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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Across three days, the show recorded 11,430 visitors – a 10.5 percent increase on 2025 – with 8,136 unique attendees, up 8.2 percent year-on-year. Visitor attendance grew across every day of the event, while 243 exhibiting brands – including 70 new brands – filled Olympia with the latest technology, demonstrations and expertise from across the entertainment technology sector.

The show continued to expand across Olympia, with the Gallery Level becoming a destination in its own right through a broader mix of stands, features and activity. Alongside returning favourites such as the Careers & Networking Café and Classic Gear Live, 2026 saw the launch of the Cybersecurity Pavilion and The PLASA Lab in the West Hall. These additions reflect the show’s continued evolution beyond the traditional exhibition format, creating even more opportunities to discover technology, gain practical insight and connect with the people behind the industry.

A growing, influential audience 

The 2026 figures demonstrated not only growth in overall attendance, but the breadth of professionals PLASA Show continues to attract.

International visitors represented 11.1 percent of the visitor audience, with 712 attendees travelling from outside the UK – an increase of 6.3 percent on 2025. Norway, Ireland, Germany, the United States, Italy, Sweden, the Netherlands and China were among the strongest overseas markets.

Within the UK, London and the South East naturally represented the largest proportion of visitors, but attendees travelled from every region of the country. The audience reflected the wide reach of entertainment technology: live events, theatre and performing arts, festivals, concert touring, corporate events, broadcast, film, permanent installations and commercial AV were all strongly represented.

The visitor profile demonstrated significant purchasing influence. 37 percent identified themselves as final decision-makers, 24 percent as recommending purchases and 18 percent as specifying products, while Directors, Owners and Chairmen accounted for almost one in five visitors. Lighting, audio and AV/video remained the three largest technology sectors represented.

Female attendance also saw particularly strong growth, rising by 33 percent year-on-year from 763 to 1,017 visitors. This increase in female representation supports a positive direction for diversity within the show’s growing audience.

The next generation was well represented too, with 521 students attending PLASA Show 2026 – up 2.4 percent on the previous year. Building on the significant rise in student participation seen in 2025, the continued growth points to sustained enthusiasm from those starting out in the industry.

First-time exhibitor SA Touring reflected on the commercial value of the event, saying: “As a first-time exhibitor, we were blown away by the amount of interest and the interactions we had at the show… PLASA has already led to purchases and immediate business.”

Show floor activity, sponsors and major launches 

Across Olympia, established international manufacturers, distributors and emerging brands used PLASA Show to launch products, demonstrate new technologies, meet customers and create immersive experiences around their latest developments.

Robe UK returned as headline sponsor for 2026, once again drawing crowds with its new live production, A World Beyond Reflection – Where Light Reveals All. The show put Robe’s latest technology centre stage, featuring the launch of Arianne 4 and Arianne 12, LEDBeam 400, iT10 Profile and mySVOPATT. Powered by a live 10-piece drum and brass band, the production featured a rig of around 200 fixtures from across Robe’s portfolio, including more from the Arianne range, GigaPointe, iFORTE, iESPRITE and iPAINTE families, with products integrated throughout the performance to demonstrate their capabilities in a real-world show environment.

PLASA Show was also supported by official sponsors A.C. Entertainment Technologies, Absen, BeamZ, Canford Audio, Leisuretec and TAIT, bringing a broad mix of new products, demonstrations and show-floor experiences to Olympia.

Official sponsor Leisuretec comments: “There’s a real value in bringing so much of the industry together under one roof that simply can’t be replaced online. We’re proud to support PLASA Show and, after another successful year, we’re already looking forward to coming back.”

Official sponsor Canford adds: “The show has been a key fixture in our annual calendar for decades, and 2026 felt particularly special as we celebrated Canford’s 50th anniversary. To mark the occasion, we decided to become an official sponsor. It was fantastic to see Canford branding throughout the venue, and to give something back to an event that has supported us for so many years!”

