Steve Gardner, Managing Director of Ecolightinguk discusses how reduced energy consumption has to be the starting point for any realistic energy efficiency policy

Despite great strides taken in recent years to run businesses in a more environmentally-friendly way, companies are still failing to cut their energy consumption and it’s costing their shareholders and the planet dearly.

Organisations across all industry sectors believe they are playing their part by adding solar panels to their buildings, putting up wind turbines in car parks and planting flowers on roundabouts, but a plan to reduce energy consumption has to be the starting point for any realistic energy efficiency policy. 

Nothing burns more energy within a building than lighting. In fact, it is estimated that in a warehouse or distribution centre lighting accounts for around 70 per cent of the annual energy spend.

But by replacing old and inefficient sodium light fittings with ultra-efficient, modern LED luminaires, these costs and the CO2 emissions that go with them can be cut dramatically.

EcolightingUK has improved the lighting at hundreds of sites in its 48-year history, and regularly sees yearly lighting bills drop by around £5,000 (83 per cent) in 12 months. This also results in annual CO2 emissions being slashed from around 29,000 kg to 4,900 kg.

Introducing energy efficient lighting will reduce any company’s CO2 emissions and save an organisation a significant amount of money on energy, so companies wanting to get serious about their environmental credibility and operating costs simply have to review their lighting policy.

In April 2018, a new legal standard for minimum energy efficiency was brought in for rented commercial buildings. Previously, commercial buildings had an energy efficiency rating of A – G, with F and G as the worst performing. The new law introduced a minimum standard of E that means that buildings cannot be rented out unless they meet that standard.

Industrial buildings are exempt from the new standard and Ecolighting is calling for that to change.

There is currently no accepted means of measuring an industrial building’s energy efficiency. As a result, occupiers have no way of telling if the building is efficient, inefficient or somewhere in between. So a system that gives industrial properties an energy efficiency rating would be hugely beneficial to both existing occupiers and those looking to rent or lease a new unit.

Installing a low-energy LED bulb may seem like a trivial contribution to cutting the carbon emissions that are overheating the planet, but if millions choose LED lighting this will lead to a small but significant dent in the UK’s energy demand.

Lighting accounts for nearly 6% of global CO2 emissions, so a global switch to energy efficient light emitting diode (LED) technology could save over 1,400 million tons of CO2 and avoid the construction of 1,250 power stations.

Further information on energy saving LED lighting schemes is available from Ecolighting on 01455 552511, by emailing enquiries@ecolightinguk.com or by visiting the company’s website at www.ecolightinguk.com

ABOVE: CF 06 by Ryan Worthington

Technical production specialist Adlib supplied lighting for two arenas at Creamfields 2019 – one of the best-known and most popular dance extravaganzas worldwide – and audio to four arenas, plus lighting and sound for the hospitality zone.

Adlib was delighted – as always – to be involved with Cream, a brand that has defined the energy and vibrance of Liverpool’s dance scene since emerging in the 1990s.

Now world-famous, Creamfields attracts 70,000 dance fans each day for three days with a star-studded DJ line-up representing the diversity of dance culture and sounds and some of the best production values on the planet!

Merseyside-based Adlib worked directly for creative production specialist LarMac LIVE and their team led by Ian Greenway.

The audio team proposed a creative ‘end-fire’ sub-bass system design as a solution to keep the extensive low-end content well-contained and to within the boundaries of each respective stage.

Lighting

The logistics and planning of the lighting side of this highly detailed project were coordinated and project managed by Adlib’s Jordan Willis. The designs for arenas CF07 and CF09, for which Adlib supplied the full lighting packages, were created by Ian Tomlinson from High Scream.

Ian worked for Adlib for many years and has designed for some of the highest-profile dance and electronic artists including the Swedish House Mafia and Axwell & Ingrosso.

CF05

A curved layered structure clad with LED video panels set the aesthetic tone, making a complete curve but with some strategic gaps left in between the LED where lighting could be secured to the scaffolding superstructure.

Adlib added 20 x Martin MAC Aura XB LED wash moving lights, 20 x Claypaky Axcor Beam 300s, 60 x Chauvet COLORdash PARS and 12 x CP Stormy LED strobes for blasts and accents. All of these were attached to the structure to keep the stage completely clean and clear.

Control was a grandMA light and Adlib’s techs were Dave Smith and Ash Dawson, also both operating, supported by technician Peter Lea.

CF07

This lighting design was based around a combination of flown elements and a substantial ground support over the stage, installed by Prism.

Four raked finger trusses provided ‘roof cover’ for lighting above the stage and DJ booth, lower at the back and higher at the front. These were rigged with 24 x Claypaky Mythos moving lights, 20 x Ayrton MagicBlades and four Martin MAC Viper profiles for key lighting.

