Category: industry updates

CareCo’s Braintree HQ has been transformed into a bright, modern workplace that reflects the company’s identity and supports a more connected way of working. Following a catastrophic fire in September 2023, the 2 year rebuild worked to create a renewed headquarters designed around collaboration, wellbeing and a stronger sense of belonging.

Located in the heart of Braintree, the 4,500m² scheme brings teams back together under one roof in a carefully considered environment that balances functionality with atmosphere. The new workplace includes open-plan team areas, a central atrium café, quiet zones, training and product display spaces, breakout areas, an outdoor terrace and a fully equipped gym, all contributing to a more flexible and inspiring day-to-day experience for staff.

Working alongside Globegold, CareCo, and the wider project team, Light Forms helped deliver a lighting scheme that supports the architectural and interior vision throughout the building. The design needed to sit naturally within a space shaped by recovery and renewal, while also creating a practical, welcoming and future-focused HQ for the business.

A carefully layered lighting approach was developed to help bring the space to life. MoonBand was adapted to create the custom walking-stick chandelier, turning a core Light Forms product into a brand-led feature that celebrates CareCo’s identity in a unique and elevated way. Nova Medium 62 Flush is used extensively throughout circulation routes and workspaces, providing clean, comfortable general illumination with excellent glare control and consistency from area to area. TinCan Large is introduced where more focused, intimate lighting is needed – such as breakout spaces and informal meeting zones – helping to create pools of light that support concentration and conversation while keeping the overall scheme visually coherent.

These core luminaires are supported by a wider family of Light Forms products, including LP2.5 and LP3.5 linear profiles, 3C DALI track, Panel 6060 and Nova 91 Surface, which are used to fine-tune the lighting to each space and task. Together, they allow the scheme to shift seamlessly between open-plan work areas, training rooms, circulation spaces and social zones, while maintaining a calm, unified visual language throughout the building.

Interior graphics developed by CareCo’s in-house designer, together with bespoke joinery and product-led installations, add another layer of personality to the project. From artwork made using scooter components to a unique custom chandelier incorporating CareCo walking sticks, the fit out gives each space its own identity and reinforces the brand throughout the building.

Sustainability also played an important role in the redevelopment, with solar PV, smart building management systems and sustainable interior finishes all contributing to the building’s performance. The result is a workplace that feels considered and resilient, with lighting helping to tie together the architecture, interior design and everyday user experience.

John Pryor, Property and Development Advisor at CareCo, said “The rebuild of our Braintree HQ was an opportunity to create a more connected, inspiring workplace for our team. Lighting played a key role in bringing that vision to life, and in conjunction with Cann Creative, Light Forms delivered a scheme that enhances both the functionality and atmosphere of the space, helping to create a welcoming environment that truly reflects CareCo.”

Paul Shoosmith, Director at Light Forms, commented “CareCo’s new HQ is a strong example of how lighting can support both the practical and emotional qualities of a workplace. Our aim was to deliver a scheme that felt calm, confident and flexible, while helping the building reflect the character and ambition of the business.”

Together, the lighting and interior design have helped create a headquarters that supports CareCo’s people, celebrates its identity and provides a renewed foundation for the future.

Project credits:

End Client: CareCo & Globegold

Project Manager, QS and Contract administrator: Dudley Smith Partnership

Structural Engineers: Peter Dann Associates

Architect:A DT Architects

Interior Design: Cann Creative

M&E Designer: CPW

Management Contractor: Rose Builders

Lighting: Light Forms

Photography Credit: Son of Jack

The Silhouette Awards, co-founded by Eve Gaut and Katia Kolovea, marked its fifth milestone anniversary year on 4th June 2026 with an in-person celebration at the BDP in London, bringing together more than 85 lighting professionals alongside a global programme of speakers, mentors, mentees, and international contributions from across the lighting industry.

Established in 2021, the Silhouette Awards were created to address a gap within the lighting industry: while many awards recognise completed work and established practice, few focus on the people shaping the profession – particularly those at the beginning of their careers. Built as a global mentorship platform, the programme connects emerging lighting designers with experienced practitioners to build guidance, knowledge-sharing, and long-term professional development. Now in its fifth year, the initiative has grown into a truly international community spanning 100 mentor-mentee pairings, 42 countries, and a continuously expanding network of practitioners committed to supporting the next generation of lighting designers.

