The 2026 Pumpkin Festival marks the event’s 20th anniversary. Visitors can walk through fields packed with over 300,000 homegrown pumpkins in more than 40 varieties, from classic orange to white, green and striped. Tractor rides, live entertainment, vintage fairground attractions, witches’ storytime and evening twilight sessions fill the calendar.

Garden Lights Direct supplied the warm white festoon lighting that stretched across the main photo-op wall (featuring the Land Rover installation created in collaboration with Vertu Land Rover Leeds) and draped the large yellow-and-blue striped festival tent. The same lighting also enhances the outdoor areas and indoor market halls, creating the perfect atmosphere for evening visits and Instagram moments. The festival remains a firm favourite with content creators and influencers and has previously been ranked among the UK’s most Instagrammable pumpkin patches.

“It’s great to be able to supply the lighting for such a fantastic event. The festoon lights look absolutely stunning and really help create that magical atmosphere Farmer Copleys were aiming to achieve,” said David Wood, Director at Garden Lights Direct.

Farmer Copleys has built its reputation on authentic family farming experiences and carefully staged photo opportunities. The addition of the Land Rover installation and high-quality festoon lighting from Garden Lights Direct reinforced that attention to detail. Whether guests were posing with the vehicles, picking pumpkins at golden hour, or gathering under the striped tent for live music, the lighting helps turn everyday moments into lasting memories.

Farmer Copleys Pumpkin Festival 2026 runs until 1st November.

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HMS Forth joins HMS Trent and HMS Spey to have the mission-enhancing technology, which was installed by Glamox’s customer, du Pré Marine, earlier this quarter at the UK Docks Marine Services facility in Middlesbrough.

“The installation of the system was completed by our team within eight weeks. This will be followed by several weeks of acceptance trials at sea, which will involve daytime and night-time helicopter approaches and landings,” said Toby du Pré, Managing Director of du Pré Marine. The company specialises in providing and installing marine navigation, security and safety equipment.

From the initial concept discussion to the installation on three vessels took approximately 14 months. It would not have been possible without the support of Glamox and the proactive, can-do attitude of the Naval Ship Support team working for the UK Ministry of Defence,” added du Pré.

The Glamox HVLAS is a complete flight deck LED lighting system that provides pilots with visual cues and information during approach and landing. It includes a stabilised horizon bar that indicates the horizon’s position, regardless of the vessel’s roll and pitch. A glide path indicator also helps pilots judge approach angles using a three-colour light beam to show the correct path and whether the helicopter is too high or too low. Additional deck-edge lighting and focused LED beam lines provide precise positional cues for pilots operating in low-visibility conditions or using night vision goggles. Glamox also supplied both vessels with military-grade Night Vision Imaging System navigation lights.

“Lighting is an important component to any navy vessel as it helps to improve operational performance and safety. Our HVLAS technology enables the Royal Navy to land its helicopters on the flight deck at night and in harsh weather conditions,” said Tommy Stranden, the Chief Sales and Commercial Officer of Glamox’s Marine, Offshore & Wind division. “Our advanced lighting system also allows the Royal Navy to land helicopters from partner nations. We recently celebrated the first-ever night landing of a foreign partner helicopter on HMS Trent, the first to be fitted with this technology. It was a US Coast Guard helicopter off the coast of Miami, Florida.”

Stephen Lee, Director of Operations at UK Docks Marine Services North, said: “Following the successful delivery of the HVLAS system across two other Batch 2 Offshore Patrol Vessels, we are proud to have completed a third project on HMS Forth at our Teesside facility, delivered ahead of schedule.

This achievement reinforces UK Docks’ position as a trusted and capable industrial partner to Defence, while also demonstrating our ability to adapt and deliver, with HMS Forth representing the first Batch 2 River Class OPV to undergo maintenance at our Teesside yard. “Working with specialist partners is key to our success. In this instance, du Pré Marine and Glamox supported UK Docks in delivering the vessel’s flight deck LED lighting system, further enhancing the operational capability of the Royal Navy’s OPV fleet.”

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Dialight, a specialist in industrial and hazardous-location LED lighting, has supplied a complete lighting solution for a major new bulk grain storage facility at the Port of Tilbury in Essex, UK.

The Tilbury Berth 43 Cefetra Bulk Grain Store was completed in July 2026 and handed over to the Port of Tilbury, part of Forth Ports, shortly afterwards. Delivered by principal contractor Harmonix Construction, the project has transformed a former open-air container depot into a purpose-built storage facility designed to support the growing demand for imported grain handling and storage.

