Located within The University of Edinburgh’s College of Medicine and Veterinary Medicine, the Usher Institute aims to transform health in society by working with people, populations, and data. The Usher Building houses the Usher Institute with its four core research centres and the Edinburgh Clinical Trials Unit – alongside partners from public, private and third sector organisations. Funded as part of the Data-Driven Innovation Initiative of the Edinburgh and Southeast Scotland City Region Deal, the facility has been designed by international design practice Hassell Studio to be a welcoming space for focus, collaboration, and engagement, with space for around 1000 occupants.

The lighting project was crucial to this mission. The objective was to create an environment conducive to health research and collaboration, utilising as few manufacturers as possible.

Designing a lighting system for the Usher Building, a complex and multifunctional facility, posed significant challenges. The aim was to install efficient lighting throughout the building, ensuring that office lighting worked with ceiling raft details and communal lighting matched the architectural finishes. The project demanded a seamless integration of lighting controls to provide efficiency, flexibility and additional functionality.

Delivered by Leon Gray, a TRILUX distributor, and installed by EMTEC Group with lighting design by Ainsley Cramer, the lighting scheme consisted of 400 custom-designed Sonnos downlights featuring a bronze and black RAL finish; these downlights blended perfectly with the building’s architectural metal finishes. Over 600 Solvan Flows, 300 Amatris, and numerous LED linear runs were installed, providing uniform and efficient lighting throughout the facility.

However, the star of the show was the LiveLink controls system, which offers numerous benefits: semi-automatic lighting with absence detection for maximum energy savings, multiple lighting scenes for dramatic effects in event spaces, push-button controls for on/off and dimming, simplified partition controls for flexible space usage, remote access for modifications and service checks, daylight controls with window row dimming to optimise energy efficiency, and extensive DALI networks across the building for comprehensive lighting management.

The new lighting solutions provided by TRILUX significantly enhance the Usher Building’s usability and aesthetic appeal. The efficient and well-integrated lighting systems support the facility’s goal of fostering interdisciplinary research and collaboration. The reflective spaces, such as the reading room and cellular meeting spaces, benefit from the custom lighting, creating an ideal environment for focused work and engagement. The lighting has also improved the overall atmosphere of the facility, making it a more inviting and productive space for its users.

“As a research and innovation institute focussed on health and social care, we wanted our Usher Building to be designed with wellbeing and efficiency at its heart – and for it to be a space that draws our team and collaborators together. Lots of natural light is complemented by flexible lighting from the TRILUX team to ensure we can work most effectively whatever the weather!

TRILUX’s lighting solutions have enhanced the Usher Building’s environment and contributed to a brighter, more connected, and healthier future for the researchers and partners working within this leading medical campus – power is combined in a proven management team – this creates good prospects for the future!” concluded Susan Buckingham, Head of Communications, Marketing and Engagement at the Usher Institute, The University of Edinburgh.

The post TRILUX lights to inspire innovation, team interactions and automation appeared first on A1 Lighting Magazine.

The SC4 Fine Arts Theater at St. Clair County Community College in Port Huron, Michigan, faced an urgent need for a lighting upgrade due to an outdated system that had been in use for decades. Japheth Boivin, Director of Integration at Mercury Sound & Lighting, an AV solutions company that had previously installed a video streaming system and digital signage for the theater, spearheaded the lighting design for the renovation and chose Elation KL and FUZE series luminaires.

“The main impetus for the project was that the previous system was failing on all fronts due to its age and obsolescence,” commented Japheth, who says that the previous mix of conventional PARs and ellipsoidals dated anywhere from the ‘60s to the ‘90s. “They wanted a technology upgrade to something more reliable, more capable, and more versatile.”

The 300-seat theater serves a variety of functions, including theatrical performances, lectures, streamed and broadcast events, and other more utilitarian community activities. Japheth noted that the client also required a better lighting solution for the videos produced in the space.

KL and FUZE harmony

Based in Wixom, Michigan, just west of Detroit, Mercury managed the complete renovation and installation of the new lighting system, working in tandem with the electrical contractor. An important support piece came from Ed Cheeseman and Rob Ludwig of Elation manufacturers rep firm Five Lakes Marketing, with whom Mercury has worked closely for years.

