One of the most significant changes is the removal of the word ‘Lighting’ in the brand language. The move from CU Phosco Lighting to just CU Phosco is not just a name change but a reflection of its expanded range of products and services. For instance, in the last year, as a departure from standalone lighting solutions, CU Phosco launched the Connected Urban smart pole, designed to support the densification of street-level 5G rollouts and to provide a full Smart City solution, from antennas to CCTV, public address systems, and more.

It has also recently introduced Asset Finance options, including Lighting as a Service (LaaS), making the latest lighting technology more accessible to its customers without the burden of initial capital investment.

Key elements of the rebrand include a modernised logo and a vibrant colour palette, reinforcing CU Phosco’s commitment to quality, heritage, and tradition while embracing contemporary aesthetics. The updated visual identity aims to resonate with its forward-thinking approach and dedication to the circular economy principles in manufacturing.

“After months of dedicated work and insightful discussions, we are thrilled to unveil our new brand identity. This is a significant step forward in our journey, a testament to our commitment to excellence in design and sustainability as we embark on our next century with renewed vigour,” shared Clare Fuller, Head of Marketing at CU Phosco.

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Chris chose to work with Robe ESPRITE moving lights and one of the new Robe iBOLTS, which were applied with great effect together with projection mapping of the South African flag onto the building.

Cyril Ramaphosa was inaugurated as South African president and leader of a national unity government made up of representatives from four major parties – the ANC (African National Congress), the DA (Democratic Alliance), the Inkatha Freedom Party (IFP) and the Patriotic Alliance (PA).

The final inauguration events are organised on a tight timescale once the actual election results are confirmed and certified – Chris received the call a week beforehand and was asked to present a scheme for illuminating the Union Buildings, a notoriously difficult structure to light effectively due to is extremely long – 285 metre – façade.

Designed by Sir Herbert Baker in 1908 in English ‘monumental’ style, construction from light sandstone materials began the next year and was completed in 1913. The buildings are semi-circular in shape with two side wings representing the union of formally divided people.

This was the first time that Chris had lit the Buildings. Initially, the client had the idea of projecting the South African flag onto the four end-walls, however after a site visit, Chris proposed lighting the two inner end walls with the projected flags, and lighting along the whole facade of the near side wings for better effect and to also to maximise their budget.

The client agreed and Chris then specified six Robe ESPRITES a side for the façade illuminations, and two 40K projectors for the flags onto the two end-walls.

From a conversation with Duncan Riley from Robe’s South African distributor DWR Distribution, Chris learned that the iBOLT had recently arrived in the country! They both thought it would also be a brilliant ‘inauguration event’ for this powerful super-bright laser-lightsource searchlight style fixtures in SA, and that an iBOLT would complete and complement the other elements of the installation perfectly.

DWR’s Duncan and Bruce Riley rocked up on site with the fixtures and set it up and programmed the iBOLT using a small console so it blasted up into the night sky and cycled through a number of colourful and spectacular effects.

“It’s a completely awesome fixture and created some beautiful effects,” commented Chris, adding that it juxtaposed seamlessly with the lit building.

The ESPRITES were rigged on truss tower sections on the other side of a road that passes directly in front – with a 9-metre drop – of the buildings, along the edge of the large park/amphitheatre that stretches away in front of the seat of government. They were positioned to avoid greenery, and the shutters used extensively to produce crisp delineating lines between the different bold flag colours.

ESPRITES are one of Chris’s go-to fixtures for multiple shows and corporate events, so he knows them well, but even he was surprised at how well they worked in this architectural context.

The central curved building and its two distinctive turrets, illuminated by a permanent lighting installation already in place for some years, provided depth, contrast and a negative space that coincidentally referenced the black parts of the South African flag.

The installation ran for three nights from dusk to dawn, bringing the Buildings to life, and was enjoyed and appreciated by the press and the public either side of the actual inauguration ceremony, which took place at midday on 19^th June on the South Lawns of the Union Buildings.

Photo: Chris Duys.

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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 portfolio includes state-of-the-art emergency conversion kits and drivers from Mackwell, specifically designed and joint-branded for Inventronics. Market focus is initially on the UK followed by other European markets, with plans to expand into the Middle East and APAC regions. This approach ensures that the solutions are tailored to meet the diverse needs of global customers.

“I am excited to share that this cooperation extends our portfolio to offer wider solutions in the field of emergency lighting. This is a next step to be a most valued partner to our customers,” said Marshall Miles, CEO of Inventronics.

