Month: September 2023

Cosmicnode’s wireless controls were recently installed in a volleyball sports hall in Genk, Belgium, demonstrating their versatility and suitability for a wide range of applications.

The owner commissioned the project to modernize the outdated and inflexible lighting installation. The objective was to implement a user-friendly, adaptable system that would enhance the experience for both players and spectators, while also reducing the sports hall’s energy consumption.

Werner Van Genechten of VGL Elektro, the electrical installer for the project, selected Cosmicnode’s wireless lighting controls for specific reasons. He elaborated:

“Cosmicnode was the preferred choice for several reasons. Firstly, the Cosmicnode system is user-friendly, and the commissioning process is remarkably straightforward. Secondly, the wireless control system provided a cost-effective and sturdy solution that could be seamlessly integrated with minimal disruption to the existing infrastructure. Lastly, Cosmicnode’s system perfectly aligned with the customer’s need for both app-based and switch-based control.”

The Cosmicnode wireless controls bring numerous advantages to the volleyball sports hall and have fully satisfied the client’s expectations.

With the newly introduced ability to create scenes, operators can now produce dynamic lighting effects during games and events, such as using flashing lights to kick off a match.

Moreover, the group control functionality enables the creation of a more visually captivating environment for spectators. During matches, the volleyball court is brightly illuminated while the viewing and seating areas are dimmed to an optimal level, resulting in an overall enhanced gaming experience.

The implementation of Cosmicnode wireless controls has introduced dimming capabilities to the hall, allowing for the adjustment of lighting levels to match specific activities, such as matchdays, practice sessions, and tournaments. This not only promotes energy savings but also reduces unnecessary energy consumption and associated carbon emissions, as opposed to the previous binary on/off option.

The flexibility of control is guaranteed as the lights can be managed through a mobile app, iPad, or tablet. Additionally, energy harvesting wireless switches are deployed for manual control.

Vinay Hiremath, Cofounder Cosmicnode, concluded: “Moving forward, we are excited to explore future projects that build on the success of this one, and to continue to leverage the power of Cosmicnode’s wireless control system to create innovative and sustainable lighting solutions.

“We have already received positive feedback from the client, who has expressed their appreciation for the greater flexibility and control that the Cosmicnode system has provided, enabling them to adapt the lighting to suit their changing needs and preferences.”

Tridonic will be presenting its comprehensive portfolio of integrated system solutions at Light + Building 2024 in line with its claim of “Tridonic – We manage light”. 

 

In its role as a technology partner for intelligent lighting solutions, Tridonic will be exhibiting at the trade fair in Frankfurt from March 3 to 8. Its booth will be located in the prestigious Forum where there will be live demonstrations of Tridonic’s innovative lighting solutions so visitors can experience the different products in action. The company will also be providing insights into the latest technologies such as Matter and its Cradle to Cradle Certified^® products. 

 

Tridonic will be showcasing its integrated lighting systems within the context of sustainability, thereby addressing the current market requirements for intelligent technologies to reduce greenhouse gas emissions and promote the energy-efficient operation of lighting systems in buildings and public spaces. 

 

“Our presence at Light + Building will enable us to bridge the gap between online contacts and personal relationships. In this era of digital interaction, personal contact is crucial for establishing, maintaining and building trust and loyalty. The trade fair is also an ideal opportunity to make new contacts and expand our network,” said Tridonic CEO Hugo Rohner. 

A new event for the sector, the ICEL Emergency Lighting Conference, has been hailed a success by attendees, speakers and the organisers. The conference offered attendees the opportunity to learn from industry experts about the latest developments in legislation, standards, products and practices.

 

Held at the Cavendish Conference Centre in London, the event was organised by the Industry Committee for Emergency Lighting (ICEL) in partnership with the LIA. The day brought together key stakeholders from across the emergency lighting supply chain, from manufacturer to end-user and all those in-between.

 

A wide breadth of organisations attended including Laing O’Rourke, Mitie, CBRE, NHS and Transport for London. The event’s headline sponsor, P4 Limited, was also in attendance along with other emergency lighting manufacturers.