Grain storage presents particular safety and operational requirements, as airborne combustible dust can create a potentially explosive atmosphere. The internal area of the new store has therefore been designated as a Zone 22 hazardous area, requiring suitably certified lighting capable of performing consistently within a demanding industrial environment. The exposed port location also meant that luminaires needed to withstand wet, marine conditions.

Dialight became involved during the early design phase after Harmonix Construction first approached the company in November 2024. Following Harmonix’s appointment as principal contractor in February 2025, Dialight developed the lighting scheme using the construction drawings and the Port of Tilbury’s specifications. The design covered the grain store, surrounding external areas and a vehicle refuelling point, with particular requirements for operational areas including the quayside.

The final installation comprises more than 200 Dialight luminaires, including ProSite Floodlights, SafeSite luminaires, Emergency GRP Linears and Vigilant Bulkheads, selected to meet the different requirements across the site.

The project showcases a large-scale deployment of the Zone 22 ProSite Floodlight in a hazardous-area application. An initial scheme based on 110 SafeSite High Bay luminaires was refined to 78 ProSite Floodlights. The wider range of optical distributions available with ProSite enabled Dialight’s lighting designers to reduce the number of fittings required whilst also maintaining the specified light levels.

The design also needed to account for the shadowing created by the facility’s large traversing cranes, as well as the defined light levels required around the quayside and water’s edge. Careful positioning and alignment were necessary because of the building’s mounting heights, while the use of marine-grade luminaires supports performance in the exposed and wet conditions found within a port environment.

Aidan Brown, UK/EIRE Sales – EMEA at Dialight, said: “The project demonstrates the value of involving the lighting manufacturer early, particularly when a facility has hazardous-area classifications and several distinct operational requirements. Working closely with Harmonix allowed us to refine the design as the project developed. By using the different optical options available with the ProSite Floodlight, we reduced the number of luminaires required within the grain store while still achieving the specified light levels. The result is a lighting scheme that combines the required safety and performance with a more efficient use of equipment, supporting long-term reliability in a demanding port environment.”

Port of Tilbury is an established Dialight customer and has used the company’s ATEX-certified lighting during maintenance upgrades across existing parts of its grain terminal. Berth 43 provided the first opportunity for Dialight products to be incorporated into a new-build project at the port, allowing the environmental, safety and access requirements to be considered from the outset.

Jenis Mistry, Project Engineer at the Port of Tilbury, commented: “The new grain store has been developed to provide the safe, reliable infrastructure required for this important area of our operations. Lighting needed to meet the requirements of the hazardous internal environment, the external areas and the quayside, while also being suited to the exposed conditions at the port. The completed installation provides the light levels needed across these different spaces and supports the facility’s long-term operation.”

Close coordination between Dialight and Harmonix Construction continued throughout the design and delivery stages. Early product selection and advance ordering with Dialight’s factory helped ensure that the luminaires were available well before they were required on site, supporting the construction programme and installation process.

David Thrower, Project Director of Harmonix Construction, added: “The successful delivery of the lighting package was supported by early engagement and a close working relationship throughout the project. Dialight responded to changes in the construction design and developed the lighting scheme in line with the Port of Tilbury’s specifications. Having the products ordered and delivered well ahead of installation also gave our team the certainty needed to plan the work effectively.”

Alongside its ability to meet the project’s safety and performance requirements, the selected LED lighting provides a long-life solution for areas where access for future maintenance can be challenging. Dialight’s standard luminaires offer a rated life of more than 150,000 hours and are backed by a ten-year warranty, helping to reduce the frequency of replacement and associated maintenance interventions. Emergency lighting batteries will be included within the facility’s ongoing inspection and replacement programme.

The completed project demonstrates the importance of early collaboration, clearly defined lighting requirements and appropriate product selection when designing lighting for ports, grain stores and other complex industrial facilities. By combining hazardous-area certified products with considered lighting design, the scheme provides a robust solution for the Port of Tilbury’s new grain storage operation.

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Lucent Lighting has supplied a selection of architectural luminaires for a private residence in Côte d’Or, France, supporting a warm and carefully integrated lighting scheme developed by Su Bishop.

Designed and built by Arena Park France Developments, the residence combines natural stone, timber and traditional architectural details. The lighting approach was developed to complement these materials, using discreet architectural illumination to reveal the character of the building while creating a warm and welcoming atmosphere after dark.