Nick Brangwin, CEO of Mackwell, adds, “Forming a strategic partnership with Inventronics takes our expertise in emergency lighting and combines it with Inventronics’ global presence, enabling us to scale in partnership together.”

Inventronics, a leader in advanced lighting solutions, and Mackwell, an expert in emergency lighting, combine to offer customers the optimum solution for their market and applications.

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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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The Vienna Philharmonic invited audiences to the open-air Sommernachtskonzert (Summer Night Concert) for the 20th time this year – and a massive 50,000 spectators didn’t need to be asked twice. In addition, the free concert – one of Austria’s largest classical music events, set against the backdrop of the impressive Schönbrunn Palace – was set for broadcast in over 80 countries.

The Sommernachtskonzert has become an established tradition and for many Viennese it is impossible to imagine life without it. Lighting designer Jerry Appelt has emphasised in the past how much this concert means to him. Therefore, he and his team continue their work – and at the same time have created new highlights in the production, thanks to the help of some new GLP devices.

The GLP impression S350 Wash has been used for orchestra lighting for several years; this year 76 of the fixtures were deployed. The devices “impress with the lighting quality required by production for TV applications,” explains Appelt. “In addition, the light weight of these spots is an advantage, given the limited load-bearing capacity of the stage roof. That’s why they are an integral part of the lighting design at the Summer Night Concert.”

GLP’s impression X5 LED washlights have also been used for orchestra lighting for the past two years. As with all spotlights in the stage roof, the comparatively low weight also plays a role here. Sixty-one impression X5 Wash were part of this year’s lighting design.
However, 54 of the new, weatherproof GLP impression X5 IP Maxx were used for the first time, providing column lighting on the magnificent façade of Schönbrunn Palace. The impression X5 IP Maxx represents the much-praised colour quality of the X5 Series with an even higher output. The lighting designer favoured the new model in this application primarily for the “brilliant colours and the IP65 protection, which made it possible to forego additional rain protection in front of the historic facade”, he explains.

With 12 FUSION Creos, a completely new model also made its debut at the Summer Night Concert. The tiltable LED washlight with 18 40W RGBL LEDs, arranged in three lines, functions both as a single device and in combination with several other fixtures to create an overpowering LED bar. During the Summer Night Concert, all 12 devices were used on the Gloriette, which is around a kilometre from the palace, and is often seen by the TV cameras.

“The Creos impressed us both as architectural lighting and as single camera lighters,” says Appelt.

For the first time, the designer also used 52 of the ultra-compact and weatherproof (IP65) FUSION X-PAR 8Z LED PARs with zoom from FUSION by GLP to illuminate various statues in the extensive palace park. “The statues in the park were presented as decentralised highlights, concealing the necessary lighting technology in the foreground. The X-PAR 8Z can be used extremely effectively as small, inconspicuous uplights,” he explains. “They also have a very good zoom range for such a compact device in this performance class.”

Jerry Appelt’s design team additionally used eight GLP ArenaLED1 Touring for the ambient lighting at the Gloriette, which “were somewhat misused in this role, as they are actually arena floodlights, but nevertheless did a good job and were also very acceptable outdoor floodlights. We’re looking forward to actually using the fixtures in an arena context,” says the designer.

When a torrential thunderstorm began on the day of the dress rehearsal, the IP-certified fixtures from GLP demonstrated their reliability even under the presence of such heavy rain.

Finally, Jerry Appelt thanks the organisers of the event, as well as the Philharmonic Orchestra: “My team and I always look forward to the Summer Night Concert. This is not only due to the wonderful music in the unique open-air atmosphere, but especially to the constructive collaboration with the Vienna Philharmonic. In particular we thank Johannes Schneider, as our contact person, as well as the organisers, Anneliese Pontiller and Zigo Mutschlechner, who help make the Summer Night Concert a local highlight as well as a cultural export hit.” Appelt also thanks the ORF (the Austrian Broadcast Corporation), and particularly Roberto Berkembrock, for the close cooperation.

Photo credit: Jack Langer.

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The show was directed by Mari Pogrebynska and Pavlo Zakrevskyi and included eye-catching lighting designed by Anton Semeniuk who utilised 32 Robe Spikie moving lights, six ColorWash 575s and a BMFL Follow Spot controlled via a RoboSpot system … among other lights, all supplied by Ukraine’s largest lighting rental company, Alight.

Like everything in Ukraine, the show, production and entertainment industry has adapted to the realities of wartime, and while Alight has moved much of its equipment inventory to Poland for the moment – for obvious reasons – Anton explained that he was still very keen to use whatever Robe kit was available at the time of the show.