Lighting provided a particularly busy stream of product news. On Entedi’s stand, Claypaky launched its B-EYE K30, B-EYE 7 and B-EYE 12, while elsewhere GLPintroduced the TW Dot Wash and TW Dot Pinspot. Highlite launched the Showtec Phantom IP and Robert Juliat presented the new Bizet 8-Colour LED profile through Live Technology. Other launches included Artistic Licence cueLumen upgrades, the Magic FX Sparxtar II and Chauvet Professional’s Maverick Storm LT.

A number of products also made their UK, European or PLASA Show debuts. The next generation of Chauvet Professional’s Ovation Rêve range made its UK debut, while visitors could also discover Highlite’s Infinity Chimp G3 lighting desk, Fiilex’s G9 Color, Lexvision’s Aurona Wash, FX Strobe and Blinder, LaserAnimation Sollinger’s Unreal 120, and HOF’s XOOP Spotbar LED system on the Entedi stand. Portman Lights introduced the Zyava, Freax and Hexy, while LSC’s Nexen gateway range made its European debut, one of the first gateway systems certified for the new Sig-Net secure lighting network protocol.

Audio brought plenty of new technology to the show floor too. Glensound’s Greater Divine Supernal and the Viviana Magnetic Pouch were launched at the show, while PLASA Show debuts included Violet Audio’s dMix 128, RCF’s EVOX V15,DirectOut Ace and Optimal Audio’s Column Series 8 and 16.

EM Acoustics also used PLASA Show for the first major UK showing of its CS Series cardioid subwoofers and QI Series of high-end installation loudspeakers. Elsewhere, new products on show included Adamson’s VGx, networked variants of d&b audiotechnik’s U-Series, DPA Microphones’ 6388 directional headset microphone, and Solid State Logic’s TCA Tour.

Beyond lighting and audio, LANG’s NERO LED screen made its PLASA Show debut within the AV sector, while new products across staging, power and connectivity included CableJoG’s LightingJoG Rack 8 Power and Neutrik’s True1 Data Connector Series.

Together, the launches reflected the breadth of technology represented at PLASA Show, from fixtures, control and network infrastructure to audio, LED display, staging and connectivity – with the show floor giving visitors the opportunity not only to see new products, but to speak directly with the teams behind them and experience technology in action.

For BeamZ, the ability to demonstrate technology in its intended environment was particularly important: “You can explain specifications and features, but nothing compares to seeing the performance, colours and effects for yourself.”

Pharos Architectural Controls described PLASA Show as an environment for “exchanging ideas, strengthening existing relationships and making new connections”.

Theresa Gibson of Area Four Industries UK agreed, saying: “For us, PLASA Show is about much more than exhibiting products – it’s about building relationships, listening to the market and understanding what our customers need next. The face-to-face interaction the show provides remains incredibly valuable in an increasingly digital world.”

City Theatrical’s Kelly Porteous summed up the human side of the event, adding: “The products are always an important part of PLASA Show, but for us, the best part of the show was the people.”

The PLASA Lab puts lighting to the test 

One of the standout new additions to PLASA Show 2026 was The PLASA Lab, giving visitors a new way to experience professional lighting technology away from the traditional exhibition stand.

Developed by PLASA in partnership with James Simpson of Copper Candle, the independently facilitated sessions brought comparable fixtures together in a controlled, blacked-out environment for side-by-side testing. With brand identities kept under wraps until the end of each session, visitors could focus entirely on the performance – from output, colour and beam quality to movement and effects – before the manufacturers were revealed.

The new format proved a hit, with 759 visits across five sessions over the three days, including repeat visits as the programme and fixtures changed throughout the show.

Participating manufacturers included Ayrton, BeamZ, Cameo, Chauvet, Claypaky, Elation, GLP, Martin, JB Lighting and Vari-Lite, with further support from Avolites, Blackout, BlackTrax, ChamSys, ETC, Obsidian, Outback, PSCo, RCF, SIXTY82, Sennheiser, White Light and LSi.

