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industry updates

Thorn Lighting’s Spennymoor Factory Wins Prestigious Sustainable Manufacturing Award

Thorn Lighting is delighted to announce that its Spennymoor factory has been
awarded the Sustainable Manufacturing Award at The Manufacturer MX Awards
2024. This accolade celebrates Thorn’s innovative approach to sustainability,
showcasing its ability to integrate environmental responsibility into every aspect of
operations.

Presented at the prestigious gala ceremony at the Titanic Hotel in Liverpool, the
award highlights Thorn Lighting’s leadership in creating tangible environmental and
operational benefits. The Spennymoor factory achieved remarkable milestones,
including a 1.3 million kWh reduction in energy consumption between FY21/22 and
FY22/23, a 50% decrease in water usage since March 2021, and a projected
900,000 kWh reduction in gas usage through upcoming optimisations to the paint
plant.

Asif Moghal, Director, D&M Market & Industry Development, Autodesk from the
judging panel commented, "It was a pleasure to visit Thorn Lighting and witness the
impressive strides they are making to embed sustainability throughout their
operations. The enthusiasm and dedication displayed by the teams during our visit
highlighted a business-wide commitment to sustainability, where innovative ideas
are celebrated and actively contribute to their success.

Thorn Lighting exemplifies how strong leadership for sustainability, combined with
effective project management, can deliver tangible actions and measurable results.
The introduction of their new software system for monitoring utilisation and
enhancing safety was particularly noteworthy and demonstrated a forward-thinking
approach to both operational efficiency and employee wellbeing."

Mark Helm, Quality Assurance & Lean Six Sigma Manager at Thorn Lighting’s
Spennymoor plant, expressed his pride in the achievement:
"This award is a reflection of the dedication and innovation of our team at
Spennymoor. Sustainability is woven into everything we do, from cutting energy
consumption to designing environmentally conscious products. It’s fantastic to see
these efforts recognised on such a prestigious stage."
Saurabh Pandhi Vice President – Thorn Lighting, emphasised the significance of this
recognition:

“It showcases the dedication of the entire team at Spennymoor and their ability to
turn ambitious sustainability goals into tangible results. Achievements like this not
only strengthen our reputation as a leader in sustainable manufacturing but also
motivate us to keep driving progress for the benefit of our customers, communities,
and the environment."

Paul Kilburn, Managing Director at Thorn & Zumtobel UK & Ireland, added:
"Winning the Sustainable Manufacturing Award is a proud moment for everyone at
Thorn Lighting and the Zumtobel Group. This recognition reflects the innovative
spirit and collective effort of our teams, who are driving meaningful change in how
we approach sustainability. The Spennymoor factory stands as a beacon of what
can be achieved when sustainability is fully integrated into a business’s operations
and culture. We remain committed to leading the industry with solutions that not only
meet today’s challenges but help build a more sustainable future for generations to
come."

As they strive towards net-zero, Thorn Lighting’s sustainability journey continues
with ambitious plans, including introducing a rainwater harvesting system to reduce
water usage further, enhancements to the paint plant to cut gas consumption by
15%, and investments in advanced waste management systems to minimise
hazardous waste by 90%.

This award also provides customers with the assurance they need in today’s
climate, affirming that they are partnering with a producer fully committed to
sustainability and aligned with global environmental priorities.

The Manufacturer MX Awards, delivered in partnership with the Institution of
Mechanical Engineers, is the UK’s premier celebration of manufacturing excellence.
With rigorous evaluation processes and peer-reviewed criteria, the awards
recognise the exceptional achievements of companies setting benchmarks in
innovation, sustainability, and industry leadership.

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industry updates

ASF (Autoroutes Sud de la France) Lighting Upgrade on France's Busiest Toll Road with Innovative CU Phosco LED Solutions

The gare de péage de Vienne-Reventin, situated on the A7 motorway south of Lyon
and the largest toll plaza in western Europe, has undergone a significant lighting
upgrade. CU Phosco, in partnership with French distributor LEDENCO, replaced
outdated HPS luminaires with state-of-the-art LED floodlights. This upgrade aimed to
boost energy efficiency while maintaining optimal visibility and minimising glare for
drivers.

