Category: industry updates

Architectural FX has recently agreed a partnership with Kreon Lighting. This alliance is to promote their Vektron acoustic rafts with integrated lighting in the UK. Vektron designs and manufactures metal ceiling rafts that can be integrated with lighting for offices, universities, restaurants, hotels, and other sectors.
Vektron ceiling rafts are ready made and easy to install ceiling systems for many applications. They come in two different sizes, with three different layouts each. There are two available colours black and white, with other finishes available on request. The tiles have a low gloss finish which enhances their aesthetic appeal.

This second partnership was made to complement the offering in this sector fully. It allows Architectural FX to offer full expertise and product ranges in fabric acoustic panel (Caruso) and metal tile acoustic (Vektron) solutions. Caruso manufactures bespoke high quality fabric acoustic panels with lighting, made in Italy. Their strength lies in expertise in materials engineering with leading edge research and design.

Architectural FX has a solid 24 years of experience working on complex lighting projects. They can offer an impressive solution for acoustics with integrated lighting.
Some great synergies between the Caruso and Vektron brands help cement the overall offer. Both provide sound technical advice and design services and
collaborate closely with architects and designers. Both brands are very sustainable and both are experienced in offering customized products.

Architectural FX has recently recruited Guy Stansell as Business Development Director for this sector. Guy brings with him 30 years of relevant experience and knowledge.
He commented; ‘I’m excited to be a part of this new sector launch for Architectural FX. And to be working closely with these two excellent partners. We have a firm offer to market. I’m also looking forward to taking customers to see the quality of these products. Vektron’s ceiling rafts are on display in their London showroom in SE1. Caruso is building a new showroom in their offices based in Parma, Italy’.

Deutsches Museum is Europe’s largest indoor museum for technology and natural sciences; with around one million visitors a year, it is also Germany’s most visited museum. The main building on Munich’s Museum Island has been undergoing extensive renovation for several years. This also includes a new lighting concept that connects all areas. On some 20,000 square metres in the recently opened Phase 1, visitors can now explore 19 newly designed exhibition areas on a variety of topics. ERCO LED spotlights showcase the diverse and impressive exhibits within the varied architecture.

The stated goal of the museum, which opened in Munich in 1925, is to present scientific and technical knowledge to interested laypersons in an understandable and lively manner. It illustrates the historical development of science and technology and their significance for technical and societal advancement through selected examples. After almost a hundred years, Deutsches Museum was in urgent need of renovation; among other issues, fire protection, escape routes and air conditioning were outdated.

By 2028, the entire building is to be made fit for the future. The first construction phase, encompassing half of the collection building, has now been completed. All rooms in this part of the building have been completely renovated, and all exhibitions within have been partly renewed, partly newly created, and adapted to today’s requirements. This also includes a contemporary, energy-efficient lighting concept with a formally uniform appearance, different light distributions and lumen packages with the same housing and design, excellent colour rendering and DALI capability. “The old lighting had aged”, explains lighting designer Michael Schmidt. “Since Deutsches Museum has continuously grown over decades, each exhibition area was equipped with lighting fixtures that corresponded to the technical standards of their respective times.” The lighting systems were only modernised sporadically; the museum operation had to keep a large number of replacement luminaires and lamps on hand in case of luminaire failures.

An overarching lighting concept unifies the multitude of different spatial situations and exhibition concepts.
From agriculture to aerospace, from health to robotics, from electronics to atomic physics: the themes of the individual exhibition areas within this mammoth museum are not only very diverse; the rooms themselves could hardly be more different from each other. There are smaller and larger rooms, low and extremely high rooms with ceiling heights ranging from around three to nine metres, some with sloping ceilings or side niches, rooms with high natural light exposure, and those with no natural light at all. Additionally, various planning offices have developed individual exhibition concepts for the different thematic areas.