James Simpson reflects: “Seeing visitors genuinely absorbed in the experience – comparing fixtures without brand labels, asking sharp technical questions, and staying on after the reveal to get hands-on at the consoles – was exactly what we set out to create. What struck me most was the quality of the conversations it sparked. People left talking about light, not products.”

The PLASA Lab, captured by RED 

Bringing another dimension to The PLASA Lab, RED joined the feature as its video partner, capturing the light, detail, and atmosphere inside the experience.

RED supplied both a Cine-Broadcast solution and a traditional cinematic camera setup, showcasing the cameras’ ability to crisply capture dynamic lighting displays.

The collaboration extended the experience beyond those inside The PLASA Lab itself, creating a high-quality live stream and post-show footage of the fixtures in action – demonstrating how RED technology can be used across live and cinematic production environments.

Cybersecurity moves onto the show floor 

Another major new addition for 2026 was the Cybersecurity Pavilion, recognising the growing importance of digital security to manufacturers and users of connected entertainment technology.

Led by Wayne Howell of Sig-Net, the dedicated area provided a focal point for conversations around cybersecurity, secure product development and the implications of the EU Cyber Resilience Act (CRA), as manufacturers prepare for new obligations affecting connected products and software.

Coming immediately after the inaugural CyberFest, the Pavilion helped carry those highly technical discussions into the wider PLASA Show audience, creating opportunities for manufacturers, developers, systems engineers and product specialists to learn more about secure communications and the changing regulatory environment.

Wayne Howell comments: “The Pavilion was a resounding success. We had products from around ten manufacturers, all communicating seamlessly over Sig-Net. We were busy throughout the show, and the frequent question: ‘So, what is this CRA thing?’, confirmed just how vital this initiative was.”

Ideas, expertise and real-world experience 

Sponsored by Dante, PLASA Show’s 2026 seminar programme brought together leading practitioners, creatives and technical specialists for three days of discussion spanning major productions, emerging technology, sustainability, cybersecurity, skills, wellbeing and the changing business landscape.

Across the show, 2,329 visits were recorded across the seminar theatres,demonstrating a strong appetite for learning and knowledge-sharing alongside the activity on the exhibition floor.

Creative and technical insight drawn from real-world productions proved particularly popular. Among the sessions attracting strong audiences was Lighting ‘Into The Woods’ – From Concept To Stage, where Olivier and Profile Award-winning lighting designer Aideen Malone shared the creative thinking, collaboration and challenges behind taking the production from concept to performance.

Creative Lighting And The House Rig also drew significant interest, bringing together Sherry Coenen, Vic Pyne, Adam Murdoch and Alex Ray to explore how designers can work creatively within the practical constraints of house and festival rigs across theatre, opera, dance and live music.

Technical heritage also resonated with visitors. In The National Theatre At Fifty – Five Decades Of Technology In Support Of Theatre, Paul Handley, Matt Drury, Andrew Grant, David Bertenshaw and Anne Valentino explored five decades of technical development at the National Theatre, from stage machinery and lighting control to projection and contemporary production technologies.

Other particularly popular sessions included Vari-Lite – The Lights That Changed Our World, looking back at the technology and people behind a system that helped reshape entertainment lighting, and Virtual Pre-Production – The Royal Ballet And Opera’s 3D World, which explored the use of virtual environments and 3D visualisation in contemporary production planning.

Following their dedicated 40th anniversary theatre in 2025, LSi played an important role in shaping the 2026 programme, collaborating on a curated stream of eight sessions. Several proved especially popular, including Lighting ‘Into The Woods’, The National Theatre At Fifty and Vari-Lite – The Lights That Changed Our World. Elsewhere, the LSi-curated programme explored the audio technology behind Eurovision 2026, developments in Avatar-based concerts, advances at the Royal Opera House and the evolving role of the system technician. It also brought an important people-focused conversation to the stage with The Crèche Barrier – Can Safe And Comfortable Childcare Be A Part Of Modern Touring?, featuring platinum award-winning artist Katie Melua in a discussion around childcare and family life on the road.