The Vienne-Reventin toll plaza is a pivotal infrastructure on the A7 autoroute, often
referred to as the “Autoroute du Soleil”. It is part of the highways network operated
by ASF (Autoroutes Sud de la France), part of Vinci Autoroutes, the largest highways
concessionarie in France. This location is crucial for motorists travelling between
Lyon and Marseille. The A7, renowned for its scenic views of vineyards and lavender
fields, is a key component of the European road network.

ASF aimed to transition from high-pressure sodium (HPS) lights to high mast LED
lighting technology to achieve significant energy and cost savings. The challenge
was to design a high mast lighting solution that met stringent specifications for light
levels and uniformity in critical areas while also reducing glare for drivers
approaching and exiting the toll plaza. Additionally, the solution had to address the
needs of residential areas and the picturesque landscape surrounding the toll
booths, minimising light pollution.

In collaboration with LEDENCO, CU Phosco developed a tailored high mast lighting
solution for the Péage de Vienne toll plaza. The installation included:
– 67 FL810-1 high mast floodlights
– 4 FL810-2 high mast floodlights
– 9 FL800R-1 high mast floodlights

Local contractor REEL Méditerranée carried out the installation. The FL810 high
mast floodlight, known for its low-glare design, was chosen to minimise glare and
control light distribution. Its fully cowled, full-cut-off design with a front visor
effectively limits unwanted light spill and glare.

The FL810 high mast floodlight meets stringent luminance and visibility standards,
ensuring safe and efficient operations at the toll plaza. Its dark-sky-friendly features
minimise environmental impact and preserve the natural nightscape by reducing light
pollution.

The new high mast LED lighting system successfully addressed all project
requirements, providing bright and safe illumination for toll operations while
minimising light spill into residential areas and protecting the surrounding natural
beauty. The advanced optics of the FL810 high mast luminaires significantly reduced
glare and light pollution, aligning with ASF's environmental and operational goals.

Christophe Liffraid, President of LEDENCO, commented, "Collaborating with CU
Phosco is always a positive experience. They go beyond providing lighting products
to ensure the most suitable solution for our clients. CU Phosco's commitment to high
standards, minimising environmental impact, and state-of-the-art optics perfectly
aligns with our values, making every partnership successful."

For more information on CU Phosco’s high mast lighting solutions please visit:
https://www.cuphosco.com/products/category/high-mast-lighting

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industry updates

SMODE carves fresh tracks in Alpine nightclub

Val Thorens’ renowned nightclub, Malaysia, has undergone a spectacular €2.5 million transformation to become Malaysia 2.0, all thanks to video installation overhaul featuring SMODE’s real-time compositing and media server platform. This upgrade has slalomed the iconic venue into a next-level sensory experience, offering ski resort visitors a club experience like never before.

Perched at an altitude of 2,310m, The Malaysia club, established by Jean-Pierre Roux in 1985, is open seven days a week for the entire winter season. Dubbed the biggest dance floor in the Alps, it attracts around 700,000 people per season, hosting over 2,000 partygoers every night for live concerts and DJ sets. After almost four decades, the venue needed a “facelift” to create a unique identity using digital art to stand out in the après-ski scene.

The transformation of Malaysia, spearheaded by the integrator Kinesik, involved developing a complete 3D model of the club to simulate the layout of the LED screens and the flow of visuals. SMODE video operator at Club Malaysia, Jessy Laurent, explains: “SMODE played an important role in identifying all surfaces before and during the integration of the LED screens.” Laurent collaborated closely with Erwan Tehel, product specialist at Smode Tech and Armand Béraud and Martin Hance from Salut la Compagnie, who led the project’s design before the installation. Throughout the project, Erinn Guillon, from Positive Films as well as Julien Bedane and Tarik el Maarouf, who were responsible for technical direction, played a vital role in coordinating with Alexandre Buge, CTO at Smode Tech, ensuring smooth execution of the entire project.