The celebration event was structured as a two-part experience, beginning with a conference programme that featured keynote talks, mentor + mentee conversations, emerging voices, and international contributions from across the Silhouette Awards network. This was followed by a celebration and networking reception where guests gathered for drinks, food, meaningful conversations, and entertainment.

A key moment of the conference element was the contribution of the Silhouette Awards ‘Global Voices’, featuring recorded reflections from lighting professionals across India, the UAE, Hong Kong, Australia, Greece, Costa Rica, Bangladesh, the United States, Russia, and beyond. These voices reinforced a central message that while careers unfold across different countries, cultures, and time zones, the challenges, ambitions, and opportunities within the lighting industry remain remarkably similar. Contributors included Iftikhar Ilyas, Siddharth Mathur, Eugenia Cheng, Dr Emrah Baki Ulas, Petros Kitsantas, Sudipti Varadharajan, Valeria Coghi, Sam Koerbel, Farahbee Rahman, Anthony G., Valery Gorelova, Martin Klaasen, and Mashaarah Bhatia, each sharing personal insight, encouragement, and reflection for the next generation of designers.

Alongside this, the event featured a speaker programme shaped by the Silhouette community itself, including Michael Grubb (Year 1 Mentor) delivering the opening keynote, alongside Melissa Toasa and Sacha Abizadeh (Year 4), Tiago Winer and Fabiana Nery Pardhanani (Year 4), Gary Thornton (Year 2 Mentor), Marci Song (Year 1 Mentor), Xueqi Du (Year 5 Mentee), Maria Laura Polselli (Year 5 Mentee), Tiziana Regalado (Year 4 Mentee), Andra Munro (Year 3 Mentee), and Kristina Allison CEng FSLL MCIBSE (Year 2 Mentor). Each speaker contributed with perspectives shaped by mentorship, career development, and the defining experiences that shape a lighting design career.

Across both the conference and the networking celebration, the evening highlighted how mentorship within the Silhouette Awards extends beyond structured guidance, creating lasting relationships that support confidence, identity, and professional growth. What made the evening particularly special was the people who brought it to life. Mentors generously shared their experience, mentees openly reflected on their journeys, and speakers contributed with honesty, personal insights and courage. The celebration was further enriched by a live saxophonist – Stacey Westbrook from Parrot PR and Marketing, alongside a silhouette artist creating bespoke keepsakes for guests, adding to an atmosphere filled with food, drinks, laughter, and a strong sense of community.

At its core, the ambition of the Silhouette Awards remains unchanged: to embed mentorship as a fundamental part of professional life within the lighting industry, ensuring emerging designers have access to the guidance, insight, and support needed to thrive.

Eve Gaut, Parrot PR and Marketing, said, “Reaching our fifth year is a real milestone for the Silhouette Awards, but what matters most to us is the community that has grown around it. The honesty, generosity, and commitment of everyone involved continue to shape this programme in ways we could never have predicted.”

Katia Kolovea, Archifos, added, “The lighting industry is global, but what connects us is far deeper than geography – it’s shared challenges, ambition, and a willingness to support one another. The Silhouette Awards has always been about creating space for those connections to happen, and seeing mentors, mentees, and global voices come together like this was incredibly powerful.”

The Silhouette Awards extends a sincere thanks to the specific event sponsors for their invaluable support in making the 5th anniversary celebration possible. Conference Sponsor Signify Lighting Academy, Evening Reception Sponsor Studio Due, Entertainment Sponsor formalighting, Official Tote Bag Sponsor OneEightyOne, Official Press Partner darc media, and Venue Partner BDP.

Applications for the next round of the Silhouette Awards open mid-September 2026 for mentees, with the Mentor Open Call for the 2026–2027 cohort already live. The programme welcomes emerging lighting designers with up to 8 years’ experience as mentees, and experienced practitioners with 15+ years in the field as mentors.

The Silhouette Awards is a collaboration between Parrot PR and Marketing and Archifos. Further information and updates are available at silhouetteawards.com

Dunottar School has raised the bar for school productions with a visually and technically ambitious staging of Les Misérables, delivering a show that audiences described as “almost like watching a West End performance.”
Technically led by Ted Swan, Theatre and AV Manager, and working collaboratively with Director of Drama Sarah van Duijvenvoorde and Director of Music Laura Channell, the production formed the centrepiece of the school’s centenary celebrations. The brief was clear: create a showstopping experience that matched professional theatre standards while operating within the constraints of a school environment.