Beyond lighting and theatre, the programme covered a broad mix of creative, technical and industry-wide issues – from the technology behind The Traitors live experience and the convergence of broadcast, live events and AV, to business and freelancer guidance, careers and workforce development, and health and wellbeing. Wider industry discussions tackled changing legislation, standards and compliance – including the Cyber Resilience Act, Martyn’s Law and employment rights – alongside sustainability, Digital Product Passports, artificial intelligence and emerging technologies.

As Seminar Programme Sponsor, Dante also delivered two dedicated sessions exploring the growing role of networked technology in live production. 2 Million People, One Network – Dante At Festival Scale looked at the challenges and opportunities of networking at major-event scale, while The Economics Of Convergence – When Shared Networks Make Sense In Live Sound And When They Don’t examined the practical and commercial considerations around bringing audio, video, lighting and control onto shared network infrastructure.

More ways to experience technology 

Hands-on demonstration and training continued to grow across the show in 2026.

Dedicated spaces enabled visitors to experience technologies in an environment far closer to their intended applications than a conventional exhibition stand. KV2 Audio, RCF and TT+ Audio hosted dedicated audio demonstrations, while AbsenLive and Barco provided opportunities to explore large-scale visual and projection technology.

ChamSys also returned with its programme of practical lighting-control training, giving visitors the chance to develop skills and explore workflows directly with its team. A number of sessions were led by guest lighting designers David Howard and Anthony Hazelden, bringing real-world creative experience into the hands-on workshops.

New for 2026, GLP also added dedicated training around the JDC2, giving visitors another lighting-focused opportunity to get hands-on with current technology and learn directly from product specialists in a practical setting.

KV2 UK Sales Manager Tom Weldon comments: “Our demonstration room was once again buzzing with engineers, consultants, designers and users experiencing our True Point Source products first-hand.”

Careers, connections and the next generation 

In collaboration with PLASA, Power of Events, Production Futures and Access Industry, the popular Careers & Networking Cafe returned with an expanded programme designed to make professional development and meaningful industry connections a visible part of the show.

Across the three days, visitors could take part in speed networking, access CV and career advice, receive free professional headshots, meet prospective employers and hear directly from experienced industry professionals through informal career-focused conversations and Fireside Chats.

The emphasis was not solely on those beginning their careers. The cafe also provided a meeting place for professionals considering their next move or looking to make new connections.

RWS Global’s Oliver Hawker comments: “Participating in the speed networking sessions enabled our team to connect with a broad range of technicians in a short period of time, generating valuable conversations and new professional relationships.”

Supporting visitors beyond career development, the Sensory Calm Space also returned to the Gallery Level, providing a quiet place away from the show floor to rest, reset or speak confidentially with trained welfare professionals throughout the event.

Classic Gear Live brings LSi’s pages to life 

Vintage technology has now featured at five consecutive PLASA Shows, with Classic Gear Live returning once again to celebrate the equipment and people that helped shape the industry. Named after the long-running Classic Gear column in LSi magazine, the feature brings the pages of LSi to life, placing landmark technology from across the decades back in front of visitors.

Curated by Rob Halliday, with Chris Hewitt of CH Vintage Audio leading the audio collection, 2026 highlights included displays celebrating 40 years of Vari-Lite’s Series 200 system, 50 years of the National Theatre and 70 years of ‘Betty’, the Palace Theatre’s System CD lighting console, alongside iconic touring consoles associated with artists including David Bowie, Pink Floyd and The Who.

Reflecting on the feature, Halliday comments: “As ever, the joy wasn’t just the equipment but the people,” with special guests including Jim Bornhorst, Tom Littrell and Brooks Taylor of Vari-Lite, Anne Valentino of ETC and David Bertenshaw of Strand sharing first-hand stories behind the technology both on the show floor and in seminar sessions.