The 3D model, which was worked on with virtual headsets, enabled precise planning and mapping, making the complex process of screen positioning and content synchronisation easier. The SMODE media server’s support for 3D environments, including modelling, texturing and mapping, proved ideal for creating a virtual set for the nightclub. Laurent highlights the importance of the 3D stage environments in projects like Malaysia: “It saves valuable time during setup and encoding stages, allowing external devices to be methodically organised within SMODE’s hierarchy, making it easy to locate elements at any time.” The creation and modification of generative elements are quick and efficient, even during a short DJ residency.

From the moment guests step into the 1000sqm festive chalet, they are greeted with LED panels covering the ceiling, walls and pillars, creating an immersive atmosphere where stunning visuals move and change with the music. Smode Tech’s SMODE media server is the brain behind the operation, ensuring visuals are always in sync with the high-energy music coming from the club’s sound system. The lighting effects are subtle and perceptible, never ostentatious and immersion is fully realised in certain scenes, making the venue unique and timeless.

SMODE’s real-time capabilities shine during live performances. The media server enables Malaysia’s operators to tweak media content dynamically, responding to the audience’s energy as the night progresses. “SMODE manages generative graphic content adapted in real-time for dynamic effects,” explains Laurent. He also adds that one of the reasons the team chose SMODE because of the “incredible” creative control: “The ability to adjust visuals on-the-fly is essential for a nightclub, where the atmosphere is constantly changing and SMODE allows us to capture that energy and play off it, creating a truly immersive experience.”

Colour palettes, strobes and other visual elements are synchronised with the GrandMA console to deliver dynamic effects. All media is displayed on a Streamdeck using real-time screenshots, while XTouch controller manages dynamic VJ effects. Both are adjusted in real-time to match the BPM (beats per minute). SMODE handles generative graphic content, ensuring adaptability — crucial in a nightclub setting, where no two nights are the same and the mood can change in an instant.

To achieve this integration, the installation prioritised simplicity and reliability. The SMODE interface was designed to be “plug-and-play” and “start-and-stop,” reducing the need for deep technical knowledge and allowing the club’s creative team to focus on the experience. Laurent says: “DJs and VJs are already familiar with the basics of visual operation, so they require minimal training.”

The technical setup at the nightclub is a combination of Behringer MIDI console and Streamdeck offering intuitive control. Four 4K video streams generated from SMODE are connected to Novastar H0 interface with eight inputs, ensuring seamless distribution throughout the venue. Located on one side of the room, about ten metres from the stage, the control room, where the main and backup SMODE servers guarantee uninterrupted performance, is equipped to manage video, lighting and sound for live bands.

A dedicated NUC PC running SMODE Compose is linked to the media servers, managing the technical workflow, including handling SMODE’s layer hierarchy and communication between the servers via SMODENet. “This setup enables Kinesik, Smode Tech and Positive Film’s (production) creative teams to use desktop SMODE layers for real-time adjustments and direct control over the visuals,” Laurent explains.

According to the owner, the installation has completely changed the atmosphere, with the visuals grabbing the clubbers’ attention because they are curious about what plays on the screens next and they are staying longer in the club than before.

With the new ski season about to begin, the team is already experimenting with more complex 3D effects and creative visuals to keep things fresh. “We’re always tweaking and learning,” concludes Laurent. With SMODE’s media server powering the dynamic visuals, the venue has become a must-visit destination for the after-ski crowd.

Picture credit: ©Positive Films – Erinn Lotthé Guillon

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industry updates

Acrospire launch aGlow Road Safety Light: a cutting edge IoT-enabled solution to ensure school zone safety

British exterior lighting manufacturer, Acrospire, is proud to announce the launch of a new state-of-the-art, twin-amber hazard warning lightdesigned specifically to enhance safety around school environments.

As children across the UK return to school, research* from leading road safety charity, Brake, highlights that as many as 64% of schools do not have 20mph speed limits on all roads nearby, leaving many parents too afraid to walk their children to school because of busy, fast-moving traffic.
Twin-amber hazard warning lights are a vital part of the solution.

In response to these concerns, Acrospire is proud to introduce the aGlow Road Safety Light – a twin-amber IoT hazard warning light designed to meet TSRGD standards and enhance safety around schools. With its durable, vandal-resistant design and smart-control options, aGlow provides a reliable visual signal to alert drivers and protect vulnerable road users.