How do you summarise this (interior) architectural diversity with a suitable lighting solution? “With a consistent lighting concept”, says lighting designer Prof. Michael Schmidt succinctly. “And with the consistent choice of a particularly versatile LED spotlight from ERCO that provides all the necessary light distributions and illumination levels in a uniform design.” The planning is based on track lighting in a support structure, which was designed like a grid for the entire building and aligns with the architecture. This lighting infrastructure accommodates all functions – general lighting with downlights for museum operations, setup, cleaning and security lighting – as well as the actual exhibition lighting. “Due to the high requirements for the basic lighting, it made sense to use the existing structures for the power tracks,” says the designer. “The support structure is integrated into the building depending on the interior architecture and coordinated with the building services.”

Optec from ERCO: An economical LED spotlight family with a huge bandwidth and high flexibility
Around 1500 Optec spotlights from ERCO were installed in this regular grid of support tracks with integrated track lighting, some recessed into the ceiling but mostly suspended at a height of about 3.5 to four metres. Different wattages were used for various room heights and daylight situations, with some in warm white (3000K) and others in neutral white (4000K) – depending on the curators’ preferences for the individual exhibitions. Thanks to interchangeable Spherolit lenses, different exhibits such as engines, machines or joints can be optimally illuminated. “Optec from ERCO is a product range that impresses with its high flexibility and versatility, all at a reasonable price,” says the lighting designer.

After the installation of all the lights, he personally took charge of positioning each spotlight on-site and optimally aligning them. “In areas with abundant daylight, we decided in coordination with the exhibition planners to use high illuminance levels – for example, in the modern aviation section, where huge window openings resemble the gates of a hangar.” From a conservation perspective, there was no objection to illuminating the exhibits with high illuminance levels. “Overall, we have created a bright impression in the museum – resulting in light, bright, friendly rooms with high quality of stay and many views of the surrounding urban space and the Isar river encircling the museum island”, explains the lighting designer.

ERCO Greenology: Sustainable lighting with energy-efficient, long-lasting luminaires
The ERCO Greenology approach for sustainable lighting is based on the precise light control of spotlights, which avoids stray light and thus energy waste. Professor Michael Schmidt teaches Energy Efficient Design at the Faculty of Architecture and Civil Engineering at Augsburg University of Applied Sciences. Energy-efficient planning and building, especially concerning lighting, is particularly important to him in his own projects. The lighting technology developed in-house by ERCO projects the light precisely onto the target area. Compared to other optics, a lower connected load is sufficient to achieve the same illuminance. In addition to the efficiency of the LED spotlight (lm/W), the result is particularly effective lighting (lx/W). To keep not only energy costs but also maintenance effort as low as possible, the longevity of the luminaires is a decisive factor in museum operations. ERCO luminaires, thanks to advanced technology, robust components and in-house developed optoelectronics, are designed for long-term operation.

Project data

Project: Deutsches Museum, Munich / Germany

Exhibition planning
and design of lighting
concepts: neo.studio, Berlin / Germany,
Büro Müller-Rieger GmbH, Munich / Germany,
Team Thöner Ausstellungen GmbH i.G., Augsburg / Germany, etc.

Lighting design: Prof Michael Schmidt, Bruckmühl / Germany

Photography: David Schreyer, Wörgl / Austria

Products: Optec, Pantrac, Skim, Stella

Photo credits: © ERCO GmbH

The signature feature of the new Par 18 models by Catellani & Smith are the spherical “golf glass” elements, made from blown glass and shaped in a mould specifically designed for the purpose by Bohemian master glassmakers to obtain an exclusive texture based on the technical specifications and drawings by Catellani & Smith.

The aim was to maintain the transparency of the glass, while at the same time creating distinctive effects thanks to the interaction of the light with the irregular inner surface of the spheres.

The new series is composed of the striking Par 18 Chandelier and the Par 18 wall lamp.

Par 18 Chandelier is a creation replete with character, suitable for residential, contract and hotel settings.

Over the last few years, the development of a low-voltage system with premium-quality, interchangeable light sources has allowed Catellani & Smith to create bespoke chandeliers able to meet a variety of requests from customers. A splendid new entry to this project is Par 18 Chandelier, which can be customised with bases of different sizes and with different finishes, with the number and height of the elements determined by the customer. In addition, Par 18 Chandelier can be made using spheres with the same diameter (8 cm or 16 cm), or a combination of both sizes.

