The three-storey development forms part of Gateway 14, the business, innovation and logistics park adjacent to Junction 50 of the A14 and part of Freeport East. The centre has been created to support businesses, training providers and education partners, with facilities including office space for high-growth start-ups, collaboration areas, meeting rooms, training facilities and a café.

The project is focused on supporting sectors including the green economy, digital technology and artificial intelligence, while helping address regional skills requirements through partnerships with organisations including the Universities of Suffolk and Essex, West Suffolk College, Suffolk New College and Colchester Institute.

The £18.8m development received £16.66m in funding from Freeport East, with the remaining contribution provided by Mid Suffolk District Council. Designed to achieve a BREEAM Excellent rating, the 35,000sq ft building incorporates a range of measures intended to improve energy efficiency and reduce operational demand.

Lighting controls throughout the building were delivered using a DALI-2 solution from B.E.G. – incorporating occupancy detection, daylight harvesting, emergency lighting testing and energy monitoring.

For the main contractor, Fusion360 Group, the project represented its first B.E.G. installation using a DALI-2 lighting control system. B.E.G. provided technical support throughout the specification, installation and commissioning stages, helping the project team deliver the system successfully.

Mohamed Abosharaf, Head of Engineering for the UK & Ireland at B.E.G., said: “The lighting strategy at Gateway 14 needed to support the wider objectives of the building, particularly around energy efficiency and operational management. A DALI-2 system provided the ability to control lighting according to occupancy, available daylight and building requirements, rather than relying on fixed lighting operation.

“By integrating occupancy detection, daylight harvesting and monitoring functions, the system helps reduce unnecessary energy use while providing the facilities team with better visibility of lighting performance. This is particularly important in a building designed to support businesses and training activities, where different areas will have different patterns of use.”

The installed DALI-2 network was set up to ensure there was centralised lighting control across the building, with integration into the Building Management System (BMS). This allows facilities teams to monitor system status, receive fault information and manage lighting operation from a central interface.

Occupancy detection then adjusts lighting operation based on whether spaces are in use, while daylight harvesting is designed to automatically respond to changes in natural light levels to help maintain appropriate lighting conditions while reducing reliance on artificial lighting.

The system includes automated emergency lighting testing and reporting, removing the requirement for manual testing routines and providing recorded compliance information. Energy monitoring also provides visibility of lighting consumption, allowing building performance to be reviewed over time.

Abosharaf adds: “For electrical contractors, open protocols such as DALI-2 provide flexibility because they allow lighting systems to be integrated with wider building services. It also gives building operators access to information that can help them manage energy use and maintenance more effectively throughout the life of the installation.

“At Gateway 14, the objective was to deliver a lighting system that was appropriate for a modern commercial building – one that could respond to how spaces are used, support energy management and provide reliable information for those responsible for operating the facility.”

Dan Glynn, Sales Director for the UK & Ireland at B.E.G, said: “The Skills and Innovation Centre at Gateway 14 represents a significant investment in the region, providing a base for businesses, educators and training providers while supporting the area’s economic development plans.

“The project demonstrates how DALI-2 lighting controls are being used in commercial buildings to improve control, monitoring and energy management while meeting the requirements of increasingly connected building environments.”

The post Dali-2 controls support £18.8m Innovation Centre in Suffolk appeared first on A1 Lighting Magazine.

From the outset, the brief was clear: preserve Tempelhof’s raw airport aesthetic while ensuring flawless key lighting across every inch of the runway. Keylight Operator Ole Güllich and Lighting Designer Raphael Grebenstein, who served as Co-Lead Designers for Light Art Studios GmbH, set the creative tone early. “The overall goal was to keep most of the airport aesthetics; that was the main theme of the show,” Güllich explains. “We wanted to go rather minimalistic, no big rigs over the catwalk. But we also had to ensure good key light across the whole runway.”