The rest of the main stage / audience lighting positions were created with eight angled tower trusses – four on each of the stage wings – each loaded with 10 x MAC Aura XBs and 5 x JDC1 LED strobes – totalling 80 and 40 each of these fixtures respectively.

The angled wings and raked over-stage trusses created a great sense of depth and an interesting perspective, adding to some amazing atmosphere, dynamics and superlative music.

On the stage five MAC Quantum Wash moving lights dramatically back lit the DJs.

Control was a grandMA3 full size running with a grandMA light for backup, and this area was operated and coordinated on the ground for Adlib by Tom Webber and Paul Abdullah.

Hospitality

For lighting, this area was a bit of a brain-teaser!

The tented architecture was created using three conjoined saddlespan stages, from which the Adlib team flew an 8-metre diameter circular truss to provide all the key lighting positions.

On this were 12 x Chauvet NXT-1 LED matrix moving lights, combined with twelve frosted colour-changing Showtec LED cubes hung on catenaries mimicking the room’s décor and furniture design.

These were joined onstage by 16 x CP Axcor Spot 300s and 20 x Chauvet COLORdash PARs deployed on four vertical trussing towers on the stage deck.

Twenty-four CORE ColourPoint CP20s battery-powered wireless LEDS uplighters were dotted around the Saddlespan ceilings and ensconced in the trees for ambient lighting.

The exterior buffet / eating area was lit with a collection of different coloured 400W HQI floods scattered around.

All the hospitality lighting was controlled via an Avolites Tiger Touch II console operated by Oli Gorman and Harry Holme.

Audio

Adlib’s audio project manager was Jay Petch, and their crew chief was Billy Bryson who was also responsible for the system designs and implementation of the end-fire setup.

This was suggested during pre-festival discussions as an effective and imaginative way to control the omnipresent low frequency ambience through smart sub deployment, giving the sound engineers greater control over dispersion patterns.

Each of the arena sub arrays was customised for its particular room and the specific sonic characteristics. All the related stage designs allowed enough space for the philosophy to be effective, so pit barriers, stage heights and depths, etc., were all adjusted to accommodate the sub array set ups.

For audio, the arenas serviced were CF05 (Pepsi Max), CF06 (Sexy by Nature), CF07 (Axtone), CF09 (The Silo) plus hospitality.

CF05

AKA The Pepsi MAX Arena, this large tent featured the sounds of Paul van Dyk, Sander van Dorn, Will Atkinson and many more, which were enjoyed by music fans through a CODA sound system, comprising six AiRAY boxes per side, each of these stacked on top of four SC2 subs.

On the ground along the front of the stage were another 12 x SCP subs arrayed in six stacks of two in the ‘end-fire’ configuration to help keep as much bottom end on the site and minimise spillage.

FOH & monitor control for CF05 was a DiGiCo SD11, and Adlib’s crew were James Claridge and Matt Gadsby.

CF06

Ensuring the Adlib sound was perfect in this arena was Hassane Es Siahi at FOH and Steven Selby on monitors.

The large tented space offered flying facilities and the chosen PA chosen was an L-Acoustics K2, with 12 x K2 elements for the main left-and-right hangs working in conjunction with two flown delay arrays further down the tent with four K2s in each.

The delays provided more efficient coverage across the large space and assisted with the level control, so that the main system didn’t have to be driven so hard.

On the ground, 20 x L-Acoustics KS28 subs were rigged in 10 stacks of two in an end-fire array.

A selection of fills ensured the front edges of the barrier were properly covered with four ARCS per side, and four Karas did the front fill, plus six Kara each side as ground-stacked outfills.

The desk was a DiGiCo S21 running with a DiGiCo D2 stage rack, which sounded fantastic!

CF07

This 4-king-pole tent was ideal for a flown audio rig, which comprised 12 x CODA AiRAY a side each with two ViRAY down at the bottom of each hang. In this rig, Billy Bryson was able to fly two sub arrays each consisting of 8 x SC2s directly behind the main two PA hangs for greater low-end steering.

On the floor were 20 x SCP subs set up in 10 stacks of two, again in the specified end-fire configuration. Coda APS & ViRAY were deployed as infill and outfill.

The FOH console was a DiGiCo S21 fed by a D2 rack, and for monitors there was an A&H SQ-6 running via an A&H dLive DX32 Expander stage rack.

Several of Adlib’s own MP5 wedges were available for guest vocalists, powered by Linea Research 44M20 amps; which has proved a perfect combination. Sennheiser 5000 series radio microphones were also available for vocalists appearing throughout the event.

The audio team in here were Billy Bryson who looked after FOH (as well as his overall Adlib audio crew chief role) and Stu Watson doing monitors assisted by Aaron Rutherford.

ABOVE: CF07 by Geoffrey Hubble

CF09 Silo

Silo, which made its Creamfields debut in 2018, is a coliseum-style cylindrical chamber with a 30-metre dancefloor in the middle and towering viewing platforms – club style – on a second raised level.

