The two partners are united not only by shared ambitions, but also by genuine proximity: both are rooted in Munich, with LEDVANCE’s headquarters located within sight of the Allianz Arena. As Official Lighting Partner, LEDVANCE will support FC Bayern Munich as a project partner on modern lighting and infrastructure initiatives across the sporting environment. The partnership will cover everything from functional lighting solutions that support safety and orientation, to architectural lighting that enhances atmosphere and experience.

Together, both partners aim to inspire people, create memorable experiences and further strengthen their positions within their respective industries. With a modern outlook and a shared focus on global growth, FC Bayern Munich and LEDVANCE will bring their expertise and capabilities together in the years ahead.

Rouven Kasper, FC Bayern Board Member for Marketing & Sales, said, “FC Bayern Munich and LEDVANCE are united by their commitment to showcasing success in the right light. Elite sport is all about emotion, energy and special moments, and in LEDVANCE we have gained a strong partner who, like our club, has its roots in Munich whilst also being at home all over the world. We look forward to many successful years together.”

Local roots, global ambition: This partnership brings together the shared vision of two internationally recognised brands with genuine local connections, enabling close collaboration and the efficient, pragmatic and sustainable delivery of joint projects.

The partnership has grown through a range of initiatives around the Allianz Arena in recent years, including work driven by the phase-out of traditional fluorescent lamps. Sustainability remains firmly embedded within LEDVANCE’s corporate strategy. Alongside lighting quality and technological innovation, the partnership will therefore place a strong focus on energy efficiency and the responsible use of resources.

Fredrik Ergert von Gillern, Global Head of Brand & Communication at LEDVANCE, added, “It is no coincidence that this partnership has been formed in Munich: our headquarters are within direct sight of the Allianz Arena. Together with FC Bayern Munich, we’re demonstrating what lighting can achieve – in terms of performance and safety, as well as the atmosphere in the stadium and around matchdays, which inspires people all over the world. For us, this partnership is a significant step towards further expanding our international project business and actively shaping the future of sports venues and beyond. At the same time, we are strengthening our global brand perception and sharpening our positioning.”

In addition, initiatives are planned over the coming months to bring the partnership to life for fans step by step. The goal is to establish a long-term, resilient collaboration that continues to grow through visible projects and experiences.

The focus is not only on products but also on project expertise across the entire value chain – including planning, implementation, and long-term operational performance.

10 years of LEDVANCE

LEDVANCE is celebrating its 10th anniversary this year, and the new partnership with FC Bayern Munich reflects the company’s evolution into a holistic project partner for demanding lighting and infrastructure projects.

Over the past decade, LEDVANCE has developed from a traditional lighting manufacturer into a provider of luminaires and connected lighting solutions, consistently expanding its portfolio beyond its core business. Today, the company delivers holistic solutions across key application areas including sport, office and education, industry and logistics, outdoor and grounds, and retail.

Under the motto “10 Years of LEDVANCE. 100 Years of Excellence. Your Vision. Our Light.”, the company builds on a century of lighting expertise and positions itself as a partner that transforms customer visions into future-ready lighting solutions – wherever lighting helps shape performance, safety and atmosphere.

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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.

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Johannes Möller, Vice President, Building Technologies Shows at Messe Frankfurt, to whom Marie Servais will report in future, welcomes the new colleague to the team: “With Marie Servais, we are gaining an industry expert with extensive trade fair experience. She brings with her both strategic expertise and a deep understanding of international event formats. Together with the experienced Light + Building team, she will continue to drive the successful development of the brand.”

Marie Servais is very much looking forward to her new role: “Light + Building is the world’s leading platform for lighting and building technology and, more than almost any other trade fair, stands for innovation, networking and the industry’s key future themes. I am very much looking forward to playing an active part in shaping the brand’s international development, together with partners, exhibitors and the team.”

As Project Director at DLG Markets GmbH, Marie Servais was responsible for Agritechnica, the world’s leading trade fair for agricultural technology, as well as for international event formats abroad. Most recently, the business graduate worked as Managing Director of Seligenstadt Marketing & Tourismus GmbH and as Economic Affairs Officer for the town of Seligenstadt. She therefore brings with her many years of experience in the international trade fair sector, as well as specialist knowledge in collaborating with industry partners.

The world’s leading trade fair for lighting and building services technology will take place from 5th to 10th March 2028 in Frankfurt am Main.

Image credit: Messe Frankfurt Exhibition GmbH/Pietro Sutera. 