Thanks to the transparency of the glass and the slender cables that support the pendants, Par 18 Chandelier offers a splendidly light, elegant composition, as well as a distinctive lighting effect.

Par 18 is a wall lamp, available in the two standard finishes black and white.

The extremely low-voltage COB LED source of Par 18 casts a diffused light, and creates an enchanting pattern of shadows on the wall or ceiling, thanks to the irregular inner surface of the 16 cm glass sphere. Incorporated into the circular base is a brass joint that enables a 350° rotation on the horizontal axis and up to 90° on the vertical axis, so that the beam of light can be adjusted in the desired direction and enchanting light effects recreated on the wall.

In a pilot project, Fagerhult and Hydro Extrusion Sweden have explored circular processes for the reuse of aluminium – focusing on efficiency and preserved material properties.

With the goal of reusing high-quality, extruded aluminium from end-of-life luminaires in the future, Fagerhult, together with Hydro, has explored the possibility of circular models in a pilot project.

“Many of our luminaires have an aluminium body, and we want to ensure that they can be optimally recycled without losing the quality or properties of the material. In collaboration with Hydro Extrusion Sweden, we are now exploring how we can close the loop,” says Niclas Thulin, Head of Sustainability at Fagerhult.

Recycling in a new light

The pilot project was initiated in connection with Norwegian Property’s ambition to achieve more efficient energy use at Snarøyveien 30 in Oslo. Fagerhult then saw an opportunity to reclaim a large number of Notor luminaires, and the possibilities of recycling and circular processes were explored.

“Reuse was not possible, but since there were a larger number of luminaires, we wanted to make the best use of the material,” explains Niclas Thulin. “When extruded aluminium luminaires are recycled, it is common for the material’s properties to undergo downgrading, and then be used in die casting, for example. In this project, we wanted to close the loop and ensure the qualities of the material by allowing the original producer to process the material again. The pilot project resulted in the aluminium being melted down and reshaped, Niclas Thulin continues. Throughout the pilot project, the focus has been on circular processes and sustainable innovations. The goal has been to take new steps beyond the norm and the expected – and to overcome the major challenge of recycling used extruded aluminium – while preserving material properties.

“Aluminium is a uniquely durable metal that can be recycled almost endlessly, but like all materials, it needs to be handled responsibly,” says Kristian Frisk, Account Manager at Hydro Extrusion Sweden. “Together, we were now able to recycle the equivalent of 1,300 kg of aluminium in the pilot project, but the big gain is the insights we will take to future projects.”

Long-term solutions

With a long-term perspective and an aspiration to contribute to sustainable development, Fagerhult has pushed the boundaries of what was previously possible and taken a major step towards meeting the demand for new circular solutions.

“Together with Hydro Extrusion Sweden, we have closed the chain and demonstrated that it is possible to create new circular processes where all our aluminium luminaires can be handled circularly in the future,” concludes Thulin.

Recolight is pleased to announce the appointment of a new director, Steve Meadows, who will
represent Signify on the Recolight Ltd board. Steve has been with Signify since 2007 and recently
took over the role of Services & Operations Director Professional for Europe West.
On joining Recolight, Steve said:

“I’m delighted to join the Recolight Board, taking over from my colleague Robert Sprott who
represented Signify for over three years. I’m a champion of Recolight’s Circular Economy activity,
and all they do to raise the profile of the need for action on sustainability in the lighting industry. I really look forward to getting to know and supporting the Recolight team.”

In announcing the news Recolight Chief Executive, Nigel Harvey said:
“We are delighted that Steve has joined our Board. The breadth of his experience, and knowledge
of our industry will be invaluable to us as we expand the range of services we offer to meet the
changing needs of our Producer Members and collection partners.”

