Held annually at Design Centre Chelsea Harbour, WOW!house is one of the most anticipated events in the international design calendar. Each year, the purpose-built showhouse brings together world-class interior designers and leading global brands to create a series of full-scale, meticulously designed rooms, offering visitors the rare opportunity to experience their creativity first-hand.

Introducing intelligent lighting

At the heart of Lutron’s presence at WOW!house is its Intelligent Lighting portfolio, a new category of lighting that moves beyond traditional illumination to create responsive, human-centric environments. It represents a fully realised vision of seamlessly integrated, deeply experiential lighting for the home, elevated by advanced wireless control that transforms design freedom and unlocks new possibilities for design professionals. WOW!house will see Intelligent Lighting on show for the very first time in The Martin Moore Kitchen by Samantha Bartlett, The Samuel Heath Primary Bathroom by Rigby & Rigby, The Parlour by Martin Kemp Design and the Ca’ Pietra Bathroom by De Rosee Sa - working with Butler Harwell.

By seamlessly unifying control of natural light, electric light and shading systems, Intelligent Lighting enables designers to shape atmosphere with precision, supporting daily rhythms and elevating the experience of a space.

A cornerstone of this approach is Ketra, Lutron’s advanced lighting system, which delivers full-spectrum, tuneable light capable of replicating the changing qualities of natural daylight. Unlike conventional lighting, Ketra dynamically adjusts colour temperature and intensity throughout the day, while offering a near-infinite palette of light. This allows designers to achieve exacting and nuanced effects which bring out the true richness of materials, finishes and artwork, creating richly layered, intuitive spaces.

The other pillar of Lutron’s Intelligent Lighting approach is Orluna CCX, which stands for Orluna’s sustainably made architectural luminaires redesigned for native control with Lutron’s most advanced wireless systems. Sculpted to harmonise with the world’s most ambitious architecture and inspired by the light of Provence, Orluna CCX delivers remarkable, true-to-life colour rendering across a wide range of luminaires.

Collaborations with leading designers

At WOW!house, deploying Lutron Intelligent Lighting enables each designer to choreograph light and create an emotional experience with the building of soft, ambient layers, adaptable colour-changing hues and illumination perfectly attuned to tasks, mood and place.

The Martin Moore kitchen with Samantha Bartlett 

For WOW!house 2026 Martin Moore kitchens are collaborating with Samantha Bartlett Interior’s to combine expert furniture making with innovative interior design to create a kitchen that is the true heart of the home, shaped by nature, craftsmanship and the rituals of everyday living. Samantha Bartlett’s scheme explores warmth, materiality and functionality, enhanced by a complete technology experience by Homeplay, demonstrating Ketra’s ability to fine-tune light for different moments throughout the day, from bright, energising task lighting to softer tones for entertaining.

The Samuel Heath primary bathroom by Rigby & Rigby 

Luxury design studio Rigby & Rigby reimagines the bathroom as a timeless sanctuary of calm and serenity. Featuring Lutron Ketra, specified by integrator Powerplant Home Automation, the space transitions effortlessly between five distinct environments inspired by Rigby & Rigby’s international project reach. From invigorating tropical forest morning light to the calm of a restorative Japanese ski resort. The installation demonstrates how layered, dynamic lighting can support functionality, wellness and ambience within a single environment.

The Parlour by Martin Kemp Design 

In The Parlour, Martin Kemp Design creates a richly atmospheric space designed for relaxation and connection, where light is soft and considered. Here, Ketra lighting, specified by integrator Tillman Domotics, is used to accentuate textures, artworks and architectural details, delivering a sense of depth and intimacy that evolves throughout the day, reflecting the changing rhythm of the home.

Ca’ Pietra Bathroom by De Rosee Sa 

At WOW!house 2026, Butler Harwell has integrated Orluna CCX luminaires with Lutron control within the Ca’ Pietra Bathroom by De Rosee Sa to create the impression of Mediterranean sunlight. Orluna’s quality of light helps the stone, plaster and architectural details feel naturally illuminated. Woven into the architecture, the luminaires shine through the stretch ceiling, creating the illusion of the sky above the terrace, while light filters softly through the porthole window. Programmed scenes create atmosphere, shifting the room from bright morning clarity to softer, warmer evening tones.