“We wanted to go a step further,” said Swan. “It’s our 100th year, so we needed everything to feel brilliant and as impactful as possible.”
Despite having a dedicated theatre, Dunottar faced technical challenges. Limited rigging capacity and weight restrictions required careful design decisions to maximise visual impact without compromising safety.
Working collaboratively with White Light, Swan selected lightweight yet powerful fixtures such as Ayrton Diablo fixtures. This approach allowed for a denser, and more dynamic rig while staying within structural limits.
“We had to be really careful with what we could hang,” Swan explained. “The guidance from White Light helped us choose the right tools to still achieve the effects we wanted.”
The design extended beyond traditional overhead rigs. For the first time, lighting fixtures were integrated directly into the set, including blinders and side lighting positioned within the staging itself. Custom rigging points were engineered into the set build, creating new creative possibilities and enhancing the visual storytelling.

The production drew inspiration from established professional staging, incorporating a tiered set design reminiscent of Evita, constructed by Steel Deck. Combined with a fully mic’d live band, including musicians with West End credits, the result was an immersive and authentic theatrical experience.
Swan’s vision was rooted in his professional theatre background and a commitment to giving students access to industry standards.
“I want them to experience what real theatre looks and feels like,” he said. “If they go on to further study or careers in the arts, it shouldn’t be the first time they encounter this level of equipment.”
White Light’s hire service played a critical role in enabling Dunottar to scale its production. Alongside an expanded lighting package and special effects such as low fog systems, the school benefited from responsive technical support and expert advice throughout the process.
“White Light’s support always proves invaluable under pressure, and we know we are in safe hands. I’ve worked with Adam Walker-Cheetham, WL’s Key Account Manager, for many years, and his level of responsiveness gives you complete confidence.”

Adam commented: “We’ve very much enjoyed working with Ted and Dunottar over the years. Our collaborative approach extends from initial planning through to design, with regular consultation ensuring the technical solution aligns with both creative ambition and budget constraints.”
“You can talk through ideas and find the right approach together,” Swan added. “There’s always a way to make it work.”

A key outcome of the production was hands-on student engagement with professional-grade technology. Students operated the ETC Gio @5 lighting desk, executing more than 480 cues during performances, while working alongside Swan in a real-world production environment.
This experience is central to Dunottar’s approach. By integrating industry-standard tools such as DiGiCo sound desks and advanced lighting systems, the school equips students with practical skills and confidence.

“They’re not just learning theory,” Swan said. “They’re actually doing it, using the same equipment they’ll see in professional venues.”
Audience response reflected the success of this approach, with feedback praising both performance quality and technical execution.
“The lighting elevated everything,” Swan said. “We achieved effects we’ve never been able to do before, and it made a huge difference to the overall production.”
For other schools considering how to balance ambition with budget, Swan’s advice is clear. “Trust the expertise available to you and invest where it matters. The impact on your production is enormous.”

Photo courtesy of Dunottar School

Leading lighting manufacturer Ansell Lighting has launched Go-Cell, a complete plug-and-play LED strip kit to simplify installation.

Designed for greater flexibility and professional results, the product is supplied as a coordinated kit of a 5m reel of Ansell’s popular C-CELL LED strip, a compatible 24V driver a remote and receiver.

Flexible and straight connectors are also included, along with a pre-fitted mains lead to ensure a fast and straightforward installation.

Manufactured with continuous phosphor technology, the Go-Cell strip kit delivers seamless, dot-free illumination in warm and cool white, RGBTW and RGBW Pixel. The RGBW Pixel versions also offer individually addressable LEDs for dynamic effects.

Ideal for use in residential, retail and hospitality environments, the kit removes any on site guesswork and ensures consistent performance across every project.

Mark Abbott, Managing Director at Ansell Lighting said: “We’re always striving to deliver innovative and versatile products, especially across our LED range, which has become hugely popular with installers and designers since its launch. Go-Cell simplifies installation even further to deliver smooth, professional output. We believe it will be a valuable product for installers, who can eliminate the need for soldering thanks to the plug-and-play connections.”

For more information visit www.ansell-lighting.com

Pharos Architectural Controls are bringing joy and happiness to fans of the Smurfs by playing an important part in creating an immersive indoor Smurf-themed experience at Plopsaland Deutschland.