Complete with a 360 degree ‘wall’ of sound, this was created to give festival-goers an ultimate 360-degree sensory experience, evoking the spirit of the ‘underground’ with a slick production presentation.

The DJ booth was also positioned on the first floor along with the audio and lighting control positions and four main speaker locations, so some lateral thinking was required for the sound design.

Four stacks of CODA ViRAY each with an SC2 sub at the bottom were chosen as the main arrays, all ‘ground stacked’ on the upper level. Four stacks of three SCP subs were carefully positioned on the lower level in pre-planned clearings in the scaffold structure.

To cover the gallery areas open to the public, CODA HOPS speakers were rigged on vertical mounting brackets.

This system was run via a Midas PRO2 console with a Midas DL251 stage box. A pair of Adlib MP5 wedges and a selection of Shure UR2 hand-held mics were on hand for guest vocalists.

The challenge in the Silo was in the PA stacks being so far apart and the upper levels being partially open to the public, all of which required more attention to detail with cabling and keeping it neat and out of reach.

James Brennan and Joe Meekums ensured everything ran smoothly each day.

The audio get in was staggered over three days.

The first and most complex stages loaded in on the Tuesday and were rigged first, with a second batch built on Wednesday & Thursday, followed by propagation tests. The public activities kicked off on the Thursday evening, primarily with silent discos, and the full live action started on the Friday.

CF10: Hospitality

The key design for this venue was to provide a sound system appropriate for the chilled vibes.

This included two ground stacks of four CODA AiRAYs left and right of the stage, stacked on top of three SC2 subs per side, with Adlib MP5 wedges for monitors with an A&H SQ-5 for control, all overseen on site by Leon Worthington.

In a breakout area, two stacks of K-Array KR202 were stacked on Kobra 18’ subs, creating a very effective and discrete delay system to relay the DJ sounds from the main room to the catering areas of the tent.

The challenge – as always with Creamfields – was delivering high production values on a greenfield site in a relatively short timeframe … at the mercy of the weather!

While Jordan, Jay and many of their talented and knowledgeable crews have been involved with this event for several years, the expectations are consistently raised year on year by the event’s organisers to ensure that Creamfields offers the best sonic and visual festival experiences to all its fans.

Those lucky enough to attend the Opening Ceremony (OC) of the 2019 – and 54th – Karlovy Vary International Film Festival (KVIFF) were treated to a gravity-defying vertical dance performance featuring large-format projection and eight aerialists from Jednotka Rychlého Nasazení (Rapid Action Unit) who were creatively directed by brothers Michal Caban & Simon Caban, who are universally known – collectively – as ‘Cabani’.

To light this space-defining masterpiece of mind-stimulating choreography, they chose 24 x Robe MegaPointes, which were installed, together with custom trusses, motors and a bespoke people flying system into the Great Cinema Hall at the Thermal Hotel in the Czech spa city.

The MegaPointes were delivered by Prague-based rental / production company, AudioLight Service and operated by LD Ladislav Horak.

Cabani is an innovative boundary-challenging dance and physical theatre group founded by the brothers whilst they were at college 25 years ago. Since then, they have been thrilling audiences worldwide with their unique blend of adrenaline-fuelled acrobatics and imaginative expression, working on a diversity of theatre, film, video and multimedia projects.

This year was the 24th time that Cabani has designed and produced the Opening and Closing Ceremony shows for KVIFF. While they keep coming up with multiple fresh performance ideas and concepts, the pressure is always on as audience expectations are now super-high that something visually outstanding will be revealed.

This year’s OC event was no exception!

They decided to create the vertical – and suspended – dance piece after being inspired by the graphics artwork for this Festival event, and the show was given the working title “Black & White”.

It involved eight aerialists – who were trained in Tomas Pinter’s AirGym Art Company for the event. They were attached to eight specially adapted harnesses, each flown on a Cyberhoist motor.

The piece ran to a special soundtrack comprising eight different versions of the song ‘Sweet Dreams’ which Cabani remixed for the show.

Cabani also created and edited the projected video content that provided distinctive backgrounds and textured and shaped light for the performance in conjunction with Studio Najbrt and XLAB, and they consulted closely throughout the process with Ladislav Horak, who is their long-term lighting designer.

In addition to all the lighting, AudioLight Service – one of the Czech Republic’s premium technical suppliers – also delivered sound, rigging and video equipment. The special

projection screen flown upstage of the acrobats was supplied by décor company Stary & Stary.

All – the two Cabani’s and Ladislav – agreed that super accurate and very specific illumination was needed, and therefore chose 24 x MegaPointes for the task.