Steve joins as non-Executive Director representing Recolight’s founding members along with board
chair Andreas Adam, Senior Director at LEDVANCE, and Andrew Clark, Financial Controller at Feilo
Sylvania UK. Also on the board are Steven Reed, Commercial Manager at Trilux and Stephen Bell,
Services Transformation & Compliance Director UK & IE at Zumtobel.

The LIA is excited to announce the successful launch of its newly refreshed website, which went live on 2nd July 2024. This launch marks a significant milestone in The LIA’s ongoing commitment to enhancing member experience and providing key resources for continuing professional development.

Marketing Manager, Megan Henshaw, explained “A fresh-faced website was imperative to our goals for 2024 as it became clear we needed a platform to better reflect The LIA as we are today and create a site that is easier to navigate for members and the industry.”

A New Look and Feel with Innovative Features

The revamped website not only boasts a modern look and feel but also introduces two highly anticipated features: an Online Learning Portal and a Member Engagement Platform.

Online Learning Platform: Skill Development at Your Fingertips

Designed to cater to the evolving needs of professionals, The LIA’s Online Learning Portal offers a diverse range of courses. Tailored to help develop the ‘right skills at the right time’, from introductory to advanced technical skills to behavioural and leadership development, the platform has become the cornerstone of The LIA’s educational offerings.

Commercial & Training Manager, Teresa Beazley, commented “It’s important to recognise the needs of people within the industry have changed, and offering learning opportunities that fit around busy work and life commitments is essential to bridging the emerging skills gap, while engaging and retaining talent. Our new online training portal brings a range of new content to life, while making it as accessible as possible.”

Member Engagement Platform: Exclusive Access for Members

The Member Engagement Platform is a dedicated space for The LIA members to connect, share insights, and access exclusive content. This platform features special resources such as industry articles and webinars, enhancing a vibrant and engaged community. Members have the opportunity to interact with peers, gain industry knowledge, and stay up-to-date with the latest trends within the sector.

Membership Engagement Executive, Chloe Leatherland, noted “Our new Member Engagement Platform will redefine how we connect, ensuring every interaction is seamless and appropriately targeted leaving a personalised and lasting impression.

Enhanced User Experience

The new website’s intuitive navigation ensures that users can easily find the information they need. Whether accessing comprehensive course offerings or exclusive member content, the redesigned interface promises a seamless experience across all devices.

The initial feedback from members and visitors to the website so far has been wholly positive:

“The website looks fab!” – Bethany Hall-Fletcher, Business Development and Digital Marketing Executive, Forge

“As a relative newbie into the emergency lighting sector, I have always valued The LIA’s website as an authoritative source of information and news from across the lighting industry. The new LIA website represents a positive uplift in look, feel and functionality. Well done Megan, Ayca, and The LIA team!” Nick Revell, Managing Director, Philip Payne

“HUGE Congratulations to Meg and Chloe for publishing the fabulous new LIA website. I fully appreciate all your hard work, it’s paid off. The site is clear, with great navigation, and not clustered. It looks so, so good.” Suzanne Castine, Marketing Manager, Recolight

Explore the New Features Today

The LIA invites all members and stakeholders to explore the new website and take advantage of these exciting new features. This launch underscores The LIA’s dedication to supporting the professional journeys of its members and the wider lighting industry through innovative solutions and enriched engagement opportunities.

Ayça Donaghy, CEO of The LIA, added, “The launch of our new website, online learning platform, and member engagement platform represents a significant step forwards for The LIA. We are committed to providing our members with the best possible resources and a platform that supports their professional development and engagement within the industry. This new site is a testament to our dedication to continuous improvement and innovation.”

Understanding human emotions and how they drive our decision-making is key to creating a successful hospitality brand, explains Sanjit Bahra from independent lighting design consultancy DesignPlusLight (DPL).

When we walk into a space, all of our senses are activated, and we make judgements using our senses. With human beings, 60% of the neocortex (perception part of the brain) is used for processing visual stimuli (sight), the next dominant sense is hearing, which accounts for around 13%. This is how heavily we are weighted by what we see and that is influenced on how light falls on a space and the quality of the light.