“The stage space was too restricted to realise our initial ideas, so we found ourselves needing small but multifunctional devices, and Robe’s Spikie immediately came into my mind,” he explained.

Mari, Pavlo and Anton collaborated on the stage set design which included LED tubes rigged to create an abstract but interesting space. Within this were the band and their music which captures some of the spirit and the moments of Ukraine in 2024. The set concept was to have the three walls of lighting wrapping around the band leaving the fourth wall open at the front, inviting the audience in to join them.

Anton used Spikies for several tasks, including in an almost architectural context … to change the shape and meaning of the performance space as the band played through their 18 album songs. “The fixtures were a brilliant solution for setting and changing the look and styling,” he declared.

16 Spikies were hung on two rear trusses rigged in the roof and the other 16 were deployed across four vertical truss towers – stage left and right – on the deck.

Having a good number of Spikes in these different positions brought great dynamics and vibrance to the stage which radiated out into the packed audience.

He appreciated the speed of the fixtures and their ability to “create impressive effects”. He loves Robe’s patented multi-coloured Flower Effect which “perfectly complemented” certain points in the song lyrics and show narrative, helping to make each song distinctive.

He notes that Robe’s colour saturation and colour mixing in general is excellent and nicely matched across all the different fixture types.

For smooth high-quality key lighting and specials on lead singer Ivan Marunych, the BMFL FollowSpot was another great result. A standard follow spot would have been impractical and consumed a lot of space in the venue, so RoboSpot was “a logical option,” confirmed Anton.

The BMFL FollowSpot was rigged on a separate front truss, with the RoboSpot operator located backstage.

The six ColorWash 575s – one of Robe’s best sellers from the noughties and still going strong so many years later – are a testament to their great build quality and Robe’s reputation for engineering excellence. They were hung on the front truss and used for general stage washes.

The biggest challenge for any show or performance staged in Ukraine right now is unwanted interruptions – typically by air raid alerts, missile and drone attacks or power outages.

Thankfully, none of these occurred during this show and the band delivered a fantastic set that delighted their fans.

The opportunity to work on this show alone was the most enjoyable aspect for Anton. “When the whole team unites to realise a great show and you see everything perfectly harmonised with band and audience on the same wavelength … it’s very special! It’s such a great feeling,” he says with passion.

He is also the first to compliment the great technical team from Alight who helped make everything happen, including crew chief Andrii Konovalyuk.

For audio and video, the band utilised the Bel Etage in-house systems.

Anton’s first interactions with stage lighting started when aged 9, operating a follow spot for his father Fedir, who is also an LD, and was a big inspiration for him to make lighting his professional career. In 2015 he became a freelance LD working with a variety of artists both in Ukraine and internationally, and he now designs lighting for clubs, bands and theatre shows.

He first worked with Robe in 2018 at a club in Prague, “It was an extraordinary experience!” he recalls, and he has specified Robe products ever that time since whenever possible.

He’s also recently used Robe fixtures on projects at the new Leoland complex in Lviv, installed last year by Robe distributor Sound House from Dnipro, and at the Lviv Opera and Ballet Theatre.

He thinks Robe’s marketing and communication channels are very strong in illustrating how the products are used worldwide – from small clubs and art installations to huge tours and television shows, “enabling everyone to stay abreast of the latest news and trends in our field!”

Photo by Andrew Kharlamov.

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By joining us, you will have access to speakers and experts in their respective fields, who will address your questions, explain your responsibilities, discuss any legislative changes, and share strategies to drive change in the future. Presentations delivered throughout the day will enhance your knowledge and give you the tools to form a better understanding of the latest advancements. A printed copy of ‘The ICEL Emergency Lighting Pocket Guide for End-Users’ will be available to all participants.

With networking opportunities to interact and collaborate with industry professionals, emergency lighting manufacturers, and other influential collaborators, you can forge partnerships, exchange ideas, and explore new business opportunities that will drive success in your endeavours.

With Professor Ed Galea already announced as the keynote speaker, the current sponsors are as follows, with more to be announced:

• Headline: P4
• Gold: Clevertronics, ABB, and DALI Alliance
• Silver:, Fox Lux, Prime Light, and LuxBox
• Bronze: TWinFM, Joint Industry Board (JIB) and Society of Light and Lighting (SLL)

There are limited sponsorship spaces remaining. If you’re a member of The LIA & ICEL, please get in touch about sponsorship opportunities on icelconference@thelia.org.uk.

