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.”

The post A community college theatre is transformed with Elation lighting upgrade appeared first on A1 Lighting Magazine.

Having originally been performed on Broadway back in 1948, Kiss Me, Kate first appeared in the West End in 1951 and has subsequently been revived countless times over the years. One of the most recent revivals was the Drama Desk Award-winning 2019 Broadway revival – a show which Don also lit. Despite having worked so recently on another production, Don insists this had no bearing on the latest London show. He explains: “From our earliest creative conversations, I knew that Director Bart Sher and his creative team would be bringing a very different vision, so the lighting needed to follow suit. For starters, there’s an overriding meta-theatrical element that didn’t exist in the Broadway production, which completely shifted the visual paradigm. Bart also understood it was important to address the rather ‘old fashioned’ gender politics of Shakespeare’s The Taming of the Shrew, which is at the core of the show’s narrative, filtered through a 1940’s lens. He worked with the writer Bob Martin (with the consent of the Cole Porter and Spewack estates) to re-examine selected sections of the book; which, as a result, allows the entire show to feel more relatable to a contemporary audience”.

Explaining further his creative approach to the show, Don explains: “Kiss Me, Kate moves fluidly between the backstage environs of a theatre in 1940’s Baltimore and onstage, in mid-performance of a musical version of The Taming of the Shrew. The full breadth of the Barbican’s performance space is revealed and in-play throughout the evening.  We tried to evoke a backstage environment that you might encounter if you actually walked into that Baltimore theatre almost 80 years ago. The light was crafted with a nod toward film noir: high contrast, sharp angles and deep shadows. In terms of the set, The Shrew’s scenic design felt very much like what you might encounter in a 1940’s era musical. It was largely composed of cream-coloured soft canvas flats, carried on and off by stagehands in the audience’s peripheral view. In contrast to the backstage world, the light in The Shrew is bright, colorful, kinetic and in no way attempts to fall in line with 1940’s production values. Given the meta-theatrical nature of this production, I felt we had permission to expand our vocabulary well beyond what would be considered ‘period’ lighting.

He adds: “Although I tried to work with a limited palette and scrupulously avoided movement effects, chases, and other more contemporary gestures in The Shrew musical numbers, I wasn’t shy about acknowledging the numerous brass stings, buttons, and other flourishes in Cole Porter’s amazing score.  I’ll also admit there were some iconic numbers in the show that were so spectacularly scored, choreographed and performed  (such as the Act Two opener “Too Darn Hot” and Bianca’s “Always True to You” ) that I felt compelled to depart from my self-imposed constraints and completely ‘let loose’. These were the moments that felt really satisfying for me and seemed to land most successfully with the audience”.

As is often the case with shows as ambitious as this, the design did change slightly once technical rehearsals and previews began. Don explains: “Whilst Bart was interested in rendering a dark, gritty, and atmospheric backstage environment for Kiss Me, Kate, once we began previews, it became clear that we needed to shift the dynamic toward a brighter, less ominous-feeling space. It was a welcome change of course and not too difficult to address. What proved to be more challenging was the late arrival of The Shrew set, both in pre-production and onstage at the Barbican. I had no pre-lighting time to develop a clear visual vocabulary before we were pressed to move very quickly through the show in what was a rather abbreviated (one week!) tech process. The Shrew scenes were definitely a work-in-progress,  and the lighting design continued to evolve over the course of the preview period. It was a hard slog, but I think we eventually arrived at a very good place”.

Knowing what he needed to achieve with his design, Don spoke to the Hire Team at WL to put together his lighting rig. He explains: “We used a variety of equipment to bring this production to life, ranging from the Barbican’s tungsten ellipsoidal inventory (for high-side light systems that delivered an ‘incandescent’ feel for the backstage scenes), to ETC Lustr 2 and Lustr 3 Series Profiles, which were crucial in expanding our high and low sidelight colour palette. There was also a variety of automated fixtures, including MAC Encore and MAC Ultra Profiles, MAC Quantum and MAC Aura XB Washlights, and ETC High End SolaFrame 2000s.

He continues: “The scenic design featured a large (roughly 15m diameter) revolve that contained three rather elaborate two-tiered settings, including dressing rooms, a backstage corridor, and the actual ‘stage’ space, that was seen in bare bones ‘rehearsal mode’ with the theatre walls exposed, or in ‘performance mode’, with The Shrew set in full play. Many scenes, musical numbers and transitions (the action is continuous) were performed with the turntable continually in motion. The automated lighting rig was crucial in addressing the multiple challenges that this cinematic staging presented”.