A new standard for luxury living

Commenting on Lutron’s involvement, Javier Segovia, Vice President, Sales and Services, UK & Europe, said: “Intelligent Lighting represents the next major chapter in luxury residential lighting and we are thrilled to see this come to life at WOW!house 2026. These beautifully designed spaces show how Lutron technology can be seamlessly integrated into the fabric of a scheme, enhancing each designer’s vision while creating environments that respond intuitively to how people live, feel and interact with their surroundings.”

Other rooms featuring Lutron technology at WOW!house include the Lalique Home Bar by Elicyon, delivered in collaboration with integrator Custom Sight & Sound (CSS); the Salvesen Graham The Collection Primary Bedroom by Salvesen Graham, and the Black Edition at Romo Speakeasy Salon by Studio Duggan, are both supported by integrator Equipdd.

Across these rooms, Lutron’s technology integrates discreetly behind the scenes, giving designers complete creative freedom while ensuring that every space is illuminated exactly as intended.

Lutron’s presence at WOW!house demonstrates the growing importance of lighting within the design process, not simply as a functional requirement, but as a fundamental element of how spaces are experienced, bringing each designer’s vision to life with unparalleled precision.

Visit WOW!house from 2nd June – 2nd July 2026.

 Image credit: James McDonald.

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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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The Awards provide a great opportunity to share best practice, promote electrical safety, gain recognition, and give clients and customers confidence in products and services.

Award categories to enter include: 

Product of the year:

This category is open to products launched on or after June 1st, 2024, that enable a safer way of working on or near electrical systems.

Paul Skyrme Electrical Safety Initiative of the year:

This category is open to organisations, charities, individuals, and other industry stakeholders who have enhanced electrical safety through an outstanding initiative. The initiative must have started after June 1st, 2024. For example, this may be a marketing or awareness campaign, workplace safety initiative or resident engagement exercise.

Changemaker of the year:

This category is open to an individual who has gone above and beyond their legal requirements to have a positive impact on electrical safety within their workplace. Entrants should provide evidence of this positive change in the workplace from 1st June 2024.

Derek Thompson Industry Service Award:

This award is for an organisation or individual who has contributed to enhancing electrical safety for a sustained period of typically over five years. You must not have previously submitted this application as an entry for the awards.

Who can enter

The Awards are open to all individuals and organisations based in the UK with a notable interest in electrical safety.

The ESR Above and Beyond Awards are free to enter and open to all. You can nominate yourself, another individual or an organisation. Entrants may enter multiple award categories and submit multiple applications to the same award. However, all submitted entries must be tailored to each category.

Commenting on the ABA, Fraser Herd, Chair of the ESR Workplace group, said: “The Above and Beyond Awards are a fantastic opportunity to showcase some of the incredible work organisations and individuals do to enhance electrical safety. We look forward to a great Awards year!”

Applications close at 23:59 on 1st August 2026. Winners will be announced in autumn.

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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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This year’s expanded edition welcomed 2,909 attendees, including 2,311 visitors and 598 exhibitor personnel, with overall visitor numbers up 2 percent and exhibitor attendance up 3 percent on 2025. Across both days, the show recorded 3,658 visits, with many people returning for both days.

The show continued to attract a strong cross-section of decision-makers, technical professionals, creatives, students, freelancers, and business leaders. Directors, owners and chairpersons accounted for 16.8 percent of attendees, while 37.3 percent held final purchasing responsibility. Students represented an increased 13 percent of the audience, underlining the event’s growing role in supporting the next generation of industry talent.

A broad spread of sectors were represented, including live events, theatre and performing arts, concert and touring, festivals, corporate events, commercial AV, venues, education, broadcast, installations and more.

Visitor interests were also balanced across core technology areas, with audio, lighting, AV/video, rigging, stage engineering and power all strongly represented.

“PLASA Focus Leeds has always been about creating a space where people can connect properly, have useful conversations, and get hands-on with the technology shaping our industry,” said Sophie Atkinson, Head of Events at PLASA.

“This year’s expanded footprint allowed us to welcome more exhibitors and features, while keeping the friendly, focused atmosphere that makes Leeds so special. The quality of attendance, the engagement across the show floor, and the response from students and early-career professionals all show just how important this event continues to be.”