 

In total 220 attendees participated in the sold-out event; engaging with the educational opportunities offered through keynote speeches and panel discussions. Topics included ‘Future Emergency Lighting Standard & Legislation’ and ‘Batteries for Emergency Lighting’.

A particular highlight was the ‘Challenges Facing Large Estates’ panel discussion which featured David Mooney from WS Atkins, Colin Ball from BDP, Andy Butler from the NHS, Peter Fordham from Sainsburys and Hywel Davies from CIBSE.

 

The conference also acted as the perfect platform for the launch of the ICEL Competency Scheme for the industry, ICEL Product Certification Scheme, and a revised ICEL Luminaire Conversion Scheme.

 

The ICEL Competency Scheme for the industry has been created as an enhancement to the Emergency Lighting Individual Competence Standard. This was first developed in response to the industry commitment to enhancing safety standards and preventing future tragedies in the wake of the Grenfell Tower disaster. The scheme is open for any organisation that wishes to register their competence on the specification and system design domains of the standard. The remaining domains on product design, installation, sales & distribution and testing & maintenance are currently in their pilot stages and will be available in due course.

The scheme is another demonstration of how the LIA and ICEL are working to instil unwavering confidence in all emergency lighting activities.

 

Ayça Donaghy, CEO of the LIA, said: “It was an honour to be part of this significant event, and we are confident this new conference will become the highlight of the year for the emergency lighting sector.

 

“The conference certainly fulfilled its aim of uniting vital players from every facet of the emergency lighting supply chain from manufacturers to end-users.”

 

The feedback from the attendees was very positive: “I got to fully appreciate and understand the “power” of being an ICEL member,” said Eli Ward, of BLE Lighting and Power Limited.

 

Other feedback included:

 

“The conference was excellent and very relevant,” said Barrie Morris, Chalmor Limited;

 

“I really enjoyed the day, learnt a lot, and it was certainly one of the better conferences I’ve been on recently. I will be back next year if you decide to do another,” said Paul Brickell, Crown House Technologies.

 

 

Registration is also now open for the LIA’s series of Tech Talks. The programme until the end of 2023 includes two dedicated webinars on emergency lighting. On Tuesday 26^th September, 2pm, Dave Tilley of DJ Consultancy will present ‘When the lights go out!’. On Tuesday 21st November, 2pm, Matthew Jones of Advanced Co will deliver the Tech Talk on ‘BS 5266-1 CPD: The best route to compliance for your Emergency Lighting’.

 

 

With a project that truly shone from the very beginning!

Get ready to witness Rio de Janeiro in a whole new light! Team Tryka are thrilled to announce an exhilarating project that will illuminate the heart of this vibrant city and captivate your senses like never before.

 

Prepare to be mesmerised as Rio’s iconic landmark – The Belmond Copacabana Palace Hotel, transforms into a radiant masterpiece.

Located on the lively Copacabana beachfront, the hotel has undergone a number of improvements, renovations and refurbishments since its opening.

Most recently, the hotel’s façade was reimagined to celebrate the Copacabana Palace’s centenary and we can’t wait to tell you more…

This ground breaking lighting project is set to redefine the city’s nocturnal beauty.

Ansell Lighting has unveiled its new slimline LED track lighting range, Primo Track, offering the ultimate in choice and versatility.

Available as a single circuit or OCTO compatible three circuit track spot, with integral driver, Primo Track is suitable for hospitality, residential and retail settings, as well as ancillary applications.

It offers 355° rotation with up to 180° tilt on the bracket, along with interchangeable 24° and 36° lens accessories and multiple track accessories, to deliver a wide variety of customisable layout options.

Offered in black or white with a mirror finish anodised reflector, and with the option of adding a gold trim ring, the track spot’s modern, lightweight aluminum design enables quick and easy installation.

The Primo Track single circuit track spot has 10W, 4000K and 3000K (both 1000lm); 20W, 4000K (2100lm) and 3000K (1900lm); and 30W, 4000K (3000lm) and 3000K (2800lm) options. It is Triac dimmable as standard.

