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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Purpose-built as part of a £70 million campus investment, Hadley Learning Community provides education for students aged three to sixteen in central Telford. With facilities management delivered by Mitie, the school maintains a strong focus on creating high-quality learning environments that support wellbeing, engagement and academic success.

As fluorescent technology approached obsolescence, the school and its facilities team sought a lighting upgrade that would modernise classrooms without disrupting the architectural raft ceilings that define the learning spaces.

A brief shaped by wellbeing and continuity

Mitie Engineering engaged Zumtobel lighting to develop a classroom solution that would reduce connected load, meet strict UGR requirements and integrate seamlessly within the existing suspended raft luminaires. Alongside energy and compliance targets, the client also requested tunableWhite capability and variable output to support wellbeing and flexible teaching environments.

These requirements reflect a growing recognition that classroom lighting must do more than meet standards. It should actively support concentration, comfort and varied learning activities throughout the school day.

From existing luminaire to bespoke solution

To ensure a precise replacement, the existing fluorescent cassette was removed and delivered to Zumtobel’s Custom Product team in Spennymoor. Working closely with Mitie and the project stakeholders, the team engineered a bespoke LED cassette designed to replicate the original form factor while significantly improving performance.

A working sample was produced and installed onsite for evaluation, allowing the client and contractor to assess glare control, light distribution and installation practicality before full deployment. Following approval, the scheme progressed with confidence across the classroom areas.

Light that adapts to the learning day

The final solution centred on a custom LED cassette with opal diffuser delivering 4024 lumens at 35 W and an efficacy of 115 lm/W. TunableWhite and variable output functionality allow teachers to adjust colour temperature and light levels to suit different learning scenarios, from focused tasks to collaborative sessions.

Emergency variants of the luminaire were also incorporated, ensuring continuity of design and performance throughout the classroom environment.

By retaining the existing raft ceiling infrastructure, the upgrade achieved a clean visual outcome while simplifying installation and minimising disruption to teaching spaces.

Measured benefits for pupils, staff and operations

The refurbishment delivers improved classroom comfort, lower connected load and reduced CO₂ impact across the site. TunableWhite capability enhances visual wellbeing and supports circadian-friendly lighting conditions, helping create calmer and more adaptable learning environments.

Kevin Evans, Mitie Engineering, commented: “This project required a solution that balanced performance, wellbeing and practicality. Zumtobel lighting’s custom approach allowed us to retain the existing ceiling design while delivering a modern, efficient lighting upgrade that meets both operational and educational needs. The collaborative development process made installation straightforward and ensured the client’s expectations were fully met.”

A tailored approach to future-ready education spaces

Delivered within a demanding programme, the custom luminaire demonstrates the value of collaborative design and local manufacturing capability. By combining bespoke engineering with tunableWhite functionality and efficient LED performance, the scheme provides Hadley Learning Community with a future-ready classroom lighting platform that supports both sustainability goals and student experience.

Image credit: Antonia Stuart.

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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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Södra, one of Sweden’s largest forest industry groups, has upgraded the high mast lighting at its timber yard in Mönsterås with a new LED floodlighting solution from CU Phosco, delivered in partnership with Energisystem Sweden.

The project replaced an ageing conventional lighting installation that had reached the end of its operational lifespan. Light levels across the site had deteriorated over time, while sourcing replacement parts for the existing luminaires had become increasingly difficult and costly.

The new lighting scheme supports Södra’s ongoing focus on improving energy efficiency, reducing operational energy consumption and creating safer working environments across its facilities.

The project involved replacing 137 conventional luminaires mounted on existing lighting masts with a modern LED area floodlighting solution based utilising CU Phosco’s FL820 range.

Through careful lighting design, the total number of luminaires required was reduced from 137 to 106 while still achieving the required illumination levels across the timber yard.

The new installation uses FL20 LED floodlights with external drivers and is backed by a 10-year performance guarantee, helping to support long-term reliability and reduced maintenance requirements.

Installation works were carried out by Assemblin Oskarshamn, with Mikael Karlsson overseeing the installation.

The lighting upgrade has significantly improved both lighting quality and energy performance across the site.