A focused show floor with more to discover

For 2026, PLASA Focus expanded further into the Royal Armouries, welcoming 211 exhibitors across lighting, audio, AV, rigging, staging, power, control, production services and more.

The show floor remained true to the Focus format, combining practical access to new technologies with a relaxed, easy-to-navigate environment. This year hosted a strong line-up of UK debuts and new releases across lighting, audio, rigging, control and connectivity.

Visitors could see products including Roxx’s UK debut Icon series, Ayrton’s MagicBlade Neo, Claypaky’s Arolla Aqua fixtures, Chauvet’s COLORado PXL Curve 1, HH Audio’s TNi-WX speakers, Neutrik’s True1 Data Connector Series, d&b audiotechnik’s U-Series speakers, ChamSys’ MediaMaster 26, RCF’s EVOX J9 and J11, Robe’s GigaPointe and EM Acoustics’ CS Series cardioid subwoofers.

Manufacturers, distributors, suppliers and service providers were able to meet visitors directly, compare products across disciplines, and discuss real-world applications with the people behind the technology.

“Every year PLASA Focus Leeds exceeds expectations with the quality of visitors, and this year was no exception. As always, the heart of PLASA is the people, catching up with old friends and making new connections.” said Bernie Marsh, Business Development Manager, Prolight Concepts Group.

“PLASA Focus Leeds 2026 was a fantastic show for Penn Elcom. It was great to reconnect with so many familiar faces from across the industry while also meeting plenty of new customers,” said Paulina Parda, Sales Support, Penn Elcom.

“PLASA Focus Leeds was once again a fantastic event for us this year. It remains an important meeting point for the industry, bringing together manufacturers, partners, customers and friends in a very relaxed and positive atmosphere,” said Eva Gerlach, CEO, Indu-Electric.

“With UK operations having been handled from Harrogate since KV2 Audio’s inception – PLASA Focus on ‘Home Turf’ is always valuable and an important part of our calendar,” said Tom Weldon, UK Sales Manager, KV2 Audio.

Industry support across the show

PLASA Focus 2026 was once again proudly supported by headline sponsor Ambersphere Solutions, alongside café sponsor IPS, courtyard sponsor LANG UK, video sponsor AV Matrix, and lanyard sponsor Leisuretec.

Official sponsors for 2026 included Adamson Systems Engineering, BeamZ, Disney Cruise Line, HH Audio, IPS, Link UK Solutions, PixelLogic Solutions, and RCF.

Their support helped shape a dynamic visitor experience across the venue, from the IPS-sponsored café and LANG UK’s courtyard presence to brand visibility, technology showcases and networking spaces throughout the show.

New features bring fresh energy

Among the new additions for 2026 was Speed Networking, which made its Leeds debut following the success of its London edition.

Delivered in collaboration with The Power of Events, Production Futures, and Access Industry, the feature offered students, freelancers and early-career professionals a structured way to meet people working across lighting, audio, AV, rigging, staging and live production.

Taking place in the IPS-sponsored café, where IPS marked its 20th anniversary, the sessions reflected the wider spirit of PLASA Focus in Leeds: approachable, practical, and centred around meaningful industry connection.

LANG UK also brought its Road to PLASA experience to the outdoor courtyard, with a custom-built demo truck offering visitors the chance to explore advanced video switching and compositing workflows in a mobile studio environment.

Meanwhile, EM Acoustics hosted a dedicated audio demo room, giving visitors a focused listening environment for its latest systems, including the CS15 subwoofer and Reference Series loudspeakers. KV2 Audio also returned with its popular audio demonstrations, while ChamSys delivered hands-on lighting control training across the show.

Learning, training and industry insight

Sponsored by LSi, the PLASA Focus seminar programme offered a wide-ranging mix of technical content, career advice, business insight and future-facing discussion.

Sessions explored key themes including technical skills development, AI, cyber security, sustainability, freelancing, employment law, funding, career pathways and industry best practice.

Together with hands-on demos and training, the programme gave visitors the opportunity to learn directly from industry experts while engaging with the wider conversations shaping entertainment technology.