Therefore, if a hospitality space is not well-lit, and a client is disappointed when entering that space, you’ve instantly lost connection and traction with the brand. And that can equate to money – how successful the space operates.

Fabrics and finishes can be changed or modified fairly easily but changing the lighting (once a project is completed) can involve a considerable financial investment to improve or upgrade. That’s why it’s better, and cheaper, to get it right the first time.

The hospitality customer base can be fickle, and competition is tough – so, underwhelmed clients will simply move on. If it doesn’t feel memorable or photograph well, people will seek out another well-lit place that they feel more comfortable in.

Humans are emotional creatures. We feel first & think second. When we enter a space our senses (sight, sound, smell, temperature etc) produce an emotional response and then our brains process these into thoughts and judgements (good, bad, exciting, cool etc…). As we are such visual creatures, lighting design has the power to influence how we perceive and connect with a space. One moment it can make us feel energised and activated. At the touch of a button the same space can be presented in a completely different way – making us feel more relaxed and at ease.

I believe great lighting design, for the interior environment, should be a ‘tertiary experience’. When we walk into a well-lit and well-designed environment, we normally feel positive and engaged with that space. Our brains then kick in to determine why we feel this way and so the eye goes to the beautiful finishes, furniture or architecture. It’s only after a while the customer realises that there is something quite wonderful about the “ambience” or the “mood” – that’s great lighting design; a subtle journey of emotion.

There are only two times when lighting is a “primary experience”. The first is when there is a fabulous feature, fitting, and installation. Something fantastic to catch your eye. And the second is when it is a mistake. Poor lighting design will always detract from beautiful architecture and interior design. It’s such a shame when a fabulous interior, architectural façade or garden is ruined by bad lighting at night. Poorly thought-out or installed lighting will cost you.

We are also entering a time where, I believe, there needs to be less visual clutter in a space. We are so overly stimulated on a far too frequent basis. There is more lighting and visual stimulus in our lives than ever before; from screens to displays and the plethora of lighting effects one can create. When it comes to the business of lighting design, less is more – we do not need as much light as tradition has held onto. All lighting needs to be carefully considered to create the desired effect, but without overwhelming people. Shadow is often a forgotten (and necessary) tool in creating form, space and respite.

As humans, we are also drawn to stories. All the successful brands sell more than just their product. They sell a story or idea – which translates to a feeling. That’s where lighting design also comes in. The first thing we ask is, “what is the narrative that needs to be told in each case?” And then we ask ourselves “How do we achieve this through lighting”. The answers that come out of the iterative process of asking these questions at the very beginning of a project, informs and guides us on the foundations of each design we do for our clients.

The added pressure to designing for hospitality is having to ensure a space is ‘social media’ friendly. Gone are the days when a professional photographer would take a few carefully curated photos that would control how a space is viewed by the world in a few aspirational magazines. Now every public space is ‘papped on a phone’ – exposing everything for all and sundry to see practically from day one.

Lighting is the perfect tool to create vignettes that are shareable and content-worthy. Instagram is a great platform for showcasing the role that lighting plays. It immediately shows how different spaces can look throughout the day and night. Instagram is also an important marketing tool in that respect.

For example, at the Mondrian Shoreditch hotel in London, where DesignPlusLight designed the lighting, the luggage room was converted into a mirror clad feature with colour changing glass balls. The colour change effects, and the reflections make for an amazing photo, which people love to snap and share with their friends or on social media. But every time you go it’s a different scene and lighting experience, creating that pull to go back time and time again, or for others to go and see it for themselves. It was also cleverly contained within a small space – making it feel like an installation and the lighting effects did not spill over into the rest of the hotel. 4 Years on and it is still creating a buzz and makes people feel engaged and excited with the brand.

Equally this ‘for the moment’ approach to lighting also needs to be balanced with the need to create timeless designs that don’t instantly age or quickly become out of vogue. A key area for this is sustainability, and it is important that this is built into a scheme for the right reasons, not just to greenwash a space or a project. Compounding this, younger generations are understandably concerned about the environment, and will always favour those companies and brands that truly care about sustainability.