The venue’s strict floor load limits and the absence of any roof rigging points made the challenge even greater. With nowhere to hang conventional infrastructure overhead, every fixture had to be positioned on the floor, balconies, or existing truss structures, often at angles as steep as 60 degrees. With up to 60 models, and four potentially on the catwalk simultaneously, manual coordination alone was never going to be sufficient. “We would not have been able to handle this with a normal follow spot system,” says Güllich. “You have four models at the same time on the runway, all in different positions, and you have to watch four positions simultaneously to hand off to the next fixture group. That wouldn’t be possible with any other system.”

The decision to use Follow-Me was made early in the planning process. Given the unconventional aiming angles of half the spotlights, manual operation by four operators through Follow-Me DELT∆ would have been impossible with traditional follow spots, or would have required a considerably larger number of operators. With Follow-Me DELT∆, the team was able to meet this challenge with just four operators, without compromising on creative control.

Rocketchris, who was commissioned by Light Art Studios GmbH and has been demonstrating the possibilities of Follow-Me for many years, deployed four DELT∆ systems paired with four Operator Boxes. 52 spots and 48 wash lights were connected to the system, with cameras mounted along the full 80-metre truss span.

At the heart of the setup was DELT∆’s new Operator Box, a significant upgrade that fundamentally makes work easier for the lighting team. Previously, operators juggled multiple camera feeds across multiple monitors. In this case with the Operator Box, each operator saw only their target, with the system automatically switching between camera feeds as performers moved along the runway. The result: four camera views on a single monitor per position, half the screens required, and far greater focus. “Normally on a runway this wide, you’re constantly compensating, switching views, second-guessing positions,” says Glatthor. “With the Follow-Me DELT∆ Operator Box, that just… disappeared. It gets so much easier!”

Four long-throw Robe iForte LTX units were calibrated using DELT∆’s Beam Map feature, maintaining a constant 600 lux and consistent beam size and sharpness across the full 80 metres. Setup, Glatthor notes, was far less daunting than it might sound. “Beam mapping sounds like a big thing, but in reality it was very manageable,” he explains. “We had our key points, did the checks, and within about half an hour it was done. After that, it just works without adding complexity for the operator.”

Zone and Action functionality handled the JB-Lighting P12 spots, Robe iForte LTX spots, and X5 wash lights,automatically adjusting intensity and fixture assignment as models moved between zones, with no manual button-pushing required. Crossfades, handovers, and fixture reassignments all happened in the background. “This removes a whole layer of manual coordination,” says Glatthor. “You’re no longer busy fixing technical stuff, so you can actually focus on what the lighting should look like.”

The Tempelhof fashion show marked the first full-scale, real-world deployment of Follow-Me DELT∆, and the first time Rocketchris had introduced the system in a live production context. With 25 years in the events industry behind him, he is not easily impressed by new technology, but DELT∆ was different. “I’ve never before experienced a successor system that works just as well as its predecessor right out of the gate,” he says. “With our first production using DELT∆, which required us to utilise the system at every level, the experience was exactly what we had expected: a lot of fun, and a huge relief for everyone.”

Rocketchris credits a close working relationship with Follow-Me’s support team and Technical Director Erik Berends as key to the system’s readiness for the show. Feedback provided back in February, specifically the need for automatic camera switching in the Operator Box, was implemented and confirmed swiftly, enabling the full DELT∆ commitment for the project.

“We are very proud to see Follow-Me DELT∆ received so positively,” Berends concludes. “This ABOUT YOU Tempelhof fashion show stands as a strong real-world example of the DELT∆ capabilities, and how complex lighting setups like these can become more manageable without compromising creative control.”

The post Follow-Me DELT∆ the top model at ABOUT YOU’s Tempelhof catwalk appeared first on A1 Lighting Magazine.

Collingwood Lighting is helping Northampton Saints rugby club create the right atmosphere for fans and reduce their carbon footprint with an LED lighting refurbishment programme in its stands.

The company designed and supplied modern LED fittings for the whole of the club’s Barwell stand as phase 1 of the project. The stand includes general seating areas, corporate hospitality, corridors, staff areas, toilets, and general entertainment areas.