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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

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PLASA has launched a new Carbon Literacy Training course tailored specifically to professionals working across the entertainment technology industry.

Designed to make climate learning relevant and actionable, the course will help participants understand climate change, the carbon impacts associated with everyday decisions and the practical steps they can take to reduce emissions in their roles, organisations and wider lives.

While demand for more sustainable practices continues to grow across productions, events, venues and supply chains, it can be difficult for individuals and businesses to know where to begin.

PLASA’s course has been created around the real-world challenges and opportunities facing the entertainment technology community, helping participants move beyond broad sustainability ambitions and identify actions that are appropriate to their work.

The online training combines a 30-minute self-study module with two interactive, two-hour sessions led by a trainer.

Participants will then complete an individual assessment. PLASA delivers the training and assessment process, while Carbon Literate certification is independently assessed and awarded by the Carbon Literacy Project to participants who successfully meet its requirements.

Monthly cohorts will run from July to October 2026, with each limited to 12 participants. The small group format will give attendees the opportunity to share ideas and learn alongside professionals from across the industry.

Phoebe Currie, PLASA’s Sustainability Consultant, comments: “People across our industry increasingly recognise the need to reduce their environmental impact but understanding how to translate that ambition into practical action can be challenging.

We have developed this course to make Carbon Literacy directly relevant to entertainment technology professionals. It is not simply about understanding climate change; it is about giving people the knowledge, confidence, and motivation to make better-informed decisions within their own roles and organisations.

By bringing professionals together in small, interactive cohorts, we also hope to encourage shared learning and help build greater momentum for meaningful change across the industry.”

Carbon Literacy is defined by the Carbon Literacy Project as an awareness of the carbon costs and impacts of everyday activities, together with the ability and motivation to reduce emissions on an individual, community and organisational basis.

The course is available to PLASA members for £89 plus VAT per participant, with a non-member price of £119 plus VAT.

Places are available in cohorts running between July and October 2026 and are limited to 12 participants per cohort.

Find out more and register at: https://www.plasa.org/carbon-literacy-training/

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

An investment in the future

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

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

Meeting the demands of modern productions

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

Greater output and creative flexibility

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

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

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

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

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

A versatile system for diverse programming

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

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

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

A collaborative project

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Project Team

Concept K

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

Artistic Director

• Stéphane Thiodat

Production

• Delight Event Management

Photo courtesy of Concept K. 

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“For a project of this scale, we were looking for a partner capable of combining the highest standards of lighting quality with the operational requirements of a global traveling event,” explains Jessica Gauvin, managing director of Expomobilia. “ERCO convinced us not only technologically, but also supported the process collaboratively from the beginning.” 

At art fairs, lighting plays a decisive role in how artworks are perceived. It directs attention, supports spatial orientation, and influences the appearance of colors, materials, and surfaces. Particularly in the context of commercial galleries, the demands are exceptionally high: exhibitions change frequently, presentations need to remain flexible, while consistently ensuring the highest quality of light. ERCO contributes decades of experience in lighting galleries, museums, and cultural institutions worldwide. At the core is a lighting approach that combines precise optics, flexible light distributions, and high efficiency.

The requirements of Art Basel extend far beyond conventional exhibition lighting. The infrastructure must operate reliably at different venues worldwide, allow for rapid installation, and withstand the logistical demands of an international fair operation. Together with Expomobilia, ERCO therefore developed a modular lighting system featuring spotlights with interchangeable optics and durable LED technology. In addition, a dedicated transport and logistics concept with specially developed flight cases was created for repeated worldwide use. “Art Basel is not a static venue, but a global platform,” says Jessica Gauvin. “The solution therefore had to be equally flexible, robust, and efficient.”

Sustainability considerations also played a key role in the development of the new lighting infrastructure. The luminaires are designed for long-term use over a period of more than 20 years and across multiple international editions of the fair. ERCO follows an approach that focuses not only on energy efficiency, but also on high lighting effectiveness with minimal spill light. Precise light distribution directs the light specifically onto the artworks, enabling the applied light output to be used efficiently. “Reducing our ecological footprint is an important objective within our sustainability strategy,” explains Lea Matern, Sustainability Manager at MCH Group.

The partnership with Art Basel further underlines ERCO’s expertise in the field of commercial gallery lighting. Unlike traditional museum settings, lighting solutions in this sector must respond to changing exhibitions, variable hanging arrangements, and short conversion cycles. ERCO’s current “Guide to Lighting Design for Art Galleries” demonstrates how lighting can be strategically used to support curatorial quality, flexibility, and efficient operation. Following Art Basel in Basel 2026, ERCO will document the project in a detailed case study, offering further insights into technical implementation, logistics, and global fair operations.