Speed Kills: Reducing Speed Saves Lives

Reducing speed around schools is critical; a crash at 30mph has twice the kinetic energy of one at 20mph. aGlow’s bright amber lights serve as a clear reminder for drivers to slow down and stay alert, helping to prevent accidents before they happen.
The aGlow Road Safety Light is engineered with a vandal-resistant design and features a slim profile housing two 48-LED clusters. The device’s construction includes a 5mm black ABS body and a 4mm UV-stabilised lens, ensuring long- lasting durability and resistance to environmental damage.

Smart, Efficient, and Secure

Equipped with a highly accurate Real-Time Clock (RTC) and advanced calendar and
CRON scheduling, the aGlow Road Safety Light offers precise control over lighting
schedules. Its low power consumption, <5W, ensures energy efficiency whether
powered by solar panels or mains electricity.

aGlow also incorporates secure two-factor user authentication and authorisation,
making it one of the safest options for public safety lighting. It supports various
control methods, including a key-operated activation via Bluetooth App and the
SimpleSwitch Wand option, providing users with flexible and secure control options.

Advanced IoT Connectivity

A standout feature of the aGlow Road Safety Light is its IoT connectivity, enabling real-time fault monitoring, event logging, and smart control through MQTT, REST, and SMS integration. The device supports multiple communication protocols, including NFC, Bluetooth, 4/5G LTE, and NB-IoT, ensuring seamless connectivity for monitoring and management. It also features GPS/GLONASS/QZSS/Galileo/L1
location services and is equipped with a high-performance antenna that supports various IoT standards.

Easy Installation and Versatility

Designed for ease of installation, the aGlow light can be pole-mounted (with poles sold separately) and offers convenient access through a hinged front panel with anti- vandal fixings.

Certifications and Compliance

The aGlow Road Safety Light is certified under Elexon Unmetered CMS and meets
rigorous standards for safety and performance, including IK10 and IP65 ratings,
ensuring it withstands harsh outdoor conditions.

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industry updates

ICEL Emergency Lighting Conference is back again for 2025

The Industry Committee for Emergency Lighting (ICEL) is thrilled to announce the return of the highly anticipated ICEL Emergency Lighting Conference, following the incredibly successful events in 2023 and 2024. Mark your calendars for Thursday, 11th September 2025, as we once again bring together key stakeholders from across the emergency lighting industry.

Curated by ICEL, this conference is the event for emergency lighting professionals, designed to deliver valuable insights and expertise. Attendees will have access to expert speakers addressing critical topics, including; your responsibilities, legislative updates, and future strategies.

Presentations throughout the day will provide actionable knowledge, and the tools to stay ahead of the latest advancements in emergency lighting.

With dedicated networking sessions, the conference is an excellent platform to engage with industry professionals, manufacturers, and other influential stakeholders. Forge partnerships, exchange ideas, and explore business opportunities to drive success in your endeavours.

The 2024 conference was met with incredible praise from attendees:

“Thank you for an excellent day yesterday. The hard work was evident, and it was a really informative day.” – Victoria Sadler, CPW
“Well done those at the ICEL conference for Emergency Lighting.” – Brendon Airey, Light Projects
“A great day with the Lighting Industry Association (The LIA) at the ICEL Emergency Lighting Conference.” – Jamie Brown, Sealite UK
“Excellent work everyone. Really enjoyed seeing it all ‘come alive.’” – Emma Williams, E Williams Projects

Admission to the ICEL Emergency Lighting Conference 2025 is free of charge, thanks to the generous sponsorship of emergency lighting manufacturers. However, due to high demand and venue capacity, registration does not guarantee attendance. A selection process will ensure a balanced mix of industry representation. Confirmations will be sent in August 2025 to those who register their interest.

To register your interest, complete this form: https://www.thelia.org.uk/member-services/events/icel-emergency-lighting-conference/register-to-attend.html

Exhibitor and sponsorship packages are available for those looking to showcase their latest emergency lighting solutions. To explore these opportunities, please contact icelconference@thelia.org.uk.

