OESVs are specialised vessels that deliver logistics, transport, installation, maintenance, and operational support to offshore energy infrastructure – including offshore wind farms, oil and gas platforms, subsea installations, and power and communications cables.

“These vessels are built to exceptionally high specifications and are frequently required to perform in some of the harshest weather conditions at sea. That places strict demands on every component on board — including the lighting. The energy-efficient lighting complements the environmental benefits of these methanol-ready vessels, which also have generators capable of running on 100% biofuel,” said Bernt Omdal, CEO of Sea1 Offshore.

Glamox will supply approximately 2,000 marine LED lights per vessel. They include rugged exterior lighting, including watertight explosion-proof luminaires and floodlights. Interior lighting includes multipurpose luminaires for workshops, stores, holds, and passageways, recessed lighting for indoor crew areas, and downlights for crew quarters.

“Our marine-certified luminaires are highly energy efficient and have a long lifespan, supporting our customers’ ambition to cut emissions, reduce maintenance needs, and lower total operational costs,” said Astrid Simonsen Joos, Group CEO of Glamox. “This project represents another strong milestone for our marine business.”

Glamox will deliver the lighting for the first vessel to COSCO Shipping (Qidong) Offshore Co. Ltd in April. COSCO, which is Glamox’s customer, is building all four vessels and will install the lighting at its yard. The lighting for the next three vessels will be supplied every three months thereafter.

Sea1 Offshore’s OESVs are based on the ST-245 design. The first two vessels were ordered in November 2024, and a further two in March 2025. They measure 120 metres in length, with a cargo deck of 1,400 square meters, and each will be fitted with a 250-tonne deck crane, two remotely operated vehicle (ROV) hangars, and a moonpool. They can accommodate up to 120 personnel. All four vessels are scheduled for delivery during 2027 and the first half of 2028.

Image: Rendering of a Sea1 Offshore OESV. 

The post Glamox wins contract to light four Offshore Energy Support Vessels for Sea1 Offshore appeared first on A1 Lighting Magazine.

NG Bailey, one of the UK’s largest independent engineering and infrastructure services businesses, has marked a new chapter in its long-standing presence in Leeds by relocating to a modern headquarters at White Rose Office Park. The Grade A workspace brings together all operational businesses and support functions in to a single, amenity-rich environment designed to support collaboration, wellbeing and future growth.

Selected for its high-quality infrastructure, transport connectivity and extensive onsite amenities, the new headquarters reflects NG Bailey’s wider commitment to creating an exceptional working environment for colleagues while supporting long-term sustainability ambitions.

A brief shaped by workplace quality and architectural intent

Think Architecture led the workplace strategy for the CAT B fit-out, developing a layout that balances focused work areas with meeting rooms, breakout zones and social spaces. NG Bailey sought a lighting scheme that would complement the architectural language of the interior while delivering comfort, flexibility and clarity across a wide range of tasks.

KNG Building Services worked closely with the Zumtobel Group to develop a coordinated lighting approach. One of the key challenges was defining a coherent luminaire selection across both Thorn and Zumtobel, ensuring each space met its performance requirements while contributing to a consistent visual identity.

Through collaborative workshops and on-site sample demonstrations, the final specification was refined and agreed with NG Bailey, allowing lighting performance and aesthetic intent to be evaluated together.

Developing a coordinated lighting approach

Detailed reviews with NG Bailey allowed the Thorn and Zumtobel project team to refine the visual hierarchy of luminaires across the office. A considered mix of recessed, suspended and continuous-row solutions was developed to express the character of each space while maintaining low glare and consistent lighting quality.

The reception sets the tone for the workplace, combining Thorn Cetus downlights with Zumtobel SLOTLIGHT Round to create a clean, contemporary entrance experience. Discreet emergency coverage is provided by Zumtobel RESCLITE PRO.

Across the main office areas, Thorn IQ Beam delivers uniform, low-glare illumination suited to all-day screen-based work, supporting productivity and visual comfort.

