can serve multiple workstations while maintaining performance and simplicity, Luxo Align represents a more resource-efficient and human-friendly approach to office lighting. This is especially important given that the luminaire could last 40 years, while offices are normally refurbished every 10-15 years.”

The Red Dot Design Awards is one of the world’s largest design competitions. Glamox has received numerous Red Dot Design Awards in previous years. This year’s Red Dot award ceremony will take place on 7th July at the Red Dot Design Museum in Essen, Germany.

Image credit: Glamox.

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With months of training under their belts, the Charity’s runners each demonstrated remarkable resilience and endurance throughout the course. Most importantly, their shared commitment to making a difference pushed them across the finish line.

Darren House and Mark Lambert

A standout story from this year’s marathon came from Darren House (Grant & Stone) and Mark Lambert (AWEBB), who decided to fundraise together in celebration of AWEBB’s 50^th anniversary.

The duo, who had already made impressive strides toward their fundraising goal before race day, carried that momentum all the way to the finish line.

• Finish Time (Darren House): 5:20:30
• Finish Time (Mark Lambert): 4:35:29

By teaming up to fundraise, Darren and Mark showed us exactly what can be achieved when we unite with a shared purpose.

“The atmosphere in London was absolutely incredible,” says Mark, “We raised far more than expected thanks to the generosity from AWEBB’s members and suppliers.”

“I’d like to thank the EIC for allowing me to run for them,” he continues, “the Electrical industry has been my life since I was 16, so to be able to give back to the industry and run for the EIC even without a Charity place has been an absolute privilege.”

Mark would like to thank AWEBB and their suppliers and members for their generous donations, and his family who cheered him on from the sidelines.

David Grimes (Edmundson Electrical)

• Finish Time: 4:31:02

“The crowd was amazing”, says David.

David showed great determination throughout the race, pushing through thigh cramps from mile 17 onwards – but that didn’t stop him from getting to the finish line and contributing significantly to the team’s fundraising success.

Dean Wilsher (LEW)

• Finish Time: 3:41:05

Dean’s commitment and effort were evident from start to finish, rounding off an inspiring team performance.

Neil Crook (AWEBB)

• Finish Time: 4:58:51

“The London Marathon was one of the best things that has ever happened to me, although most definitely the hardest!” Says Neil, “Extremely emotional, but London restored my faith in humanity, and certainly helped me across the line,” he says.

“I know the benefit the EIC bring to the industry, and the hard work they do, so it was an honour to run and raise money for such a worthwhile cause!”

Neil says he wishes he could thank every single spectator who encouraged him on the day, making it possible for him to finish the marathon after his calf muscles cramped after mile 16.

Every mile counts

Together, the five runners raised an incredible total of £25,200 (and counting!) for the Electrical Industries Charity.

Every pound raised will go toward supporting individuals and families within the electrical and energy industries.

If you’d like to support the Electrical Industries Charity or take part in future fundraising events, please contact the Fundraising Team directly on +44 ((0)20 3696 1710 or email fundraising@electricalcharity.org.

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In the day, Arnot Hill Park is a celebration of history, art and nature. Curious art trails guide visitors through wood carvings and murals, and the prominent Grade II listed Arnot Hill House overlooks the park’s lake and relaxing ornamental gardens. With no entrance fee, the public park is there for the enjoyment of the local residents and hosts family-friendly events, including the annual Arnold Carnival and Gedling Play Day.

To improve safety in the park at night, William Sugg & Co. was commissioned to supply a total of 36 impressive 30-inch Westminster lanterns, replicating the style of the existing lanterns which were originally supplied by William Sugg & Co. over 20 years before, along with the George IV columns. These lanterns are strategically positioned throughout Arnot Hill Park to achieve comprehensive coverage. The installation encompasses the main entrance road that leads into the car park, all the principal walkway areas weaving through the park, and key locations around the central buildings, which include council offices and leisure facilities. This extensive placement ensures that both key routes and communal spaces are safely lit, creating a welcoming environment for all visitors after dark.

“We’re proud to support local communities in creating beautiful and safer public spaces that everyone can enjoy. Our team are incredibly dedicated to their craft and fostering local pride in the areas where our projects are located. Through our collaboration with the Community Safety Partnership, we were able to boost a cherished green space in the area,” comments Neil Stanton, Managing Director of William Sugg & Co.

The project brief required William Sugg & Co. to respect the park’s heritage whilst introducing the latest sustainable LED technology. In response, the company undertook the replacement of the existing William Sugg & Co. Lanterns and recycled the original copper lanterns, an approach that aligns with Gedling Borough’s commitment to sustainability and the circular economy.

The intervention aimed to improve lighting levels by 25 percent, and to achieve this, William Sugg & Co. provided every new copper lantern with modern LED gear trays. All lanterns were fitted with modern COB (Chip-on-Board) LED area lens technology. This advanced lighting solution allowed light to be lensed and projected in a controlled, circular pattern, focusing illumination downwards onto the park’s paths and open spaces. The result enhanced visibility for park visitors while minimising light pollution in the surrounding environment. The use of copper for the lanterns provides a durable, long-lasting finish that further supports local sustainability goals, ensuring that the lighting solutions will stand the test of time and weather conditions.

The full improvements implemented in Arnot Hill Park, including the installation of heritage-inspired, energy-efficient lighting, enhanced cycle store security and ongoing park maintenance, have delivered tangible benefits for both safety and community wellbeing. These targeted interventions have contributed to a remarkable 57% reduction in house burglaries and a 67 percent drop in vehicle crime in the surrounding area. This successful outcome demonstrates how investment in public realms can create real change for communities. Arnot Hill Park now stands as a strong illustration of how collaborative efforts between local authorities, specialist suppliers, and community partners can create safer, more accessible public spaces that also enhance character and consider the environment.

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