In regards to the continually revolving turntable on stage, this feature made Don realise early on into the design process that he would need to incorporate a large amount of onboard lighting to reveal these spaces and carve out the action. He comments: “We installed numerous set mounted practical sources, along with a variety of low-profile theatrical fixtures, such as Rosco Pica Cube 4Cs and MR16 Birdies, tucked into ceiling coves and hidden recesses. We also rigged several ‘overhead electrics’ which spanned the revolving ‘stage’ space, fitted with a variety of automated LED fixtures, including GLP Impression XBar 20s, MAC Aura XBs and SolaFrame 2000s. Given the limited amount of power available via a central commutator, I restricted all set-integrated and set-mounted theatrical lighting to LED based sources”.

Don concludes: “For Kiss Me, Kate, I’d like to acknowledge the great work of Lighting Programmer Nick Simmons, Production Electrician Pete Lambert and the Barbican Lighting Team, UK Associate LD Hector Murray and Associate LD Karen Spahn. I’m very proud of the work we were all able to put onstage, due in no small part to the stellar support we received from Andy Cullen and the WL team. They went above and beyond to deliver the tools we needed despite the limited budget and fast- track nature of the project.  They also stood right behind us as the design evolved and changes to the rig were required during the technical rehearsal and preview period – something we greatly appreciated”.

Photo courtesy of Kiss Me, Kate 2 © Johan Persson.

The post White Light is So In Love with Kiss Me, Kate appeared first on A1 Lighting Magazine.

Established in Italy in 1975, and now located in Aarhus, Denmark, SGM is a well-respected lighting manufacturer pioneering the use of IP65 moving lights before, more recently, focusing on architectural lighting. Both these aspects create strong synergies with Goldensea which is investing heavily in both entertainment and architectural IP65 solid state lighting products.

As a globally renowned brand, SGM has always focused on technological innovation, being the first in the industry to launch all-weather waterproof moving head fixtures. It has extremely experienced R&D, creative, operations and sales teams alongside mature sales channels and partners.

SGM’s unique patented technology covers both the architectural and stage lighting portfolios, and its products are well-known in the industry for low maintenance costs, unique design, and consistent performance. SGM’s products are widely used in many projects worldwide, including Louis Vuitton’s Headquarters in Paris, Le Stade de France also in Paris, The Three Sister Bridge in Pittsburgh, Pennsylvania USA, Singapore’s Sky Tree Lighting as well as on Adele’s recent record- breaking shows in Munich and Metallica’s European tour.

Recognising the qualities and potential within SGM, Goldensea identified complementary aims and philosophies between the two companies, and the benefits its financial investment can bring to SGM’s product development and growth. “Our investment in SGM aligns with Goldensea’s future strategic and long-term development plans,” says Christopher Agius Ferrante, VP Goldensea. “The purchase of SGM is highly complementary to our existing business, and will help to enrich and strengthen the product range and expertise that we can offer all our clients – for both architectural and stage lighting equipment.”

Goldensea states that all SGM Denmark staff will remain in place. “We strongly value the whole SGM team and are excited to have them on board as we seek to invest and grow in our determination to make SGM sustainably successful,” continues Christopher.

From an operational perspective SGM Lighting has begun the process of reviewing the order book which was existing as of the 1st of September and will be contacting all customers to discuss these orders, advise of new lead times (should there be any) and deliver other pertinent information. Due to the necessary change in legal entity, all customers are advised that new orders will need to be placed in lieu of the existing orders for them to remain valid. We apologise for this inconvenience.

In the coming days, SGM will also be able to accept new orders for all current SGM products.

SGM also announces that all existing warranties which were valid under the old entity are to be honoured going forward.

The post Goldensea acquires SGM appeared first on A1 Lighting Magazine.

Attendees will benefit from a comprehensive programme that includes essential technical updates on compliance and sustainability among other key topics. The line-up of expert speakers will ensure a day filled with valuable knowledge and practical advice, tailored to help delegates stay ahead in the sector.

In keeping with The LIA’s commitment to encouraging a more inclusive industry, the association is delighted to continue their Emerging Talent initiative. This programme, which has been enthusiastically received, offers a 50 percent discount on forum registration to LIA members aged 40 years and younger when a full price ticket has been purchased. By supporting the next generation of lighting professionals, The LIA are ensuring that fresh perspectives continue to drive innovation within the industry.