Throughout the project, a 2,700K colour temperature provides consistency across the scheme, enhancing the warmth of the stone and timber finishes while maintaining a comfortable residential feel.

Externally, Lucent Lighting’s recessed uplighters have been used to emphasise key architectural features. Narrow 15-degree optics provide focused illumination to columns and the entrance arch, drawing attention to the form and proportions of the architecture.

Elsewhere, luminaires with 10×45-degree elliptical wall-wash optics graze the local stone walls, revealing their natural texture and variation. Specified in an Antique Bronze finish, the fittings integrate discreetly within the surrounding material palette while providing controlled illumination to the building façade.

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This has transformed the audience experience in the 2,000-capacity Festival Theatre and Dunstan Playhouse, which seats 590, and resulted in an approximately 50 percent power reduction in addition to producing a beautiful, smooth, even wash of illumination across these two largest performance spaces.

Adelaide Festival Centre’s head of technical and production Nathan Luscombe explained that the original 1973 house lighting installation was still in service, consisting primarily of PAR 56s and other downlights – all incandescent – which after 50 years or more of service needed replacing.

The time had arrived to transition to a more effective and sustainable LED solution, which is also a government-driven initiative, so they started looking for the best solution.

“Professional high-grade dimming was high on our list of requirements for the new lighting,” elucidated Nathan. “We tested numerous products that snapped off or on during the last 5 percent, – 10 percent of the dimming curve, and with a system life expectancy of around 10 years, it was vital to get details like this correct with any new installation.”

Nathan also pushed hard for Adelaide Festival Centre’s environmental/architectural lighting to be DMX or DMX over Ethernet controlled, learning from their experience at Her Majesty’s Theatre, another venue in Adelaide also run by the AFC, that this would be technically beneficial.

He also wanted colour changing lights as these opened numerous imaginative possibilities, including bespoke lighting of the venue for showcases, special occasions and immersive moments. Together with the DMX/Ethernet control options, this would also allow incoming productions to integrate the house lighting into their own systems if desired.

These requirements were to help optimise the space for today’s contemporary production standards, and Anolis ticked all the boxes.

The new lighting schemes were designed by Eddie Galak from Anolis’s Australian distributor, Jands, who developed an aesthetic that met the client’s requirements, together with a final proposal and extensive modelling.

Eddie noted that Nathan and his team were impressed with the options on angles and lensing available with the Anolis products, as well as the quality and vibrance of the light output.

Another MUST was that the signature white walk-in look should be 3,200K… a bit cooler than standard, however they were keen to replicate the previous house lighting look, and Ambiane’s precisely tuneable whites were another massive plus here for choosing Anolis.

The individual fixture breakdown includes 12 Anolis Ambiane XP56 Recessed units with 45° lenses; 56 Ambiane XP56 Recessed luminaires – 36 with 45° and 20 with 60° lenses RGBW (3,200K); 93 x Ambiane MP111s, 75 Recessed with 80° lenses and 18 Recessed with 60° lenses, all RGBW (3,200K) and with Custom RAL Trim; and 36 Ambiane MP111 Surface Mount 60° lensed RGBWs (also 3,200K).

A combination of these luminaires is used across both venues.

In Festival Theatre, they are installed in multiple positions – in the ceiling, under the bridges, recessed on the balconies, under the boxes and in up / down configurations grazing along the walls. The scalloped side column covers were replaced as part of the general room refurbishment and interior upgrade, and the new Anolis fixtures are mounted in the up and down positions complete with bespoke covers for heritage compliance.

In Dunstan Playhouse, the new fixtures are installed on five different levels and under the balcony, also retrofitted into the previous lighting spaces.

So, the versatility of the Ambiane range won the bid as it ensured lighting could be contained and focused, achieving the amazing new uniform coverage across the two auditoriums, and as they mostly fitted into the existing house lighting system holes, this greatly assisted the installation process, especially with it being a heritage-listed building.

Nathan highlights how the house lights can now be run at around 70 percent intensity to produce the requisite 150/160 white Lux levels (200/220 for colours), leaving plenty of headroom and removing the need for staff to work at heights to replace broken bulbs.

Eddie – who has specified and designed Anolis lighting solutions for several leading auditoriums in Australia – mentions another advantage of the Anolis Ambiane range is that the power supplies are available locally if needed.