Meeting rooms feature suspended black SLOTLIGHT luminaires alongside grey TRAMAO fittings with micro-reflector optics, providing controlled light for collaboration, presentations and video conferencing.

Breakout areas use layered lighting to define different zones and moods. Suspended and recessed SLOTLIGHT introduce rhythm and continuity, with selective colour temperature variation used to distinguish spaces. Black LINETIK adds visual contrast, while Novaline luminaires support circulation routes and informal seating areas.

Supporting different ways of working through light

Throughout the building, the lighting scheme balances functional performance with spatial definition. Low-glare optics support focused work, while architectural forms help distinguish collaborative, social and presentation spaces.

Emergency lighting is delivered using a combination of standalone Zumtobel RESCLITE PRO and Thorn Voyager Blade, ensuring compliant coverage throughout the building without visual clutter.

Controls play a quiet but essential role in the scheme. Presence and daylight dimming are implemented across office floors via a wired DALI system, reducing energy use while maintaining consistent light levels. Meeting rooms include scene-setting to support presentations, collaboration and video calls.

A collaborative process, a cohesive result

“From a Zumtobel Group perspective, this project was about bringing together the strengths of both Thorn and Zumtobel in a way that genuinely supported the client’s workplace vision,” says Martin Raper, Key Accounts Manager, Zumtobel Group. “By working closely with NG Bailey, KNG Building Services and the wider design team, we were able to develop a lighting scheme that feels cohesive across the building while still responding to the very different demands of each space.”

Carl Nielsen, Managing Director, KNG Building Services, adds, “The brief asked for operational performance and architectural identity in equal measure. The joint Thorn and Zumtobel solution delivers both, creating a workplace that is comfortable, visually coherent and aligned with how NG Bailey’s teams use the space day to day.”

The completed headquarters provides NG Bailey with an efficient, visually unified lighting solution that supports wellbeing, productivity and sustainability. The varied luminaire palette ensures each space is fit for purpose while reinforcing a clear, cohesive lighting identity across the new workplace.

Photography accreditation: Joss Guest 

The post A cohesive lighting scheme for NG Bailey appeared first on A1 Lighting Magazine.

This year’s production features a full lighting refresh that includes Elation’s PARAGON M LED profile moving head, supplied by 4Wall Entertainment. The fixtures play a central role in shaping the show’s visual language from subtle emotion to high-impact concert-style moments.

Visual storytelling

The modern-day passion play delivers an immersive retelling of the life and death of Jesus. Working alongside Creator & Founder John Bolin and Director Andrew Harmon, Fournier helped shape the look of a show that leans heavily on visual storytelling.

“Lighting plays a gigantic role in guiding the audience’s experience,” explains Harmon, who has been directing the show for the past 15 years. “Lighting tells the audience where to look and, in many ways, it becomes part of the dialogue. It says ‘this moment is important’ or ‘wow’ or ‘this is a sad moment.”

“Precision”

An Emmy Award nominee for his work on Fox’s The Masked Singer, Fournier brings a wealth of experience across broadcast, film, and live events. His connection to The Thorn dates back to 2010, having first joined as a lighting tech under early collaborator Robby Kurtz of 4Wall. Departing in 2012 to pursue his own career before returning to this year’s production, Fournier collaborated closely with Harmon and Bolin on the production.

Each year, The Thorn adopts a guiding principle to focus on, with ‘precision’ chosen for 2026. “Even before the tour started, we focused on precision with the crew,” Fournier explains. “When we brought in the PARAGON fixtures, they immediately meshed with that concept.”

Fournier, who serves as production manager, lighting designer, and lighting director on the tour, embraced that philosophy while refining a design he inherited from previous Thorn collaborators. Given creative freedom, he introduced new programming elements, sharpened the visual look, and added his own ‘tips and tricks.’

“It’s been a lot of fun,” he shares. “We kept the core of what makes The Thorn special but upgraded the rig to deliver sharper, more precise lighting throughout the show.”