Compared to the previous high-pressure sodium installation, the new LED lighting delivers a much whiter light with improved contrast and colour rendering, helping to improve visibility for staff, vehicle operators and site users. The enhanced visual conditions contribute to a safer working environment throughout the timber yard.

Post-installation lighting measurements carried out by Energisystem confirmed that the new lighting system is performing as expected and meeting the specified project requirements.

The upgrade also delivered a reduction in installed power consumption, supporting Södra’s wider sustainability and energy reduction objectives.

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Robert Juliat has recently completed the installation of three of its new Morgane LED followspots at the Moulin Rouge. This upgrade is a new step in the collaboration between the French manufacturer and the world-famous cabaret of Paris. More compact, more comfortable for operators, and more powerful, these new 825W LED Morgane followspots meet the technical and artistic demands of a venue where precision, consistency, and lighting quality are essential to every performance.

Féerie, daily excellence in live performance

Playing continuously at the Moulin Rouge for two decades, the revue Féerie takes audiences through the history of the house via a grand spectacle which features nearly sixty performers, a thousand costumes, sumptuous sets, and the legendary French Cancan.

With two performances every evening, 365 days a year, Féerie demands absolute uniformity and technical reliability from its followspots, with perfect consistency and flawless rendering of the light required to light all the principal roles from beginning to end.

Preserving the original lighting signature

The original lighting design for the show was created by Christian Bréan, whose aesthetic sense and precision shaped the visual identity of Féerie. Jean-Jacques Clerico, President of the renowned cabaret which has been owned by his family for three generations, is diligent in preserving the soul of the revue, carefully balancing authenticity and modernity. He pays close attention to every detail to provide the most beautiful setting and the finest show every night, meeting the expectations of the audience.

Eric Legrand, Head of the Lighting Department and Technical Director of the venue, and Philippe Guitton, Associate Lighting Designer, ensure the continuity of this legacy. As guardians of this signature style, they work to enhance the performers while respecting the work originally initiated by Christian Bréan.

The new Morgane followspots are installed on the technical bridge, suspended like their predecessors from overhead truss positions from where they cover distances ranging from 15m to 30m from the performers. The uniformity between the three followspots is perfect—a crucial element in preserving the visual coherence of the show – and something which can be guaranteed by the precision engineering of Robert Juliat products.

Technology and human commitment

As a manufacturer, Robert Juliat designs its lighting fixtures to meet the highest standards of live performance. But technological performance only has meaning if it is matched by the same level of commitment from the teams who operate them.

“The CRI and spectrum of the new followspots meet our expectations well,” comments Philippe Guitton. “The motorized iris on the new Morgane allows operators to follow stage movements smoothly and with great precision. However, we do not use the remote control of this function because we strongly believe in preserving the autonomy of the followspot operators and respecting their personal touch. We create live performances on stage and want to maintain this principle with our technicians: we do not want to remove the intention behind each operator’s actions. On the contrary, we want to involve them fully in their work to ensure a consistent show quality from one night to the next,” he explains.

Through this project, Robert Juliat reaffirms its commitment to its major tenets alongside a major Parisian stage, in continuing to develop lighting solutions that meet today’s expectations while supporting the human and artistic dimension that lies at the heart of live performance.

Image credit: ©Sandie Bertrand.

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The IJmuiden Ver Alpha 2GW land substation in Borssele, Zeeland, is the first of eight planned for the Netherlands. Wind turbines produce AC electricity, but to reduce energy loss during cable transportation over long distances, AC is converted to DC by offshore HVDC platforms. Once ashore, the land stations convert the 525 kV DC to 380 kV AC for input to the high-voltage Dutch electricity grid. Similar stations will also be constructed in Germany.

This latest onshore contract follows contracts announced by Glamox in September 2025 to supply connected marine lighting and light management systems for 11 offshore High Voltage Direct Current (HVDC) converter platforms for the same 2GW Program.

Glamox’s customer is SPIE Nederland, the Dutch subsidiary of SPIE, an independent European leader in multi-technical services for the energy and communications sectors. SPIE will install the energy-efficient LED lighting, which includes customised DALI-connected MIR linear luminaires (including some Dark Sky versions), MAX explosion-proof luminaires and E20 emergency lights for technical areas. Corridors and offices will feature DALI D70 downlights and C95 R minimalist ceiling lights, while O21-W wall lightsand Electra street lights will light the building’s exterior and perimeter.