Megan Henshaw, Marketing Manager at The LIA said “The Autumn Tech Forum is our key member event, and the ideal opportunity for members to connect with their industry peers, all in one room. We can’t wait to welcome the industry’s emerging talent to the forum.”

Dan Griffiths, The LIA’s Technical Operations Manager said “The forums impressive line-up ensures our LIA members will gain the insights needed to navigate the future of the lighting industry with absolute confidence. It’s a must attend event!”

The Autumn Tech Forum 2024 is The LIA’s key member event. It is the perfect opportunity to connect with industry peers and gain the insights needed to navigate the future of the lighting industry with confidence.

Purchase your ticket for the Autumn Tech forum here –  https://www.thelia.org.uk/member-services/events/tech-forum.html

The post The LIA’s Autumn Tech Forum 2024 unveiled appeared first on A1 Lighting Magazine.

“The lighting is connected to the vessel’s navigation and positioning system. We use geofencing, which combines awareness of the vessel’s position with awareness of its proximity to its destination so that when the ferry reduces speed as it gets closer to the harbor, the color temperature and intensity of the lighting increase. When it comes to a stop and docks, the lighting in the passenger lounge is on full,” said Tommy Stranden, Chief Sales and Commercial Officer for Glamox’s Marine, Offshore & Wind division. “Our human-centric lighting can also provide a calming ambiance by mimicking natural daylight and does this by taking into account the position of the ferry in relation to the time of day and sunlight.”

“Our primary goal is to aid the comfort, safety, and well-being of all of our passengers,” said Marius Martin Hansen, CEO of Torghatten Nord AS. “We’ve been a pioneering ferry operator since 1878 and our latest ferry is not only kind to passengers but to the planet as it operates with zero emissions. Connecting people and communities through sustainable ferries means equipping vessels with lighting that’s sustainable too.”

The 117-meter-long roll-on/roll-off passenger and vehicle ferry, with a capacity of 399 passengers and 120 cars, will be the largest zero-emission ferry in Norway. The vessel operates on electric batteries powered from the onshore grid. If shore power is unavailable, biodiesel generators will provide alternative electrical power.

Glamox has provided 279 LED tuneable white downlights for the passenger lounge and crew day room. The lighting is connected, monitored, and controlled by a Glamox light management system. The lighting also contains presence sensors so that unoccupied areas of the passenger lounge are dimmed down or switched off, saving electricity.

Glamox has provided a total of 1,445 marine lights for the ferry. Also included in the package are navigation lights and control panels, floodlights, searchlights, crew cabin lights, bed lights, emergency lighting, and other downlights.

The Hinnøy ferry was built in the Cemre Shipyard in Turkey. It is scheduled to enter service later this year.

The post State-of-the-art environmentally friendly ferry is equipped with human-centric lighting appeared first on A1 Lighting Magazine.

“This collaboration with Recolight highlights our commitment to decarbonising the lighting industry. Recolight’s extensive network of luminaire manufacturers will benefit from combined access to world-leading LCA and EPD software, and support and consulting to enable them on their decarbonisation journey,” said Panu Pasanen, Founder and CEO at One Click LCA.

“An increasing number of specifiers and end users are now demanding credible environmental metrics as part of their lighting procurement and specification. Those companies that move early will gain a competitive advantage. We are delighted that through our partnership with One Click LCA, we can provide access to industry leading LCA and EPD software that enhances embodied carbon transparency, and helps both specifiers and manufacturers move towards a low carbon future,” said Nigel Harvey, CEO at Recolight.

The strategic partnership will harness the industry-leading position of both One Click LCA and Recolight, to offer expertise, guidance, and world-leading LCA and EPD technology to the lighting industry. By generating LCAs and EPDs, lighting manufacturers will better understand the carbon impact of their products and satisfy increasing specifier and client requirements for achieving green certifications like BREEAM, LEED, Net Zero, and more.

Recolight is known for its commitment to reuse, the circular economy, and reducing greenhouse gas emissions. By partnering with One Click LCA, Recolight can offer its members and other industry stakeholders access to world-leading software — already used by several lighting manufacturers — that simplifies the process of creating accurate and credible LCAs and EPDs for their products.

Key benefits of the partnership:

• Simple EPD generation: One Click LCA’s intuitive EPD software automates the process, helping lighting manufacturers to save time and resources.
• Market differentiation & benchmarking: EPDs will help lighting manufacturers stand out in a competitive market by showcasing their products’ environmental performance.
• Meeting customer demand: With EPDs, lighting manufacturers demonstrate their commitment to reducing carbon, meet green procurement standards, and attract sustainability-focused customers.
• Expert guidance: Recolight and One Click LCA’s understanding of the lighting industry will provide support and guidance to companies helping them cut through the complexity of environmental metrics.