Design work on the project commenced in the fall of 2023, with the main theatrical lighting system centered around two Elation series: the KL and FUZE. “Because the RGBMA emitter sets on the KL and FUZE fixtures match, it makes it much easier to get a homogenised field of light,” Japheth said. “From colour mixing to the white light needed for video washes, the uniformity ensures consistent results across the entire setup. They essentially have any colour they can imagine available to them.”

Theatrical KL

The KL PROFILE FC, a full-spectrum ellipsoidal with integrated zoom, and the KL PAR FC full-spectrum PAR light populate the electrics in every position, except for the overhead stage wash. “They are used for typical theatrical applications, general washes, and dedicated specials for frequently lit areas of the stage,” Japheth stated. “Also, since installing the streaming system, they began to notice the shortcomings of their broadcast lighting system so both of these lights are useful for those applications as well.”

FUZE focus and framing

FUZE PROFILE moving heads in the gallery and second electric position allows for remote focus and framing capabilities. “They lend versatility to the space while adding to the ease of use as they eliminate the need to access the catwalk. They wanted that versatility because they use the theater for such a wide range of events.”

Japheth says the theater’s architecture is unique and features a hard cloud system above the stage rather than traditional overhead electrics. Consequently, overhead washes are recessed, house lighting style, and mounted to the ceiling. He states, “The cloud has acoustical properties so to accommodate that and not have to remove it, we decided to replace the old fixtures with the FUZE PENDANT downlight. It allowed us to maintain the original architecture and have full-colour mixing abilities for an overhead wash over the stage.”

A great testimonial

Japheth notes that Mercury uses Elation products extensively on their projects and cites a full-system lighting upgrade at Port Huron’s McMorran Theater as a testament to the benefits of quality installations. “St. Clair was already familiar with the Elation lighting system at McMorran, which is just down the street from them and is the premiere theater in town. Having that theater install so near was a great testimonial.”

The new Elation lighting system, installed in July, will debut this fall, and Japheth looks forward to the stark difference that the client will experience. “Often when we complete these installations, the transformation from before to after feels like a completely new space,” he remarked. “The new lighting will undoubtedly open up for new design possibilities and significantly enhance the overall experience.”

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Signify a world leader in lighting, is supporting Milton Keynes City Council in its long-term vision to create a sustainable city. Signify was selected to upgrade 18,000 existing streetlights to LED – enabling the city to introduce innovation in terms of performance, quality of light, and connectivity to its lighting assets – and contribute to their climate action goals.

The phased programme will be completed in 2024 and is expected save the council over 5 million kWh in energy usage, and £2 million in energy costs per year, following completion (based on average and estimated prices 2021-2025), as LED lighting uses up to 70 percent less energy when compared to the existing HID lighting. The reduction in ongoing energy costs is expected to pay for the project in full within 8 years. The LED upgrade will also increase visibility for motorists and pedestrians, and improve the quality of security camera footage, helping to improve the feeling of safety and deter criminal activity.

In 2019, Milton Keynes City Council committed to becoming carbon neutral by 2030, and carbon negative by 2050 – steps of which are laid out in their Sustainability Strategy 2019-2050.  They had already kicked off some climate action initiatives prior to this. In 2014, Milton Keynes City Council started delivery of the programme to modernise and upgrade its public lighting stock to low-energy LED; to reduce energy costs and carbon emissions, extend the life of its assets, and reduce maintenance and associated costs.  Then in 2022, due to the 88% increase in energy prices the council came under further revenue pressure for 2023/24, which led them to expand and accelerate the lighting upgrade programme to enable them to operate in the most cost-efficient manner.

Signify was selected as the lighting partner of choice based on several parameters. The technical specification of the proposed lighting solutions, the projected operational and energy cost savings, as well as carbon emission reductions.  In addition, Signify’s sustainability credentials as a responsible supplier played a large part.