Classic Gear Live also raised almost £1,200 for Backup Tech through raffles and blind auctions of unopened copies of the legendary Vari-Lite book A Different Light.

Innovation recognised 

The PLASA Awards for Innovation, run in association with LSi, once again put new product development firmly in the spotlight. This year, 43 products were entered,with nominees displayed on the Innovation Gallery throughout the show and the winners announced on Monday evening. The independent judging panel ultimately recognised eight innovations and presented a further four commendations.

Awards went to Chauvet Professional’s unrival App; Doughty Engineering’s Pre-Rig Quick Trigger Clamp; Event Lifting Limited’s ELL Smart Chain Hoist; LaserAnimation Sollinger’s Unreal 120; ROE Visual’s Vanish Air Rental; Singularity’s Sig-Net; and SoundBase, while Powersoft’s SpeakerMATE received the prestigious Gold Award.

The judges also commended d&b audiotechnik’s U-Series, Disguise’s Mapping Matter, Polar’s Areal Upmix Engine, and Robe’s GLINT and AERIS.

The 2026 results reflected innovation across lighting, audio, AV, rigging and software, with particular recognition given to developments addressing safety, workflow, cybersecurity and product longevity.

Juan Jose Vila from ELL celebrates, saying: “Commercially, the award changes the conversation from day one. As a new name competing with long-established brands, ‘PLASA Award for Innovation 2026 Winner’ gives our distributors and customers third-party confirmation that ELL is genuinely different, not just marketing. It will be front and centre in our product promotion this year – on our website, at trade shows and in every sales conversation.”

Beyond celebrating innovation, the Awards also gave back to the industry, raising £4,000 for Backup Tech. Profits from Awards entry fees are donated to the charity each year, helping support technical professionals, crew and production personnel through financial assistance and access to health and welfare services.

Applications for next year’s awards will open in Summer 2027.

A fresh chapter for Olympia 

PLASA Show 2026 arrived at an exciting moment for its long-standing home, with Olympia’s £1.3bn transformation bringing a fresh feel to the venue and new amenities for visitors to enjoy, including bars, restaurants, hotels and public spaces.

The evolving destination provided a fitting backdrop for PLASA Show’s own continued development, with even more still to come as both Olympia and the show look ahead to their next chapters.

Fifty years of PLASA – The Association 

While technology filled the exhibition halls, 2026 was also a chance to celebrate the people and community behind it, as PLASA – The Association marked its 50th anniversary.

The milestone was celebrated throughout the show and culminated in the PLASA 50th Anniversary Party on Monday evening, bringing together exhibitors, visitors, members, partners and friends from across the industry. The celebration was supported by Adamson Systems Engineering, BeamZ, Claypaky, DiGiCo UK, Neg Earth Lights, Neutrik, Wolfmix, Sennheiser UK and Unusual Rigging.

PLASA Show was born out of the association soon after its formation, creating a dedicated meeting place for the industry it represented. That legacy now sets the stage for the show’s own major milestone in 2027.

Next stop: 50 years of PLASA Show 

With PLASA’s 50th anniversary celebrations marking 2026, the spotlight now turns to the show itself.

Sophie Atkinson, Head of Events at PLASA concludes: “It’s been fantastic to see PLASA Show continue to grow and evolve, and particularly encouraging to see such a positive response to the new features we’ve introduced this year.

Looking ahead to 2027, we’re really excited to be celebrating 50 years of PLASA Show. It’s a significant milestone, and one that gives us a great opportunity to reflect on the show’s heritage while continuing to develop what we offer for the future.

With Olympia’s impressive transformation bringing new opportunities to enhance the show experience, we’re already working on plans to make 2027 a very special edition, and look forward to sharing more in the coming months.”

PLASA Show will return to Olympia, London from 5th – 7th September 2027, with plans already under way for a special edition celebrating 50 years of PLASA Show and five decades of technology, creativity, business and the people who have shaped it. 