“Glamox was able to meet our demanding specifications, involving customising several luminaire designs to meet specific needs, such as high lux levels and various other settings. Backing up the lighting are the necessary certifications and environmental product declarations. Finally, there is a good relationship with Glamox, which is supplying lighting for the offshore converter platforms for this amazing project – a project that supports the EU’s goal to decarbonise the continent,” said a spokesperson from the project team at SPIE.

The lighting fixtures will be delivered in six shipments up to October 2026. The land station is expected to be operational in 2029.

“The award of this contract demonstrates that we can support both the offshore and onshore needs of massive renewable energy projects,” said Jeroen de Jonge, Managing Director of Glamox in the Netherlands. “This strong collaboration with SPIE saw each party invest time and effort to arrive at a superior product that precisely meets the customer’s needs. I see this as an investment for the future.”

Image: Artist’s impression of TenneT 2GW Land Station. Credit: TenneT.

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Located in the South Atlantic Ocean, approximately 550 miles south of the equator and midway between Brazil and Africa, Ascension Island Airport plays a critical role as a refuelling stop for aircraft travelling between the UK and the Falkland Islands. Operated under joint control of the UK Ministry of Defence and the United States Air Force, the airport’s Wideawake Airfield is a strategically important asset requiring reliable, high-performance infrastructure.

After more than 35 years of service in a harsh coastal and marine environment, the existing apron lighting system had reached the end of its operational life. Corrosion, obsolete components and ongoing maintenance challenges meant a full upgrade was required to ensure continued safe and compliant airfield operations.

Gantech Solutions Ltd was appointed to deliver a design and build solution, working closely with CU Phosco to develop a robust and future-proof lighting system tailored to the unique demands of the site.

The original project brief called for refurbishment and reuse of the existing high mast structures. However, following a detailed site survey and technical evaluation, it became clear that this approach would not be viable.

Lionel Gapper, Director at Gantech Solutions Ltd, explains: “Although the original brief considered reusing the existing masts, our site investigations and further structural assessments showed that corrosion and long-term stress had significantly impacted their integrity. Reuse was not a safe or reliable option.”

Working with CU Phosco, an alternative solution was developed that retained the existing concrete foundations and cabling infrastructure while introducing new high mast systems designed to meet modern performance and safety standards.

The final solution comprised 5 x 20m high masts fitted with 35 FL800R-2 LED floodlights and 2 x 20m high masts and 2 x 15m mid-hinge masts fitted with 16 FL820-1 LED floodlights.

New masts were engineered to match existing foundation and bolt configurations, allowing installation without major civil works. Each mast incorporated modern winching systems, new lighting cradles and upgraded control systems to improve reliability and ease of maintenance.

Lionel continues: “We worked closely with CU Phosco to develop a solution that met the constraints of the site while delivering a significant improvement in performance. Using the existing foundations and infrastructure where possible helped reduce complexity, while the new masts and lighting system ensured long-term reliability.”

The lighting design was developed to meet the required illumination levels and operational standards set by the Ministry of Defence, USAF and international aviation guidelines, ensuring safe and effective apron operations.

The completed installation has delivered a major improvement in both performance and efficiency at Ascension Island Airport.

The transition from legacy SON lighting to LED technology has significantly reduced power consumption, while providing improved light quality, uniformity and visibility across the apron.

Lionel adds: “The difference in performance is clear. The new LED system provides far better light quality and consistency, while also delivering substantial energy savings. Given the remote location of the island, reliability and ease of maintenance were key considerations, and the new system addresses both.”

The upgrade has reduced total power consumption from approximately 72kW to 22.96kW, delivering a saving of over 49kW per hour. This represents a significant reduction in operational energy demand, alongside improved long-term efficiency.

In addition to energy savings, the new installation offers improved reliability in a harsh coastal and volcanic environment; reduced maintenance requirements due to modern components and simplified systems; a design life aligned with long-term operational requirements; and enhanced safety and compliance with relevant aviation standards.