Join us at the Cavendish Conference Hall, London, on Thursday, 11th September 2025, and be part of shaping the future of emergency lighting.

We look forward to welcoming you to another exceptional event!

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industry updates

Moisture-proof Luminaires Made from 100% Recycled Plastic

UK, December 2024 – Lighting specialist TRILUX is now offering the Oleveon Fit and
Aragon Fit moisture-proof luminaires in a new sustainable version. The diffuser and
housing of both models are made from 100% recycled plastic, marking another step
towards a circular economy. TRILUX subsidiary Zalux developed the environmentally
friendly solutions in Spain.

In line with the TRILUX Group’s commitment to a fully circular economy, Zalux has developed
these sustainable versions of the tried-and-tested Oleveon Fit and Aragon Fit moisture-proof
luminaires. On request, the models are now available in recycled versions, featuring diffusers
and housing made completely from recycled plastic. "Through extensive material and quality
testing, we were able to ensure that using recycled materials does not compromise efficiency,
light quality or robustness," explains Manuel Pina, Sustainability Director at Zalux, who led the
development in Spain.

Recycling with Post-Industrial and Post-Consumer Plastics

Two types of recycled plastic are used for the sustainable luminaires. To meet the high
demands placed on the optical system, the diffuser is made of post-industrial polycarbonate,
sourced from production waste in the automotive and consumer electronics industries, such as
headlights or monitor covers. Meanwhile, the housing is crafted from post-consumer
polycarbonate, which is made from recycled, shredded green PE bottles. This material gives
the housing a subtle, translucent green tint, highlighting the sustainability of the luminaires and
clearly distinguishing them from the classic portfolio. To make ordering straightforward, these
variants are easily identified with the "RCY" label.
Seamlessly Integrated into Production

The recycled raw materials are supplied in pellet form, which can be fed directly into the
production process without further adjustments. This enables production capacities to be
adapted quickly and easily.

Market demand already shows great potential for these sustainable luminaires. "Concrete
customer inquiries have encouraged us to fast-track the development " confirms Manuel Pina.
The result: it took just 14 months to go from concept to market launch. As with all TRILUX
products, customers can order the RCY variants via TRILUX ONE and the TRILUX online
product catalogue.

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industry updates

Online marketplaces to comply with WEEE regulations

The Government today announced that online marketplaces are to be brought into scope of the WEEE regulations. This means that online marketplaces will be responsible for the WEEE costs of any non-compliant product sold through the platform.

Welcoming the news, Recolight CEO Nigel Harvey said “It is great to see this change announced. For far too long, many online marketplaces have been able to avoid WEEE costs. That in turn has meant that legitimate UK businesses pay more than their fair share. This change is a vital step to
make sure that compliant UK businesses are not put at a competitive disadvantage by non-compliant imports.”

He added:
"Recolight has campaigned to close the online marketplace WEEE loophole for many years. We’ve undertaken research that has shown the huge proportion of non-compliant product sold via such platforms. For example, one analysis showed that 76% of LED lightbulbs sold by a leading online marketplace were not WEEE compliant. For the 220 producer members of the Recolight WEEE scheme, this change cannot come too soon.”

The Government has not announced a definitive timetable for the legislation. However, given that the WEEE system operates in calendar years, it would be logical for regulations to be made during 2025, coming into full force in 2026. Any transitional arrangements allowed for in the regulations should prioritise ensuring that full financial liability is brought in as early as possible.

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White Light Brings Rhythm and Ruse to Immersive Theatrical Experience Inbox

Taking place at The Vaults beneath Waterloo Station, Rhythm and Ruse offered theatregoers the ultimate immersive night of magic, music and revelry. Harkening back to the prohibition era, the show took place in a ‘Speakeasy’ and allowed audiences to experience astounding close-up illusions from mere inches away, live music from a four-piece jazz band, a secret society of magicians devised by immersive theatre experts as well as food and drink across the entire evening. The show featured a lighting design by up-and-coming designer Skylar Turnbull Hurd, with this being her first time lighting a show of this scale and with a full LX team. With its strong reputation for both supporting young lighting designers, as well as supplying immersive theatrical productions, White Light (WL), a d&b solutions company, was called upon to provide the show’s lighting fixtures.

