David Morgan Review: Super Nova
Launched at LiGHT 25, the Nova is the latest development in remote controlled, motorised luminaires from Luminii brand RCL. Keen to find out how the technology has developed since he last reviewed an RCL product, David Morgan puts the Nova under the microscope.
It has been more than five years since I last reviewed an RCL motorised recessed downlight so I was intrigued to see and test its new miniaturised Nova luminaire that was launched at LiGHT 25.
In the intervening period between the two reviews, RCL has been acquired by Luminii Lighting, based in Niles, Illinois with operations across the United States, Canada, the UK and the Middle East.
RCL product development and engineering is still based in Wimbledon, south London. Final assembly of all RCL luminaires is also undertaken in the UK at the RCL HQ, with components and sub-assembly sourced globally. RCL shares facilities and staff with sister company, Precision Lighting, and both firms focus on the specification lighting market. RCL grew out of a custom product request to Precision Lighting in 2001 for a remote controllable motorised lighting system for use in ballroom illumination. Since then, the two companies have grown from two to 25 employees in the UK, with approximately 40,000 RCL motorised luminaires installed worldwide. Luminii employs around 200 people across the world.
The benefits of being able to aim and focus projector luminaires without the need to use cherry-pickers, scaffolds or ladders are as relevant today as they were when RCL started. The costs of manually aiming multiple luminaires continues to rise while conversely the production costs of remote-controlled luminaires have fallen as the various enabling digital technologies develop, factors that have widened the market opportunity.
Although the first recorded example of remote-controlled, motorised lighting dates back to the 1920s, RCL has developed the concept into a recognised luminaire category. The Nova takes the development to the next level.
It is understood that the development of the Nova was triggered by requests from specifiers over recent years for smaller luminaires both in diameter and depth. Although the original application for RCL motorised downlights was for use in ballrooms with very high mounting height, the requests indicated that a wider market exists, including difficult to reach spaces and multi-use spaces where the lighting needs to be adjusted on a frequent basis. High-end residential homes, galleries, fashion retailing, restaurants and multi-use spaces in cruise ships are among the target applications for the Nova.
The cut out required for the Nova is only 100mm in diameter, with an aperture size of 50mm. The recess depth required is just 130mm. The Nova is approximately 30% smaller than the previously smallest RCL luminaire, the DRX5, while still delivering up to 85% of the lumen output. With a full 360° rotation and 35° tilt, it can be used in a wide range of lighting applications. The Nova is available with either a trimless housing or with a moulded bezel. For the US market, an IC rated enclosure is also available. A clear moulded window is integrated into the flange, which allows communication with the hand controller and is a tell-tale sign that this is not a standard downlight.
The Nova incorporates a variety of technical innovations that both reduce the size of the luminaire but also improve the aiming accuracy and extend the working life. The use of a flexible PCB, typically used in cameras, has helped to reduce the overall size. Digital stepper motors have been used, which also reduce the luminaire size, provide more accurate aiming and scene recall, while also giving a longer working life than previous motor types. A new flat flexible ‘clock-spring’ cable system overcomes the most common failure mode caused by broken wires. It is understood that during development the Nova undertook 30,000 movement cycles without failure, believed to be three times more than any other RCL luminaire.
The Nova range includes three different light engine options. The standard fixed white 18W light engine is available in narrow, medium and wide distributions with a delivered output of 1200lm. The 15.6W Intense fixed white light engine provides a narrow 6° distribution, delivering up to 35,000 Candela of peak intensity from a lumen output of 646lm. The three standard light engine colour temperatures are 2700, 3000 and 4000K, all with minimum 90 CRI. The Nova range also includes two tuneable white light engines 1800-4000K and 2700-6500K. The 7W TW narrow distribution version delivers 555lm and the medium and wide distributions deliver 1,200lm. A digital zoom based on the Lens Vector system is also available with a range that spans from 6° to 55° depending on the light engine used.
The usual beam control and glare control accessories including honeycomb louvre, and three different strengths of micro softening filter can all be added on site and are retained with a spring clip.
The Nova is controlled by all the existing RCL control options. The RCL handheld controller is required during set up and can then be used to control all the Nova functions. The Nova can also be configured to work with a variety of other control systems.