Sign up for email alerts to make sure you don’t miss a thing and be the first to know when registration opens: https://www.plasashow.com/mailing-list

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Organised by Recolight, the lighting industry’s WEEE compliance scheme, the conference showcased projects where light fittings were retained and refurbished rather than replaced. Speakers were candid about both their successes and the challenges still to solve.

Beyond the next new fitting

For decades, the lighting industry has run on a simple cycle: specify, install, remove, replace. When a fit-out comes round or a light source becomes obsolete, the fittings come down and new ones go up.

Circular Lighting Live 2026 showed that cycle is now being challenged on real projects and at real scale. Remanufacture, reuse and new commercial models are moving from the margins to the mainstream.

Remanufacturing comes of age

Remanufacturing is the most mature circular approach, and it has been practised for decades. What has changed is the pressure behind it. High energy costs and the phase-out of fluorescent light sources have left many buildings with sound luminaire housings but obsolete lamps.

The projects are getting bigger. DRK Lighting presented the remanufacture of 8,000 luminaires at a commercial site, showing that circular principles work at significant scale. Conversely, at Leadenhall Market in London, Light Projects Evolve remanufactured a much smaller quantity of historic fittings and developed a bespoke LED light source to preserve the building’s Victorian character.

Reuse is harder than it looks

Recovering luminaires for reuse is not simply a matter of taking them out of a ceiling and finding a buyer. Hattie Emerson of the Finishes and Interiors Sector shared lessons from attempts to redistribute thousands of good-quality fittings removed during Cat A fit-outs. She highlighted the practical obstacles to building a working market for second-hand products.

Rethinking design and business models

Delegates heard that it is commercial arrangements that will determine if circularity will succeed or fail. Reuse, remanufacture and leasing all keep value in the product, rather than losing it when the product is replaced. Recognising that value in financial terms is important.

In his keynote address, John McRae, director of architectural practice Orms, challenged the industry to imagine a future beyond the conventional take-make-use-waste model. Sabine De Schutter, founder of Studio De Schutter, argued that reuse and upcycling can be starting points for creative lighting design rather than constraints.

Carbon, materials and regulation

Speakers examined Environmental Product Declarations (EPDs), updates to the TM66 circularity methodology, and legislation expected to put more emphasis on repairability and upgradeability. Embodied carbon looks set to sit alongside energy efficiency in every good specification.

Sessions also explored lower-impact materials and manufacturing, including bio-based plastics and robotic additive manufacturing using recycled materials.

What it means for the industry

For manufacturers, contractors, specifiers and lighting designers, the implications are practical:

• Existing luminaires should be assessed as assets before they are written off.
• Remanufactured fittings with a fresh warranty are becoming a credible option on mainstream projects.
• Clients are more likely to ask about remanufacture, EPDs and what happens to products at end of life.
• New business models and markets are emerging for lighting companies.

What the delegates said

John McRae, Director, Orms (keynote speaker): “This year’s conference was a step change towards a more circular approach where speakers shared their innovation and lessons learned. The industry has been guilty of an addiction to selling new, but this year disassembly and take-back schemes were amongst the examples shared. The future of lighting is not brighter. It is wiser.”

Gary Thornton, Nulty: “I think it was probably the most informative and positive Recolight conference yet. Lots of real-world examples exist, but we must continue to normalise reuse. As far as we have come, the industry is approaching a tipping point. Continue to push forward repair and regeneration rather than new at every opportunity.”

Niclas Thulin, Sustainability Manager, Fagerhult: “If we are to increase reuse within our industry, we must start with what already exists. The requirements for reused products cannot always be identical to those for newly manufactured products. Instead, these limitations should be viewed as a catalyst for creativity, for example in lighting design.”

Sabine De Schutter, Founder, Studio De Schutter: “For the lighting industry, moving beyond ‘buy, build, waste’ means shifting from product thinking to system thinking. One of my key takeaways was that circularity is a team sport. Conferences like this help turn shared knowledge and real examples into action.”