Lighting control for these two venues is through ETC Paradigm. The lights are on their own networks but can be hooked into a production lighting network/console extremely easily.

The new lighting installation was completed by ITE, who have previously worked with Eddie at Llewellyn Hall in Canberra, and who Nathan commented were “excellent – helpful and knowledgeable, understood how we function and had worked with Anolis before.”

The new look for both venues is a big hit with the public and with staff at the Adelaide Festival Centre, as the rooms in general feel brighter, crisper, more modern and more comfortable for audiences enjoying the performances and entertainment.

 Photos by Ben Clark, courtesy of Adelaide Festival Centre.

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Glamox’s Poland team has worked closely with architects from the AFP Architekci studio and the foundation to design and deliver a range of indoor and outdoor luminaires using the latest smart lighting technology to create a comfortable environment for guests. Led by Adam Gradowski, the project will see Glamox supply over 200 luminaires for the 1700 m² facility, which has 20 family rooms with bathrooms, a shared kitchen, dining room, laundry room, playroom, and garden.

Each Ronald McDonald House becomes a “home away from home” for the family during the child’s illness and treatment, providing comfortable living quarters and communal spaces that keep family members close together. A large emphasis is also placed on designing spaces to provide respite and reduce stress during such a difficult time. Glamox is supplying lighting with adjustable controls to help create a more relaxing living environment.

The Ronald McDonald House in Warsaw at the Children’s Memorial Health Institute also incorporates the latest eco-friendly technology, including Glamox’s energy-efficient LED lighting. Glamox will supply an Ethernet2DALI light management system that will enable the facility to reduce its energy consumption, costs, and carbon footprint.

“Each of the Houses is designed to provide families with comfort and a sense of security – both now and for years to come. Our construction projects support hospitals over the long term, and this long-range perspective profoundly influences our architecture and our choice of solutions and materials. The House is meant to offer respite and serve as a ‘home away from home’ for each child’s family,” said Katarzyna Rodziewicz, President of Ronald McDonald House Poland. “From day one, the Glamox team understood our vision and lighting requirements, helping us create a unique facility. Their energy-efficient, beautifully designed lighting solutions also aligned perfectly with our vision of what the House should look like, as well as with our sustainability goals. This facility will be available for at least 40 years and will serve families of children treated at the Children’s Memorial Health Institute – accommodating thousands of people during a very difficult time in their lives. By keeping the families’ time and stories in mind, one can truly understand how important the well-being of every mother, father, and child is to us. Lighting is a priority element of the House as a whole.”

“We are committed to partnering with organisations with a purposeful mission and are honoured to supply our lighting to support the impactful work of the Ronald McDonald House Foundation Poland,” said Astrid Simonsen Joos, Group CEO, Glamox AS. “Light provides more than just illumination. Our experience shows that when designed and implemented thoughtfully, smart lighting solutions can boost mood, sleep, and human wellbeing. We are proud to play a role in supporting the families staying at the Ronald McDonald House at the Children’s Memorial Health Institute.”

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Across the UK, town and parish councils are looking for practical ways to reduce energy costs while maintaining essential community infrastructure. Street lighting often represents one of the largest opportunities to improve efficiency and lower long-term operating costs.

Sprowston Town Council took a proactive approach through a comprehensive upgrade programme. The scheme covered more than 800 Town Council-owned footway lights across the town. Rather than simply replacing ageing lanterns, the project combined a full condition survey with targeted infrastructure improvements to create a more efficient and resilient lighting network.

Working in collaboration with Electrical Testing Ltd (ETL), CU Phosco supplied 866 E950 LED luminaires for the project, with ETL supporting the wider delivery of the scheme through condition assessment, programme coordination and installation works.

The project began with a full condition survey of the existing lighting stock. Nick Wildsmith, Area Sales Manager at CU Phosco, explains: “Taking the time to understand the condition of the existing assets was an important part of the project. The survey allowed any structural or electrical issues to be identified before installation, helping the Town Council maximise the value of its investment.

The E950 combines high efficacy with a long operational life, making it well suited to projects where reducing energy consumption and future maintenance requirements are key priorities.”

The installation programme was delivered in two phases between August and October 2025, with ETL undertaking a full condition survey and the installation works. A central management system formed part of the wider upgrade programme, supporting the Town Council’s future management of the lighting network. The E950’s compatibility with Telensa CMS nodes was an important consideration, providing the flexibility to introduce part-night dimming and other control strategies in the future should the Town Council wish to pursue additional energy savings and reductions in light pollution.