Cabani’s previous experience with vertical movement shows in the venue gave them additional confidence that the plan would work well, and they also knew from experience that every millimetre of the 14 metres of available headroom was needed and knew that the lighting for the performers would have to be very specific.

Each performer’s harness was attached to a Cyberhoist, with three MegaPointes assigned to each one.

Right from the initial sketches for the show they wanted three fixtures to surround each acrobat, always lighting the side and front, so the light needed to retain a tight collimated beam shape that looked so elegant and precise.

Most importantly, it was imperative that there was no light spillage onto the projection screen!

These desired tight beam angles tied in perfectly with what could be attained using the MegaPointe zoom feature, and these ultra-narrow angles were combined with the powerful concentration of luminosity emanating from the fixtures.

The lights were positioned on special trusses installed and tailored exactly to the Great Hall’s roof void which enabled them to be rigged right at the top of the ceiling, with 14 metres of airspace below!

Cabani have used Robe’s standard Pointes in the same space for previous shows they have produced there, but this time they felt the quality and extra punch of the MegaPointe was spot on for the desired effect!

In charge of designing the trusses and rigging needed to get the motors, acrobat harnesses, and MegaPointes and motors in the right place was Petr Znamenacek from AudioLight.

LD Ladislav Horak has been involved with lighting different elements of KVIFF for some years as a freelancer, and he also works on music shows, tours and live events. He has been using Robe products regularly in his work for some time, especially recently.

He comments that the small size and light weight of the MegaPointes was also helpful in this situation, as the rigging detail was already very complex!

As a major part of the OC’s visual focus was on the automation and video projections, he used only the basic functions of the fixtures – dimmer, positioning, colour, zoom and focus – and ensured that the lighting looks were clean, dramatic and elegant while the projection-filled details and the movement added kinetic quirkiness and many surprises to the show.

Ladislav appreciated the MegaPointe’s “excellent” hot spot control and colour rendering and its relative quietness in this scenario. The main challenge with the tiny distance between the screen and the vertically moving artists was containing the lighting, and the shuttering on the fixtures enabled him to achieve that goal.

The lights created mood throughout the work and were also synchronised with the projection cues and looks.

He controlled the MegaPointes via a grandMA2 console.

The initial show programming took place at Audiolight’s studio facility where video operator Patrik Hlousek and motion control programmer Tomas Richter worked together with Cabani and Ladislav to perfect all the moves, looking at how they were lit and how this could be achieved safely, an intense part of the development process which took several days.

They also all worked hard putting everything in place and rehearsing for four days on-site.

Around 50 collaborators in total are working with Cabani to create this latest ground-breaking show. “Their positive attitude and trust enable us to realise technically and artistically ambitious shows like this in a really tight timeframe,” states Cabani. The longest-serving on the team include the multi-talented Vojtech Kopecky – cameraman, editor, video creator and consultant all in one; costume designer Simona Rybakova and production managers Jakub Svejda and Ilona Labutova.

Photos: CABANI

Philips TrustSight Gen3 has achieved the BSI Kitemark for Emergency LED Control Gear. It is an achievement which gives confidence to emergency lighting manufacturers as they can be sure the Philips TrustSight Gen3 portfolio complies with necessary standards. An accredited third-party was sought after to certify the portfolio to the Kitemark, as it is one of the most highly recognised symbols of quality and safety in the world.

The BSI Kitemark for Emergency LED Control Gear specifies particular safety requirements for battery supplied electronic control gear for maintained and non-maintained emergency lighting purposes. Additionally, Philips TrustSight Gen3 has a 70,000 hour life and comes with a five year warranty so lighting manufacturers can be sure that they are getting a reliable product. The driver is compatible with both NiMh and Lithium batteries which offers manufacturers more flexibility for design-in.

As with Philips Xitanium SR drivers, the new Philips TrustSight Gen3 DALI can be configured using SimpleSet which allows luminaire manufacturers to easily program drivers at any stage during the manufacturing process using near-field communication, without a connection to mains power, offering a range of settings. As a result they can meet orders faster, while reducing costs and inventory.

Peter Earle, Business Development Manager, Signify said of the achievement, “When developing the Philips TrustSight Gen3 portfolio safety, compliance and reliability were at the heart of what we wanted to achieve, ultimately to protect the end-users. The industry must recognise that these are life-critical safety systems.”

The portfolio was launched in January 2019 and is available globally, outside of North America. It came at a crucial time for the lighting industry because of the renewed focus on emergency lighting compliance, building regulations, standards and safety systems in buildings.

“We will continue to work with BSI to ensure that the importance of safety, compliance and reliability is continually communicated to the market,” Peter Earle continued.

Graham McKay, Global Head of Gas & Electrical Products at BSI said:

“We are delighted that Signify has achieved the Kitemark for Emergency LED Control Gear for its Philips TrustSight Gen3 portfolio. This is because we are committed to helping organizations differentiate their products to make them identifiable as being as safe and reliable as possible. Signify should be very proud of this result and we look forward to working with them again in the future.”