The lighting refurbishment is a key part of the club’s net zero carbon pledge. It is one of only a handful of professional rugby clubs to sign up to the UN’s Sports for Climate Action Framework, which commits the club to a 50 percent reduction in emissions by 2030 and to be net zero by 2040.

The rugby club will save almost 15 tonnes of carbon emissions and up to £9,000 per year running costs from this initial installation in the stand. Projections for the whole stadium will see 60 tonnes of carbon saved per year.

Says Northampton Saints Chief Executive, Julia Chapman: “This LED lighting refurbishment future proofs our stadium because it not only costs us less money and uses less energy, but it has a real impact on how our fans enjoy a space.

Talking about one of the hospitality areas, the tunnel club, Chapman goes onto to say: “The environment that we create makes all the difference to someone’s match day experience, with lighting having such a big impact on the look and feel of an area.”

Collingwood provided the design for all the lighting in the stadium, the fittings that the club needed and the projected energy and cost savings. The refurbishment payback period for the investment is just 19 months.

The lighting design for corporate hospitality suites, such as the infamous tunnel club where spectators can watch the players run onto the pitch, is vital.

For these areas Collingwood designed schemes that uses its downlights Thea Pro with DALI lighting control for the ambient lighting and LED strip lighting to pick out and emphasis features to add extra interest through accent lighting. The colour temperature for the lighting was set at a warm 3000K for a relaxing and sociable space.

For other areas in the stand which includes corridors, toilets, staff kitchens and storage areas, Collingwood designed a more functional lighting scheme using fittings with a cooler colour temperature of 4,000K. This aids concentration and focus for task orientated activities. A mixture of fittings was installed including Thea Pro, Solis LED panel lighting and its tough and durable anti-corrosive Caiman bulkhead for storage and warehouse areas.

Collingwood has also provided emergency lighting packs so that installers can convert some of their fittings into emergency lighting. This helps people safely leave if there is a mains power failure.

Commenting on the installation, operations manager Stuart Jenkins said: “We are a high end hospitality venue so the right lighting design using reliable products is key. This refurbishment has saved us energy, running costs and maintenance, but most importantly it improves the match day experience for our fans.”

Other sustainable initiatives taken by the club include installing over 800 solar panels, using zero carbon bought in energy, installing rainwater capture systems for pitch irrigation, and improving insulation in all their buildings.

The post Collingwood lights up Northampton Saints hospitality and net zero drive appeared first on A1 Lighting Magazine.

Working alongside healthcare specialists Architecten aan de Maas and installation partner Equans, the project formed part of a major refurbishment programme to replace radiotherapy equipment while placing the patient experience at the heart of the redesign.

Radiotherapy treatment rooms are highly specialised spaces, constructed with thick concrete walls to contain radiation. While technically essential, these environments can often feel clinical and intimidating.

Maastro wanted to change that.

“Nobody comes here by choice,” says Liesbeth Cloin, Manager Facility Management at Maastro. “That’s exactly why we wanted to move away from the cold, clinical feel often associated with healthcare environments. We looked at how light, colour and themed interiors could bring a sense of calm to what is, for many patients, an anxious experience.”

Each of the six treatment rooms was given its own identity, inspired by themes including water, meadows, marl and cherry orchards. Above each treatment unit, bespoke sky images were printed onto TRILUX Arimo LED panels, creating the impression of looking up into the open sky.

“These aren’t generic stock images,” Cloin explains. “They’re photographs of places our patients recognise. For a little while, they can forget where they are and instead feel connected to somewhere familiar.”

Lighting that guides and reassures

Working closely with Architecten aan de Maas, TRILUX developed a lighting concept that supports patients throughout their journey into the treatment rooms.

“From the moment patients enter the treatment area, the lighting gently guides them through the space,” explains Rafael Calis Sanchez, architect at Architecten aan de Maas.