Throughout February and March this year, and forming the main part of the roll-out of the project, a combination of ~18,000 Philips LumiStreet Gen2 and LumiStreet ECO LED lanterns were installed along roads and footpaths across the city – replacing the old, energy inefficient HID lanterns.  The Philips LumiStreet ECO was designed to specifically meet the needs of the UK market, and this project sees the first large roll-out across a city. In addition, in December 2023, 1,800 Philips TownTune urban decorative LED luminaires were installed, to improve the lighting across car parks, pedestrian walkways, and cycle paths.

For the installation, the council chose Philips luminaires in combination with Telensa’s cloud-based Central Monitoring System (CMS) that provides a fully functioning, controllable street lighting asset management system, capable of driving further energy savings.

Commenting on the LED upgrade, Cabinet Member for the Public Realm, Cllr Jennifer Wilson-Marklew said “This has been a significant project that will really help us to lower our energy consumption and tackle climate change in Milton Keynes. MK City Council is committed to moving towards our target of net zero by 2030 and being carbon negative by 2050. Reducing our streetlight energy consumption is a big part of that process.”

Milton Keynes City Councils’ service provider Ringway were responsible for the installation and management of the project.  They also undertake the management and maintenance of the largest portfolio of highways service contracts in the UK.

“Upgrading to LED technology helps reduce the carbon footprint of public lighting, while also saving on energy and maintenance costs – year on year. The lights are more efficient, can be targeted precisely where needed, and last much longer than conventional lanterns. What’s great is the connectivity that’s enabled with LED – they are programmable meaning they can be switched on only when needed, which extends the lifetime, and reduces the need for maintenance,” said Jonathan Watt from Ringway.

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“It needed to be bright, versatile, bold and strong,” says the designer, one of three partners at Woodroffe Bassett Design (WBD). And so Ridgway recommended GLP’s impression X5 IP Maxx, promptly arranging a shoot-out. Terry Cook’s conclusion: “It brought meanness, real character and was unapologetically angry. It was definitely an AC/DC light,” he exclaims unequivocally. “We have history of embracing new technology on AC/DC tours and the Power Up tour was no different.”

At the same time he noted a further advantage: the fixture’s IP rating. In fact, its waterproof qualities would prove vital during the tour, even though every fixture would be located under the roof.

Neg Earth had been contracted as tour vendors by the band’s production director, Dale ‘Opie’ Skjerseth. As soon as the designer had greenlighted GLP’s powerful washlight, it wasted no time in ordering 172 of the fixtures – the first rental company in the world to do so. “Dave [Ridgway] knows I take nothing as guaranteed and so we looked at each fixture twice, using light meters to measure it, and to understand what each light could do and how they balanced together,” reports Cook.

Lighting designer Patrick Woodroffe, who originally set up WBD, has an association with both AC/DC and Neg Earth stretching back decades. “The band hadn’t toured for a while for various reasons,” notes Terry Cook. “We were contacted about them returning for a one-off show at Power Trip Festival in California – and they would then try something in Europe.”

WBD immediately witnessed the signature rawness and WBD were soon back at the drawing board once the European tour was confirmed. “There were to be no gimmicks, it was very much about connecting the band, the music and the fanbase,” continues Cook.

The lighting designers worked closely with Stufish, which was responsible for the stage design and size of video screens: “I realised I could replicate the shapes of the video with five large lighting pods, filled with one type of light. Stufish suggested putting a video frame around the pods so we could drag the video off the screens and immerse it into the roof and sides of the stage. Suddenly the idea was born and we knew we had a winning combination.”

Three identical overhead pods – four units wide, eight units high – were offset by two further pods, stage left and right, aligned on the vertical plane. Each contained a matrix of impression X5 IP Maxx – which made up the bulk of the 168 units that toured. The remainder were set on the upstage side of the front truss to illuminate the band’s iconic 8ft high signature wall of Marshall amps, stacked three high.

The challenges in bringing this to fruition were many, not least ensuring the vast inventory of X5 IP Maxx could be shipped in time. “We also had to work out how we were going to build these lights within the trusses, even-spaced in a matrix and at the same time get the correct beam angles. The rig was something of a throwback to a parcan rig of yesteryear, when we were specifying the Molefay,” suggests Cook. As for the trusses, individual custom bracketing had to be produced for each piece, with a custom [load] spreader built into each hang.