Plopsaland Deutschland is one of the major family theme park destinations in Germany and part of the Plopsa Group portfolio. The park combines popular children’s entertainment brands with large-scale attractions, drawing families from across Germany, France, and the Benelux region. A recent addition to the park is The Smurfs’ Adventure ride, a journey through the fun and lively world of the Smurfs, where visitors join the gang on an exciting adventure.

To bring the new ride to life, Lux Lumen – experts in lighting solutions for unique spaces – were appointed to the project. Lux Lumen, a preferred supplier for Plopsa parks across Europe, and a Pharos partner, were confident that Pharos technology could deliver the experiential elements of the new ride.

Lux Lumen supplied and installed over 400 custom fixtures across 11 cabinets, each with individual control via an Art-Net network, allowing precise, independent manipulation of multiple lighting fixtures and devices. To create a truly engaging visitor experience, a single four-universe Pharos Designer LPC controls all custom full-RDM light fixtures.

The LPC also triggers all audio, video and projection systems, special effects, aroma scent machines and animatronics, creating a fully immersive adventure for visitors. Beyond entertainment control, the LPC integrates with the Operator Console for ride operation and system monitoring, the KeySwitch system for secure mode selection and activation, and the EVAC interface to ensure coordinated emergency shutdown and evacuation responses when required.

The LPC was the first product developed by Pharos and is still its most popular controller. Originally designed for theme parks in the US, it brought together just the right amount of lighting control and show control in a compact, robust package, making it the ideal choice for this project. The LPC features individually controllable and independently running timelines and scenes, and offers the freedom of real-time manual overrides, with the versatility of powerful show control and integration features. With a compact form and minimal power requirements, the LPC can be installed anywhere.

Integration was the responsibility of Pieter Dewaegeneere at Plopsa. Pieter had previously been trained by Lux Lumen on Pharos technology, allowing him to easily integrate all the audio and video triggers. Lux Lumen also assisted with programming and delivered tech support for Pharos products at the theme park.

Tom Mampaey, R&D Engineer at Lux Lumen, said, “The Smurfs’ Adventure is a fantastic example of how integrated technology can transform a themed attraction into a truly immersive experience. We needed a control solution that was reliable and easy to integrate across the entire ride environment. Pharos delivered exactly that. The flexibility and robustness of the Designer LPC allowed us to create precise synchronisation between all show elements, helping bring the world of the Smurfs to life for every visitor.”

Ryan Sainsbury, Regional Sales Manager for the UK, Ireland, N. Europe and Benelux at Pharos, added, “It was great to see Pharos solutions being used on The Smurfs’ Adventure ride; it’s a pleasure knowing that we are helping to create memorable experiences at Plopsaland Deutschland. The Designer LPC is an incredible piece of kit – remaining small in profile yet powerful, flexible and dynamic. It has delivered everything required for this immersive ride and demonstrates the suitability of the LPC for theme parks and similar tourist attractions across the globe.”

The introduction of the Pharos solutions to Plopsaland Deutschland adds to the growing portfolio of Pharos technologies operating in theme parks. Many of these are part of the Plopsa Group and were supplied and installed by Lux Lumen, demonstrating their powerful partnership and exceptional capabilities when teamed together.

Project Credits:

Client: Plopsaland Deutschland

Lighting Controls: Pharos Architectural Controls

Concept Design: Kurt Heerman

Project Manager Theming: Maarten Wilssens

Project Manager Technics & Programming: Pieter Dewaegeneere

Custom Fixtures, Cabinets, Full Light Installation & Pharos Tech Support: Lux Lumen

Décor, Scenic Design & Fabrication: Jora Vision

LF Studios: Animatronics: LF Studios

Light Design & Light Programming: PWL

Photography credits, Official Marketing Images: Plopsaland Deutschland, courtesy of Lux Lumen

Offering breathtaking views of the Mediterranean Sea, Mareterra, also known as Anse du Portier and Le Portier, is Monaco’s newest district. This bold and ambitious project, a six-hectare land extension into the sea, marks a significant step in Monaco’s urban development. Expanding the state’s surface area by almost 3%, it encompasses luxury residences, a modern marina and extensive public spaces, in a project that seeks a sensitive balance between innovation, sustainability and respect for the marine environment.

Mareterra is a new community of residential, cultural and recreational spaces that celebrates the spirit of the Mediterranean, where architecture and nature integrate perfectly. The waterfront promenade – hugging the coastline from the new port to the Grimaldi Forum and the Larvotto beach – is a gentle gesture that guides the gaze along the horizon, offering residents and visitors an immersive sensory experience.