“The agreement with OneClick LCA is another great example of the Recolight team’s commitment to supporting and facilitating action on sustainability within the lighting industry.” Andreas Adam, chair of the Recolight board and Global Sustainability Manager Lighting at LEDVANCE.

“It is great to see Recolight taking a lead on such an important issue. Properly calculating embodied carbon and other key environmental metrics is vital for our sector, as we help our customers move towards net zero,” said Steve Meadows, Director at Recolight and Services & Operations Director at Signify.

“The agreement with One Click LCA is a really positive step for Recolight and the lighting industry. It creates the ideal conditions to expand the use of LCAs and EPDs in our sector, making credible environmental performance data more widely available,” said Stephen Bell, Services, Transformation & Compliance Director at Zumtobel and Recolight board member.

“I am delighted that Recolight has taken this step. It builds upon Recolight’s success in encouraging action on the circular economy, through webinars, and the Circular Lighting Live and Net Zero Lighting conferences,” said Andrew Clark, Director at Recolight and Financial Controller at Feilo Sylvania.

“The agreement between Recolight and One Click LCA will help Recolight members, and other lighting companies, to ensure they are not left behind as the sector moves forward with sustainability initiatives and objectives,” said Steven Reed, Director at Recolight and Commercial Manager at Trilux Lighting.

To learn more about the new service visit www.recolight.co.uk/lca

The post One Click LCA partners with Recolight to power embodied carbon transparency in UK lighting industry appeared first on A1 Lighting Magazine.

In addition to showcasing Nichia’s leadership in the lighting industry, the roadshow will unveil sustainable lighting innovations that go beyond mere functionality. Leveraging the latest advances in LED technology, these solutions enhance light quality to engage more profoundly with human experience, cultural context, and biophilic principles, fostering a closer connection to nature within built environments.

The events will feature a comprehensive agenda that includes sessions which address local design challenges and opportunities along with hands-on lighting demonstrations to allow participants to engage directly with technology solutions both in architecture and automotive lighting.

The roadshow kicks off with a half-day forum on 19th September held at the Four Seasons Madrid, a prestigious hotel which utilizes Nichia’s latest LED solutions. The program includes conference-style presentations featuring contributions from Anoche Iluminación, Arkilum, ARUP, Estudio Lamela, Formula Luci, MadeinLED and sAtt. The presentations will explore luxury retail and hospitality lighting along with a closer look at the lighting design powered by Nichia in the historic Centro Canalejas Madrid. Attendees will also participate in a roundtable debate, led by a panel of industry experts and moderated byLightecture, on the challenges and opportunities to promote sustainability and well-being in architectural projects.

The second leg of the roadshow is held in Lyon on 6th November. Nichia will present on many topics including high CRI for indoor automotive applications, and the convergence between architectual and automotive lighting. Guest speakers include ENTPE, Cluster Lumière, Gaggione, Stilec, and Formula Luci.

Dr. Ulf Meiners, Managing Director of NICHIA Europe GmbH, emphasized the importance of the roadshow in fostering direct communication with key stakeholders, saying: “Nichia is dedicated to pushing the boundaries of sustainable lighting technology to achieve unparalleled light quality. Our roadshow is an opportunity to share this vision with the architects, designers, and innovators who will bring it to life. These events will not only showcase our latest advancements but also serve as an engaging platform for collaboration with our customers, as we work together to shape the future of lighting.”

While the roadshow events are by invitation only, a limited number of seats for the Madrid and Lyon events will be available by special request. Stay tuned for further announcements via social media on how to secure a spot.

The post Nichia announces 2024 European Roadshow focused on sustainable lighting innovations appeared first on A1 Lighting Magazine.

Professor Galea is the founding director of the Fire Safety Engineering Group (FSEG) of the University of Greenwich, where he has been a leader in Computational Fire Engineering research since 1986. As FSEG director he manages the research activities of 19 full-time psychologists, fire engineers, CFD specialists, computer scientists, and mathematicians. He also carries out personal research which includes interests in evacuation behaviour, evacuation modelling, fire dynamics, and CFD fire modelling.