RCL Control is an iPad based wireless system that can be used to regulate up to 200 luminaires. DMX can be used to control dimming, pan and tilt. DALI can control dimming and colour temperature. Up to 10 saved scenes can be recalled with DALI, including aiming and zoom. Movement control is via the hand controller if the scene has not been pre-saved.
RCL founder and inventor-in-chief Joe Ruston, with his early Royal Navy weapons engineering background, is no longer involved with the company following the acquisition by Luminii. However, the innovative engineering culture, based at the RCL HQ, continues with a multi-disciplinary development team for the Nova project including George Ridley (project lead), Peter McClelland (design director), and Richard Jarvis (engineering manager), with electrical engineering contributions from Ed Cooper and Bart Jozwicki.
I was impressed with the lighting and mechanical performance of the Nova sample that was demonstrated to me by sales manager, Matthew Norse. It will be interesting to see if the Nova is able to widen the market for motorised downlights with its smaller size and lower price point than previous RCL products.
Materials: Trezzi by Nordlux
A portable lamp shaped by fluted glass and restrained metalwork, Trezzi balances Danish clarity with softly spoken Art Deco character. From cocktail-glass inspiration to tool-controlled fluting, we trace its journey from concept to production with Anker Studio’s Jonas Birkebæk Poulsen and Nordlux.
The inception of the Trezzi began when Nordlux asked designer Jonas Birkebæl Poulsen, co-founder of Anker Studios, to design a lamp for its ‘Design For the People Range’ with a simple but specific intention: a portable table lamp that felt equally at home in the privacy of one’s home or in a bar or restaurant. With that in mind, a simple image of a cocktail glass sparked Poulsen’s imagination. The cocktail glass is a social object; it lives in conversation, in low lighting, in the pause between sips, and is used both in the home and hospitality settings.
As Poulsen puts it: “The starting point was the cocktail glass, it’s a beautiful and refined object that belongs to the moment of conversation or the moment of atmosphere. It was the perfect foundation for a table lamp that can fit in both a private interior and a commercial environment.”
From that familiar silhouette, the idea evolved into a balance between fluted glass and stainless steel. The glass base draws from cocktail glass proportions, tactile and designed to be seen up close, while the metal shade on top introduces a sense of purpose and control.
The shade feels almost architectural: calm, and functional, anchoring the design and directing light downward in a way that works perfectly for dining tables, bedside use, or intimate restaurant settings.
“Fluted glass became a defining material because the design took its cues from a cocktail glass,” says Poulsen. “It offers both tactility and visual detail. The vertical fluting echoes the rhythm and refinement of classic glassware, catching and refracting light.”
However, fluted glass is more than just a decorative gesture; thanks to its geometry, it has a series of ridges that act as microlenses, catching and bending light as it travels through the glass. This transforms what could have been a simple diffused glow into something more layered and dynamic. Light stretches vertically along the grooves, creating depth and giving the sense of subtle movement that shifts when the viewer changes position. In other words, the fluted glass stand becomes an optical tool, one that enriches the atmosphere with its refracted glow of light that is both expressive and calm, with thoughtful geometry in its simplest form.
“This creates a layered effect,” says Poulsen. “The exterior feels calm and architectural, while the interior feels luminous and dynamic. The glass becomes both structure and atmosphere, shaping light into something warm, nuanced, and quietly expressive.”
In a similar kinship to the cocktail glass, Trezzi’s design language influence draws on the glamour and elegance of the 1920’s – one of Poulsen’s most cherished design periods – through the discipline of Danish Minimalism. Rather than adopting an overt ornament or decorative excess, Poulsen creates an essence of Art Deco in refined material detail.
Poulsen adds: “Material plays a key role. The glass remains honest, with fluting and slight shifts in thickness adding depth without visual noise. As light passes through, these surface details come alive, creating shadows and a sense of precision that echoes Art Deco craftsmanship without losing its contemporary edge.”