The master plan, the work of Valode & Pistre Architectes in collaboration with Renzo Piano Building Workshop, expresses a vision in which topography, function and landscape interact naturally, making light – both natural and artificial – a defining design element.

Lighting is conceived as a discreet, robust and perfectly integrated presence. Along the promenade’s concrete balustrade, Rio 2.0 linear profiles by Luce&Light trace a continuous, homogeneous line of light: a warm, diffuse glow that steers strollers, reflects on the water and reinforces the sense of continuity with the sea. Its uniform output follows elevation changes, highlights the geometry of steps and terraces, and establishes an uninterrupted visual connection along the entire path.

Developed for marine environments, Rio 2.0 features stainless steel end caps and fastenings, and silicone rubber O-rings with anti-ageing treatment, ensuring maximum durability. Their light is distributed evenly and discreetly, guiding without glare and allowing the sea and the architecture to capture the eye.

Rectangular openings within the balustrade frame snippets of sea and sky, animated by Bright 2.4 recessed fixtures. Integrated into the vertical niches, these step-lights illuminate internal surfaces with a soft, controlled light, transforming recesses into luminous cut-outs that punctuate the promenade. With stainless steel trims, and IP68/IP69 and IK10 ratings, they deliver outstanding performance even in the presence of salt spray, humidity and mechanical stress.

The result is a lighting scheme that follows the rhythm of the sea. Light connects unobtrusively, linking architectural geometries with the shifting surface of the water and transforming the promenade into a path suspended between matter and the horizon.

Lighting Thespians meant finding a world somewhere between Ancient Greece, Saturday morning cartoons and a musical comedy that absolutely must keep moving.

As Mischief continues to expand beyond its best-known Goes Wrong titles, Thespians represents an important new chapter: a fresh, licensable musical comedy with the potential to have a life beyond its first production. Written by Jonathan Sayer and Ed Zanders, and co-produced by Mercury Theatre Colchester, HOME Manchester and JPT Productions, the show takes audiences to Ancient Greece for a deadly prayer contest, told with Mischief’s unmistakable comic energy.

For Lighting Designer David Howe, the challenge was to create a world that felt ambitious, theatrical and full of colour, while remaining practical enough to tour.
“Lighting Thespians was about creating a bright, warm, slightly ridiculous world where the audience immediately understood the tone and wanted to be part of it,” says Howe. “The design was never about making something grand for the sake of it. It was about supporting the storytelling, the music and the comedy.

Director Robyn Grant and Designer Jasmine Swan established a visual language that deliberately avoided museum-piece Ancient Greece. Instead, the world of the production sits somewhere between myth, musical theatre and cartoon.
“Robyn and Jasmine had a very clear visual world in mind,” Howe explains. “It was a playful blend of Disney’s Hercules and The Flintstones, which immediately gave me permission to think in bold, graphic terms. I wanted the colour palette to move from warm Mediterranean daylight, sun-baked stone, terracotta and sunset tones into bolder musical and comic moments. The Grecian sky backdrop became central to that world, helping the lighting shift between daylight, sunset and theatrical night, with strong backlight at times to accentuate the show’s bigger ‘hero’ moments, while keeping everything inside its bright, cartoon Ancient Greece.”

A key part of Howe’s approach was not to “light the jokes”, but to make sure the world of the show remained clear, inviting and alive. As a musical, the production moves constantly across the set, so the lighting had to create spaces, environments and tone for each scene and song, while keeping the performers connected to the audience. With the budget unable to sustain followspots, precision became essential: the design relies on a detailed network of specials, meaning reliable equipment and accurate positioning were vital from the outset.

“I don’t think comedy wants to be lit with a wink,” he says. “The lighting still has to believe in the world. If the audience feel comfortable, included and able to read the actors’ faces clearly, then the comedy has the best chance of landing. The danger is over-signalling the joke.”
The budget was tight, so every fixture had to work hard. Howe worked with White Light to create a practical touring rig that could still deliver scale, colour and flexibility from venue to venue. “This was not a case of throwing a large rig at the problem,” says Howe. “We had to be disciplined about what toured, what could be picked up from each venue, and which units genuinely earned their place. Every moving light had to do several jobs: specials, texture, scenery, sky, and the occasional piece of theatrical mischief.”