The next decision was the DMX programming mode for the X5 IP Maxx. Cook recalls: “When I first turned one cell on, at just 3 percent, I knew immediately it was going to work. We wanted to have cell control so that we could change the shape of these lights and so choosing the correct mode was vital.”

Explaining further, he says:, “There’s one moment in ‘Thunderstruck’, an iconic song, when we wanted 168 linear stripes of light, rather than circles, to loosely represent a lightning bolt delivering real sparkle and flare across that big iconic intro.” After consideration, they opted for the fixture’s Mode 4 Multipix Advanced mode. “This gave us an incredible 141 DMX channels, with two lights per universe. It may have given Neg Earth a heart attack, but we wanted the flexibility to create the pixel effects.”

Terry Cook also knew “from the get-go” that he wanted to integrate the GLP washlight into the Follow-Me follow spot system “and so at a moment we could sweep all 168 lights onto [frontman Angus Young] if we wanted a big guitar moment and pull a vast section of lights down to him.”

And when he needed to perform a fast zoom there is none finer than the impression X5 IP Maxx, with an enormous range from an extremely narrow 3.3° beam out to a wide homogeneous 66° wash.

Terry Cook paid tribute to a number of people for bringing the show to fruition, led by the head of GLP UK, Simon Barrett. “We must have used every fixture in GLP’s catalogue over the years. I can’t tell you how good Simon and GLP’s customer service are. To have direct access to the manufacturer was really useful.

“We worked very closely with the set designer Ray Winkler [of Stufish] and Jeremy Lloyd at Wonderworks, who did the technical design, working out how to rig it safely, putting the engineering side of the pods together. Finally, there was Sam Patterson’s team at Treatment, who do video creation.”

To the many superlatives already levelled at the X5 IP Maxx, Terry Cook adds “reliability”, explaining: “By the halfway stage of the tour the team hadn’t swapped out a single light – despite them getting extremely wet in atrocious weather, particularly at load-in and load-out.

“But they are a great fit for an AC/DC show and the biggest compliment that I can give is I’d spec them on a show in a heartbeat!”

The show itself was naturally piloted by the band’s veteran and ever-present touring lighting director, Cosmo Wilson, while Joe Bay and Michael Hankowsky were brought on through Early Bird to handle the lighting and video programming. The last, and newest, member of the FOH team is WBD’s own Fraser Walker who, like Cosmo, runs the video screens live each show, with no timecode used, “it’s lovely to see Cosmo and Fraser operate this show,” remarks Cook.

One final footnote: Opie and WBD made the decision that, having been so impressed with the young crew appointed by Upstaging on a recent American show, to request similar from Neg Earth. The rental company delivered, providing another young, fastidiously professional team with an average age of just 28. Other crew members included Jim Mills, Lewis Willding, Niccolò Grigolato, Ben Tinniswood, Zac Saleh, Euan Odd, Charlie Strangeways and Holly Brightman working under crew chief Alan Fotheringham. Neg Earth’s team who assisted with all the prep, comprised Joao Magalhaes, Jack Prior, Fiore Fillarini and Greg Gadomsk.

Terry Cook credits the impact that the crew’s energy and teamwork made to the overall result of the show.

Photo credit: Ralph Larmann.

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Eco-Friendly Lighting: The Crown Class lighting revitalization project included 69 ESPRITE Profile, 87 Spiider, 78 PAINTE Profile, 98 LEDBeam 150, and 48 ParFect 150 wash luminaires, which has reduced the Crown Class’ overall electrical consumption by an impressive 50 percent. This not only benefits the environment but also leads to reduced HVAC draw and overall fuel costs. Additionally, it significantly reduces operational and maintenance expenses. Princess Entertainment continues to invest in engaging and eco-conscious technologies to enhance guest offerings and sustainability goals.

Robe TE Technology: Robe’s revolutionary Transferable LED Engine technology allows for easy replacement of light engines, extending the fixture’s lifetime and avoiding costly and time-consuming full light engine replacements. This technology provides the flexibility to choose engines, including HP (High Performance), HCF (High Colour Fidelity), TGW (Tungsten White), or the MSL-TE™ (Multi-Spectral) engine. This ensures optimal color rendition for every performance.