Brand loyalty is hard to gain, and even harder to keep if you’re not creating the right environment. Hospitality venues have to activate people’s senses more than ever before, and lighting is one of the main priorities to get right in order to be successful.

Karlsbad (Germany), 2nd July 2024 – In recent months, turnkey production design studio and rental company Maktive has invested heavily in GLP’s new impression X5 IP platform – sensing both the potential for deployment in the arduous weather conditions of the outdoor season and that the common chipset will guarantee uniform, homogenous colour.

As a result, when it collaborated with fellow design company DoLaB to present its unique MACROdose dance music stage for the first time at this year’s Coachella Valley Music and Arts Festival in Indio, California, it were able to integrate large quantities of its recently acquired impression X5 IP Bar 1000s, X5 IP Maxx and much-coveted JDC2 IP to animate a series of ‘fabric mushroom’ sculptures which looked like they had just sprouted out of the desert grass.

DoLaB itself is a collective comprising brothers Dede, Jesse and Josh Flemming which builds bespoke architectural and art pieces. The installation itself consisted of nine oversized, satellite-shaped sculptures distributed across a field, under which festivalgoers could get some shade, rest and dance. Maktive delivered all the lighting and took care of the programming.

Maktive director Bryan McClanahan, who co-founded the partnership with Patrick Randall, explains that the two companies had collaborated on avantgarde art projects in the past: “For Coachella we were asked whether we could come up with a couple of different scenarios with different lighting configurations.

“The goal was to keep as many lights hidden as possible, but obviously some fixtures needed to be unobstructed.” Those that they chose to reveal included FUSION by GLP Exo Beam 10 and JDC2 IPs. Meanwhile, up inside each of the mushroom type shapes were the X5 IP Bar and also the X5 IP Maxx – part of a burgeoning fleet of GLP new generation solutions in its rental inventory.

But it is the new JDC2 IP, offering more power and creativity than its predecessor, which has excited the company the most. Significantly, it offers the ability to create unique digital effects with an individually controllable pixel matrix. A powerful built-in dual-Cortex CPU with graphic processing offers over 100 GLP DigiFX, giving an eye-watering range of digital content.

“We first saw them at LDI,” says McClanahan. “For us it clicked right away the second we saw them in the booth.” He ordered 150 pieces in what the Maktive director describes as a blind purchase. “For us, this is our largest investment in a single type of fixture. We could see that the in-built 128-channel mode DigiFX were really a digital gobo that could be manipulated with X and Y coordinates like a moving head.

“At Coachella they really got to shine.” As for the X5 IP Maxx and X5 IP Bars, they were placed inside each of the mushroom-type shapes. “The Bars themselves were mounted from the inside of a pole through the middle of the mushrooms, shooting outwards from the centre, and we mounted the X5 IP Maxx on the outer tips of the mushrooms shooting in. They did all the heavy lifting, illuminating the mushrooms with no uplighting – the mushrooms almost glowed from the inside out.”

It provided a perfect scenario for a star-studded line-up of artists, the DoLaB stage hosting performances from Chase & Status, Alesso, Anna Lunoe and DJ Tennis, plus back-to-back sets by Kaskade and Alison Wonderland and an impromptu party hosted by Billie Eilish.

“We were able to provide the lighting entirely from the GLP catalogue,” confirms the Maktive director in conclusion. “And the fact we were able to match the chipsets meant we got an even homogenous colour.”

Maktive’s Coachella production team comprised Bryan McClanahan (creative director); Jeury Duran (lighting director); Chris Hallet (project manager – day); Ernesto Melendrez (project manager – night); Kylie Woods (creative manager); Nicolai Anderson (lighting drafter); Shane Thompson (master electrician); and Nate Heiderer (video programmer).

Currently running at the Ambassadors Theatre in London’s West End, Kathy & Stella Solve a Murder! is an award-winning musical comedy which follows Kathy & Stella – hosts of Hull’s least successful true crime podcast. However, when their favourite author is killed, the pair find themselves thrust into a thrilling whodunnit of their own. The show features a lighting design by Peter Small who approached White Light (WL), a d&b solutions company, to supply his rig, having previously done so for the show’s Bristol and Manchester run. For the London production, an addition to the rig included the Macula remote follow-spot System – distributed in the UK by Sound Technology Ltd – making the show the first in West End history to use this ground-breaking technology.