The completed scheme provides Sprowston Town Council with a modern LED street lighting network while delivering tangible benefits for residents.

Energy consumption is expected to reduce by around 70 percent, cutting carbon emissions by an estimated 90 tonnes each year. The longer operating life of the E950 luminaires will also reduce routine maintenance requirements compared with the previous sodium lighting.

This translates to a saving of between £60,000 and £70,000 annually, with the investment expected to pay for itself within two to three years.

Matt McDonald, Account Manager at ETL, commented: “Delivering a project of this scale required detailed planning and careful coordination to minimise disruption for residents while maintaining programme efficiency. Working alongside CU Phosco allowed us to provide a high-quality lighting solution that met the Town Council’s objectives and long-term aspirations for the network.”

Guy Ranaweera, Sprowston Town Council, added: “The LED upgrade programme represents a significant investment in the town’s infrastructure and our commitment to delivering value for residents. The project provides a more efficient and sustainable street lighting network while helping to reduce long-term operating costs and support our wider environmental objectives.”

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Pratt, who has a long-established working relationship with CCADS, incorporated 15 Ayrton Stradale into his design, utilising the shutter sets to carve out precise areas of action and track the actors across the stage.

“Our director, John-Paul McCrohon, wanted to set the mood as an overarching sense of isolation,” says Pratt. “The idea was to light the minimum amount of space needed for each scene – which is where the concept of the hard line shuttering came in. I therefore insisted all the movers overhead should have shutter blades, and, being familiar with Ayrton Mistral spots and Diablo profiles, was keen to explore the new Stradale. Stradale combines the features of Mistral and Diablo with no compromise on the second gobo wheel or the shutter set.”

Pratt approached the show’s lighting supplier, ITP Lighting Ltd, with his request, who increased its investment in more Stradale unitswhich has increased their hire stock.

“This allowed me to have three bars of 5 Stradale profiles overhead, which worked perfectly in the 9.5m x 6.5m x 6m performance space.  The amount of hanging set was minimal which left me with lots of freedom to hang lighting bars and rig the Stradales where I wanted. It gave me a nice balance between keeping the movers hidden and covering the full expanse of the stage. I had complete freedom to work with different angles, create different looks, and get as much from the Stradale as possible.”

With only two days of technical rehearsal – and with amateur actors only available in the evening – Pratt had to work fast. “It was a brand new set, so we were going in blind,” he says. “On Day 1 we set out the boundaries of what each scene needed, and because of the lack of time, I used only one Stradale to light each scene. This gave me the square/rectangular space I needed to ensure we covered every location needed as we blocked through the scenes.

“On Day 2, I filled in the details using the rest of the Stradale fixtures, sometimes using as many as six for each square. I was able to make fine adjustments with the actors in place, adjusting angles and perfecting timings, smoothing and blending the overlaps and pauses, achieving smooth graduations.”

For the more complex effects, such as creating a moving corridor that would open in front and close behind an actor, Pratt says it was “rather like tracking the actor with shutter blades. I set up a preset for the corridor of light I wanted. Then I brought a shutter in to cover the entire beam path. Then recorded each step taking out that shutter blade as a cue and used follow-ons to have them blend into one another. I then repeated it the other way if I was closing the corridor. The Stradales have a nice smooth movement, especially when used so subtly, which really worked well for these effects.”

Pratt says that Stradale’s rotating frame assembly made ‘a big difference’ in the speed and ability to achieve the precise angles he required: “Most of it was at 90° where not much adjustment to the angle of the shutter blades was required.

“But in several scenes the angle was offset, so I would bring in the shutter blades, rotate the assembly ±90° and adjust the shutter blades until I could cover all the awkward angles to achieve a perfect square. Stradale gave me great flexibility – to have ±90° of rotation plus the angle adjustment of the individual blades was a great help. It is a really nice development of Diablo’s feature that was essential for this production.”

Pratt also found Stradale’s gobo selection to be ‘very theatre-friendly’ and the richer blue to be a lot deeper yet still visible, even over 7m-10m. “I’m a big fan of blue so having that deep blue for some of the sadder moments was great. It was also my first time trying out the CTO filter (which is also in Mistral and Diablo) for face light and warm colour temperatures. I’d previously used the colour flags and it’s always difficult to reel in colour filters to get a nice face light. But the CTO filter’s sole purpose is for precisely this function. It’s really easy to get a nice repeatable colour from Stradale, and by using one filter instead of a mix of 3 CMY flags, I got the punch I needed without having too much in the gate.”