The aim of Rhythm and Ruse was to offer London theatregoers a truly unique experience, in that from the minute they entered The Vaults, they stepped back in time to the 1920s and into ‘The Starling’ night-club where the immersive action takes place. Skylar explains: “I would describe this show as a single window that looks directly into a dolls house. There’s something going on everywhere in one collective swoop, but, on a miniature level, there’s so many subworlds and little hidden treasures. It was a case of audiences ‘not knowing where to look’ and they quickly made it an endeavour to try and experience them all!”.

Given there were so many different elements to the show, how did this impact Skylar’s lighting design? She answers: “My creative lighting brief was to help create a bubble that patrons unexpectedly found themselves in, perhaps without even realising. The content had to be rich, but also timeless and not dictate the flow – we wanted a safe space that audience members could relax in and feel free to explore”.

With this being her brief, when it came to the practicalities of her rig, Skylar knew she needed a lighting structure that could support all of the show’s numerous intricacies. She explains: “The cast, band members, set list and staffing was intended to rotate often, and so lighting could not dictate or complicate this further. We also had to ensure that all seven different areas of the tunnel space remained lit at all times. And whilst I indeed had to pay attention to the multiple spaces, it was actually the requirements of a whole spectrum of different necessities which forced me to see the whole show as one wider experience; as opposed to something that starts and ends at the wings of the stage.

She continues: “I initially thought the show was going to be quite complex, with lots of snap cues and set electrics, though these turned out to be quite distracting ideas. Similarly, I thought I would need to use a lot of different colours to echo the cabaret style feeling of the show and keep the audience entertained, but discovered that I could maintain a colour narrative through different saturations of a limited colour palette instead. This is the type of show, given its nature, that truly comes alive when you have people within the space. As such, it was only during previews when we had the 16 tables of 12 people inside that I really saw how my design worked – which then gave me the opportunity to make tweaks before press night and the ‘official’ opening”.

Throughout this entire process, Skylar was working closely with the WL team who supplied her lighting rig. She explains: “In terms of the actual fixtures used, we had MAC Quantum Washes and Profiles overhead, which were distributed across the space. We also had overhead LED ColourSource Specials for each table. These three fixture types gave a lot of flexibility to the different looks of the show, especially as it was staged in thrust.
On the stage iself, we had ColorBlaze LED Battens shining through the outstretched wings structure at the back and uplighting the beautiful velvet backdrop. Around this, we had birdies glowing the performers but also keeping the movement around the stage dynamic as the cast moved between them.

She continues: “Through the entrance to the space and Front of House, we had ETC LED Source Four Minis. The main area was very glowy with tungsten, and these cooler fixtures offered a nice contrast to this; refreshing the audiences’ eyes before spending the evening inside. One of the reasons I believe we managed to accommodate all of the different styles within the show was by being consistent with what our cue structure was; managed by my sterling Associate Lighting Designer Abigail Sage. Our cue lists were entirely operated and controlled from Qlab, and how she took time and care to ensure our show file was fool-proof was absolutely brilliant”.

Following rave reviews and having dazzled audiences, Rhythm and Ruse’s run at The Vaults came to a close last month.

Skylar concludes: “This was a very unique show and one which I loved working on and taught me so much as a designer. I would love to say a huge thank you to the whole team from the cast to the magicians to the performers to the whole FOH and to the crew; especially Dominic Cook, our Lead Production Electrician, and his brilliant staff. I’d also like to say thank you again to WL for supplying my first ever large-scale production and being a huge support throughout the entire process”.

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industry updates

Ventilux Celebrates Milestone Achievements of Long-Serving Team Members

Ventilux, an internationally recognised brand of innovative emergency lighting luminaires and solutions, proudly celebrates the exceptional dedication and service of its team members as they mark significant career milestones.

Graham McGrath who has been with Ventilux for 30 years, Emma Jevons for 20 years, Anthony Kelly for 10 years, and Joanna Pazdan also 10 years have played integral roles in Ventilux’s accomplishments as a company, embodying the company’s core values of innovation, reliability and teamwork.