The production made use of a very small touring package alongside house equipment, including the Mercury Theatre Colchester’s upgraded LED rig and existing tungsten fixtures. This allowed the design to feel richer than the equipment list might suggest, while still remaining adaptable.
“White Light’s role was not just supplying the fixtures,” Howe continues. “They understood the brief and supported what we were trying to achieve. The useful conversations were around making the package robust enough to tour, simple enough to re-create quickly, and flexible enough to cope with different venues. On a show like this, the success is often in the unglamorous details – data, power, cable runs, sensible fixture choices and knowing what can be achieved repeatedly without making each Monday feel like starting again.”

Howe drew on the following fixtures: ETC ColorSource Profiles, High End Systems SolaFrame Profiles and Chroma-Q Color Force battens, each chosen for their ability to serve multiple purposes across the production. They played a vital role in shaping the visual identity of the show, from detailed key lighting to colour, texture and the atmospheric illumination of the Grecian sky backdrop.
The design was programmed by Freddy Sherwood, who has also taken on the role of Touring Production Electrician and weekly re-lighter, giving the production valuable continuity as it moves between venues. “Freddy understands the tone of the piece -the pace, the musicality, the comedy and the warmth,” says Howe. “That makes a real difference when the show has to be re-created quickly each week. It is not just about putting lights in roughly the right places; it is about protecting the spirit of the design.”

As with any tour, each week brings a different venue, with front-of-house positions, sightlines and available equipment varying slightly from building to building. The touring version therefore has to be robust without becoming rigid. The aim is always to protect the character of the show – the colour, warmth, pace and sense of fun – while allowing Freddy and the touring team enough flexibility to make it work properly in each space.

Reflecting on the project, Howe says: “I’m proud that the show feels bigger than the equipment list. That’s always the exciting challenge – when the audience hopefully see a bright, confident, theatrical world, rather than the compromises that made it necessary.”
Thespians opened at the Mercury Theatre Colchester and is now touring, bringing Mischief’s distinctive comic voice to a new musical world of gods, mortals, music and theatrical chaos.

Photography by Mark Senior
Lighting Team Credits:
Lighting Designer: David Howe
Programmer / Touring Production Electrician / Weekly Re-lighter: Freddy Sherwood
Production LX / Mercury Theatre Colchester: Alex Ray

Contactum are set to introduce their latest addition to circuit protection: the new Type 2 Compact Surge Protection Device (SPD) range, designed specifically for use with Defender 2.0 consumer units and Defender B Boards.

Developed to meet the evolving demands of modern electrical installations, the Compact SPD range delivers high-performance protection against transient overvoltages while addressing one of the industry’s key challenges – limited space within distribution boards. By significantly reducing the footprint of the SPD, the new design enables more efficient use of available space without compromising safety or performance.

This provides greater flexibility for installers, particularly in domestic environments where additional circuits and emerging technologies are increasingly being integrated into consumer units. In commercial and industrial settings, where system complexity and load demands are higher, the compact design supports more streamlined board layouts and the delivery of compliant, space-conscious systems.

Despite its reduced size, the Type 2 Compact SPD range has been engineered to deliver the same level of protection expected from traditional devices, ensuring installations remain fully safeguarded against transient overvoltages.

The launch aligns with recent updates in industry guidance, including BEAMA recommendations and manufacturers’ instructions, which clarify installation practices for SPDs in domestic applications. Under defined conditions, it is now permissible to omit a dedicated Miniature Circuit Breaker (MCB), with protection instead provided via the Distribution Network Operator fuse. Contactum’s Compact SPD for Defender 2.0 consumer units has been designed in line with this guidance, enabling a more streamlined configuration while maintaining full compliance and safety.

Alan Broom, Technical Manager at Contactum said: “The way electrical installations are designed is changing, with increasing pressure to maximise space without compromising safety. Our new Compact SPD range has been developed to meet that need, delivering trusted protection in a smaller format that supports faster installation and greater flexibility for both domestic and commercial applications.”

For Defender B Boards, the introduction of compact SPD solutions further supports efficient and reliable system design in commercial and industrial projects, where continuity of operation is critical.

As electrical systems continue to grow in complexity, the importance of reliable, standards-compliant protection remains paramount. The new Compact SPD range reflects Contactum’s ongoing commitment to delivering solutions that combine safety, performance and practicality for modern installations.