A versatile rig for a dynamic show

Recommended by 4Wall’s VP of Business Development, Robby Kurtz, PARAGON has proved to be a versatile and reliable solution on the tour. “I’ve been thoroughly impressed,” says Fournier. “The framing shutters are incredibly accurate, the colors are rich, and the increased lumen level across the stage really shows. The precision on those fixtures has been great.” He adds that they haven’t had to touch the spares or even reset a fixture.

The lighting system includes 36 PARAGON M fixtures deployed across the rig. Ten are positioned on the front-of-house truss for key lighting, while the remainder are distributed across side-stage torms and overhead trusses. The majority—32 units—are integrated with a real-time performer tracking system. To cover the variation in the story, Fournier says he leans into the fixture’s full feature set.

“We’re using virtually everything the fixture offers for high-energy, concert-style looks to very quiet, emotional moments,” he explains. “One of the biggest comments we get when people first see the show is that they didn’t expect how varied and impactful it would be, and it’s what makes the experience so powerful. One minute it’s deeply theatrical, set-piece driven and dramatic, and the next it feels like a full-on rock ‘n’ roll show. It’s a full experience.”

Creating emotional impact

The ability to support storytelling through light is central to the production and PARAGON effects capabilities, from color floods to break-up textures to mid-air beams, all play a key role in maintaining visual interest throughout. Among the many visually striking scenes, one moment stands out for the designer and, undoubtedly, for many who see the show.

“It’s the starry night scene when Jesus is born,” Fournier says. “Dot gobos from the PARAGONs cut through the haze, and it feels like you’re really inside that moment. Using gobos and the animation wheel while tracking creates these beautiful, evolving shadows and textures as the focus moves around to the different zones. The beam spread across the room, and the clarity of the fixture really carries the emotion and underscores the importance of that moment.”

While The Thorn assumes that many audience members are familiar with its story, the production aims to create a deeper connection. “We assume that most people know the story of Jesus, but they might not have experienced it or felt it,” Harmon says. “We hope people leave the show with a different understanding of the story of Jesus and that they feel it more emotionally.”

Powered by partnership

4Wall provided the AV package for the tour, including the new lighting kit. Fournier credits the company for helping shape the system, and for its excellent on-the-road support. “4Wall has been incredible to work with,” he said. “The gear looks brand new out of the box, and Robby Kurtz and Gabe Thruston are great to work with. It’s a great team and makes a big difference when you have that level of partnership on a tour like this.”

Photo by Cora Wagoner.

The post PARAGON Precision powers the visual spectacle of “The Thorn” appeared first on A1 Lighting Magazine.

Located in Brattland, just outside Åre, the power line pole stands 32 metres high and is a pioneering combination of art and engineering. With the Åreskutan mountains in the background, it has become something of a landmark for those travelling from Östersund.

Stockholm Lighting Company delivered all the hardware, lights and controls at the first installation and for this upgrade. The pole’s lighting is managed by a single universe Pharos Designer LPC controller, an all-in-one control solution that is ideal for interactive and integrated lighting installations. As a rugged, compact unit, the Designer LPC offers complete reliability operating 24/7.

The LPC features individually controllable and independently running timelines and scenes, allowing the user to build dynamic, precise, fully customisable pre-programmed lighting effects with the freedom of real-time manual overrides and the versatility of powerful show control and integration features.

The intuitive system changes expression according to the season, showcasing different colours and lighting schemes to reflect the natural environment around it. The dynamic scenes also celebrate national days in Sweden, and the pole acts as a beacon for visitors to the area.

Lina Strömmer, Managing Director at Stockholm Lighting Company, said: “Many people who pass Brattland see the pole as a welcome signal lighting the way for them. The Designer LPC from Pharos has allowed us to create a fun and flexible system with customisable optics to future-proof the pole and continue to create a design that meets the client’s needs.”

Ryan Sainsbury, Regional Sales Manager for UK. Ireland, N. Europe and Benelux at Pharos Architectural Controls, added: “The dynamic lighting transforms the pole into a visual landmark for the community. By utilising our Designer LPC, this unique structure can provide not just efficient functional power but exciting artistic lighting and scenes that spark the imagination.”