Since its inception, the family-run company has fostered a culture of collaboration and commitment. Passed down through different generations it is driven forward uniquely by a family of four brothers. From modest beginnings, Ventilux now has over 60 employees, and the business operates in over 24 countries globally.

These incredible employee milestones highlight the shared vision and dedication of a team driven to deliver life-saving solutions that meet the highest industry standards.

Reflecting on his decade with Ventilux, Anthony Kelly, Sales Supervisor, said: “During my 10 years, I’ve made great relationships with both staff members and a large customer base. Staff at Ventilux have long careers with the company, and nearly everyone was here when I started, as well as many of our customers. It feels more like family at this stage.

When I first started in 2014, we were still in our old smaller premises in Ashgrove before moving to our larger premises in August 2016. I’ve been promoted from Sales Executive to Sales Team Supervisor during my time here. I’ve also been constantly learning and developing my skills through numerous training programs, including receiving Lean Green Belt certification and a QQI Level 6 certification in emergency lighting commissioning.”

Anthony’s journey illustrates Ventilux’s commitment to nurturing talent and providing opportunities for both personal and professional growth.

Ian Walsh, Group Managing Director at Ventilux reflects on the company culture: “At Ventilux, we are incredibly proud of our team members and their accomplishments. Milestones like these underscore our commitment to building a workplace that values loyalty, development and teamwork. The dedication of Graham, Emma, Anthony, and Joanna along with the rest of our extended team has been instrumental in delivering solutions that safeguard lives and exemplify our mission to innovate and excel.”

With decades of expertise in the emergency lighting sector, Ventilux remains committed to innovation, and sustainability – delivering products and services that set them apart. Guided by a customer-focused approach, the company continues to tailor every solution to meet specific needs – a mission made possible by the passion and dedication of its exceptional team. As Ventilux looks to the future, these milestones are a testament to the company’s dedication to nurturing talent and fostering a sense of community within the organisation and with its customers.

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industry updates

Pharos 20th Anniversary Podcast Series Scales Up

Three new episodes examine how Pharos has supported scalability of projects around the globe

As part of its 20th anniversary celebrations, Pharos Architectural Controls has released a new set of podcast episodes focusing on some of the projects that have been able to scale up – either in size or in the complexity of programming, thanks to Pharos.

The ‘20 Years of Pharos’ campaign is spotlighting ten lighting professionals and ten projects that have shaped the success of the company over the last two decades.

Renowned lighting professionals Nick Abel from LS Group in New Zealand, and Peter van Nuland from GVA Lighting in Canada both feature in this part of the campaign to chat through their careers and how working with Pharos has enabled them to bring both large and intricate projects to life.

The podcasts provide another deep dive into the ways in which Pharos technologies – and the teams behind the gear – work collaboratively to produce landmark projects and meet a wide range of complex objectives.

Nick Abel – LS Group

The green shoots of Nick’s career in lighting started at school – helping out on productions and fostering an interest in performance technology: His chosen subject to study at college. “In my first year of studying, I got involved with a touring rock n roll company in Auckland and they gave me a job when I finished my diploma. That led me into the world of real digital lighting as a profession, where I was exposed to Whole Hog and the Hog 2. I later became involved with the service side of things, which opened up a new world of building technologies, such as power and data articulation systems, which allowed me to move into the world of projects.

“As this world began to expand, I moved into larger infrastructure projects, particularly with the increased demand for colour-change systems in architectural settings. There weren’t a lot of people that knew how to control those systems but of course, having the performance background meant that we had worked with DMX since the 80s, so that allowed me to help to tie these two worlds together with the right types of controls. Pharos – who also transitioned across from the theatre and performance space to create an architectural lighting control system – were the logical choice for us as we moved from one sector to another. The products gave us incredible control over fixtures, with the flexibility of the controls we were used to in the performance world.

“The first project where we were able to utilise Pharos in New Zealand was for a project inside Christchurch Airport who had installed fittings around the perimeter of the building and wanted them to display various patterns and effects. The initial control system wasn’t performing as expected so we were approached to help. The opportunity to use Pharos after speaking with the client about what they needed came up and after contacting the team in the UK, I was put in touch with Tony who takes care of the Asia Pacific region. He came and met with me a week later and we were able to work out the best fittings to complete the project effectively.