Spectacular Performances: The new lighting system enhances Princess Cruises’ award-winning in-house entertainment offerings, including major original productions created in partnership with Stephen Schwartz, an Oscar, Tony, and Grammy award-winning composer.

The lighting rig upgrade for Crown, Emerald, and Ruby Princess was a significant undertaking in 2023. Robe Lighting delivered all fixtures on time for immediate installation, leading to reduced power consumption and maintenance, making the rigs more efficient for use. Working with EMF Lighting, the lighting design team was impressed with the innovative features and impressive output of the small form-factor, feature-rich fixtures. The enhanced color rendering across the TE Engines and Osram engines of the Spiider and LEDBeam fixtures has revitalized the shows, providing vibrant and saturated visuals. Onboard lighting technicians have praised the new lighting rig for its ease of use, ease of service, and its ability to enhance their designs and operational needs. Notably, the new Robe lighting system has reduced the operating noise by 53db, improving audio fidelity for guests and on-stage monitoring systems.

Matt DeJong, Fleet Lighting Supervisor for the Princess Entertainment Project team, chose Robe Lighting due to the impressive range of fixtures and Robe’s global support system, ensuring on-demand assistance no matter where in the world any Princess cruise ship might be. Princess is always grateful for the quality engineering and QA provided by Robe as all equipment worked straight out of the box, which allowed the project team to complete these time sensitive, in-service installs, with minimal disruption to onboard operations.

In addition to the all-Robe automated lighting rig, the Crown Class lighting setup was complemented with additional conventional fixtures, strobes, and UV effect units.

Photo by Matt DeJong.

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Boris Jacob, from Elation’s French distributor Best Audio & Lighting, handled lighting design on the project. He stated, “This show really gives pride of place to the Elation brand with the FUZE PROFILE and the KL PROFILE FC. The luminous flux and high CRI, the identical colorimetry between the FUZE and KL series, as well as the silence, make these fixtures the perfect choice!”

A flexible framing fixture for theatre and television, the FUZE PROFILE houses a 305W RGBMA LED engine with high CRI. Its 5-color homogenized LED array not only ensures accurate color reproduction with a beautiful mixed white, it also provides color manipulation features like virtual color temperature and Magenta/Green adjustment plus CMY emulation. Jacob used some of the FUZE PROFILES as keylighting to illuminate the artists’ faces using the built in framing blades and color temperature control with the remaining FUZE PROFILES set on stage to project gobos and cut out scenery elements.

Because the KL PROFILE FC ellipsoidal also houses an RGBMA LED engine, the designer was able to perfectly match color across the rig. Housing an integrated zoom that adjusts from 6 to 50 degrees, the KL PROFILE FC requires no additional lens tubes for fast beam angle changes. Its 93.5 CRI engine ensures accurate color reproduction, and full blackout manual framing eliminates any light spill. Both fixtures proved the ideal complements for “The Twist Years” production.

Atmospheric haze and mid-air projection canopy came courtesy of a THERMA TOUR 600 from Magmatic atmospheric effects. Producing an exceptionally fine, long-lasting haze, a water-based fluid was used to allow for total protection of the eight artists’ vocal chords, as well those of the accompanying musicians and technical crew. The 350W THERMA TOUR 600 creates a safe, clean and odorless haze effect that leaves no residue.

Stemming from the early 1900s, the Eiffel Tower Theatre was renovated in 2016 and reopened in 2017. Due to its exceptional historical heritage and a varied program of musical shows, comedy, and plays, it has managed to find a place among the pantheon of Parisian theaters. “The Twist Years” will be back at the Eiffel Tower Theatre in October and will be touring in 2025.

Production: Cabucho Production – Remy Caccia & Christelle Chollet.

Director: Lucy Harrison.

Choreography: Olivier Benard.

Musical Director: Gabriel Sarrou Vergnac.

Costumes: Claire Djemah.

Cast: Lou Nagy, Martin Heuzard, Marine Rouvrais, Quentin Aubert, Théophile Baquet, Victor Villafranca, Alexia Piovano, Pierre-Arthur.

