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.

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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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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).

Photo credit: Jamal Eid.

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The opera house has a colourful and varied history and was originally built and opened as an equestrian sports hall in 1915. It went through various other iterations, and the first opera was performed there in 1950, and since then the building has undergone several renovations.  While the cosy 476 capacity makes it Poland’s smallest opera hall, The Baltic Opera has a formidable reputation for excellence, high production values and world class performances.

Lighting specialist Marek Lebida has been working full time at the Opera since the Robe fixtures arrived last year, supplied by Robe’s Polish distributor Prolight, and delivered via their local partner, Gdansk-based Grupa Profit.

Marek was inspired to make entertainment his career by his father who worked as a lighting master at this same Opera House, however he started on the other side of the stage as a ballet dancer! He used to dance in the Opera House when at school, so joining the team was like a homecoming. Immediately before then, he worked on shows and live events for a local rental company and as a freelance lighting designer and director.

Baltic Opera is a producing house with its own company (opera singers and ballet dancers) and orchestra, staging around 10 shows a month, primarily opera and ballet, of which four will usually be new works and the rest revivals. They also stage special performances for occasions like New Year.

Before the new Robe luminaires arrived, there were other moving lights in the house, explained Baltic Opera’s head of technical, Krzystof Materny, but these were getting old and unreliable. During Covid, they started thinking about ways to reduce power consumption – with a goal of using 20 – 30 percent less – part of which would be achieved by steadily transitioning to more LED lighting fixtures in the house rig.

The decision to purchase the Robe luminaires followed a demonstration by Prolight and consultations with some of their regular lighting designers including Marek as he had specified Robe regularly for multiple projects as a freelance LD.

Several others working at the Opera had also used Robe when they rented in additional fixtures as needed for shows, so all were aware that their own lighting needed to be updated and the time was right for a change.

The TX1 Posi Profile’s CRI was crucial in the choice, stated Marek, to get those nice natural flesh tones. “We set up real-life stage tests and compared the skin tones of the TX1s with some other products including the Opera’s existing profile moving lights, and the TX1 just killed it!”

“There was really no comparison! So, after that everyone was convinced we were making the right decision,” confirmed Marek. He noted that even the more traditional ‘tungsten warrior’ lighting professionals working at the opera … saw that these LED fixtures looked fantastic!

Marek admits that on one show he was watching where he saw the light source but not the device and thought it must be a tungsten fixture, so authentic is the emulation!

The decision to purchase was made by a team of five including Krzystof and Baltic Opera technical director, Magda Zablotny.

In addition to all the creative and technical reasons for choosing Robe, they were also reassured by Warsaw-based Prolight’s great industry-wide reputation, so were confident that the all-important support would be there whenever needed.

Designed to operate as a full moving head or a static but repositionable profile, the TX1 PosiProfile can also function in extremely confined spaces where crew access is problematic or where movement options are limited or not required as it doesn’t physically move during pre-use calibration.

With the TX1s now installed on four house bars over the stage with two on the floor, it has made a massive difference to how shows can be lit, bringing a new vibrance and vitality to the stage and dramatically increasing the audience experience for all productions.

Lighting for most of the opera productions is designed by in-house LD Maciej Kaczerski, and Marek Lebida lights all the special shows, concerts and one offs.

The four PAINTES are fitted into two recesses either side of the auditorium and are used for front cross lighting, replacing the previous spot moving lights in the same positions. They are seriously quieter than the old fixtures, which is always a bonus for opera and ballet performances where audiences tend to be extremely conscious of ambient noise… which they rarely tolerate!

Photo by Krzysztof Mystkowsk.

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Originally designated the Prittle Brook Greenway after its refurbishment during 2010-2012, this 5.7km route serves as a vital traffic-free connection for cyclists and pedestrians in Southend-on-Sea. Linking urban areas to Woodlands Park in Hadleigh, it offers access to Priory Park, local schools, the hospital, and residential zones. Despite its significance, safety concerns hindered nighttime usage, with 50 percent of residents avoiding the path after dark due to worries about anti-social behaviour. Responding to community feedback, the Southend-on-Sea City Council allocated £225,000 to install lighting along the greenway.