Image © ERCO GmbH, www.erco.com; photography: Gavriil Papadiotis.

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Lighting Thespians meant finding a world somewhere between Ancient Greece, Saturday morning cartoons and a musical comedy that absolutely must keep moving.

As Mischief continues to expand beyond its best-known Goes Wrong titles, Thespians represents an important new chapter: a fresh, licensable musical comedy with the potential to have a life beyond its first production. Written by Jonathan Sayer and Ed Zanders, and co-produced by Mercury Theatre Colchester, HOME Manchester and JPT Productions, the show takes audiences to Ancient Greece for a deadly prayer contest, told with Mischief’s unmistakable comic energy.

For Lighting Designer David Howe, the challenge was to create a world that felt ambitious, theatrical and full of colour, while remaining practical enough to tour.

“Lighting Thespians was about creating a bright, warm, slightly ridiculous world where the audience immediately understood the tone and wanted to be part of it,” says Howe. “The design was never about making something grand for the sake of it. It was about supporting the storytelling, the music and the comedy.”

Director Robyn Grant and Designer Jasmine Swan established a visual language that deliberately avoided museum-piece Ancient Greece. Instead, the world of the production sits somewhere between myth, musical theatre and cartoon.

“Robyn and Jasmine had a very clear visual world in mind,” Howe explains. “It was a playful blend of Disney’s Hercules and The Flintstones, which immediately gave me permission to think in bold, graphic terms. I wanted the colour palette to move from warm Mediterranean daylight, sun-baked stone, terracotta and sunset tones into bolder musical and comic moments. The Grecian sky backdrop became central to that world, helping the lighting shift between daylight, sunset and theatrical night, with strong backlight at times to accentuate the show’s bigger ‘hero’ moments, while keeping everything inside its bright, cartoon Ancient Greece.”

A key part of Howe’s approach was not to “light the jokes”, but to make sure the world of the show remained clear, inviting and alive. As a musical, the production moves constantly across the set, so the lighting had to create spaces, environments and tone for each scene and song, while keeping the performers connected to the audience. With the budget unable to sustain followspots, precision became essential: the design relies on a detailed network of specials, meaning reliable equipment and accurate positioning were vital from the outset.

“I don’t think comedy wants to be lit with a wink,” he says. “The lighting still has to believe in the world. If the audience feel comfortable, included and able to read the actors’ faces clearly, then the comedy has the best chance of landing. The danger is over-signalling the joke.”

The budget was tight, so every fixture had to work hard. Howe worked with White Light to create a practical touring rig that could still deliver scale, colour and flexibility from venue to venue. “This was not a case of throwing a large rig at the problem,” says Howe. “We had to be disciplined about what toured, what could be picked up from each venue, and which units genuinely earned their place. Every moving light had to do several jobs: specials, texture, scenery, sky, and the occasional piece of theatrical mischief.”

The production made use of a very small touring package alongside house equipment, including the Mercury Theatre Colchester’s upgraded LED rig and existing tungsten fixtures. This allowed the design to feel richer than the equipment list might suggest, while still remaining adaptable.

“White Light’s role was not just supplying the fixtures,” Howe continues. “They understood the brief and supported what we were trying to achieve. The useful conversations were around making the package robust enough to tour, simple enough to re-create quickly, and flexible enough to cope with different venues. On a show like this, the success is often in the unglamorous details – data, power, cable runs, sensible fixture choices and knowing what can be achieved repeatedly without making each Monday feel like starting again.”

Howe drew on the following fixtures: ETC ColorSource Profiles, High End Systems SolaFrame Profiles and Chroma-Q Color Force battens, each chosen for their ability to serve multiple purposes across the production. They played a vital role in shaping the visual identity of the show, from detailed key lighting to colour, texture and the atmospheric illumination of the Grecian sky backdrop.

The design was programmed by Freddy Sherwood, who has also taken on the role of Touring Production Electrician and weekly re-lighter, giving the production valuable continuity as it moves between venues. “Freddy understands the tone of the piece -the pace, the musicality, the comedy and the warmth,” says Howe. “That makes a real difference when the show has to be re-created quickly each week. It is not just about putting lights in roughly the right places; it is about protecting the spirit of the design.”