“It was the start of a great relationship with Pharos that has been going strong for well over a decade now, with one key driver for us to continue to use Pharos, being their unique ability to scale up or down the control requirements for a multitude of different jobs, from small hospitality venues to thousands of pixels wrapped around a huge building. We’re moving from using half a dozen to hundreds of thousands of channels, integrated into projects but the platform allows us to service both ends of the spectrum to a high level.

“Creating cool dynamic patterns, in-built triggers and the ability to access a knowledgeable and flexible team to create custom scripting on the platform, makes Pharos the product of choice on a wide range of projects. I guess you could call it the Swiss army knife of lighting controllers.

“As we are continuing to work on large architectural projects and smaller theatre projects, the Pharos Cloud has been a huge hit with our clients here in New Zealand, who can dive into the platform to manage that control as they wish. As we look ahead to what’s in store for LS Group over the next few years, I think more clients will want this level of service and interaction with their lighting systems, so it’s going to remain pivotal to have the help and support from Pharos to continue to scale up to meet these complex and evolving expectations.”

Peter van Nuland – GVA Lighting

Peter joined GVA Lighting straight from school in 2005 where he began his career as a Lighting Technician, working on the LED side of the business. “Back then”, Peter explains, “that was just one desk, but as the LED business exploded, my role evolved into Production Management, leading a team of around 20 LED-focused technicians. We then realised that we needed a lighting applications team that is the link between engineering and sales to take our products and put them together as a system for lighting designers and architects on projects. During the next period, I took on a few more areas of focus that culminated in my current role as Director of Projects and Customer Success.”

Peter explains how his role consists of leading three departments that cover new projects requests, helping to put together technical layouts, programming, rendering, coding, quoting and taking that from plan to execution, from order received right through to the after-project care through project management.

“In 2012, we needed a new controls solution and came into contact with Pharos, and I am so happy that we did. I received two days of training and also bought a system for myself, which I still use in my home today. Our working relationship with Pharos has been ongoing and they are our go-to controls provider in our projects. The system provides so many options: If it’s not in the box, we can script it ourselves, which is excellent.

“One specific example is Roundabout Sijana in Pula, Croatia, which required a lot of custom scripting to create the unique colour change lighting and fog effects. We had to overcome a few challenges with this project but the level of support we received from Pharos when we were on site and in a bind, really did make all the difference.

“I specifically recall making a call to the support line in the middle of the night to explain our issue, and was told I’d have a solution in the morning. Sure enough, I had an email first thing, with the correct course of action which enabled us to complete the job. That level of support that we are getting from Pharos is a benchmark for where we want to be for our clients.”

Pharos and GVA collaborate on projects large and small, and with the more intricate jobs that GVA has taken on, they required a deeper level of understanding of the Pharos technology in order to provide the level of solutions that clients needed. Michael Grosse from Pharos explained: “Peter reached out to me and asked if we could lay on a training course focused on scripting and intricate integration that they found themselves needing more and more. It’s not a regular request but we laid on four sessions to provide that level of experience and training on the Pharos technology that is really helping their clients to level up.”

Armed with the capabilities to script, programme and utilise Pharos technology to its greatest potential, Peter ponders on what the future has in store for GVA and his team: “We are always innovating new technologies to better our products for lighting designers and architects and we are always looking for ways to help project owners to light their projects. It’s how we came up with our Infinity system and with Color Stream just being released, we are capable to light huge run lengths of up to 600m, with a single control point. This wouldn’t be possible without Infinity and Color Stream as a combined solution. On top of that, we need a control system to support it and Pharos is doing just that – particularly with the speed of delivery. Our products can reach up to 200 frames per second and the control systems are catching up to enable those speeds to increase in line with our products’ capacities.

“From a technical viewpoint, these are things that we will be looking for in the future – to push the market to a better and faster system for customers and clients alike.”

Watch the podcast interviews here:
Nick Abel: https://youtu.be/exyn4umnvEk
Peter van Nuland: https://youtu.be/ulXOhIxju4w