The project was entrusted to the family-run independent business Marwood Lighting Solutions. To enhance safety along the rural Prittle Brook Greenway, the company sought an energy-efficient, off-grid lighting solution with integrated smart controls.

Marwood Lighting Engineers visited Southend on Sea to survey the 3.5Km of Prittle Brook Greenway between Eastwood Road and Victoria Avenue. This was to ensure that the Defender Solar powered lanterns could illuminate the pathway to BS5489-1:2020 and to review any specific site constraints that would need to be considered for the design proposal.

Marwood’s lighting design team produced plots to determine the optimum spacing between the lanterns and to satisfy Southend on Sea City Council that light spill would be carefully controlled. 6m Raise and lower columns were selected to ensure the scheme could be easily maintained in the future as the site does not allow for vehicle access.

120 Defender solar-powered lanterns were installed in the positions indicated by the lighting design by Southend’s nominated contractor in a phased programme which Marwood Lighting Solutions supported, stocking the materials and delivering in batches to suit the project roll out over several months. The solution provides a safer environment for pedestrians and cyclists, particularly during evening hours.

Cllr Meg Davidson, former cabinet member for environment, commented, “The Prittle Brook Greenway is a beloved path for walkers and cyclists in our city, but it’s clear some folks avoid it after dark due to safety concerns.

The new lights are solar-powered, so they do not need electricity and are smart too. They turn on when someone uses the path and dim down when they’re not needed, being solar powered it saves energy and money.”

David Player, Sales Director at Marwood Lighting Solutions commented, “The solar-powered Defender luminaires we selected for the Prittle Brook project are known to be performing well on many UK projects already, making them the perfect fit for this project as there was no power supply to the area which was in need of lighting. Marwood partner with the very best lighting brands globally, and our extensive collaborations enable us to deliver optimal outcomes for our clients.

The installation has significantly enhanced safety and accessibility for residents of Southend-on-Sea. By combining energy-efficient technology with smart controls, the project demonstrates a commitment to both sustainability and community welfare”.

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In the bustling heart of London’s South Bank, amidst the iconic skyline between London Bridge and Tower Bridge, lies 2 More London—a contemporary hub for office space. Recently revitalised, the third floor of this landmark underwent a CAT A fit-out, setting new workplace design and sustainability standards. TRILUX, renowned for its technical lighting expertise, played a pivotal role in illuminating this prestigious project.

As a hub for business and creativity, 2 More London demanded a lighting solution that not only met the highest efficiency standards but also didn’t disappoint aesthetically. Led by the consultancy Chapman BDSP, the project aimed to create a workspace that attracts the highest-quality tenants, showcasing the architectural aesthetic against the stunning London backdrop.

Here, we have 14,362 sq ft of office space encased in floor-to-ceiling glazing; the project called for a high-quality lighting solution with minimal glare while maintaining consistency and energy efficiency. TRILUX rose to the challenge, working closely with Paul Earl Limited to implement their cutting-edge lighting products.

TRILUX’s commitment to innovation and sustainability shone through in the selection of products. The Inperla Ligra Plus LED downlight, renowned for its easy-mounting and flexible design, was seamlessly integrated into existing ceiling cutouts. Sonnos LED downlights, provided exceptional quality light —a perfect fit for refurbishment requirements.

Notably, over 500 metres of bespoke LED light channel was the star of the show in the office space. This solution illuminated the vast expanse of office space, delivering both functionality and style.

The luminaires are highly recyclable, and the LED light channel can be reconfigured for specific tenants’ requirements and can be fully refurbished and reused in the future, reducing the carbon impact.

Luke Facer, Electrical Project Manager at Paul Earl Limited, said, “Working on the Cat A at 2 More London was really exciting in such a sought-after location with outstanding views of the City and Tower Bridge from the 3rd floor; working with TRILUX was a pleasure, with exceptional communication from Vick and Gary, who were always on the phone to answer any queries or send any information that was requested by myself. The TRILUX light fittings themselves were of A1 quality and easy to assemble on-site with a sleek finish that really set off the hanging rafts that they were installed into.”