As with any tour, each week brings a different venue, with front-of-house positions, sightlines and available equipment varying slightly from building to building. The touring version therefore has to be robust without becoming rigid. The aim is always to protect the character of the show – the colour, warmth, pace and sense of fun – while allowing Freddy and the touring team enough flexibility to make it work properly in each space.

Reflecting on the project, Howe says: “I’m proud that the show feels bigger than the equipment list. That’s always the exciting challenge – when the audience hopefully see a bright, confident, theatrical world, rather than the compromises that made it necessary.”

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“We wanted a building that shows what we are capable of,” says Bas van Tilborg, executive board member of Simac’s parent company. “Light plays a key role in that.”

A showcase for smart building technology

Rather than constructing a new building, Simac opted to redevelop the existing TechniekHuys, creating a sustainable workplace that reflects its own technological expertise. The headquarters now acts as a live demonstration environment, incorporating a fully wireless smart building management system.

“Our new headquarters is a showcase. For our customers, but also for ourselves,” Van Tilborg explains. “Everything we experience here, we use every day in the solutions we provide to our customers.”

Lighting forms a visible part of this concept. Integrated with wireless control, TRILUX LED luminaires contribute to a connected system that combines illumination, data and energy efficiency.

Fast-track delivery with a clear lighting strategy

The project was delivered within a tight programme, with just eight months between handover and occupation.

“We had no more than eight months between receiving the keys and moving in,” says Van Tilborg. “Then you have to act fast.”

TRILUX developed a structured lighting concept using Finea pendant luminaires for office areas, Sonnos downlights and a 3-phase track system with B.veo spotlights for feature spaces. The scheme balances functional lighting with architectural integration across different areas of the building.

A key element was the integration of wireless controls, enabling automatic adjustment based on daylight and occupancy.

“Our sensors also measure humidity, light and noise levels, temperature and the number of people in a room,” Van Tilborg explains. “We use that data not only to control the lighting, but also the indoor climate.”

“For example, if only two people are in a meeting room, we don’t need to ventilate as if there were ten. Thanks to the new system, this is controlled automatically. That saves energy and improves comfort.”

Human centric lighting across all areas

User comfort was a central consideration throughout the project, with Human Centric Lighting (HCL) implemented across workspaces as well as circulation areas.

“The comfort of our people comes first,” says Van Tilborg. “We have many different types of spaces with varying levels of natural daylight. With HCL we can balance that, and it truly makes a difference.”

In some areas, this required customised solutions. Secondary workspaces built from standalone units were adapted to support HCL through collaboration between Simac and TRILUX.

“You could keep it simple, but we chose to develop a custom lighting solution together with TRILUX. That caused a few months’ delay for those units, but now everything fits perfectly. I’m very happy we made that choice.”

Data-driven flexibility for the future

Alongside the lighting upgrade, the building layout was reconfigured to support flexible working, replacing fixed desks with shared, activity-based spaces.

Data collected through the lighting and sensor system provides ongoing insight into how spaces are used, allowing continuous optimisation.

“We know exactly which rooms are used and when,” says Van Tilborg. “And that offers opportunities. If a space is structurally unused, we can redesign it.” Because the system is fully wireless, luminaires can be repositioned easily without structural changes. “Just regroup them and it’s done.”

The same data can also be used to optimise building operations, including cleaning schedules and room booking systems.

Collaborative delivery under tight timelines

Close coordination between all project partners was essential to meet the programme.

“The pace of our renovation was high, but we were able to align instantly,” says Van Tilborg. “Thanks to the clear architectural drawings and TRILUX’s pragmatic approach, the lighting concept turned out exactly as we envisioned.”

A phased installation approach, working from the top floor downwards, allowed the project to progress efficiently. “TRILUX adapted seamlessly.”

A workplace designed to perform

The completed headquarters has been well received by employees and visitors alike, with lighting designed to support both comfort and interaction.

“The light doesn’t stand out – exactly as intended,” Van Tilborg notes. “I work at the office more than before. Not only because of the building itself, but because of the pleasant atmosphere and interaction it creates. The lighting definitely plays a role in that.”

The building also serves as a demonstration space for clients, showcasing the potential of integrated smart technologies.

“It’s great to see how impressed visitors are. They immediately get a clear picture of what we can offer. And that’s what it’s really about: inspiring people.”

Van Tilborg concludes: “Pay attention to the details. Trust me, they matter. More than you think. If you have the chance to do something really well, then do it. We’re glad we made that choice.”

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