Lemoine, Olivier Benard, Armonie Coiffard, Magali Bonfils, Thomas Boissy, Pierre-Alain Leleu.

Musicians: Gabriel Sarrou Vergnac, Frank Bessard, Maxence Naudet, Matthieu Durand Valerio, Edouard Dornier, Rodrigo Viana.

Photos:  Justine Lephay.

The post Elation FUZE and KL highlight “The Twist Years” at Paris’ Eiffel Tower Theatre appeared first on A1 Lighting Magazine.

Designed by renowned architectural practice, Grimshaw, with additional engineering support from Arup, the 230m bridge is divided into several distinct parts, including two dark grey steel sections that span the railway lines plus stairs and a lightweight step-free ramp on each side. The whole structure has been unified with continuous orange flooring to create a bold statement and a unique identity.

Lighting was a key aspect of the bridge’s construction, with a particular focus on safety, security, and accessibility. The design called for a discreet handrail solution to illuminate the floor deck while also supporting users with limited mobility. Additional lighting was also specified to enhance the surrounding public spaces.

Leading M&E consultants, Vitec, were appointed to oversee the lighting and approached DW Windsor to fulfil key elements of the scheme’s design.

To satisfy the brief, DW Windsor supplied products from its award-winning Garda® illuminated handrail range, adapted to suit the project’s unique requirements. For the ramps and stairs, nearly 500m of seamless stainless-steel handrail was installed, fitted with 300mm Garda Classic asymmetric modules. Special attention was paid to how the handrail attached to the balustrade fins, which had pre-drilled holes, meaning a lot of coordination between all parties was needed to ensure everything fitted together on site without modification.

For the main bridge deck, where handrail could not be used for safety reasons, an alternative approach was required. To overcome this challenge, DW Windsor developed a bespoke solution, integrating Garda LED modules directly into the two parapet structures slotted between the vertical ribs. Additional lighting was also supplied for the central section between these structures where, again, handrails could not be used. Here, the designers came up with an innovative solution to vertically mount recessed Ligman Lightalk luminaires between the balustrade fins.

To achieve the required light levels, 3,000K LED modules were spaced at approximately 2m across the whole structure. This provided a consistent appearance and ensured the scheme delivered an average maintained illuminance of 30 lux and a minimum uniformity of 0.5 to comply with British Standards.

Discussing the installation, David Anstee, Technical Manager at DW Windsor, said, “This was a very large project, requiring a lot of coordination, particularly for the handrail, which had hundreds of touch points. Additionally, the power supplies needed to be in one location, meaning a lot of planning was needed to calculate circuit loads and voltage drop to ensure the lighting would operate as intended. This included planning all of the cable routing and ducting which had to be built into the bridge structure.”

In addition to the bridge lighting, the brief specified that lighting should be integrated into the hard landscaping beneath each ramp, which has been styled into amphitheatre-like areas. To support this, DW Windsor supplied sections of its Vaio linear system, which were recessed horizontally into the granite seating around the perimeter. This offered a point of focus for users while also providing low-level lighting to guide people into the space. Additional Ligman uplighters were also installed into the planters to illuminate the ramp soffits and vertical supports, enhancing the general ambience of the space while having minimal impact on the surrounding areas.

Shaun Davies, Project Engineer at Vitec, commented, “The Newport Station bridge provides residents and visitors to the area with a safer, more accessible link over the mainline railway. With its distinctive design and discreet lighting scheme, the new bridge has helped to transform a neglected area into a vibrant public space.”

Project credits

Client: Newport City Council/Network Rail.

Specifiers/Designers: Vitec.

Main Builders: Alun Griffiths.

Electrical Installation: Gee Communications.

Structure Design: Grimshaw Architects.

Structure Engineer: Arup.

The post Newport Railway bridge development brought to life by DW Windsor lighting solutions appeared first on A1 Lighting Magazine.