Entries are now closed for Surface Design Awards 2020, and with an impressive 107 entries spanning from 21 different countries it looks like this might be one of the most fiercely contested Surface Design Awards to date.

Above: Gymbox – Lightivity Lighting Design – Light and Interior

The awards have grown year on year to become one of the most respected accolades in the architectural and design world, celebrating the best and most impressive use of materials specified on architectural projects from around the globe.

The 2020 judging panel of industry experts is co-chaired by Paul Priestman, designer, co-founder and chairman of global design consultancy PriestmanGoode, and Amin Taha, chairman of Groupwork and director of Amin Taha Architects. The remaining judges are Nikki Barton, head of digital design at British Airways; Sean Griffiths, an artist, architect and academic practicing at Modern Architect; Charles Holland, principal at Charles Holland Architects; Glenn Johnson, director of design at the Advanced Design Group of Collins Aerospace; Daniel Mota Veiga, global head of product design for KEF / GP Acoustics; and Steve Webb, co-founder of Webb Yates Engineers.

The awards take place during Surface Design Show 2020, the industry’s leading event for architects and designers, celebrating the best and most impressive use of materials in, and on, architectural projects from around the globe.

Launched eight years ago the awards have become truly international with entries spanning 21 different countries including India, Australia, China and the USA.

Steven Holl Architects who became the 2019 Surface Design Awards Supreme Winner with their design of Maggies St Barts, have entered THE REACH at the John F Kennedy Center for Performing Arts into the Light and Surface Category.

Above: Maggie’s St Barts – Steven Holl Architects – Supreme Winner & Public Building Exterior

Returning winners who have also entered this year’s awards include Maria Ana Vasco Costa from Portugal; Giles Miller Studios from the UK; Kris Lin International Design from China and Michael Grubb Studios from the UK.

Multiple entries this year have come from the distinguished industry names such as Ben Adams Architects; STAC Architecture; Wilkinson Eyre and AECOM.

Two new categories have been added for the 2020 Awards; Affordable Housing and Public Realm – reflecting the growing importance they both have on architecture and design.

The remaining categories are Commercial Building (Interior and Exterior), Light + Surface (Interior and Exterior), Housing (Interior and Exterior), Public Building (Interior and Exterior), Retail Building (Interior and Exterior), Sustainable Surfaces (Interior and Exterior) and Temporary Structures.

The winners will be announced at a breakfast reception on Thursday 13 February at the Business Design Centre, London.

www.surfacedesignshow.com/surface-design-awards

Scholarships awarded to 30 students for 20 winning projects in 2019 Vectorworks Design Scholarship

Global design and BIM software provider Vectorworks, Inc. continues to support the next generation of designers, naming Kristopher Clemson winner of the 2019 Richard Diehl Award, the grand prize for the Vectorworks Design Scholarship. With over 1,600 submissions, scholarships were awarded to 20 student projects from the architecture, entertainment, landscape and interior design industries. Winners included both individual and group submissions.

The winning project, “The Octagon,” submitted by Clemson, a recent graduate of Full Sail University and founder of Bifröst Lighting LLC, focuses on lighting design, Vision and MA 3D renderings. Clemson used Vision alongside Vectorworks Spotlight to help with previsualization and implementing MA lighting on a PC.

“It is an incredible honor to receive this scholarship and to be the first entertainment winner of the Richard Diehl Award,” said Clemson. “As my first time applying to the Vectorworks Design Scholarship, I wasn’t sure what to expect. I struggled with the design process, but the usability, flexibility and overall presentation was achievable with Vectorworks software. I advise anyone looking to apply next year to suffer for your art and to ensure you have a well-balanced life of creativity surrounding yourself with creative mentors and friends.”

In addition to the Richard Diehl Award winner, we congratulate the regional scholarship winners selected by an international panel of design, academic and media professionals. Submissions were evaluated based on design integrity, originality, the effective use of computer technology and communication of design vision. Here are the winning projects:

• “Caretaker’s House” by Tom Hudson-Davies, Aarhus School of Architecture (Arkitektskolen Aarhus)
• “Collage City” by Alex Wong and Ningxin Huang, Columbia University
• “Cultura Gastronomy Centre” by Jeremy Shigemitsu, British Columbia Institute of Technology
• “Haus der Begegnung Halberstadt” by Julia Fehling, Technical University of Braunschweig (Technische Universität Braunschweig)
• “Listotektura” by Marina Georgieva, Birmingham City University
• “Microcosmes: Sublimation Des Paysages Inconscients” by Pauline Soulenq, Charlotte Batifoulier, Matthieu Faria and Elisabeth Sala, National School of Architecture of Clermont-Ferrand (Ecole Nationale Supérieure d’Architecture de Clermont-Ferrand)
• “PROTOCELL_00” by Monika Kalinowska and Denys Karandiuk, University of Applied Arts Vienna (Universität für angewandte Kunst Wien)
• “Wasserschloss” by Geraldine Recker and Saida Brückner, Swiss Federal Institute of Technology Zurich (Eidgenössische Technische Hochschule Zürich)
•  “Wooden Crown” by Mickael Minghetti and Karol Wojtas, Delft University of Technology (Technische Universiteit Delft)