Behind Trezzi’s aesthetic is a layer of engineering designed to make the lamp feel effortless in use. The weighted glass base is central to that engineering because its mass gives the lamp stability on busy restaurant tables and domestic surfaces alike, while also contributing to a sense of quality and permanence when lifted or moved. As Poulsen notes, the weight communicates craftsmanship and durability, reinforcing the idea that this is a well-made object designed to stand the test of time. The technological integration follows the same philosophy; the moodmaker touch-dimming system from Nordlux was incorporated without visible interfaces. This allows the switches and interaction to remain invisible, so the purity of form is never interrupted. Together, these decisions ensure Trezzi’s material qualities aren’t just seen but are felt, making the physical experience of touching the lamp part of its visual language.
The development of Trezzi unfolded roughly over a year to 18 months, from the first sketch to the final product. The concept remained remarkably consistent throughout the process, with the initial silhouette – the glass base and metal lamp shade – never wavering. What evolved instead were the subtleties: the depth, spacing, and thickness of fluted glass. These details proved to be the most technically difficult. “The biggest challenge throughout the process was refining the fluted glass, achieving the correct shape and getting the groove details just right,” says Poulsen. “Small adjustments in depth, spacing, and thickness had a major impact on how the glass felt and how light moved through it, making this the most critical and time-intensive part of the development.”
After a lengthy cycle of refinement and iteration, this precision work helped shape the lamp’s optical performance and its tactility, ensuring the final product preserved the purity of the initial vision and the nuanced behaviour Poulsen envisioned from the start.
The final part of the journey was to turn Trezzi’s refined concept into a manufacturable object. This required a production process that could deliver both precision and consistency and was particularly crucial for the fluted glass element, which defines the lamp’s optical personality. According to Nordlux, the glass is produced using a moulding method that ensures accuracy in form: raw molten glass is poured delicately into the mould, allowing the vertical flutes and wall thickness to be tightly controlled from the outset. Once cooled, the glass tube is cut into the exact dimensions for the Trezzi’s proportions.
Glass, as Nordlux notes, is a naturally “lively” material, which makes achieving consistency of thickness one of the most challenging aspects of production. Using the mould helps minimise variation, ensuring an even profile that is crucial not only for structural integrity but also for the way light bends and refracts within the grooves. Each piece is then inspected individually by factory workers, who check for any deviations or defects before the components are assembled.
Much of the success that happens in production can be traced to the meticulous preparation undertaken before mass manufacturing can begin. Nordlux emphasises the importance of extensive pre-production checks, such as carefully reviewing 3D files, working drawings, and sample iterations to resolve potential issues early on. Only once every detail has been scrutinised were the tools committed to mass production, a process that helps prevent defects and maintain the clarity of design intent.
In addition to its timeless design, the Trezzi has a sustainable edge, as do all Nordlux products. The supplier’s facilities are powered entirely by solar energy, allowing the factory to be fully self-sufficient in electricity – the cherry on top of a material-driven product.
The journey of the Trezzi table lamp from a simple sketch to a fully resolved product is a reminder that clarity of intent can shape an entire design process. What began as just a simple everyday object shared in both the privacy of your lounge or the vibrant atmosphere of a bar, evolved into a lamp defined by careful engineering and the restrained confidence of the Art Deco and Scandinavian style. Like an Old Fashioned, its development went down remarkably smooth. Poulsen describes the process as “calm and intuitive”, where decisions naturally fell into place, and the focus of refinement never wavered or became tired. That clarity extends to its final form. With each fluted glass piece carefully moulded, inspected, and crafted through a tightly controlled production process, and with the lamp’s tactile weight, invisible control, and expressive light all working in harmony. Trezzi embodies the idea that minimalist objects can carry a lot of depth.
After making hundreds of lights and working with Nordlux for years, Poulsen tells arc he never gets tired of the journey and revels in the challenge of creating the perfect light that, in turn, creates the perfect setting. Poulsen adds: “I am most proud that the design has made it through the entire process and exists for people to enjoy and love. Behind every final design is a long journey where many ideas are tested, rejected, and refined. Only one will survive the demanding creation phase, and seeing that result in a tangible object is deeply rewarding.”
Images: Courtesy of Nordlux
LinkedIn Experience Centre London, UK
Merging architectural and decorative elements seamlessly, Ström has crafted a lighting scheme that perfectly complements the interior design of LinkedIn’s all new Experience Centre.