A narrow asymmetrical Finea light line runs through the access corridor, providing subtle wayfinding while creating a calm atmosphere. Positioned slightly off-centre, it offers a more comfortable visual experience for patients being transported on beds, while working alongside Sonnos downlights to deliver balanced, even illumination.

Within the treatment rooms themselves, the lighting was equally carefully considered.

“It’s a small detail,” says Cloin, “but it makes a huge difference. Nobody wants a bright luminaire directly above them while they’re being wheeled into treatment.”

A collaborative approach

From the outset, the project relied on close collaboration between Maastro, Architecten aan de Maas, Equans and TRILUX to balance the demanding technical requirements of a radiotherapy facility with a more human-centred environment.

“Together, we looked for the right balance between functional and experiential lighting,” says Calis Sanchez.

One example was the integration of TRILUX Finea luminaires into the centre’s suspended ceiling system.

“The Finea light lines were originally designed for fixed ceilings,” adds Cloin. “Thanks to some smart adaptations, they fitted perfectly into our suspended ceiling system. I really appreciated that flexibility.”

Calis Sanchez also praised the collaborative design process.

“Marcel Jansen from TRILUX understands the way I design. He always contributes ideas and ensures the lighting complements the architecture without compromising on quality or atmosphere.”

More than lighting

The redesigned treatment rooms combine lighting, colour and artwork to create a more welcoming environment throughout the patient journey. Murals by a local graffiti artist continue each room’s theme through the access corridors, providing moments of familiarity and distraction during treatment.

“This is how we create warmth, recognition and distraction,” says Cloin. “We have patients taking photos beside the murals after their final treatment. Some even coordinate their clothes with the colours of their treatment room. I think that’s a wonderful compliment.”

The benefits extend beyond patients.

“Our staff spend much of their day working on screens,” Cloin explains. “That’s why the lighting is automatically dimmed where appropriate. It creates a calmer ceiling, reduces visual fatigue and gives us a fully programmable system that also supports our Green Deal sustainability commitments.”

Continuing to improve

Four treatment rooms have now been completed, with the experience informing future refurbishments across the centre.

“We keep learning,” says Cloin. “With every refurbishment we build on what we’ve learned before. Working with one committed lighting partner allows us to keep improving, and because we know the process so well, we can plan bespoke luminaires early and avoid unnecessary delays.”

The partnership is now extending beyond the treatment rooms, with TRILUX lighting being introduced into offices and waiting areas as part of Maastro’s wider refurbishment programme.

Calis Sanchez believes the same design philosophy should apply throughout the building.

“We want every stage of the patient’s visit to feel as comfortable as possible—from arriving at reception and spending time in the waiting area to treatment and returning home. Our aim is to create an environment that feels more like a hotel than a hospital, helping to reduce the anxiety associated with cancer treatment. Light is a crucial part of achieving that.”

For Cloin, the project’s success can ultimately be measured by its effect on patients.

“We want patients to feel safe and relaxed,” she concludes. “If lighting helps achieve that, then we’ve done our job.”.

The post TRILUX helps transform cancer treatment environment at Maastro Radiotherapy Centre appeared first on A1 Lighting Magazine.

As one of Oirschot’s most recognisable landmarks, the basilica holds deep cultural and architectural significance. However, its previous exterior lighting system had become outdated, offering limited flexibility and falling short of modern expectations for energy efficiency and light quality. The municipality sought a solution that would respect the heritage of the building while elevating its night‑time identity and reducing environmental impact.

The design brief called for a lighting system that could sensitively highlight the basilica’s architectural features, minimise light spill, and offer adaptable control. To meet these requirements, Signify, the Gemeente Oirschot and LRS Solutions collaborated closely, with LRS Solutions appointed to design and implement the central lighting control and management system.

At the heart of the new installation is the Pharos Expert controller. Expert provides an all-in-one control solution for managing the basilica’s exterior lighting. The reliable, low-power controller is compact and simple to install, with intuitive commissioning software offering curated lighting presets and familiar calendar-based scheduling for scene selection, ideal for heritage projects where subtle looks and predictable playback are the primary requirements.