The Stradale fixtures were supplied for Dear Evan Hansen by ITP Lighting Ltd.

Director/Musical Staging: John Paul McCrohon.

Musical Director: Roxanne Wootton.

Lighting Designer: Christopher Pratt.

Stage Manager: Amanda Knight.

Deputy Stage Manager: Lauren Smith.

Follow Spot Operator: Holly Sandford.

Follow Spot Operator: Paul Moroney.

Sound Designer: Aaron Hayes.

Set: Scenic Projects.

Company: CCADS.

Venue: Kings Theatre Portsmouth.

Production Photos: Theresa Pratt & Tony Neil.

Lighting supplier: ITP Lighting Ltd.

Images: © Tony Neil.

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That thinking shaped the first-floor customer environment and the lighting brief behind it.

TRILUX worked with GRIDSERVE and Dave Dickinson & Associates Limited (DDA) to develop a lighting scheme capable of supporting the different activities taking place across the floor. Creating a warm, relaxed environment was central to the brief, particularly within the lounge and seating areas, while the adjoining retail and food and beverage spaces required lighting suited to more active customer environments.

The challenge was therefore not simply to illuminate one large space, but to use light to give each area its own character while ensuring the floor worked as a whole.

Rather than applying a uniform lighting treatment across the first floor, the scheme responds to how customers use each area.

A combination of 3,000K and 4,000K colour temperatures helps establish subtle changes in atmosphere across the space. Warmer light supports the more relaxed character of lounge and seating areas, while 4,000K configurations provide a brighter visual environment where appropriate.

The distinction helps reinforce the transition between different activities without relying on physical separation. Customers can move naturally between shopping, eating and taking a break, with lighting contributing to the change in mood and function.

This approach also supports an important part of the GRIDSERVE brief: creating an environment specific to Markham Vale while retaining the familiar quality and character of its wider Electric Forecourt network.

Yuvio forms the principal lighting family across the customer-facing environment, with Yuvio Track and Yuvio Twin used in different configurations.

Yuvio Track uses free-form lens technology to provide precise, controlled light distribution, with different beam characteristics available to suit the requirements of the space. Yuvio Twin adds a two-head configuration with oval light distribution, enabling broader areas to be illuminated while retaining the same compact visual language.

At Markham Vale, the combination allows focused and wider distributions to work together across the floor rather than relying on a single lighting effect.

The extensive use of suspended track provides another practical advantage. Luminaires can be positioned and directed according to the layout below, while the system provides flexibility should retail displays, furniture arrangements or other requirements change over time.

Supporting luminaires from the wider TRILUX portfolio provide lighting within back-of-house, circulation and ancillary areas, while TRILUX also supplied emergency lighting as part of the scheme.

TRILUX secured the project through a combination of its proposed lighting solution, commercial approach and an established relationship with the project team.

Working closely with GRIDSERVE and DDA, TRILUX developed the scheme around the architectural layout, operational requirements and relevant brand and franchise considerations. This collaborative approach helped translate the initial brief into a practical lighting solution spanning the varied functions of the first floor.

For GRIDSERVE, the finished installation delivers the coverage and visual quality required while supporting the premium customer environment envisioned for Markham Vale.

Markham Vale reflects how the growth of electric mobility is changing the role of places encountered during a journey. Charging creates time away from the vehicle – and an opportunity to make that time more comfortable and useful.

Here, lighting is part of that experience. Rather than treating the first floor as a single environment, the scheme responds to how people shop, eat, relax and move through the space.

Chris Ward, Retail Operations Manager at GRIDSERVE, said: “Markham Vale was about creating more than somewhere to stop and charge. We wanted the first-floor space to feel like a premium lounge environment, while still meeting the very different needs of the retail areas. The lighting needed to help define those spaces, create the right atmosphere and, importantly, maintain the consistency customers recognise from our other Electric Forecourts. We’re really pleased with the coverage and the overall look and feel that’s been achieved.”

The result is a place designed not simply around charging vehicles, but around the people waiting for them.

Client/end user: GRIDSERVE.

Lighting design/project partner: Dave Dickinson & Associates Limited (DDA).
Lighting: TRILUX.

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