The largest online professional network, LinkedIn has recently unveiled a new, in-person meeting ground that can transform its digital experience into a real-world environment. Situated in its London offices and dubbed the LinkedIn Experience Centre, the space has been created with the goal of bringing together customers, social impact organisations, and industry experts across hiring, B2B sales, and marketing, inviting members, customers, and employees to collaborate, innovate, and connect in person.
This dynamic hub was designed by Ab Rogers Design (ARD), and has been broken down into three core areas – The Arcade, The Theatre, and The Executive Suite – each bursting with their own unique character.
Formerly an empty, underused space at the base of LinkedIn’s London offices, the Experience Centre presented a new opportunity, not just for ARD, but also for LinkedIn, to present itself in a whole new way.
Mara Irsara, Senior Associate at ARD, explains: “When LinkedIn approached us and we won the design competition, they were so excited to start on the project.
“As they had never created a space like this before, we had some deep conversations with the stakeholders to understand the business, the priorities, and how to translate that onto the floorplan.
“It was really interesting getting this knowledge from the stakeholders, because every market has different priorities. In London, it was more important to have an executive suite that acts as a ‘show off’ space, as well as a theatre to create events or host people. And then, as we expanded the concept, to reflect the building’s footprint, we developed the front-facing ‘Arcade’ space. This faces onto the road, and is very extroverted; and as you go further into the building, it becomes more introverted.”
This, Irsara says, is reflected in the choice of elements that are used in each space. The Executive Suite, for example, is more private, intended for VIP guests and boardroom meetings, while the outward-facing Arcade is designed more as an “internal street”, inviting visitors to linger and spend some time. In between these two areas is a theatre space, and production facilities for activities like podcasting.
Through each of these distinct spaces, lighting plays a central role in creating the desired ambience and defining the unique character and identity of each space – from creating pockets of interest and setting the right scene for a meeting to highlighting textures, working with interactive elements, and adding drama.
To that end, ARD invited lighting design studio Ström to tender for the project, as the interior designers felt that they had reached a point in the concept design where the input of a specialist lighting design consultant was needed in order for the unique space to meet its myriad needs.
Expanding on the design brief for the lighting, Anna Clara Sandgren, Co-Founder of Ström, tells arc: “The brief was focussed around creating an environment that promotes human ‘face-to-face’ connections and a sense of a public-facing space, more than an office. There were a number of interconnecting zones with their own functions (meeting booths, interactive learning zones, an auditorium, coffee bar), as well as the separate Executive Suite with a more premium/chic residential look and feel. But overall, the character of the spaces needed to work visually together.”
“It was important to provide breathing space for the interactive experiential designs by Deep Local, which are largely internally illuminated, while also providing suitable lighting to the artwork, supplied by Acrylicize, which included traditionally wall-hung prints and tapestries, as well as being integrated within the timber and glazed wall panels,” adds Emilio Hernandez, Co-Founder of Ström.
“The space is vibrant and full of visual interest, so we felt that it was important that the architectural lighting scheme didn’t try too hard, and instead brought a sense of calm through soft lighting to walls, with fixtures that were concealed or blended into the ceiling services.”
With a building profile that was not very deep plan, and a lot of north-facing glazing along one wall, Hernandez adds that the space felt like “quite a controlled environment”, which allowed for a gentler approach to the lighting that could add depth, without dominating the eye.
On entering the building, a glowing timber backdrop, illuminated by track-mounted wallwashers, frames the reception desk, alongside a large Santa & Cole Cirio circular pendant, that anchors the space and creates an inviting arrival experience.
“ARD asked us to propose something for the reception lobby, as it is the interface between the entrance, the lifts, the security gates and the reception desk, and the ceiling was just exposed concrete,” Hernandez says. “The Cirio pendant was a very simple intervention, but it works really well. Luckily, Santa & Cole provide really good Revit information and models of its range, and we were able to work with ARD to understand the drop of it, the size of each element, whether we use frosted glass or porcelain, to get the balance right so that the space was bright enough for a reception, elegant enough, and that the piece didn’t get lost in the exposed services ceiling.”