Supporting new talent

The 2026 audience included a strong student and early-career presence, with students making up 13% of total attendees. Alongside the seminar programme and Speed Networking, the show provided a welcoming entry point for those looking to build confidence, ask questions, explore career routes and connect with employers, suppliers and industry professionals.

“PLASA Focus Leeds gave me a great opportunity to network with some of the biggest companies in the industry to explore employment options that are open to me post University. Everyone was happy to listen to my questions and give me great guidance and opportunities to help with my career progression,” said Callum Foy.

“It was such a brilliant show! I saw so much new equipment and learnt so much as a student. The variation in equipment was huge. I will definitely be attending next year!” said William Biker.

“A perfect place to network and speak with willing industry professionals… and walk away from the event being confident in my next steps regarding my professional future.” said Rummanah Promi.

Strong app engagement

The official PLASA Focus app continued to support the visitor experience, particularly across the expanded venue.

For 2026, the app recorded 2,023 unique logins, representing around 70% of total attendees. It also generated 513,364 impressions and 5,019 bookmarks, helping visitors browse exhibitors, save sessions, plan schedules, and navigate the show more efficiently.

Looking ahead

PLASA Focus returns to the Royal Armouries in Leeds on 11th – 12th May 2027, continuing its role as one of the UK’s most focused, friendly and practical meeting points for the live entertainment technology sector.

To register interest for next year’s edition, visit:
www.plasaleeds.com

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Halo Points are clearly identifiable, designated safe spaces located across key locations within Liverpool City Centre. There are nine points in total, which are well-lit and highly visible. They provide a place where anyone who feels unsafe, or at risk can seek immediate support, reassurance and practical help. Their visibility acts as a deterrent to offenders, while ensuring those who need help can access it quickly and discreetly. Each point will offer direct contact with emergency services via 999 and will be linked to City Watch CCTV, offering immediate reassurance and rapid intervention by VAWG champions or police officers for anyone feeling vulnerable or in distress.

The launch builds on the earlier introduction of VAWG Champions, who are already embedded across venues and trained to recognise vulnerability, challenge harmful behaviour and respond effectively to incidents such as spiking.

The development of Halo Points follows a Strategic Threat Risk Assessment carried out in 2023, which highlighted that VAWG offences are most likely to occur in busy nightlife areas, town centres and high-footfall locations. Operation Halo has been designed to address this risk through joined-up working between police, Liverpool City Council and licensed premises within the night-time economy.

The initiative is being funded by the Hyper-Local Policing Fund, awarded by the Home Office and secured by Merseyside’s Police and Crime Commissioner, Emily Spurrell, and Merseyside Police.

Constable Frank Stevens, Merseyside Police, who came up with the idea, said: “The launch of Halo Points is a significant step forward in our work to tackle violence against women and girls and to keep people safe during a night out in Liverpool. These highly visible points provide immediate reassurance and access to support for anyone who feels vulnerable, while acting as a strong deterrent to offenders.

This work would not be possible without the commitment of our partners, and we would like to thank Liverpool City Council, in particular the Highways team, whose support has been vital in identifying locations, ensuring the Halo Points are clearly visible and accessible. Alongside our VAWG Champions already working across venues, this partnership approach is helping us build a stronger culture of safety across Liverpool’s night‑time economy.”

Police and Crime Commissioner Emily Spurrell said: “Everyone deserves to feel safe when enjoying Liverpool’s night‑time economy, and Halo Points are a clear, practical step towards making that happen. These highly visible safe spaces will provide reassurance and rapid access to help for anyone who feels vulnerable or at risk while out in the city.

Tackling violence against women and girls is a priority for me, and Operation Halo shows the difference strong partnership working can make. By combining Halo Points with trained VAWG Champions and CCTV coverage, we are strengthening prevention, deterrence, and support, and making it clear that harmful behaviour will not be tolerated.

I’m grateful to the officers, council teams and partners who have helped bring this innovative initiative to life. Together, we are Taking Action to make our city centre even safer and make sure more people, particularly women and girls, can enjoy a night out in Liverpool.”

Councillor Laura Robertson-Collins, Cabinet Member for Communities, Neighbourhoods and Streetscene at Liverpool City Council said: “Liverpool is already recognised as one of the safest cities for a night out, as demonstrated by our Purple Flag status. Even so, we remain committed to ending violence against women and girls in our city.