Project credits
Lighting Controls: Pharos Architectural Controls.

Supply & Commissioning: Stockholm Lighting Company.

Lighting Design: Light Bureau.

Fixture Manufacturer: Lumenpulse.

Photography: Kai Piippo.

The post Pharos provides lighting control for Sweden’s first designed power line pole appeared first on A1 Lighting Magazine.

“Great lighting design begins with collaboration and thoughtful innovation,” said Thomas Wang, Head of Global Development at WAC Group. “WAC Architectural is founded on four core strengths: a New York–based headquarters, precision manufacturing at our state-of-the-art facility in Thailand, technology developed in close partnership with designers and built for project-driven applications, and a strong commitment to sustainable, long-term performance.”

The brand benefits from WAC Group’s end-to-end integrated manufacturing model, ensuring superior quality control, rapid customisation, and environmentally responsible production practices to meet the rigorous standards of modern commercial environments. WAC Architectural empowers designers to push creative and technical boundaries; it is built on a foundation of four advantages:

1. Owned from concept to completion: End-to-end control across design, engineering, and manufacturing ensures accountability, flexibility, and consistency at every stage of a project.

2. Responsibility, engineered at ccale: Zero-emission, carbon-neutral manufacturing demonstrates that performance, innovation, and environmental responsibility can advance together.
3. Precision: Rigorous testing, reliable logistics, and disciplined lead times deliver products that perform exactly as specified, exactly when needed.
4. Forged in the world’s most demanding market: New York City shaped WAC Group’s standards for precision and accountability, while manufacturing centered in Thailand enables consistent, scalable execution worldwide.

“Building upon WAC Group’s strong heritage, we’re excited to debut our newly launched commercial specification brand, WAC Architectural, at Light + Building 2026,” according to Keith Eagle, Vice President- Business Development at WAC Group. “The fair offers a global platform for us to connect with customers, partners and industry leaders and showcase WAC Group’s portfolio of precision-engineered luminaires designed specifically for project-driven applications.”

According to Jenifer Walsh, CMO for WAC Group, “For over 40 years, the WAC Group family of brands has been united by a single mission: to bring smart, sustainable, and beautiful light to every environment. From residential to large-scale architectural projects, we have built a reputation for innovation, quality, and design, and today, that legacy continues with the launch of WAC Architectural.  Taking ourselves on a listen-and-learn journey, WAC Architectural was developed with the specifier at the core of our product development.  The result is a commercial portfolio that empowers customers and partners to shape light with accuracy, consistency, and creative freedom.”

WAC Group offers comprehensive custom capabilities to support projects that require tailored lighting solutions beyond the standard catalogue. With in-house design, engineering, prototyping, and manufacturing, WAC collaborates directly with architects and lighting designers to adapt products, develop specialty luminaires, or create fully bespoke pieces.

Custom expertise includes Schonbek, a WAC Group brand, whose century-long legacy of handcrafted crystal and artistry enables one-of-a-kind decorative statements for luxury residential, hospitality, and commercial spaces. Together, WAC Group brands provide flexible, precise, and reliable custom solutions that bring distinctive design visions to life.

The post WAC Group launches WAC Architectural brand appeared first on A1 Lighting Magazine.

Located in the heart of London’s design community, the TRILUX Light Studio has been developed to support closer engagement with customers across the UK and beyond. The space reflects the company’s Light. Space. Dialogue. approach, combining inspiration, practical application and collaboration in one place.

A space for light, application and dialogue

The Light Studio brings together multiple functions within one environment, structured around a central ‘sphere of light’ feature. From this focal point, the space is organised into three key areas: a welcome zone, the inspiration stage and a collaboration space, each supporting a different aspect of the customer experience.

Visitors can experience lighting solutions in situ, explore different application scenarios, including office environments, and work alongside TRILUX teams on live projects.

In addition to installed solutions, the studio includes dedicated areas for hands-on collaboration, enabling customers to test ideas, review schemes and develop concepts in real time. The space is also designed to support workshops, events and knowledge-sharing through the TRILUX Akademie.