The Primo Track three circuit track spot is available in 10W, 4000K and 3000K options (both 1001lm); 20W, 4000K (2100lm) and 3000K (1900lm); and 30W, 4000K (3000lm) and 3000K (2800lm). It is DALI dimmable as standard.

A single circuit GU10 version, which can be used in conjunction with WiZ smart bulbs, is also available.

Mark Abbott, Managing Director at Ansell Lighting said: “Primo Track LED track lighting is simple to fit and configure, making it the ideal solution for multiple display lighting projects.

“Its sleek contemporary design can also be customised to achieve an extensive array of looks. It really does deliver the ultimate combination of aesthetics, adaptability and ease of installation.”

In what’s regarded as one of the most epic fantasy stories ever written, J. R. R. Tolkien’s The Lord of the Rings is a sweeping saga, centered around a hobbit named Frodo, who must undertake a treacherous mission though middle Earth to destroy an evil, magic ring. The literary masterpiece has been reinterpreted numerous times over the years, from cartoons to films to even a West End musical. First performed at Theatre Royal Drury Lane in 2007, the musical was recently revived and reimagined at The Watermill Theatre in Berkshire. The lighting designer for this new production is Rory Beaton who approached White Light (WL) to supply his lighting equipment. 

The Lord of the Rings is a story which is undoubtedly familiar to so many. With this in mind, Rory and the rest of the show’s creative team wanted to make their version as unique as possible. He explains: “We were very conscious that, as the first ever non-replica production of the original musical, we wanted to bring something new to the table. As such, we have created a brand new and unique production that takes place both inside the actual theatre itself as well as outside in the beautiful grounds. Our version is about celebrating ‘The Shire’, the story, the phenomenal music and, of course, the beautiful Watermill Theatre. Our aim was to prove you can do big things on the small scale!”. 

With a show this ambitious, it naturally meant that Rory had to achieve a significant amount with his lighting design. He comments: “I know this may seem like a stock answer but I really do mean this: there are SO many locations within the show. We start in Bagend, go to Rivendale, Bree, Mordor, Fangorn Forest, Moria, Lothlórien… I could go on! Oh, and there are numerous epic battles chucked in throughout! My main requirement was then to dress and continually re-shape Simon Kenny’s wonderful set. I do this in close collaboration with the fabulous video designer George Reeve – which was a bit of a task for a non-stop three-hour epic! I spent a lot of time trying to crack what those different locations and ‘worlds’ felt like – and not necessarily what people just assume they would be because of the huge film franchise”. 

Given his brief, Rory knew that flexibility was going to be a key factor when it came to his rig. He also had to build something that fitted in with The Watermill’s specific layout. He explains: “The Watermill’s fixed grid sits at about 5m from the venue’s floor. Our stage is raised by +300mm or so to allow for various revolves and lifts, etc. With that comes a requirement for fixtures to not hang too low, not obstruct sightlines, not be too noisy and go wide enough to toplight the revolve with one singular unit…. So just a few requirements to consider!”. 

All of these factors were raised when Rory approached the WL Customer Service team to discuss his rig and what fixtures he could potentially draw on. He comments: “A vital fixture on this production is the Ayrton Diablo. They were the only theatrical unit I knew of which was compact enough, quiet enough, bright enough and even has shutters! It was my first time using them so I felt like I was taking a slight risk, but they turned out to be a complete triumph and something I will be calling upon time and time again. They do everything from the big one-source key looks in the show to the delicate tungsten-eque front-of-house specials that illuminate people’s faces. I used these in conjunction with the venue’s existing stock of Martin MAC Auras, various LED Pars, ColorSource Profiles and a smattering of conventionals. We also have some Robe 150s hidden in the venue’s slips positions to do all the show’s sidelight”. 

Alongside lighting the traditional theatre space, Rory also had to light the venue’s grounds which are part of the show. He explains: “The outdoor element of the production means lighting the beautiful exterior, numerous catering options, a huge circular stage, band-stands, trees, hedges, and a few paths too! For this, I used lots of Chauvet ColorDash IP LED Pars, WL’s outdoor stock of ETC Source Fours, various Parcans and hundreds of meters of festoon”. 