Mike Eddowes, Design Director, Circalume Lighting Design Practice: “True sustainability isn’t just about designing for tomorrow; it’s about maximising the embedded carbon and potential of what we already have today. The conversation has decisively shifted from theoretical concepts to practical, scalable delivery.”

Alexander Flekler, WAGO: “Circular Lighting Live was a truly inspiring experience. I was particularly impressed by how active the reuse and refurbishment scene in the UK lighting industry already is, with so many real projects showing that circularity is much more than just a concept.”

Matthew Thorpe, Sales Director – A&D, Fagerhult: “An excellent forum to learn about the latest innovations and best practice in circular and sustainable [lighting]. It really felt like everyone left inspired to do more, and do better, for the planet.”

Looking ahead

Together, the presentations pointed to a shift in how the industry designs, procures and manages lighting. The direction is clear: preserve the value of what is already installed, extend its useful life, and build the commercial models that make circularity pay.

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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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EcoVadis Gold, energy-efficient lighting solutions and investment in renewable energy support LEDVANCE’s sustainability strategy.

LEDVANCE has published its Sustainability Report for the 2025 financial year, setting out the company’s latest progress and initiatives across environmental, social and governance (ESG) performance.

Under its guiding principle, ‘Power Through Light’, the report outlines the steps LEDVANCE is taking to reduce its environmental impact, improve the sustainability of its operations and develop more energy-efficient lighting solutions.

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For lighting professionals, the event provides an opportunity to look beyond illumination and explore the increasingly important role lighting plays within the wider smart-building ecosystem. Occupancy sensing, controls, energy management, connectivity and data are becoming increasingly integrated, creating new opportunities for lighting systems to contribute to more efficient, responsive and adaptable buildings.

The exhibition will feature more than 100 exhibitors, showcasing technologies across lighting and controls, sensors, building automation, connectivity, AI, energy efficiency and data analytics. It provides an opportunity to see how these technologies are being applied in practice and to discover solutions that can support the changing needs of building owners and occupants.

For the lighting sector, interoperability is becoming particularly important. Open protocols and better-integrated systems can help overcome the limitations of isolated technologies, while smart lighting can combine energy-saving benefits with valuable data about how buildings are being used. For those specifying, designing, installing or managing lighting systems, the Show offers an opportunity to explore developments in areas such as DALI, controls and interoperability, and consider how lighting can become a more integral part of intelligent building design.

The two-day conference programme will feature more than 120 speakers across four theatres, covering Energy Management; Controls & Networks; IT & Digital Infrastructure; and Management & PropTech. Topics include building automation, AI, cybersecurity, data analytics, digital twins, energy efficiency, sensors, sustainability and workplace management.

With free attendance, Smart Buildings Show 2026 is a useful opportunity to discover new technologies, learn from industry experts, meet suppliers and peers, and gain insight into where smart buildings – and smart lighting – are heading.

Register for free today: https://smartbuildingsshow.com

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Tony Wang, Chairman and Founder of WAC Group, was inducted into the American Lighting Association (ALA) Hall of Fame during the 2026 ALA Conference on Tuesday 29th September 2026, in Tucson, Arizona.

The ALA Lighting Hall of Fame recognises individuals whose careers exemplify outstanding service, leadership, and lasting contributions to both the lighting industry and the association. Tony’s decades of innovation, entrepreneurship, and commitment to advancing technology have helped shape the modern lighting industry while strengthening the lighting community.

“Tony’s vision and commitment to innovation have helped transform the lighting industry,” said Jon Melchi, President and CEO of the ALA. “For more than four decades, Tony has consistently pushed our industry forward while investing in the success of ALA and its members. His leadership, entrepreneurial spirit, and dedication to advancing quality lighting make him exceptionally deserving of this honour.”

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The country’s construction trade association has teamed up with the manufacturer to unveil the Powering Potential initiative, which will see three SELECT member firms receive £6,000 each to help support the cost of a first-year apprentice.