Supporting closer customer relationships

The opening of the London Light Studio reflects the growing importance of proximity and personal interaction in project development. By establishing a central London location, TRILUX aims to make it easier for customers to connect, collaborate and access expertise.

Based in Charterhouse Square, the studio provides a convenient and well-connected meeting point, supporting more efficient project discussions and long-term relationships.

A strategic hub for the UK and beyond

The London Light Studio forms part of TRILUX’s wider approach to creating spaces that connect customers, projects and expertise across markets, acting as a central hub for both UK-based activity and international collaboration.

Phil Cross, Managing Director, TRILUX UK, comments, “The London Light Studio reflects both our commitment to the UK market and London’s role as an international design hub. With excellent connectivity, including easy access from Heathrow, it provides a natural meeting point for customers and partners working across multiple markets.”

It was officially opened at a VIP event attended by customers and representatives from TRILUX headquarters.

Leighton James, Product & Marketing Director, TRILUX explains, “The Light Studio is about bringing our customers closer to TRILUX in a very practical way. We wanted to create a space where people can experience light, explore applications and have meaningful conversations around their projects.

Being in central London allows us to be more accessible and responsive, while giving our customers a place to meet, collaborate and develop ideas together. It’s not just about showcasing products; it’s about creating an environment that supports how projects are actually delivered today.”

The post TRILUX opens London Light Studio to strengthen customer collaboration appeared first on A1 Lighting Magazine.

As one of London’s leading dance studios, The Manor LDN has built a reputation for elevating training and performance opportunities for dancers of all levels. Their commitment to championing creativity and community has positioned them as a driving force in the capital’s dance culture, and this festival marks an ambitious extension of that mission.

Based in Finsbury Park, The Manor LDN offers a broad programme of classes led by industry‑leading choreographers and performers. Following the success of their first external event in September 2025, the team returned to Indigo at the O2 last week, coinciding with MOVE IT Dance, one of the world’s biggest dance festivals at ExCeL London.

The performance featured sixteen original works from choreographers connected to The Manor LDN, along with international guests. The festival provided dancers with the opportunity to perform on a large scale professional stage supported by full production values.

To shape the overall look and feel of the event, The Manor LDN turned to lighting designer and technical director Matt Ladkin. Having spent nearly twenty years working with Indigo at The O2 as a freelance engineer, Matt has a long‑established relationship with the venue and was recommended to The Manor LDN team as the ideal creative and technical lead. He approached WL to supply the lighting package, drawing on a working relationship that spans almost two decades.

Matt explains: “The reason I chose WL for this project is because they have great quality equipment, ideally suited to the project, at the right price point, and most importantly, WL is local to the venue. If we needed technical support, they were just down the road.”

While Indigo at The O2 houses an extensive lighting rig, the venue is primarily designed for live music rather than dance. To build the show The Manor LDN envisioned, Matt created a dedicated dance‑focused package that introduced key elements including side‑light towers with ETC Lustr2’s and Elation KL6-FC Fresnel fixtures, a cyclorama package and ground row package of Chroma-Q Color Force II battens, and a complementary floor package featuring Ayrton Rivale and GLP FR10 battens.

Matt built his design in Vectorworks before recreating the full system in Capture, using it to collaborate directly with The Manor LDN at their studios and each choreographer, many of whom were engaging in a creative lighting process for the first time. Real‑time visualisation allowed them to shape mood and tone with confidence. WL provided a full control and pre-vis package to support the week long consultations at the Manor LDN studios.

“Having everything in pre‑vis meant the choreographers could actually see what the piece would look like on a virtual stage. We could turn fixtures on, adjust colour and intensity, and build the dance pieces together. A lot of the choreographers had never been involved in this kind of process, so being able to guide them creatively was really valuable.”

Matt approached each piece by analysing and breaking down the music in CuePoints to identify rhythm, accents, and emotional shifts, ensuring the lighting supported rather than overshadowed the choreography. He ensured each work had its own visual identity while maintaining a cohesive festival aesthetic across the show.