Rory also drew on four Viper smoke machines, tens of meters of ducting, a vertical fogger, an MVS Hazer, two micro foggers and a handheld mini-mist.  

He comments: “What was interesting about this show is that every single fixture seemed to constantly be in use! If the Diablos are off for a split second, they are then marking for the next cue or the next effect. Also, every unit is multi-purpose – everything works hard for its place in the rig. Whether it’s the domestic warmth of Bagend or the intense red fires of Mount Doom, all the units need to be able to do subtlety and ferocious output in equal measure. To put into context, there’s only 20 moving lights in the rig and between them they use 596 channel focusses!”. 

With a show this ambitious, it obviously wasn’t without its obstacles. Rory explains: “Fitting a cast of 20 actor-musicians onto a 6m wide x 4m deep stage was obviously tricky! As was trying to then isolate those performers, highlight the main moments without any followspots and then create location after location! The thing about The Watermill is; where the cast stand and the marks they hit are centimetre precisions. As such, moving half a metre in The Watermill feels like a full metre anywhere else. The level of precision and consistency is totally crucial – and that’s a joint effort between the cast and the creative team. 

He continues: “It’s also worth noting that, like so many other venues, during the run-up to this show, The Watermill received a 100% cut in their Arts Council England funding, removing them from the ACE portfolio. That meant our budgets have been stricter than ever – with zero room to run over. With this in mind, WL have just been PHENOMENAL with their help and coming up with alternatives and different solutions to fulfil my design. It’s no exaggeration to say that, without their generosity, this show wouldn’t look half of what it now does”. 

The completion of a landmark lighting remanufacturing project is being heralded as the gold standard in eco-friendly office refurbishment.

The refurbishment of Arup’s office at Piccadilly Place, Manchester was the stage for the project, led by The Regen Initiative and supported by technology from Tridonic UK.

Arup currently occupies the 6^th Floor and the project included an expansion to the 7^th Floor and refurbishment of both spaces. A key project objective was to reduce embodied carbon by renovating or repurposing furniture and equipment as an exemplar demonstration for our clients. Arup wanted to explore the refurbishment of the existing TC-L luminaires to LED and approached The Regen Initiative for their expertise in lighting remanufacture.

Conceived by F Mark and COCO Lighting, The Regen Initiative offers a lighting fixture refurbishment service, breathing new life into existing fixtures.  By sharing their collective knowledge and remanufacture skills they are able to offer a service that encompasses circular economy principles to reduce carbon in refit projects. These principles and practices provide a credible alternative to just ‘fitting new’ that will last for generations to come.

Arup and The Regen Initiative collaborated in the design, prototyping and testing on-site of the retrofit solution to ensure the optical performance could be maintained, to define a specification for light quality, and to integrate smart wireless lighting controls to replace the existing DALI system which was unfit for purpose.

As part of a turnkey solution, the LED retrofit upgrade of the 214 incumbent TC-L fluorescent lighting was completed out of hours by fellow Regen associates Challenger Lighting Services to minimise disruption to Arup’s daily operations in the office.  Along with the rebuilt LED retrofits, which were remanufactured off-site, the lighting levels were balanced to meet the client’s exact specification. The emergency lighting provision was also upgraded to be compliant with regulation and the whole project was fitted with wireless controls from Tridonic UK.

Overall, the remanufacturing and retrofit of the fixtures has resulted in a 72% energy reduction and the avoidance of 5,554kg of CO₂e being produced in comparison with the replacement of existing luminaires with new.

Additionally, the Tridonic x Casambi wireless upgrades meant that PIRs and meeting room switch plates have been replaced. Regen engaged the services of Atrium to supply these components and commission all wireless lighting towards the end of the project. The emergency lighting provision is upgraded to be fully DALI auto-test compliant.

“The resulting green credentials for this project really speak for themselves”, explains Simon Fisher from The Regen Initiative. “We knew what we could do to remanufacture the old fittings to make them LED-ready and utilising technology from Tridonic UK and Casambi to provide wireless controls, dimming and emergency lighting compliance, were all key parts of the project deliverables for us. But what has been truly inspiring about this project is the collaboration between The Regen Initiative and Arup to evolve the scope of work to really move the dial on the amount of carbon and money saved, as a result of these innovative green techniques being deployed.