Leading from the reception, the lively, internal ‘street’ of The Arcade features meeting spots, lush planting, and playful design elements. Track-mounted wall washers and spotlights accentuate textured brickwork, featured artwork, and the bright, bold exterior of The Theatre. A Hunter Douglas perforated raft ceiling houses strategically placed recessed downlights that punch light onto the tables and enhance the planting below. An integrated line of light frames the feature ceiling and supplements ambient light levels, while illuminating the soffit above for an elevated effect. Muller Van Severen lamps droop over circular tables, casting an intimate glow, and are complemented by lighting integrated within banquette joinery to create visual interest.
“When you already have the space set out with such a strong concept, when we came on board, we wanted to understand the elements. For us, the track system gave a lot of flexibility to both light the artwork elements on the wall and in between the glazing, while also highlighting the tables and workspaces within the space,” Hernandez says.
Sandgren adds: “ARD uses a lot of colour, patterns and artwork, so we knew that we needed to have really good lighting onto the vertical surfaces to pick up the richness of the colours that they would be using. We also added little details such as the lighting underneath the seating, as we knew that it had to be something a little bit more, as the space is going to be used for evening events as well. During the day, there is so much daylight that the only thing that needs to be lit really well is the elevation; but at night, this space really comes to life with lots of evening events, so it was important that it felt like an inviting place to come to.”
“There are only a few places where people are actually going to be sat with a computer for a while,” Hernandez continues. “Most places, it’s going to be interactive, face-to-face meetings and discussions. We have picked a few key areas that are more ‘traditional’ meeting spaces, where we have used an acoustic hood pendant, so that people can zone out a little bit more from the rest of the space, but if you wanted to have a more informal meeting, there are tables with downlights, light bouncing off the walls, the decorative pendants, lighting built into the underside of the banquettes – there are a lot of different elements that make you feel that there is enough light. It feels professional, but it is also quite casual.”
One of the central features of The Arcade space is the vast, perforated raft ceiling that stretches through the entire avenue. As well as concealing the MEP services, Ström was able to subtly integrate architectural lighting elements to complement the drooping pendant lights over each table, providing the right level of functional light.
Hernandez explains: “Although it is a flexible space, the tables are fixed, and through our collaboration with ARD, they were able to change the spacing of the perforations in the ceiling to fit off-the-shelf downlighting. This meant that we could place them seemingly randomly in the ceiling, and visually, they disappear, but you get that punch of light onto the table that you need.”
“The decorative lights do a big job in terms of the overall design language, but didn’t provide enough useful lighting on the tables or the planting, which is why we doubled up with the discreet lighting in the ceiling,” Sandgren adds.
The downlighting in the grid ceiling is also offset by an indirect cove of light that runs around the grid’s perimeter, providing an added ambient light to the space that works alongside the focused downlighting and decorative pieces.
Underneath this grid ceiling, one of the central focal points of the Arcade is the lush greenery that runs through the middle. While providing adequate lighting for this plant-life could have presented a problem for Ström, Sandgren adds that the abundant natural light entering the space made their job easier on this front.
“It is always a chicken and egg discussion – what plants are being specified, what light is available, etc. Fortunately, the space is heavily glazed and north facing, so suitable plant species were specified to make use of the natural light. This enabled us to focus on more subtle spike lights and decorative lights nestled within the planters.
“It also helped reduce energy consumption. We liaised with Cambium Plants, which has a lot of experience providing planting for offices that are resilient to various light levels and improve air quality without having to provide thousands of lux to the plant canopies. While there are some fantastic options on the market for hydroponic lighting, using natural light is always our preference where possible, as it reduces cost, maintenance, and risk for the client.”
Sitting in the centre of the development, The Theatre forms the beating heart of the Experience Centre. A dramatic, in-ground line of light wraps around the base of a curved coral structure, which is balanced by high-level, curved track lighting, creating a sense of flow and movement that encourages people to explore beyond. From outside, it is a captivating view that catches the eye of passersby.