To overcome the challenges of cabling restrictions around the historic site, the control system incorporates a wireless DMX solution from LumenRadio. This approach ensured a stable and resilient control infrastructure without intrusive installation work, preserving the integrity of the basilica’s surroundings.

The new lighting allows the municipality to tailor the appearance throughout the year, from traditional, understated daily illumination to special scenes for cultural events, religious celebrations and community moments. Time-based scheduling ensures energy-efficient operation, automatically adjusting the lighting to seasonal and environmental changes.

Johan Burggraaf, Manager for Projects & Services at LRS, commented: “Sint-Petrusbasiliek is a defining feature of Oirschot, and this project was about giving it a lighting system that honours its heritage while embracing modern technology. With Pharos Expert, we were able to deliver a flexible, reliable and centrally managed solution that supports both the architectural character of the building and the needs of the municipality.”

Bas Hoksbergen, Business Development Director at Pharos, added: “This project demonstrates how thoughtful lighting control can enhance a historic landmark without compromising its authenticity. Expert offered the right balance of simplicity, capability and long-term reliability. We’re proud to see Sint-Petrusbasiliek illuminated in a way that celebrates its significance for the community.”

With its new lighting control system in place, Sint-Petrusbasiliek has been re‑established as a striking night‑time focal point. The project showcases how modern lighting and control technologies can sensitively support heritage architecture, creating a meaningful and adaptable presence within the public realm.

Client: Gemeente Oirschot.

Lighting Consultancy & Luminaires: Signify.

Lighting Control Design & System Integration: LRS Solutions.

Lighting Control: Pharos Architectural Controls.

Wireless DMX Technology: LumenRadio.

Photography: LRS Solutions.

The post Modern lighting control brings new life to historic basilica appeared first on A1 Lighting Magazine.

The festival, which started in 2024 and is growing and developing each year, was staged in the gardens of the majestic and beautiful 11^th-century Château de Grillemont at La Chapelle-Blanche, south of Tours in France’s Indre-et-Loire region – a perfect summer environment for hosting the “Island of DJs”.

Loic worked closely with Corentin Poirier, the festival’s creative & executive director and founder, who designed the Maatea Stage’s dramatic scenography, based on a tall LED screen setup, which, together with the lighting, was based on the imaginative thematic concept of fire and rock, with the goal of creating a striking contrast between day and night atmospherics.

During the day, the need was for subtle lighting to highlight the depth and overall scenic texture created by the careful blending of stage and lighting designs, allowing the stage geography to stand out.

At night, the stage was transformed into a completely different space by the GigaPointe beams and their powerful and spectacular effects. The fixtures were installed in six vertical columns of eight fixtures, equidistantly spanning the stage and delivering a hugely impactful look and atmosphere, with video content featuring erupting volcanoes “reinforcing the visual universe,” explained Loic.

Loic stated that the organisers sought something unique and different in this design: “The main challenge was to create this new and different world, one that broke from a typical EDM festival stage design, looked distinctive and individual while still following a defined theme.”

This is the second time Loic – a lighting professional with 10 years’ experience – has lit this event, and the second time he had used Robe’s amazing, new, highly dynamic GigaPointe fixture, officially launched in February at the ISE 2026 Expo.

Tours-based rental company Multi Scéni – the lighting, audio and video equipment supplier to this event – has recently made this investment in GigaPointes, which were delivered by Robe France.

Loic has been an enthusiastic long-time user of Robe’s MegaPointe fixtures in his designs – choosing the fixtures for their versatility and scope. So, when he knew the GigaPointe would be available for this event, “it naturally stood out as the ideal choice!”

He comments on the GigaPointe’s “extremely powerful” laser source output, which “ensured that we could make a strong visual impact even over long distances.” He also appreciates its speed of movement, as well as the excellent array of new gobo and prism effects, which can be used to imagine a myriad of cool looks and scenes onstage.

One of the most important things for designing and programming EDM shows is to have a vast choice of distinctive looks – so the audience does not start seeing repeated scenes throughout the event… and this is exactly what GigaPointe offers.