The project operated within extremely tight timeframes, with the full installation, technical rehearsal, performance, and de‑rig completed within a single 12 hour day. Thanks to WL’s prep space in Wimbledon and the efficiency of the shows production electricians, the load‑in and focus were completed in just over an hour, with a full load‑out achieved in just over forty‑five minutes. Having fully built the show in Capture, updates were minimal and enabled the rehearsals to run smoothly and without delays.

Feedback from The Manor LDN, choreographers and audiences was overwhelmingly positive. Many choreographers emphasised how significant the collaborative lighting process felt, particularly given that most festival‑style events afford minimal technical time. The opportunity to craft bespoke lighting looks contributed to a professional experience that felt both elevated and empowering.

“The choreographers were incredibly happy,” Matt says. “For many, it was their first chance to work with lighting at this level, and they really felt the value of having such high production standards.”

With two successful editions delivered within six months, The Manor LDN hopes to continue developing Dance//Offline into a recurring fixture in London’s dance calendar. Matt closed by reflecting on the collaborative spirit that defined the project. “The Manor LDN is investing in a creative process that gives dancers and choreographers so much more than they usually get. Working with WL and the whole team to bring this to life has been fantastic. We have created something that feels ambitious, uplifting and genuinely community‑focused.”

WL’s Head of Lighting, Dom Yates, adds: “We are proud to have supported Dance Offline with both technical excellence and creative partnership, helping The Manor LDN deliver a dance show that celebrates the energy of London’s dance community.”

Lighting team credits:
Lighting Designer: Matt Ladkin.
September 2025: Production LX – Liam Cleary & Al Kiernan.
March 2026: Production LX – Jamie Chaloner & Kyle O’Hara.

Photo courtesy of Manor LDN Media Team.

The post White Light hits every beat at The O2 with The Manor LDN appeared first on A1 Lighting Magazine.

The winners were unveiled during a prestigious black-tie gala dinner held on 26th March 2026 at the Hilton Newcastle Gateshead. This accolade follows a rigorous judging process by an independent panel of industry experts, recognising Tridonic’s excellence in manufacturing and its commitment to innovation at its Spennymoor facility.

Its Spennymoor site manufactures for both the domestic UK market but also exports almost 46 percent of production to Europe and beyond. The judges were especially impressed that the R&D team, part of the 150-person strong team at Spennymoor, is responsible for generating about 12 patents per year, which solidifies Tridonic as a technology leader in intelligent lighting systems.

Richard Strode, Managing Director Tridonic UK, who attended the event, said “We are delighted to receive this recognition. It’s testament to the hard work and dedication of our entire team in delivering high-quality, sustainable lighting solutions that meet the evolving needs of customers across the globe. We now look forward to attending the final later in the year.”

As a regional winner, Tridonic has now advanced to the national Made in the UK Awards final. There, the company will compete against premier manufacturers from across the country who have succeeded in their respective regional heats.

The Made in UK Awards final takes place on 19th November at the Science and Industry Museum, in London. The black-tie gala dinner will bring together the winners of Insider Media’s regional Made in Awards, at one of the largest national manufacturing award dinners.

The post Tridonic UK named ‘Manufacturer of the Year’ at 2026 Made in the North East Awards appeared first on A1 Lighting Magazine.

Acting as client, architect and interior designer, dMFK Architects approached Light Forms to develop a flexible, interchangeable lighting scheme that could combine standard and non-standard fittings – some fixed, some moveable – while responding sensitively to the constraints of a low ceiling and limited natural light. The ambition was to create a softly lit, highly adaptable environment that demonstrates how even the most challenging spaces can become viable, inspiring workplaces.

Accenting the narrow, mirrored lightwell that draws visitors down into the basement, Light Forms concealed a KA28 Micro Grazer LED fitting to wash a sheer curtain with light, creating the illusion of daylight along the limited street-facing edge. This subtle intervention provides an immediate sense of depth and arrival.