• “Indoor Community Park: De Potterij” by Robin van Vemde, Thomas More Mechelen
• “Pawilon Plansza” by Weronika Kempińska and Marta Kluba, Academy of Fine Arts Władysław Strzemiński in Łódź (Akademia Sztuk Pięknych im. Władysława Strzemińskiego w Łodzi)
• “Raum für Abschied” by Claudia Hynek, Darmstadt College (Hochschule Darmstadt) 

• “Amphibian Orinoquia” by Ekaterina Trosman and Christian Cueva, University of Pennsylvania
• “Dreiklang Landschaft” by Jonathan Sironi and Marie-Luise Tschirner, Technical University Dresden (Technische Universität Dresden)
• “IMBROS: Marine Experience and Gastro Tourism” by Zeynep Gulsah Aygun, Istanbul Technical University (İstanbul Teknik Üniversitesi)
• “Kalmthout Centraal: Trap de Heide in Gang!” by Brent van den Bossche, University of Antwerp (Universiteit Antwerpen)
• “Les Toits d’Ardoines” by Zacharie Malan, University of Lorraine (Université de Lorraine)
• “Rewitalizacja Obszaru Przed Dworcem Nadoddrze We Wrocławiu” by Kinga Sadowska, University of Life Sciences in Wroclaw (Uniwersytet Przyrodniczy we Wrocławiu)

• “Pyura: The 333 Tour” by Mauro Pujia, Polytechnic University of Madrid (Universidad Politécnica de Madrid)

“We congratulate all winners of this year’s Vectorworks Design Scholarship, and we hope these scholarships play a fundamental role in their education,” said Vectorworks Marketing Programs Director Alice Lowy. “Each year, we receive more submissions and are always impressed with the quality of work the next generation of designers come up with.”

In addition to the monetary awards, winners received free Vectorworks educational software licenses for their schools and complimentary training for faculty and students.

Visit the Vectorworks Design Scholarship web gallery to view the winning designs and runner-up projects. Interested students may sign up for notifications regarding future scholarship awards.

An eclectic, forward thinking crowd of 34,327 construction professionals attended UK Construction Week on 8-10 October. There was a particular swell in visitors keen to learn about future technologies and how they could be applied to their businesses.

The future of construction and how it is driving change was a major focus at this year’s event and it was clearly a driver to bring the crowds to the show at the NEC in Birmingham.

Kevin Reeves, director of IoT & digital twin at Costain, said:

“Being my first time at UK Construction Week, I was blown away by the scale and diversity of the event, it was very impressive.”

Mark Ireland, chief engineer of technology strategy at the Manufacturing Technology Centre commented:

“It was a busy few days and there were a great mix of attendees, from new industry entrants to managing directors and chief executives. It was really engaging to meet with the next generation and to meet people who aren’t already entrenched in traditional attitudes around construction.”

Feedback from a new business perspective was also extremely positive. Brendan Hourican, national sales and marketing manager at CircofloPro said:

“It was an incredible show. I came away with at least 60-70 excellent business leads. One project alone will pay for the cost of attending the show. It’s been so successful, if I’d known I’d have gone for a larger stand and brought more of our team along.”

Ade Feeney, divisional account manager at Tradepoint B&Q also commented on the levels of interest from younger attendees, saying:

“We’ve had some great conversations. It was a good show, very busy, and we spoke to a lot of young professionals who are the future of the industry. They were really engaged.”

Among the 300 speakers and 150 hours of content, major highlights last week included the first industry appearance for the Construction Minister, Nadhim Zahawi MP, and keynote speeches and debates featuring Lord Digby Jones, architect George Clarke, modern methods of construction (MMC) advocate Mark Farmer and diversity champion Angela Dapper, principal at Grimshaw Architects.

Mental health in the industry was also a major focal point at the show, making UK Construction Week the largest event in the sector to address these issues. UK Construction Week worked alongside Public Health England to launch Every Mind Matters to the construction industry.

Sam Park, head of marketing at Aliaxis, said:

“I was very impressed with the Every Mind Matters connection as I’m a mental health first aider at work. The focus on mental health at UK Construction Week was great. This is an audience which typically doesn’t like to talk, and they should. There was a lot happening on the stands and the support which is available. Hats off to UK Construction Week, from a mental health first aider perspective this really helps get the message out.”