Announced at the SELECT President’s Lunch, (Friday 25th September 2026), the investment comes amid ongoing concerns about rising training costs, with a SELECT survey revealing that high wages and low employer funding are the biggest obstacles to recruiting apprentices.

Powering Potential will now provide three grants of £6,000 to selected employers in the East, West and North of Scotland, helping offset the costs associated with employing apprentices during their first year of training. The inaugural recipients of the funding are:

• East: V C Electrical, Gullane – supporting apprentice Reece Michie
• West: T Walsh Contracts Ltd, Ayr – supporting apprentice Thomas Shirkie
• North: A B Electrical Scotland Ltd, Aboyne – supporting apprentice Ritchie Pirie.

Each company received their funding at The Balmoral in Edinburgh from SELECT President Darren Crockett and Ian Hunter, UK Trade Sales Director at Luceco Group, who also donated electrical equipment to the young learners.

Sharon Miller, Managing Director of SELECT, said: “We are extremely grateful to Luceco Group for helping us make this meaningful investment in the future of our sector.

Employers continue to tell us that rising costs are making it increasingly difficult to recruit apprentices, particularly during the first year when they spend significant periods at college, so this partnership is a practical example of industry coming together to find solutions.

However, while this funding will make a difference to these three SELECT members it is only a fraction of what is needed and is not a replacement for proper funding across the board. If Scotland is serious about addressing skills shortages and growing the workforce of the future, increased support for apprenticeships from government remains essential.”

Ian Hunter said: “As someone who started my own career as an apprentice, I know first-hand the opportunities that apprenticeship training can create.

Luceco is proud to support this initiative because we recognise the pressures many employers face when investing in new talent. Supporting apprentices is an investment in the future of our industry and a way of giving something back to the contractors who support our business every day.

We hope this financial support will help remove barriers, create opportunities and encourage more young people to pursue successful careers in the electrical sector.

Developed with support from the Scottish Electrical Charitable Training Trust (SECTT), the Powering Potential recipients were chosen from SMEs and longstanding SELECT member firms who have a proven track record of recruiting and developing apprentices.

The funding has been specifically designed to help employers meet wage costs while first-year apprentices attend college as part of their training, reducing one of the key financial pressures associated with recruitment.

As well as receiving financial support, the apprentices will be invited to visit Luceco Group’s headquarters in Telford, where they will gain insight into manufacturing, product development and the wider electrical supply chain.

V C Electrical owner Val Chisholm said: “Running a business can feel quite lonely at times, so having this support and recognition from the industry means a lot and feels like a reward for the years of hard work, commitment and dedication that have gone into building the business. A big thank you to SELECT and Luceco Group for this support – it’s great to see the industry showing such a strong commitment to investing in the next generation.”

V C apprentice Reece Michie, 18, added: “I am looking forward to gaining practical experience on site, learning from qualified electricians, developing new skills and working towards becoming a fully qualified electrician.”

T Walsh Contracts Ltd owner Tony Walsh said: “The cost of taking on an apprentice is massive – in the first year they are in college for 17 weeks, which can make it unaffordable for some small businesses. In the current economic climate, any support is important and very much appreciated so I am extremely grateful for this funding. I feel strongly about the importance of taking on apprentices and this means a lot.”

T Walsh apprentice Thomas Shirkie, 19, added: “I’ve wanted to be an electrician since doing work experience at school. My long-term ambitions are now to get my qualifications and to be a professional producing high-quality work.”

A B Electrical Scotland Ltd owner Allan Beveridge Snr said: “This funding is an extremely welcome boost as it definitely feels like it’s becoming a tighter climate for electricians lately. It also feels like recognition for taking apprentices through their careers. There don’t seem to be as many apprentices on-site these days so need to do something to ensure we don’t end up with a shortage of qualified tradespeople.”

A B apprentice Ritchie Pirie, 17, said: “I’ve always wanted to be an electrician. I was supposed to start with another company last year but it didn’t happen so I’m excited to have this second chance.”

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