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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.”

The post Simac HQ integrates lighting, data and control with help from TRILUX appeared first on A1 Lighting Magazine.

The 70^th edition of the world’s best-known international pop extravaganza was organised by the European Broadcasting Union (EBU), together with the host broadcaster, which this year was Austria’s Österreichischer Rundfunk (ORF).

A stunning production lighting design, featuring nearly 550 Robe luminaires, was created by Tim Routledge and his team, working on their third ESC event, and collaborating closely with set, video and production designer Florian Wieder to present a vibrant, flexible and visually impactful environment.

This had to work for the needs and imagination of all 35 delegations, for audiences catching the excitement first-hand right there in the Stadthalle, and for the millions from around the world tuning in on various live streamed and broadcasted channels to experience the event unfolding.

Prominent on the lighting rig were 190 of Robe’s just-launched GigaPointe laser-source multifunctional moving light, 98 WTF!s – IP rated LED strobe-wash-blinder fixtures – and 25 Robe HolyPATT vintage-style LED ‘scenic’ luminaires.

In addition to these, Tim’s general lighting rig included 182 Robe SVB1 multisource LED wash beams, which he also used on last year’s event in Basel, Switzerland, and have since become a firm favourite.

He also chose 64 Robe iFORTES and iFORTE LTXs – fitted with the HCF (High Colour Fidelity) engines – for all the key lighting and specials on the main stage and in the Green Room, this year located in the arena opposite the stage along the other ‘short-end’ side of the venue.

The impressive architecture of the performance space was based on curves, spheres and understated elegance juxtaposed with elements of fun and quirkiness – in the true spirit of Eurovision. It offered a technically smart universe of possibilities for all performing there.

A large, sweeping ‘signature’ passerelle feature with video floor started at ground level stage left and looped around the middle of the room in front of the stage, curving upwards at stage right in a giant rollercoaster-style loop, snaking around to finish high up in the roof stage left.

A portrait-oriented central LED screen curved seamlessly from above into the stage floor below and extended into a central thrust that traversed the arena floor, splitting into a double staircase at the other side, ascending to the Green Room.

All of this brought a beautiful flow and harmony to the scene for lighting and playback video, which seamlessly combined with the other technical disciplines and worked brilliantly as a piece of televisual art.

The central screen was framed either side by seven columns of moving lights, bringing an epic and breathtaking cinematic feel to the entire space and giving clear sight lines from all around the arena.

Tim’s highly talented team included his associate lighting designers Morgan Evans and James Scott; moving light programmers Alex Mildenhall and Martin Higgins; key light programmer Marc Nicholson; overnight programmers Olly Martin and Manfred Nikitzer; follow spot caller Louisa Smurthwaite and playback video producer Sam Lisher and team. His gaffer and crew chief was Keith Duncan.

All lighting equipment for the event was supplied by rental company Neg Earth out of the UK, with whom Tim also worked on last year’s event and on his first ESC as lighting designer in Liverpool, UK, in 2023.

Tim was delighted to be able to use GigaPointes on this show and they became “headline fixtures” of the show.

The product was just launched at ISE in February and powered by a 350W white phosphor laser source engine, it is a hugely anticipated multifunctional effects fixture, and it was a real moment to have so many of them used on such a high-profile event, following a demo at the end of 2025.

In Vienna, they were positioned all around the space.

They were prominent along the top of the front sections of the passerelle and underslung below its elevated sections upstage. They were rigged around the central semi-circular trusses in the roof, right at the heart of the rig, and were on all four sides of the main stage at floor level.

GigaPointes were used extensively throughout all performances, especially for gobo and beam looks, with the SpectraBeam effect utilised a couple of times to create unique high-impact effects, most notably for San Marino, which comprised rainbow focused looks.

They also featured prominently in the flourishing ‘stage-ready’ sequence that cut in just after the postcard video sequence – in the upcoming country’s flag colours – for each contestant’s intro, accompanied by an orchestral stinger.

Morgan Evans commented, “They were excellent workhorses – we all loved them! Nice and bright, they worked hard, reliably and extremely well throughout the event in these multiple different positions. A highly versatile multi-use product.”