UK Construction Week took innovation to a new level this year with its partnership with the Construction Innovation Hub (the Hub) and the new innovation zone. On a practical front there were a record number of product launches, showcases and demos providing something for all construction professionals regardless of trade. This was also the inaugural year for the co-launch of the very successful Concrete Expo.

Now in its second year, the UK Construction Week Role Model of the year award went to Anjali Pindoria, project surveyor at Avi Contracts. She is a passionate advocate for diversity and inclusion within construction.

Sustainability was a major push for the event with all exhibitors being encouraged to sign up to a ‘net zero’ agreement to boost awareness of the UK’s carbon-cutting goals and encouraged to follow tips to boost their own sustainability. The printed show guide was switched for an environmentally friendly app, and to help reduce single-use plastic, free water fountains were installed around the show and free reusable bottles given out.

Summarising a very successful show, Nathan Garnett, event director said:

“This year’s UK Construction Week for me was brimming with positivity. In a time of political and economic uncertainty, the UK’s largest showcase for the sector showed signs of transformation, as it adopts innovation at a faster pace than ever. The feeling all around was that we have a lot of work to do, come what may, so let’s get on with doing it in the safest, fastest and most efficient way possible by harnessing the potential of new technologies.

“UK Construction Week 2019 also tackled mental health in the sector head on with the support of the Every Mind Matters campaign, as we continue the role of improving mental health in construction for good. I was delighted how open the construction industry has now become on this subject and great conversations have started.

“Finally, to see the talent and diversity on stage for our UK Construction Awards, Fix Radio Awards and Role Model 2019 presentation shows how far we have come in the fifth edition of the event. Although there is a mountain still to climb, as an industry we should all be proud of that transformation.”

Looking to the future, UK Construction Week will be hosting a series of specialist summits in the New Year, including:

• Marketing in Construction Summit, 12 February 2020
• Belonging in Construction Summit, 13 February 2020
• Wellbeing in Construction Summit, 30 June 2020
• Quality in Construction Summit, 1 July 2020

To find out more visit summits.ukconstructionweek.com.

The dates for next year’s UK Construction Week are 6-8 October 2020.

This summer, Nashville’s legendary Grand Ole Opry unveiled a new daytime backstage tour based around the new, purpose-built Circle Room theatre. Hosted by Opry members Garth Brooks and Trisha Yearwood, a 14-minute long immersive media experience takes fans on a journey through nearly 100 years of Opry history, seen through the eyes of the musicians who played on the world-famous stage, and features archival footage and concert-like special effects.

The Circle Room serves as the centrepiece of a $12 million Opry House expansion and renovation project aimed at enhancing the guest experience. This innovative production marks the opening of the new backstage tour, which continues into the renovated Opry House Lobby, featuring a custom lighting element made with Gibson guitars and a special media presentation.

As the introduction for the new tour, The Circle Room experience is dominated by state-of-the-art LED concert and mood lighting from GLP, specified by a consortium of interactive creative, conceptual and lighting specialists, headed by design and production agency BRC Imagination Arts. Under the creative direction of Brad Shelton, Edward Hodge, and a team of designers, they conceived and designed the Opry Circle Room, which at night transforms into a VIP upgrade area for Opry show guests. It includes 340 lighting fixtures—many of them from GLP—as well as four projectors and five LED screens.

BRC, in turn, brought in Brian Gale and Manny Treeson of LA-based lighting design company, NYXdesign, while one of GLP’s dealers, Clearwing Systems Integration, handled the installation, with all three companies having collaborated regularly in the past.

In total, GLP fixtures included 63 x X4 atom; 48 x impression FR1; 26 x X4 Bar 10; 26 x KNV Cube; 8 x KNV Arc. For the brand new KNV modules, this project represents their first high-profile fixed installation.

While Gale was already familiar with GLP’s X4 atoms, FR1’s and X4 Bars, the KNV’s were new to him and resulted in having the fixtures variously mounted on overhead lighting battens, walls, and scenic elements.

“For the Circle Room we deployed a very complex array of lighting equipment in order to enhance the AV experience,” Brian Gale explained. “Basically it was a mini concert lighting rig, and we used the atoms as house lights and curtain washes overhead. The KNV’s served as the centre stage backdrop and the FR1’s and X4 Bars as audience effects and blinders.”

Mounted on the upstage wall, the X4 Bars highlight curtains and provide effects, while the KNV fixtures operate in 202-channel mode to provide a variety of mapped effects.

A matrix of FR1’s, above the audience, provide a versatile, colour changing house light which gives the room additional flexibility.

By being synced to the track, the lighting rig was used to amplify the music as well as serving as a transition element in conjunction with the video. Josh Selander, a regular NYX/BRC collaborator, handled the programming.