Kathy & Stella arrives in London following its previous sell-out runs in Edinburgh, Manchester and Bristol. Peter describes it as ‘a big, fun, in-your-face musical that’s packed with comedy and colour. It’s busy and fast and the pace and tempo just keeps increasing as the night goes on!”. Being a comedy, a musical and a whodunit, the show covers a variety of genres – all of which Peter had to encompass into his lighting design. He explains: “The lighting works very hard to support the fast-paced storytelling, which features numerous musical numbers which each have their own identity and aesthetic. On top of that, the lighting has almost empathetic qualities, moving with the characters ebb and flow of energy during certain moments. My challenge was to hit all of these emotive and technical briefs yet do so within the contained, boxed-in nature of the set”.

Prior to its transfer to the West End, the show, naturally, underwent several changes, from its original staging through to now. However, it would need to continue changing when it eventually arrived in the capital. Peter states: “The main challenge for us was trying to fit the show into The Ambassador’s which is by far our smallest theatre to date! This took a lot of close work across departments and the theatre to ensure everything could fit. Safe to say the theatre is full, wall to wall, top to bottom. We’ve even removed the theatres’ equipment substage and stored it off site to make space for racks and follow spot controllers”.

This confined space meant that Peter had to be meticulous with his lighting design and find new solutions to be both creative yet practical – which is where the Macula system came into play. Macula is a fixture-agnostic remote-controlled followspot system, offering unprecedented performance thanks to its incredibly high-resolution fluid head and simple, yet powerful, software control. Perfect for venues in which traditional followspot solutions just aren’t feasible, it gives users the organic feel of handling a followspot and is compatible with numerous manufacturers’ fixtures.

He comments: “Previously, we had used traditional follow spots but the limited space within The Ambassadors meant this just wouldn’t be possible. That said, my design utilised the spots, in this case Ayrton Eurus, almost the entire time with many fast moving targets (people whizzing about on modified desk chairs with rollerblade wheels on!) so I had to find some sort of solution to make this work. Whilst it had yet to be used on a West End show, I’d seen the Macula System at various tradeshows before, and so asked WL’s Stuart Porter to arrange a demonstration of the equipment for this production. I was keen to be able to use a fixture of my choice, that would be bright, responsive, stable and have the support to enable a smooth process as we set-up home at the Ambassadors.

He comments: “I’m delighted to say that using the Macula system was a complete success. Once the system was up and running, the operators quickly got their head around it and were using it with complete ease. As we fine-tuned the show, the system itself brought forward some quite interesting revelations. For example, it allowed us to program all the fade ups which resulted in a much smoother pickup rather than the operator trying to control the intensity fader and follow at the same time. Similarly, it also allowed for the (expected) perks of snap blackouts etc. In short, it’s a system which paid dividends on this production and which I would use again a heartbeat”.

Alongside the Macula System, Peter’s rig consisted of SIXPARS, Viper Performances, Auras, ColorSource Spots, various atmospherics and a slew of generics. There is also a significant array of practical lighting, including metres of LED tape, LED pixel festoons, LED neons, light boxes, light bulb signs, fake fluorescent fittings, pendants, smaller practical lamps, fairy lights, rope lights, LED tubes, disco lights and mirror balls, custom-commissioned wireless practicals (light up phones and books) as well as a brand new concept in making a light up Laptop (software provided by Doug Finlay).

Peter explains: “The SIXPARs are the DNA of the design, given the whole rig is visible and largely symmetric (by choice). These are most prevalent as a toplight grid which is used for power and impact as well as a plethora of effects and ways of breaking up the space. This logic is repeated in a sidelight system with the high component being Auras which then can do various focuses in the air/stage/house when not resting in a pipe end focus. Mixed in with the high amount of LED sources is a lot of tungsten to cut through it all and just glowing them into the design can really make a costume pop or fill out a picture. I’ve enjoyed pulling at the extremes of a big, strong saturated LED look and then going to a very dim solo tungsten source. The show is ultimately very human and it’s important to me to have that tungsten element firmly in the mix”.