Dialight (LSE: DIA), the global leader in industrial and hazardous‑location LED lighting, is proud to announce its participation in the 2026 Energy Projects Conference & Expo (EPC Show), taking place June 16–17, 2026 at the George R. Brown Convention Center in Houston, Texas. The EPC Show is the world’s largest gathering for energy project professionals, bringing together 7,000–10,000+ attendees, 400+ exhibitors, and five industry‑leading conferences under one roof.

Dialight will be onsite to highlight its latest high‑performance LED lighting solutions engineered for demanding environments including Oil & Gas, Petrochem, Mining, Power Generation, as well as Emerging Energy Projects. The company’s technology is designed to deliver unmatched durability, safety, and efficiency in the harshest industrial environments.

Visitors will have the opportunity to meet with Dialight’s experienced team of industry specialists, including Ben Myer, Global VP of Sales Enablement, Bryan White, Director of Sales, Justin Casey, Director of Strategic Accounts, Mark Edgar, Director of Strategic Accounts, Branson Hall, Field Specialist, and Tom Amador, Regional Sales Manager, FAA Obstruction Lighting.

Together, the team will be available to discuss project requirements, review lighting challenges, and help EPCs, owner/operators, and engineering teams identify the ideal lighting solutions to support safe, efficient, and reliable operations.

The EPC Show is recognized as the premier meeting place for project owners, operators, EPC firms, and solution providers across the full energy project lifecycle — from engineering and construction to commissioning, operations, and maintenance. The 2026 program features 250+ speakers, including senior leaders from ExxonMobil, McDermott, Bechtel, Honeywell, Technip Energies, Kiewit, and the U.S. Department of Energy.

“Dialight is excited to join the EPC community at this year’s show,” said Steve Blair, CEO of Dialight. “Major energy projects demand lighting solutions that can withstand extreme conditions while supporting safety, uptime, and long‑term performance. The EPC Show provides an invaluable opportunity for us to connect directly with project leaders and demonstrate how our technology can help them achieve their operational goals.”

For more information about Dialight’s industrial LED lighting solutions, visit www.dialight.com.

Across the UK, street lighting lanterns can often remain structurally viable for
decades. Yet as Local Authorities transition to LED, existing lanterns are still
frequently replaced as part of upgrade programmes.

To help determine the most appropriate upgrade path, Acrospire is offering a lantern
appraisal service, allowing councils and contractors to submit existing lantern
samples for engineering assessment and retrofit suitability guidance. The service
supports the company’s wider promotion of retrofit as a practical, lower-disruption
alternative for modernising existing lighting assets without unnecessary replacement.
Built around the message “Upgrade your lighting, not your lanterns”, Acrospire’s
retrofit solutions upgrade the internal lighting components within existing housings,
allowing structurally sound assets to remain in service while benefiting from modern
LED performance.

Suitable for both functional and decorative lighting stock, the retrofit range includes
LED gear trays and full optic assemblies with replacement bowls, helping councils
improve energy efficiency, reduce material waste and extend asset life while
preserving the appearance of existing schemes.

In many applications, retrofit installations can completed in under 10 minutes per
lantern, helping minimise disruption, traffic management requirements and
programme delays. The solutions are also compatible with a wide range of
commonly installed lanterns, including heritage ranges.

The approach is already being deployed within the London Borough of Waltham
Forest, where approximately 500 locally loved lanterns are being upgraded through a
borough-wide retrofit programme designed to retain the character of existing lighting
while reducing energy consumption and maintenance requirements.
“In many cases, existing lanterns still have years of structural life remaining, making
retrofit a viable option for LED upgrades,” said Tim Barker, Managing Director at
Acrospire.

“However, every scheme is different. Some assets are well suited to retrofit, while
others may be better suited to full replacement depending on condition, performance
requirements and long-term maintenance considerations.

“That’s why we encourage Local Authorities and contractors to involve our engineers
early in the process. By assessing the existing lantern stock, we can help determine
the most practical and cost-effective approach for each project.”
Acrospire’s retrofit solutions are designed for Local Authorities seeking a faster,
lower-risk alternative to full lantern replacement as part of wider LED upgrade
programmes.

Have existing lantern stock you’re considering upgrading? Acrospire can assess
retrofit suitability and provide guidance on the most appropriate approach. Where
lantern bodies remain in good structural condition, retrofit can offer a lower-carbon,
lower-disruption route to LED upgrades. https://acrospire.co/get-in-touch/