Tim echoed these comments, adding, “GigaPointes provided us with an aesthetic backbone,” revealing that he was so pleased with their performance that he’s specified them for Take That’s summer 2026 “Circus” stadium tour.

The 98 Robe WTF!s were the main strobe unit on the lighting design, deployed on the roof trusses running the length of the room either side, and on the large central ‘crown’ semi-circular trusses – the innermost ring – above the stage, alternated with GigaPointes and other fixtures.

Tim already had some experience of using a much smaller quantity of WTF!s on popular UK rapper Dave’s most recent tour, so he knew their potential and was very happy to have them on ESC.

“I love their directionality, and we fully used all the sets of LED chips and the zoning for various effects,” he explained, adding that they appreciated being able to pan and tilt the fixtures, which, together with the zoom, proved extremely handy at times for reducing glare into the cameras.

Conversely, they utilised zoom and LED zoning to create cool colour temperature effects, and the ones along the audience trusses helped with washing the arena.

“Lots of options for TV with these,” noted Tim, who has also spec’d these for another upcoming tour.

Eurovision is one of the most-watched/highest-rated live music broadcast shows in the world, and as always with any camera-based show, key lighting is paramount!

Robe’s iFORTE with its high CRI and excellent quality of light has been a white light go-to for Tim since the product was launched, and here they were rigged strategically in all the main key lighting positions for the main stage and Green Room.

iFORTES were positioned all around the arena on the periphery trusses and the two outer ring trusses above the stage – their power was ideal for the long throws from these positions.

Twelve of the 64 x iFORTES were paired with different remote follow systems, including three Robe RoboSpots.

These iFORTES were used for all the main stage key lighting and were critical to every shot, “They are one of the best – I absolutely would not be without iFORTES on a show like this,” he confirmed.

Eurovision is all about making a diverse range of stars from many cultures shimmer with luminance and magic as they deliver their songs, and he used Robe’s SVB1 fixture on the 2025 ESC event in Basel, Switzerland, and really loved them.

So much so that they were included on the main rig for this year – and in the meantime, Neg Earth had also made a substantial investment in SVB1 luminaires that was delivered by Robe UK.

The fixtures were spread out around three of the four large circular roof trusses and helped emphasise the structure. They created the base looks for a host of versatile twinkling kinetic effects, which could be bold or subtle depending on the artist.

The Green Room design stood out this year for its retro, cosy, classic Viennese-style coffee house concept, and the 25 x HolyPATTS were beyond the perfect movie prop for framing this, providing a highly stylised spherical ‘tungsten’ glow, visible in every wide and medium-wide shot.

The Vienna Radio Symphony Orchestra was positioned in the Green Room for the grand finale, and they were also dressed with HolyPATTS behind their risers.

Tim and the team applied the highly accurate tungsten emulation with style and panache to bring a highly theatrical feel to the space.

One of the major technical and creative challenges this year was the decision by ORF to shoot the shows – which also included two televised semi-finals to narrow down the field to the 25 finalists – on large chip film cameras, an ESC event first.

For Tim and the lighting department, this meant that more depth, definition and detail was visible, so they had considerably more latitude to play with lighting adjustments and fine-tuning affecting how elements like strobes and pyro would look on camera – harder, softer, etc. “It enabled us to add more texture and finesse to every performance,” he stated, and this really showed on the final broadcast.

Linked to this, the LiveEdit camera software used to cut the broadcast mix could also pre-select different colour LUTs that would run on all cameras for the different artists, so more stylised lighting looks and treatments could be developed and optimised.

Tim described this process as “very satisfying, as it effectively gave us more chance to paint with light,” which also made perfect key lighting – and the role of those iFORTES – even more critical!

Eurovision 2026 was presented by Victoria Swarovski and Michael Ostrowski, plus Green Room host Emily Busvine and the winner was Bulgaria, whose DARA gave a stonking performance of her catchy Balkans banger “Bangaranga”, heading off Israel’s Noam Bettan, who came second with “Michelle” and Romania’s third-placed Alexandra Căpitănescu with her song, “Choke Me”.

Photo by ORF Cloud.

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