Within the main space – featuring a workspace, materials libraryand events hub – carefully positioned Powergear 3-Circuit track forms the backbone of the scheme. Flexible Nova Small spotlights, controlled via a Casambi system, provide the ability to reconfigure lighting layouts with ease, highlighting furniture, workshop samples and curated displays as the space evolves. The system allows seamless transition from focused daytime working to industry events, design talks, intimate suppers, and more.

At the centre of the basement sits a five-metre-long terrazzo bar, conceived as a multifunctional focal point – a materials discussion table by day and a bar, dining surface or DJ booth by night. Here, Light Forms proposed a completely flush track solution, delivering warm, dimmable illumination across the surface without the visual interruption of suspended fittings. The fittings can be easily swapped out to showcase alternative luminaires, supporting dMFK’s ambition to explore and present new products within the space.

In the meeting rooms, bespoke Sirius 400 circular fittings were developed to focus light precisely onto the table surface, softening gently at the perimeter to create a calm, intimate atmosphere. Designed to clip into the track, these fittings reinforce the project’s overarching principle of flexibility and interchangeability.

Installed in collaboration with contractor Retail Design and Build Ltd., the lighting integrates seamlessly with acoustic treatments, bespoke joinery and material interventions throughout the basement. The result is a cohesive, layered environment that balances technical performance with warmth and tactility, supporting focused work, collaborative workshops, exhibitions and social events alike.

Commenting on the project, Julian de Metz, Director at dMFK, said: “We work with Light Forms on multiple projects because they have a ‘can do’ ability and drive to design and fabricate interesting fittings that innovate, stand apart from the market, whilst performing in a highly technical arena. For ‘Downstairs at dMFK’, Light Forms were, as ever, easy to work with and helped us arrive at a solution that exceeded our expectations. The lighting is gorgeous.”

By combining concealed grazing light, adaptable track systems and bespoke feature fittings, Downstairs at dMFK demonstrates how thoughtful lighting can redefine a basement environment – strengthening working relationships, showcasing emerging products and creating a space that blurs the line between office, gallery and gathering place.

Project credits:
Client: dMFK Architects.
Architect: dMFK Architects.
Interior Design: dMFK Architects.
Contractor: Retail Design and Build Ltd.
Lighting: Light Forms.
Photography: Ed Reeve.

The post Light Forms creates a flexible, design-led lighting environment for Downstairs at dMFK, London appeared first on A1 Lighting Magazine.

This year sees the debut of the Excellence in Innovation & Technology Award, celebrating the trailblazing ECA Members transforming UK industry through forward-thinking solutions and cutting-edge technologies.

Members can also enter a strong suite of other categories:

• ECA Large Contractor of the Year Award – over £45 million
• ECA Contractor of the Year Award – up to £45 million
• ECA Contractor of the Year Award – up to £15 million
• ECA Contractor of the Year Award – up to £5 million
• ECA Contractor of the Year Award – up to £1 million
• Best Client/Supply Chain Collaboration Award
• Best Fire or Security Project Award
• Best New Business Award (up to 3 full years trading history)
• Excellence in Training & Skills Award

Helen Atkinson, Director of Member Services at ECA and awards adjudicator, said: “It’s a monumental year for ECA as it celebrates 125 years of progress in enhancing and supporting the electrotechnical and engineering services sector.

The ECA Industry Awards exist to shine a spotlight on those delivering real impact and who embrace the technological change the UK needs to achieve its future electrification aims.” 

Entries will be reviewed by an independent panel of industry experts who will select winners and highly commended runners-up, with celebrations culminating at the ECA Industry Awards Dinner taking place at the Hilton London Bankside on Friday 9th October 2026.

Gary Parker, ECA’s Head of Technical Standards and Head Judge of the awards, also features in a new video offering insight into what the judges want to see.

Entries are open until 5th June 2026 and must be submitted via the ECA website – a not to be missed opportunity to be part of this milestone year.

The post Entries now open for the ECA Industry Awards appeared first on A1 Lighting Magazine.