“The most attractive part of the GLP inventory in this application was being able to deliver concert-style lighting effects in a compact form,” said Gale. “The Circle Room is relatively small but the GLP rig makes it feel like the mainstage of the Opry or any other large stage venue. Basically they gave us lots of looks in a confined space.”

Thanks to the judicious deployment of the GLP fixtures, Gale and Treeson doubled the guest ‘experience’, changing between a concert-style lighting rig and something more ambient and decorative, as Gale explained. “When the guests enter the space, it appears as an intimate VIP lounge with wall art, chandeliers and a bar. The guests sit in couches and leather chairs and feel very much like they are experiencing the Opry backstage VIP Green Room. But when the show starts and the house lights start to change colour to the music, the curtain at the end of the room turns into a projection surface and the space transforms into a full-on concert venue.”

Asked whether the GLP fixtures delivered the impact and power required, Gale’s unequivocal response was “absolutely”.

“With millions of fans and a rich legacy, The Grand Ole Opry serves as one of the most compelling musical institutions in America,” said Edward Hodge, Creative Technical Director at BRC. “From the very beginning of this project, we developed a team that understood exactly what types of technology would be needed to create a fully immersive experience from the artist perspective, and it all came together splendidly.”

For Clearwing, Kurt Schnabel led the design phase and Mike Jonas served as the project manager. According to Jonas, “At the end of the day, the show looks incredible, and the programmer and NYX were able to create some great looks with the various fixtures.”

“The talented members of all the teams involved, from lighting and music to stage design and film, were truly instrumental in the development of The Circle Room, incorporating a wide array of technologies to take the Opry’s audience through an amazing experience like no other,” explained Brad Shelton, Creative Director at BRC. “Our collaboration with the wonderful people at The Grand Ole Opry provided our team with the perfect elements to create a moving, emotional story that establishes even deeper bonds with their fans, taking them on a journey they’ll never forget.”

Elite Event Technology from Canberra – one of Australia’s leading rental and production companies – supplied lighting equipment and crew for the 2019 NAIDOC Awards which celebrated the history, culture and outstanding achievements – at community, national and international level – of Australian Aboriginal and Torres Strait Islander peoples.

This high-profile event featured a mix of live performance and awards presentations and was hosted by media personalities Sean Choolburra and Elaine Crombie at the National Convention Centre Canberra in front of a live audience of 1,200 and broadcast live on SBS’s NITV channel.

The lighting design by Tom Wright featured an all-Robe moving light rig with 12 x BMFL Spots 12 x BMFL WashBeams, 26 x LEDWash 300+’s, 12 x LED Wash600s and 14 x MMX Spots.

It was the first time that Elite had been a technical supplier, working for main event producers 33Creative and 38Ten who coordinated all the technical direction.

Elite’s managing director Darren Russell and his team took a very detailed brief from lighting designer Tom and technical director Peter Quinlan of 38Ten and constructed the lighting rig to their specifications.

Tom explained that they were looking to create a lot of warmth onstage with a big emphasis on theatrical side light. Stage depth was limited as video was squeezed into the space. Being able to shape the light was important and they also wanted a big look, so putting lights in all the gaps between the onstage LED screens at different heights both filled the void spaces and offered powerful looks.

One of the big challenges was ensuring that lighting worked for both live and broadcast contexts and treating the ‘camera as King’ meant balancing screens and front light to a constant colour temperature. Once that was achieved, other colours were chosen from a monitor screen.

“Several of the live the acts were quite low key, with lighting to match, so ensuring the appropriate light levels for both live audience and broadcast was important,” he commented.

The curved front stage had a small thrust emanating from the middle, and above this were two semi-circular rings of trussing created with straight pieces rigged in a curved shape, with another gentler V-shaped truss further upstage. Most of the BMFL Spots, BMFL WashBeams supported by the MMX Spots were positioned on these for good coverage of the stage.

The ones on the outer ring could also swing around and highlight the audience.

BMFL Wash Beams were chosen as an ideal fixture to balance the lighting levels for camera against the five columns of LED screen which were prominent onstage.

Tom comments that they were ideal for the role: “Shaping the beam was key to removing spill onto the screens and parts of the stage. It allowed performers to stand proud of the video screen and gave plenty of depth with lots of intensity to play with. Colour balancing the fixtures for cameras was also great … with lots of range.”

Tom operated lighting for the show using a grandMA2.

Elite’s CEO Darren Russell was delighted to be involved with the event for the first time and comments that it was a “great-looking show.”

Tom mentions that working with the Elite team as “A joy! This gig was quite complex for the space, and all challenges were met with a smile and a determination to deliver what was needed quickly and efficiently.”

Elite Event Technology has invested steadily in Robe moving lights over the last ten years and now has several hundred in rental stock. The most recent purchases have been more BMFL WashBeams and LEDWash 300+s.

Photo: courtesy Elite Event Technology