In a market where Grade A spaces redefine workplace standards, 2 More London strives for more: More freedom. More flexibility. More capability. More creativity. TRILUX’s lighting design and technology expertise played a vital role in shaping the future of the workspace – a fusion of efficiency, creativity, and sustainability.

Project credits:

Main Contractor: Parkeray.

Consultant: Chapman BDSP.

Electrical contractor: Paul Earl Limited.

Lighting: TRILUX.

Images: Richard Murgatroyd Photography.

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There has been no shortage of major events at the Trondheim Spektrum, in Trondheim, Norway, over the past year, with quarter-finals in the Women’s Handball World Championship, the Champions League in men’s handball, and not least the Eurovision Song Contest Melodi Grand Prix.

Now Trondheim Spektrum has completed a project that makes it possible to host even more major sports and entertainment events. Through a major retrofit, the fluorescent lighting in the 33,400 square meter indoor venue has been replaced with LED lighting from Glamox. The Oslo-headquartered business, a leader in lighting solutions for professional and commercial buildings and marine and offshore markets, has delivered around 1,400 new energy-saving LED luminaires in a project that has been ongoing since 2018.

“Trondheim Spektrum has now put in place connected energy-efficient LED lights that will reduce the amount of electricity used for lighting by around 80 percent. This leads to a lower climate impact and lower electricity bills. Built-in sensors mean that the lighting is only used when it is needed, which has led to the power consumption in Spektrum plummeting. Since LED lights last longer, we will also reduce maintenance costs and free up staff,” says Jan Tøndelstrand, Operations Manager at Trondheim Spektrum Eiendom, which owns and operates Trondheim Spektrum.

Tøndelstrand believes that the new luminaires make the Spektrum even more attractive for larger, international events and improve the overall quality of the indoor light. The largest hall has a capacity of 12,000 people during concerts and can accommodate 8,900 seated spectators at handball matches.

The change also ensures that Trondheim Spektrum complies with the new EU regulation that phases out fluorescent lighting across Europe¹.

“Glamox’s mission is to create sustainable lighting solutions that improve people’s performance and well-being. This project contributes to that by helping Trondheim Spektrum reduce its carbon footprint and save costs, while at the same time making it an even more attractive venue for major international events. The new luminaires also make its halls compliant with the EU directive that phases out fluorescent lights across Europe,” says Toril Bache Jenssen, Sales Director for Glamox in Norway.

Smart LED luminaires

The project began as early as 2018, when the newly built and largest hall (Hall A) was equipped with 64 luminaires of the type Glamox i80 and 119 Glamox i90. At the same time, Glamox delivered 632 other LED luminaires for the hall’s offices, backstage, storage areas, ticket offices, toilets, lounges, meeting rooms, corridors, etc. The lighting used in these areas included Glamox C70 linear luminaires, C35 recessed ceiling luminaires, and D70-R downlights.

The next phase of the project started last year when fluorescent tube luminaires were replaced in halls D, E and F with a total of 567 Glamox C52 luminaires. This low-profile yet robust luminaire has a variety of light distribution variants, making it ideal for multi-purpose halls with high ceilings. It also has excellent glare control for the comfort and viewing of spectators and competitors. Hall D has a greater concentration of C52 luminaires, providing downlight and angled lighting to satisfy the lighting conditions required by TV broadcasters. The luminaires are connected by DALI to a lighting control system.

¹ The EU Restriction of Hazardous Substances (RoHS) directive aims to prevent the risks posed to human health and the environment through electronic and electrical waste, by eliminating products containing potentially hazardous materials, such as mercury in fluorescent lighting. From 25 August 2023, the most popular linear (T5 and T8 tubes) fluorescent tubes were phased out. Sales from stock are permitted until they run out, hence the need to switch to LED lighting.

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Acrospire collaborate with Centregreat and Newport City Council to upgrade the iconic town bridge lighting to LED, delivering 61% energy savings while preserving its historic charm.

The post Newport’s Historic Town Bridge Lighting Restored with Energy-Efficient LED Upgrade appeared first on A1 Lighting Magazine.