The new lighting, designed by the Schröder & Partner design studio under the guidance of project manager Jan Wöhning, introduced a versatile and innovative lighting system that enhances the architectural beauty and liturgical symbolism of the church. “The church mainly had obsolete lighting technology, which we replaced with more modern LED technology, promoting energy efficiency. The curia also asked us to emphasize the colours of the liturgical year (green, red, purple) through coloured lighting in the hall,” explained Jan.

For the choice of projectors, the studio relied on Lightpower, PROLIGHTS distributor in Germany, selecting the ArcShine M18FC and ArcShine M9FC, the ArcPod 15Q, and the Astra Wash7Pix.

A key element of the new system is the use of the ArcShine M18FC LED bars, which discreetly illuminate the central area of the church, creating an ethereal effect with almost invisible light sources. Inside the dome’s lantern, ArcShine M9FCs were placed, emitting coloured light that floods the dome’s interior and creates a suggestive effect through the windows, visible from outside the church after sunset. Additional ArcShine M18FCs were installed above the organ to illuminate the metal pipes, while an ArcPod 15Q was positioned to light the tabernacle niche behind the altar.

The renovation also included the replacement of an old profile projector with three Astra Wash7Pix, arranged on the ceiling to provide greater flexibility in lighting during religious services. “The priest wanted a solution that would allow more flexible lighting of significant places in the Mass,” added Jan. “We were fortunate because the church showed great interest in the success of the lighting and was open and favourable to creating a modern and innovative setup.”

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WITTCHEN, renowned for its exclusive leather clothing, accessories, and suitcases, operates its headquarters and distribution centre from Palmiry, near Warsaw. Committed to creating a comfortable, inspiring workplace and reducing CO₂ emissions, WITTCHEN undertook a comprehensive modernisation of its lighting systems, turning to TRILUX for its expertise.

The collaboration commenced in 2017 with TRILUX developing a bespoke lighting concept for WITTCHEN’s new 3,000-square-metre office building and outlet. Prioritising high lighting quality for employee well-being and safety, aesthetic luminaire design and high energy efficiency, TRILUX installed 544 lighting solutions. This included the award-winning SOLVAN FLOW pendant luminaires, enhancing the office’s interior elegance, and 60 CANILO track spotlights, showcasing WITTCHEN’s luxury products in the outlet.

Following the successful office project, TRILUX extended its involvement to WITTCHEN’s logistics centre, installing nearly 300 E-LINE NEXT LED continuous line luminaires across the new 8,500-square-metre facility. With an energy efficiency of up to 190 lm/W and a lifespan of 70,000 hours, these lights ensure consistently low operating costs and exceptional lighting quality. For the warehouse refurbishment, TRILUX provided a combination of E-LINE NEXT LED, MIRONA FIT LED high-bay luminaires, and DEVEO FIT LED moisture-proof luminaires, all managed via the TRILUX LIVELINK light management system.

“Throughout the various project phases, we consistently addressed challenges and met WITTCHEN’s needs with solutions that offered long-term investment value,” said Marcin Szymanski, Project Manager at TRILUX.

Modernising the warehouse lighting and implementing a light management system significantly improved lighting quality and reduced electricity consumption by 120 MWh per year. This efficiency led to WITTCHEN receiving Energy Savings Certificates, accelerating the return on investment. Additionally, the reduction in peak power consumption enabled the installation of a dedicated electric vehicle charging station on the company premises for public use.

Hubert Pienkowski of WITTCHEN commented, “As demanding customers, we value the quality of the products and services we receive. In evaluating potential lighting suppliers, TRILUX met our expectations with its product quality, punctual delivery, competitive prices, and technical support.”

The post TRILUX provides high quality lighting solutions for WITTCHEN appeared first on A1 Lighting Magazine.

Next to the vehicle itself, the highlight of the Team X-produced reveal, was a performance by Travis Scott. The Grammy-winning, platinum artist didn’t appear on any ordinary stage, either. Instead, he was driven out in the new Mercedes on a platform that appeared to be floating in the lake! For good measure, he performed some songs while standing atop the shimmering blue vehicle.

Seeing a world-class artist and a stunning car on a stage surrounded by water in a canyon that oozed natural beauty was a breathtaking experience. But, as always, this magical moment, was backed by a lot of hard work and brilliant technology.