The layout of the six columns of GigaPointes was instrumental to utilising the entirety of the stage dimensions – both horizontally and vertically – a geometric harmony that provided a balanced visual presence of all elements, with the fixtures a natural integrator/interpreter between the scenic fabrics and video surfaces.

Loic enjoyed many features of the GigaPointe, commenting that “the integrated rotating bar is particularly interesting, as it offers so many highly dynamic effects possibilities,” together with all the other features making it a potent, contemporary multi-purpose fixture ideal for all types of shows and events.

The festival’s logo, installed at the top of the structure, was also highlighted with two Robe iFORTES – rigged on the Layher structure – and another two iFORTES were used to front light the artists. iFORTE was chosen for this because it is a powerful fixture with excellent framing shutters and therefore perfect to pick out the detail of the 12-metre-wide logo, which was positioned 14 metres up on the structure.

Two Maatea Stage artists – Timmy Trumpet and Trym – brought their own lighting operators this year, who also appreciated the GigaPointes, and the rest were all lit by Loic and his team, including colleague lighting operator Lucas Bussy. They worked closely with video operator Bastien Sierakowski and SFX operator Paul Dubertrand under the project management of Charlène Rodrigues.

Loic regularly notes that Robe’s product range covers multiple applications – live shows, events and concerts or architectural lighting. “I always find a suitable solution using Robe,” he states, adding that the fixtures are reliable, high-performance, and versatile tools “consistently meeting the demands of our projects.”

Photo credit: Your Wolf Agency.

The post Moorea Festival Goes Giga with Robe appeared first on A1 Lighting Magazine.

White Light (WL) is proud to have supported the Watermill Theatre’s ambitious new production of Chitty Chitty Bang Bang, where lighting designer Jai Morjaria has delivered a bold and inventive design that transforms a compact venue into a world of spectacle.

Tasked with reimagining a much-loved musical within one of the UK’s most intimate theatre spaces, Morjaria approached the project with a clear brief to achieve the seemingly impossible. A single small stage needed to represent multiple locations while also accommodating a flying car, meaning lighting became central to how the story was told and experienced.

“We had to find a way to make a show that takes place in so many different locations exist within one small space, whilst still delivering the magic,” explains Jai.

This production differs significantly from traditional large-scale versions of Chitty Chitty Bang Bang. With a cast of actor-musicians and limited space, the design relies on creativity rather than scale. Lighting plays a pivotal role in supporting illusion and enhancing the integration of puppetry, automation and set.

The post White Light helps bring ‘fantasmagorical’ magic to life at the Watermill Theatre appeared first on A1 Lighting Magazine.

Zumtobel was appointed to deliver a comprehensive lighting solution spanning multiple floors of the building, including data halls, plant areas and a pioneering liquid cooling demonstration suite. The project highlights the role of adaptable lighting infrastructure within mission-critical environments where performance, reliability and flexibility are essential.

Global Switch’s London campus is undergoing continuous redevelopment to accommodate the rising demands of AI and high-performance computing. As part of this programme, refurbished floors required lighting capable of supporting operational safety, visual clarity at rack level and long-term energy efficiency.

The project brought together multiple consultants and stakeholders across different phases, including Hilson Moran, Burns & McDonnell and AFK Studios, with Datalec Precision Installations (DPI) responsible for installation. Coordinating design intent across eleven floors while maintaining consistency and programme alignment presented a significant logistical challenge.

Collaboration supporting phased delivery

Zumtobel’s nationwide project team worked closely with consultants, contractor and client representatives to ensure a cohesive approach across each stage of the refurbishment. Clear communication and a shared understanding of operational requirements allowed the lighting strategy to evolve alongside the building programme while maintaining consistency across floors.

Ken Knight, Head of Data Centres – UK & Ireland, Zumtobel Group, comments: “Data centre environments place very specific demands on lighting, from vertical illuminance at rack level to reliability and energy efficiency. Our role was to translate those requirements into a scalable solution that could be implemented across multiple floors while supporting Global Switch’s ongoing expansion and innovation strategy.”