The day is tailored for a diverse audience, including designers, specifiers, distributors, installers, maintainers, and end users. It aims to attract representatives from leading organisations such as Laing O’Rourke, MITIE, CBRE, NHS, E.ON, EDF, WSP, Transport for London, BDP, and Sainsburys, who participated in last year’s event.

Additionally, members from key industry bodies like Association for Consultancy and Engineering (ACE), Building and Construction Authority (BCA), British Council for Offices (BCO), Chartered Institution of Building Services Engineers (CIBSE), Electrical Contractors’ Association (ECA), Electrical Distributors’ Association (EDA), Fire Industry Association (FIA), Fire and Rescue Services Association (FRSA), Institute of Workplace and Facilities Management (IWFM), Royal Institute of British Architecture (RIBA) and Royal Institution of Chartered Surveyors (RICS), among others have been invited to engage with their members about this event.

Some of the companies registered to attend this year’s event include: Paradigm Housing Association, Crown House Technologies, City Facilities Management, Manchester City Council, MITIE PLC, and more.

Testimonials from Last Year’s Event

“I got to fully appreciate and understand the ‘power’ of being an ICEL member,” commented Eli Ward, BLE, Past event sponsor.

Theo Paradise Hirst, said, “Thank you for arranging a great event – it was excellent.”

Alan Daniels, ICEL Council Chair, commented, “We are immensely proud to be the headline sponsor for the Emergency Lighting Conference 2024. This event is a testament to our commitment to advancing the field of emergency lighting. By bringing together experts, professionals, and key stakeholders, we aim to create an environment where knowledge is shared, innovative ideas are explored, and industry standards are elevated. We look forward to another successful conference that will undoubtedly contribute to the growth and success of all participants.”

Joanna Watchman, ICEL Conference Facilitator, Managing Director and Strategy Director of B Corp Certified consultancy Content Coms added, “I am delighted to have been invited to Chair the ICEL Conference for the second year in a row. Last year, I was struck by the intensity of interest in compliance from manufacturers, specifiers and end-users. Right across the supply-chain, people are looking for answers to big questions. And, this conference provides all these answers, and more. It is a nationally important forum for anyone who cares about better, safer buildings and the role of lighting. I really can’t wait to see what positive outcomes we can generate from this year’s event.”

Admission to the ICEL Conference 2024 is free, thanks to the generous sponsorship of emergency lighting manufacturers and partners. Due to high interest and venue capacity, registration does not guarantee immediate attendance. A selection process will ensure a balanced representation across all functions with confirmations to be sent in August 2024.

Join us at the Emergency Lighting Conference 2024 to gain valuable insights, network with industry leaders, and stay ahead in the field of emergency lighting. We look forward to welcoming you.

To register, please complete the Registration Form here.

For sponsorship and exhibitor opportunities, contact icelconference@thelia.org.uk.

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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.”

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The companies have signed sponsorship and exhibiting deals for the one-day conference and exhibition, organised by lighting industry sustainability authority Recolight and billed as the UK’s largest event dedicated to sustainable lighting.

“This is a major vote of confidence,” said Nigel Harvey, CEO of Recolight. “These leading brands understand the direction of travel of the sector, which is towards a sustainable low-carbon future.”

Th event, taking place at the Royal College of Physicians in London on Wednesday 9th October 2024, is designed to inspire and educate in equal measure with a programme exploring innovation in best practice, inspirational projects and design and procurement.

It brings together lighting specifiers and suppliers to consider the practical ways we can collaborate to drive sustainability.

The Programme – A hierarchy of Lighting

This year’s event is themed by Recolight’s Hierarchy of Lighting, a philosophy of prioritisation which emphasises reuse and refurbishment in lighting projects.

Circular Lighting Live 2024 features leading experts, specifiers, innovators and policy makers who will share their insights into forthcoming standards and legislation, emerging technologies and new business models.

The keynote speaker is Signify chief design officer Ton Borsboom, who will explore how AI will accelerate product development and project design.

Rachel Hoolahan, associate at architectural practice Orms, will explain how a new material passport scheme will work for luminaires while Kael Gillam, associate lighting designer at Hoare Lea, will untangle environmental data including EPDs, LCAs, TM66 and TM65.2.

Other speakers include Irene Mazzei, head of development at Stoane Lighting, Jonathan Rush, director at Hoare Lea, Paul Beale, founder of 18 Degrees and Neil McLean, of Lutron and chairman of the LIA’s sustainability working group.

Early bird booking rate until 31st July

The conference is Free to specifiers, and an early bird discounted booking rate for suppliers ends on Thursday 31st July. Further details and bookings are available at www.circularlighting.live

A1 Lighting are proud supporters of Circular Lighting Live.

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