“Finally, the success of the project has meant that we have been invited to return to provide similar capabilities as part of the renovations to the seventh floor of Piccadilly Place, which sees us taking on a role as lighting remanufacture contractor, working as part of a wider supply chain.”

Richard Morris, Lighting Design leader for Arup’s Manchester Office, said: “We have been promoting the lighting and circularity agenda for some time. We were keen to put this into practice and working with The Regen Initiative gave us the opportunity. Now, having been through the process, with no disruption to our daily work and validation of the energy and carbon savings, we can share our experience with our clients with confidence and promote luminaire refurbishment as a realistic proposal.”

James Huntington, OEM Controls and Solutions Manager for Tridonic UK, said: “Our wireless drivers and emergency lighting solutions were the perfect fit for this project, enabling DALI-compliant wireless controls, dimming and emergency auto-testing to enhance the lighting provision which ultimately, saves the occupant time, money and carbon. It’s so great to see these greener solutions being adopted and we are proud to be a part of this very special story, which I know will have far-reaching implications for the next generation of lighting refits.”

The Environment Agency (EA) this week announced that it would no longer enforce certain documentation when customers drop off trade waste at wholesalers.

The change is contained in a new Regulatory Position Statement (RPS) 283 dated 11 September 2023. This states that customers dropping business waste off at wholesaler sites will not be challenged if they do not supply a Waste Transfer Note, or, in the case of hazardous waste like waste electricals and lamps, a Hazardous Waste Consignment Note.

The RPS does not change the law.  Instead it is simply means that no enforcement action will be taken against those who do not comply with it.

As would be expected, there are conditions attached to the RPS.  For example, the activities must not cause pollution to the environment, or harm to human health.  The wholesaler collection points must comply with all other relevant waste related legislation.  The businesses and contractors should only drop off waste that has arisen as a result of their own commercial activities. And the wholesalers must not charge their customers for dropping off the waste.

Commenting on the announcement, Recolight CEO Nigel Harvey said “It is great to see the EA taking this pragmatic approach.  Waste documentation is clearly important to ensure traceability and accountability.  But to require consignment and transfer notes every time a business drops off a small amount of waste at their local wholesaler branch seems disproportionate.  This change will make it a little bit easier for businesses to ensure their waste is properly collected and recycled.”

The RPS will be in force for three years after which it will be reviewed.  It only applies to England.

Lighting control specialist Pharos Architectural Controls has announced it will be exhibiting at IAAPA Expo, the attractions industry’s premier global event in Orlando, Florida, to showcase Pharos Expert – an all-new, practical and straightforward control solution.

Pharos has enjoyed a long relationship with the attractions industry, with the company’s first ever product – the LPC – developed to supply solid-state, dynamic lighting for themed entertainment. Pharos is excited to join the IAAPA family and will be participating in the internationally acclaimed Expo event for the first time.

The needs of theme parks and their rides have continued to drive innovation and Pharos Expert is a byproduct of that evolution, providing intuitive functionality, guided programming and cost-effective lighting management to meet the growing needs of today’s theme parks.

Michael Grosse, Regional Sales Manager for the Americas at Pharos said: “We have a long history with the industry and wanted to reconnect with our peers and colleagues through this excellent event, to showcase our expertise in this highly specialist field.

“We owe a key breakthrough moment in the development of our technology to the attractions industry – our LPC was designed to deliver a lighting playback engine with the ability to interweave multiple timelines, and to prioritise and trigger the on-demand control of rides and live performances, all within a compact, solid-state form.

“Now, with Pharos Expert, we have channelled 20 years of experience to support the evolving needs of attractions. We are exhibiting for the first time at IAAPA to showcase our newest technology and share our expertise with the industry.”

IAAPA brings together professionals from around the globe for the attractions industry’s premier international expo – providing the chance to share knowledge and shape the future of unforgettable guest experiences

As the ban on fluorescent lights is now upon us, Andy Davies, Mackwell’s Commercial Director, takes a look at the change and what it will mean for the industry.