He has extensive experience in designing and running large-scale evacuation experiments and survey protocols to collect human behaviour data to assist in model development and successfully evacuated, without incident, many thousands of people from a variety of buildings, ships and aircraft. He has served on several Public Inquires as an expert in fire and evacuation, including the Grenfell Fire Inquiry and is also the author of over 350 academic and professional publications and has successfully supervised 35 PhD students.

During his keynote presentation, attendees will benefit from Professor Galea sharing his comprehensive research on human behaviour during emergencies and highlighting good practices for enhancing safety and efficiency. Drawing on research from the World Trade Centre and other impactful case studies, he will explore how dynamic signage addresses issues in traditional evacuation systems, including visibility and response times. Featuring real-world examples, experiments, and evidence-based findings, the presentation will effectively demonstrate the effectiveness of dynamic signage in improving evacuation outcomes.

The ICEL Emergency Lighting Conference will take place on Thursday 12th September, at the Cavendish Conference Centre in London, with registration from 8.30am and concluding at 6pm following a networking and drinks reception. Visitors will have access to experts in their respective fields presenting talks throughout the day to enhance knowledge and provide a better understanding of the latest advancements in the emergency lighting sector.

Professor Ed Galea said, “I am delighted to be able to present my research to those in attendance at The ICEL Emergency Lighting Conference 2024. This event is the perfect opportunity to share more about the proven importance of dynamic signage in improving safety and evacuation outcomes. By discussing the real-world impact that emergency lighting has, we can ensure that we improve research and processes for the future. Thank you to ICEL and The LIA for having me present at this renowned event!”

Ayca Donaghy, CEO of The LIA, said, “We are honoured to have Professor Ed Galea with us to share his valuable insights to the audience at this year’s ICEL Emergency Lighting Conference. By joining us, you will have access to his knowledge and expertise, along with strategies to drive positive change in the future. His dedication to dynamic signage and emergency lighting will enhance your knowledge and give you the tools to form a better understanding of the latest advancements in the industry. We look forward to welcoming you all to what we are sure will be another fantastic event, following the turnout and feedback from 2023.”

Register for the ICEL Emergency Lighting Conference 2024 to gain valuable insights, network with industry leaders, and stay ahead in the field of emergency lighting.

To register, please complete the Registration Form here.

The post Introducing the Keynote Speaker for the 2024 ICEL Emergency Lighting Conference appeared first on A1 Lighting Magazine.

The Circular Lighting Live conference and exhibition takes place in London on 9^th October 2024. Delegates from AECOM, STRÖM, Nulty and WSP explain why they consider Circular Lighting Live a “must-attend”:

“Circular Lighting Live gives us an entire day under one roof where we can all share the latest in sustainability in a condensed and focused format. The topic of sustainability so heavily involves both manufacturers and designers (and more), so this gives us the opportunity to learn from one another and really dive deeper into the details.”
Sophie O’Rourke. Senior Lighting Designer, Building + Places, UK & Ireland, AECOM

“Circular economy is an ideology that needs collaboration rather than competition. Circular Lighting Live is a crucial sense check between industry peers to ensure that we are all moving in the right direction to both reduce waste and still provide great value to our clients.”
Emilio Hernandez Co Founder, STRÖM & Co Founder of The Green Light Alliance.

“It’s important to Nulty that we are present at the event as we continue with our internal stance on TM66 and designing to a minimum threshold of circularity.  CLL allows us to keep abreast of the latest in our industry, network with peers, understand product offerings, hear industry thoughts and case studies of more circular lighting schemes!”
Gary Thornton, Director, Nulty

“I’m attending Circular Lighting Live 2024 to explore innovative approaches to sustainable lighting that align with WSP’s commitment to environmental responsibility. The event’s focus on reuse and refurbishment, guided by Recolight’s Hierarchy of Lighting, is crucial as it directly impacts how we design and implement projects that minimize carbon footprint. This gathering is an excellent opportunity to collaborate with industry leaders and ensure our practices contribute to a circular economy in the lighting industry.”
Sacha Abizadeh Growth Director, WSP

Circular Lighting Live is sponsored by major lighting brands: Signify, Albis. Apollo Lighting, ASD Lighting, Bell Lighting. Evolve (Light Projects), Future Designs, Glamox, Holophane Europe Ltd, Mike Stoane Lighting, Mymesh (Chess Wise), Primelight, Silent Design, Tridonic. Trojan Lighting, Urbis Schreder.

A1 Lighting are proud media partnerships of Circular Lighting Live.

Head to circularlighting.live to book your place now.

The post Top design practices back Circular Lighting Live 2024 appeared first on A1 Lighting Magazine.