These new Halo Points reinforce our shared commitment to ensuring that everyone can enjoy the city with confidence. No matter what concerns someone may have, they can be assured that there will always be someone available to help and to keep them safe.”

By launching Halo Points and expanding the network of trained VAWG Champions, Merseyside Police and partners are continuing to build a culture of safety across Liverpool’s night-time economy, ensuring more people, particularly women and girls, can enjoy a safer night out.

Carl Williams, Key Account Manager for Signify UK said: “Reliable access to emergency assistance remains an important yet often overlooked component of nighttime safety for women and girls. Halo Points, well-lit, highly visible points across the city centre, marked by distinctive green and white lighting is a great initiative ensuring the city provides a more dependable solution, allowing quick assistance in high-stress situations. We are proud to be the chosen lighting provider for the project, working in partnership with J McCann, contributing towards protecting vulnerable individuals and tackle Violence Against Women and Girls (VAWG) in Liverpool’s night-time economy.”

James McDaid, Head of Local Authority at McCann said: “McCann is proud to announce the public launch of Operation Halo, an innovative safety initiative developed in partnership with Merseyside Police and Liverpool City Council to help protect vulnerable people within Liverpool’s busy nightlife areas. The scheme introduces a network of highly visible lighting units positioned across key locations in the city, designed to provide an accessible way for individuals to seek help if they feel unsafe or at risk.

This system, developed in collaboration with Signify, are the first of their kind to be deployed in England. McCann, Signify, Liverpool City Council and Merseyside Police hope that Operation Halo will not only enhance safety across Liverpool but also serve as a model for wider national adoption, reinforcing a shared commitment to preventing violence and safeguarding communities.”

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The Michael Northen Award
This award is sponsored by the Go Live Theatre Projects (previously the Mousetrap Foundation) and ETC.   The winner of this award will receive a £500 voucher prize, and a 512 ETC nomad™ Package. The winner will also receive a copy of Michael’s book – “Northen Lights”.

Applications are welcome from current students (not just those on vocational theatre courses), Affiliate members of the ALPD, and recent graduates (who graduated no earlier than 2024) even if they are not currently a member, who have demonstrated strong, imaginative and creative lighting designs, detailed production documents or thorough programming files.

The Fred Foster Production Electrician Award
This Award is sponsored by ETC and dedicated to the late ETC CEO, Fred Foster.

The winner of this award will receive an engraved trophy sponsored by ETC

In a change to previous years this award is open to nominations rather than applications. Nominees will be pursuing full-employment in a production electrics career; they will have predominantly worked in the presentation of live performance in places of entertainment: i.e. on theatre, dance or opera productions in theatres and opera houses or on theatrical experiences in non-conventional spaces either in house or as a freelancer. They will have achieved a mastery of their chosen discipline. They will have consistently delivered at a level of excellence throughout their career. They will have sought to promote best practice and technical excellence while delivering world class performance. They will be a great collaborator. They will be worthy of recognition.

The Anne Valentino Award for Excellence in Programming

This award is sponsored by ETC and dedicated to Anne Valentino, who has been a key contributor to console development and design for both Strand and ETC.

The winner of this award will receive an engraved trophy sponsored by ETC

The criteria for nomination are:

They will have been pursuing full-employment as a programmer; they will have predominantly worked in the presentation of live performance in places of entertainment: i.e. on theatre, dance or opera productions in theatres and opera houses or on theatrical experiences in non-conventional spaces either in house or as a freelancer. They will have achieved a mastery of their chosen discipline. They will have consistently delivered at a level of excellence throughout their career. They will have sought to promote best practice and technical excellence while delivering world class performance. They will be a great collaborator. They will be worthy of recognition.

The Awards will be presented at the RCSSD/ALPD New Technology Showcase in January 2027.

Further Information, terms and conditions and details of how to apply are available on the ALPD website at: www.thealpd.org.uk/the-alpd-awards-for-excellence-2026

All submissions for the Michael Northen Award MUST be received by midnight on the closing date – Thursday 31st October.

Nominations for the Fred Foster and the Anne Valentino Awards must be received by 6 pm on Wednesday 16^th December.

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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.

The post Robe helps epic Eurovision glow up appeared first on A1 Lighting Magazine.