Seth Bernstein, who led the lighting team, used 68 CHAUVET Professional Color STRIKE M motorized strobe-washes supplied by Volt Lites. He described what went into making this memorable experience a reality:

“This was an impressive accomplishment. Scuba divers built an elevated stage in the park’s decommissioned reservoir. This presented immense challenges, as we didn’t want to distract from the beauty of the environment with excessively visible fixtures or positions.  Also, the audience walked in during the last hour of daylight, so we wanted to keep the rig discrete so people would be highly surprised by all the show elements. Since this was the world premiere of the all-Electric G Wagon, lighting the vehicle reveal was a huge focal point for the show planning. Niklas Bildstein Zaar and his team at Sub Global in Berlin, our talented creative directors, chose a piece by lighting artist Boris Acket called “Sunrise For Sleepers” which consists of a simulated sunrise in an indoor environment.

“Boris and I collaborated on adapting this idea in the canyon setting, using a 24,000-Watt Tungsten Fresnel fixture on a 55’ techno-crane,” continued Bernstein. “As the car drove out, the ‘sun’ appeared to rise over the lake. The amount of technical planning and blind luck that went into making this happen was staggering. Boris was a pleasure to work with. Killswitch Rigging and Volt Lites put their heads together to mount and power the huge fixture on the crane and StrictlyFX provided all the atmosphere to render the sunrise and hide the techno arm and base.”

With the exception of a few selectively employed keys lights, Bernstein relied exclusively on color washes and strobes from his Color STRIKE M fixtures, along with laser effects. “The creative direction called for a huge amount of atmosphere, which needed to be colour toned for each song,” he explained.  “Because we were using these very pure and bold Laser effects, I wanted to be careful about using any fixtures that would create visible beams that would clash. The Color STRIKE Ms had that perfect brightness and colour range, but also didn’t distract the Lasers.”

Technical directors ST. ROBO, Nik Evers and Markus Eibl recounted how the fixtures helped make the even run smoothly, even with uncertain weather conditions. “Given that the Mercedes-Benz electric G-Class Premier took place at an outdoor venue by a reservoir, the weather was unpredictable — and indeed it went from intense sunlight to sudden rain showers. Thanks for the all-weather IP65 capabilities of the Color STRIKE M, we didn’t have to worry about covering or protecting them constantly. Their reliability and durability made the event seamless and visually stunning despite the challenging conditions. We frequently deploy and specify these fixtures, appreciating the consistent performance and robust design.”

The Color STRIKE M fixtures were positioned “everywhere they could possibly go given the complexity of the lake bed” noted Bernstein. There were only two spots where the soil could support towers being build. So, Killswitch constructed 24-foot towers in a space nestled between the trees on the shore. There were also some boom lifts on the access road where fixtures were lifted above the tree line. Aside from that, the production team installed a row of  “Color STRIKE M footlights” for Travis Scott on the base of the guest deck (which was also build in the lake), while other fixtures were scattered in clearings on the perimeter walking path.

Speaking of the Color STRIKE M units in his rig, Bernstein said, “How strong is this fixture? It took only 68 Color STRIKES to light an entire canyon. At one point someone standing on the access road told me that we changed the colour of the sky!”

The high output Color STRIKE M fixtures were used to create a variety of colour washes that played off brilliantly against the shadows and dark spaces. “Red was a huge element of the show, due to the artist material and the way that red makes water look other-worldly,” said Bernstein. “Cyan, amber and the white center cell of this fixture also played very prominently in the colour choices.”

With limited dark time available in the canyon, the entire production team had to bring its A-game to achieve these results. “We had no timecode and no artist rehearsal,” said Bernstein. “So, a huge credit goes to the programmers Joe Watrach on lights and Nick Meyer on Lasers, as well as our pre vis model builders at Earlybird. We also couldn’t have done this without Blue Revolver, our lead fabricator, and the Mercedes team, including Clair Global, ST. ROBO, and Bullitt Productions.”

Bernstein described the entire project as “a huge team effort.” That ingredient — along with some powerful technology, will make magic happen every time.

Photo credit: Jamal Eid/Getty Images.

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