In a significant step towards better environmental sustainability and improved energy efficiency, many countries around the world have been phasing out the use of fluorescent lamps. In some jurisdictions, this has been enforced through an outright ban on the sale of this type of lighting.  This is the case across the UK and Europe; September 2023 will see their removal from sale under the Restriction of Hazardous Substances (RoHS) Directive.

The lamps, once a popular choice for indoor lighting, have come under scrutiny due to their adverse environmental impacts. With the emergence and widespread availability of more efficient lighting alternatives, there has been no need to continue their use at such a prevalent level.

The Environmental Impact

While fluorescent lamps offer greater efficiency when compared to traditional incandescent bulbs, the highly negative effect they have on the environment significantly outweighs this. One of the most pressing issues is the presence of mercury, a toxic element used in the lamps to produce light.

Mercury has a detrimental impact on both the environment and public health. It is a toxin that is released into the air through industrial processes. Mercury is leached into water bodies where it is converted to a toxic compound, eventually making its way into our food chain. This process also causes irreversible harm to wildlife throughout these different stages.

When fluorescent lamps break or are disposed of improperly, mercury is released into the surrounding environment. Given these risks to ecosystems and human health, many have been questioning why there has been such a long wait to bring in the ban.

Compounding the issue further, the manufacturing process for the lamps requires significant energy and resources. This undoubtedly contributes to carbon emissions and environmental degradation, causing long-lasting damage.

Energy Efficiency Concerns

Although fluorescent lamps are more energy-efficient than incandescent bulbs, they still fall short of the efficiency offered by newer lighting technologies.

Light Emitting Diodes (LEDs) for example, are unrivalled in their ability to deliver outstanding efficiency levels while also offering a much longer lifespan. Designed to convert a higher percentage of energy into visible light, they reduce wasted energy and overall consumption. These benefits have ensured there is a viable solution to support the transition away from fluorescent lamps.

What is going to serve as a replacement?

The focus for alternative light sources is currently and is likely to remain for the foreseeable future, on LEDs. This is because LED technology offers a significant number of advantages compared to fluorescent lamps.

Benefits of the transition

As with any ban on a well-utilised technology, there will be a period of adjustment and a shift in mindset and ways of working. This does not, however, counter any of the huge benefits that the ban and the subsequent shift to LEDs will ultimately deliver.

Firstly, the reduced environmental impact will be significant. By curtailing the release of toxic substances, this is an important step in furthering the protection of human health and ecosystems.

Another clear benefit is that by switching to more efficient lighting options, there will be a collective effort in saving substantial amounts of energy. This will in turn lead to lower greenhouse gas emissions, which is an improvement with regard to environmental impact.

Additionally, there is the advantage of the longevity and durability offered by newer forms of lighting. More modern technologies have a much longer lifespan, resulting in fewer replacements and less waste over time.

Finally, when making the switch to newer technologies, projects will benefit from better lighting quality and enhanced colour rendering. The ability to dim or adjust the lighting will also support improvements in meeting a wider variety of lighting preferences and needs.

How does this affect emergency lighting?

Emergency lighting plays a critical role in providing illumination during power outages or emergencies, ensuring the safety and visibility of occupants in buildings.

With the ban on fluorescents likely to result in an almost complete transition to LED technology, the timing provides an opportunity to refresh emergency lighting solutions as well. For example, emergency luminaires that are compatible with automated test and monitoring protocols, including DALI-2, will reduce the time spent on maintaining luminaires and diagnosing problems. This in turn aids compliance and improves safety.

Industry response

The lighting industry, including Mackwell, has been firmly behind what the ban on fluorescent lighting represents – a positive move towards a brighter, greener future. Responsible manufacturers such as Mackwell have been working for many years, well ahead of the ban, to provide more sustainable alternatives to fluorescent lighting. This includes unobtrusive, yet powerful emergency lighting solutions that are flexible for almost any situation and environment.

The short-lived issues caused by the removal of fluorescent lighting will quickly be overshadowed by the environmental benefits, as well as longer-term cost savings and the improvement in lighting quality.