A flexible lighting platform for data-driven environments

The final solution combined robust industrial luminaires, advanced emergency systems and intelligent controls to meet the operational demands of a high-density data centre.

TECTON continuous-row lighting formed the backbone of the data hall installation, delivering precise vertical illuminance on rack frontals through split-lens optics. This approach enhances visibility for maintenance and operational tasks while avoiding unnecessary light spill onto circulation areas.

TECTON with RESCLITE PRO emergency luminaires were integrated with the eBOX monitoring platform, providing a self-testing and self-reporting emergency solution aligned with the reliability expectations of mission-critical facilities.

Across plant areas, offices and shared spaces, AMPHIBIA luminaires were selected for their durability and IK-rated performance, ensuring resilience in technically demanding environments. ECOSIGN emergency signage supported safe navigation, while the LITECOM lighting management system enables centralised monitoring and control across all luminaires.

As the refurbishment progresses, TECTON II is planned for levels eight and nine. Its plug-and-play architecture supports faster installation, with independent installer studies showing average installation speeds of up to 70% faster than comparable systems, helping streamline delivery across future phases.

Matt Perrier Flint, Director UK & Ireland, DPI, comments: “Delivering a project of this scale required close coordination between all parties. The modular design of the Zumtobel lighting system simplified installation and helped maintain programme certainty, while the collaborative approach ensured that technical requirements were clearly understood at every stage.”

Supporting innovation in the liquid cooling suite

Level 10 houses Global Switch’s liquid cooling demonstration suite, showcasing a full breadth of the latest technologies designed to enable the most powerful chips to operate with greater efficiency and at higher densities. Designed by AFK Studios, the space was developed in collaboration with project partner JPR in developing the lighting solution to complement the technical environment while maintaining clarity and operational safety.

The scheme illustrates how adaptable lighting infrastructure can support evolving digital technologies and demonstration environments without compromising efficiency or maintainability.

Measurable benefits across performance and operations

The upgraded lighting delivers a range of operational advantages for Global Switch:

• Improved vertical illuminance supporting safe and efficient rack maintenance
• Reduced energy consumption through LED technology and intelligent controls
• Simplified installation and future adaptability via modular TECTON architecture
• Self-monitoring emergency lighting enhancing reliability and compliance
• Durable luminaires suited to plant and technical environments

Together, these improvements provide a consistent lighting platform capable of evolving alongside the campus’s ongoing densification and technology development.

Derek Allen, Group Operations Director at Global Switch, comments: “Across our global portfolio, operational resilience and flexibility are fundamental. The lighting strategy implemented at our London data centre supports safe, efficient operations while giving us the adaptability required to meet evolving customer demands. It forms part of the wider infrastructure platform that enables us to support increasingly complex AI and high-performance computing deployments.”

Emily Clark, Global Switch, adds: “As our London data centre continues to evolve to support the demands of the most powerful AI and high-performance workloads, it was important that the supporting infrastructure could match that pace of innovation. The lighting solution delivered by Zumtobel provides the performance, flexibility and reliability we require across both operational data halls and demonstration spaces.”

To view the full project, please visit https://www.zumtobel.co.uk/en-gb/cs/global-switch

 Photography: Zak Poland

The post Zumtobel and project partners deliver mission-critical lighting for AI-ready Global Switch’s London data centre appeared first on A1 Lighting Magazine.

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

An investment in the future

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

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

Meeting the demands of modern productions

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

Greater output and creative flexibility

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

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

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

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

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

A versatile system for diverse programming

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

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

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

A collaborative project

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

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

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

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

The post Australia’s HOTA elevates theatre lighting with Elation Paragon and Proteus appeared first on A1 Lighting Magazine.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Photo credit: © Ben Sassoon.

The post Ayrton Diablo takes to the nunnery for Centre Stage London’s Sister Act appeared first on A1 Lighting Magazine.