WL’s Hire Business Development Manager Stuart Porter states: “We’re thrilled to be working with Peter on this show – even more so due to the fact that this marks the first time that the Macula System has been used in the West End. As a company, our ethos is to work closely with designers and ensure we provide with them exact tools and technology to bring their design to life – which is exactly what we did on this occasion. Given this initial success, I’m sure the Macula system will now be part of many West End lighting designs moving forward”.

Kathy & Stella Solve a Murder! opened at The Ambassador’s Theatre last week and will run until 14th September 2024.

Photo courtesy of Ellie Kurttz.

Lighting Team Credits

Lead Production Electrician – Martin Chisnall

Production Electrician – Helen Willis

Production Electrician – Theo Chadha

Production Electrician – James Smellie

Production Electrician (BOV/Manchester) – Tim Jackson

Lighting Programmer (West End) – Tom Davis

Lighting Programmer (BOV/Manchester) – Tom Mulliner

Associate Lighting Designer (Edinburgh/BOV/Manchester) – Beth Gupwell

Practicals by Junction Inc, James Smellie and Doug Finlay

Mike Gunning and the team at Bristol Old Vic LX!

Louise Houlihan and the team at White Light!

Alba Aréna, Székesfehérvár, Hungary

At the newly-built and eagerly anticipated Alba Aréna in Hungary, a system from Pharos Architectural Controls is adding to the energetic atmosphere by controlling the sport and façade lighting.

The multifunctional venue, located in the Hungarian city of Székesfehérvár, has been built to become the home of the Hydro Fehérvár AV19 professional ice hockey team. It will also serve as an event and community centre, a domestic hockey venue, and host 20-25 other indoor sports. With a capacity of 6,000 spectators for hockey matches and up to 8,000 for concerts and other events, lighting will play a key role in creating a truly encompassing experience.

A system of solutions from the Pharos Designer range has been specified to control the façade of the stadium, as well as being able to programme the indoor lighting to meet the differing requirements of sports matches, shows and other events. A two-universe Designer LPC (Lighting Playback Controller) is being used alongside a Designer TPC (Touch Panel Controller) and Designer BPS (Button Panel Station).

The LPC is an award-winning, all-in-one controller that is designed for 24/7 operation. Offering unrivalled reliability for LED installations, the LPC features individually controllable and independently running timelines and scenes. This is ideal for offering fully customisable pre-programmed lighting effects – and perfect for Alba Aréna, a stadium designed to host a wide variety of different activities, each with their own lighting needs.

The TPC is an award-winning, elegant touchscreen lighting controller with a 4.3” capacitive touch panel. It offers sleek styling and an advanced lighting control playback engine. The touchscreen user interface is fully customisable using the free Pharos Designer 2 software.

Completing the system, the BPS is a versatile eight-button panel station with integrated button LEDs that works with any Pharos Designer Controller.

Alba Aréna has been designed by two award-winning architects, Mihály Balázs, winner of the Kossuth-Prize, and Attila Tamás Tarnóczky, winner of the Pro Architectura Prize. It boasts impressive sustainability credentials, with heat pumps being used instead of gas to ensure the right temperature inside. Although the heat pumps need electricity to operate, the lower levels of the arena, including the seating areas and the actual pitch, are located below ground level, significantly reducing the amount of power required to cool and heat them, thereby delivering a lower carbon footprint and lower energy bills.

Mark de Gruyter, Sales Director at Pharos Architectural Controls, said: “The Alba Aréna will no doubt play a big part in the cultural calendar of Hungary. From sporting events to concerts and more, the stadium is set to attract hundreds of thousands of visitors each year. Pharos is proud to have a number of our solutions installed to help spectators have an enjoyable and memorable visit to Alba Aréna.”