“We really fought for this feature because in the original renders, it was unlit, and while I don’t like putting a big architectural element in unnecessarily, we felt that this curve was such an important part of the space that it had to be lit from both directions. It means that at night, when you walk by the building, you see this red wall pop from the street,” Hernandez adds.
Inside the auditorium, a linear lighting profile washes the curved timber wall, and together with low-glare lighting within the ceiling from iGuzzini’s Laser Blade, it provides a discreet and flexible base layer for the specialist AV theatre lighting configuration.
To the rear of the project lies the more “introverted” Executive Suite. Designed to feel more intimate and cosy, the lighting design reflects the shift in character to a more chic-residential style space.
Moving from exposed services and raw materials to a cleaner aesthetic with plastered ceilings and white fittings, the lighting similarly shifts to a warmer tone. Cove lighting enhances the vertical timber finishes, adding depth and warmth, while also complementing the Vibia pendants that hang above a soft seating space.
Meeting rooms feature tunable white technology and high colour rendering, creating ideal meeting conditions that users can tailor via a control system. In the boardroom, a back-illuminated ceiling by Optelma enhances the sleek design look, and supports ambient light levels, while adding drama through an array of illuminated colours.
“The Arcade space is a lot more vibrant and high contrast, whereas in the Executive Suite, it is calmer, more of a traditional executive office – there were softer materials, more fabrics, so the lighting was adapted to match.”
Irsara adds: “It was really important that the lighting would be friendly and respond to the space. Especially in the Executive Suite, everyone that enters there says that it feels really residential, and that is exactly what we wanted. So, the lighting reflected this really well, adding to the mood that we wanted to create.”
Indeed, throughout the project, there is a strong harmony between the interior design and the lighting design, not just through the subtle integration of architectural lighting, but also in the selection of decorative elements – a selection that Irsara says was the result of Ström and ARD’s richly collaborative relationship.
“In some instances, we wanted a specific product, but in others, Ström suggested exactly what we needed,” she says. “We have worked with Anna for many years, so we know each other’s style, and she knows what we like.
“What we really appreciated from Ström was how they also suggested elements that could be integrated into the interior design. The downlights integrated into the grid ceiling in The Arcade give the right amount of light, without needing to add an additional element, keeping the rest of the ceiling as free as possible.
“Lighting was not something that has been overlaid as a function – it was considered and integrated into the design from the beginning. It sounds really obvious, but so often it isn’t the case. Sometimes, all a client cares about is having enough light and it’s hidden somewhere. But here, the lighting is functional and beautifully integrated into the MEP or existing architectural elements, which gives space for the feature lights to really shine and stand out.”
“It was an interesting collaboration, because ARD included us in a lot of the decisions, but equally, they really think about lighting when they design,” adds Sandgren.
Ultimately, the collaboration between Ström and ARD was to the project’s benefit, with the lighting and interior design marrying together beautifully throughout.
Reflecting on the project, Hernandez says: “We hope that the lighting helps to bring depth, texture, and scale to the space. The challenge with open plan environments of this size, with 4.5-metre ceilings, is that you’re trying to simultaneously give a sense of space, while retaining a cosy, inviting feel.
“The reception pendant, for example, could have easily appeared lost, or overbearing. It fills a difficult junction without any other ceiling or interior features to riff off of. The same applies to the curved floor recessed linear. Its detailing within the stone floor and width are important for it to feel like part of the interior, as opposed to an extra piece of lighting stuck on top.
“I’m sure that many lighting designers will attest that it is not uncommon to not receive any feedback directly from the client, especially on larger projects, in which case you can take the stance that no news is good news, as you will usually find out if something is not to the end user’s liking. The response from the client here though has been overwhelmingly positive, so much so that they are looking to replicate this in other regions.
“We’re lucky and grateful that working with ARD feels like we are on the same team, so the feedback is daily, rather than a more formal process at the end of the scheme.”
Finally, Irsara concludes: “Sometimes clients will say ‘you don’t need a lighting designer’. But for us it is really important to say, ‘No, you do – exactly why you think you don’t need one, that is one more reason that you do’. Lighting is something that, if it is good, you don’t notice it, because it gives the right level of wellbeing and feeling in the space. Maybe we don’t even see it, but that’s the beauty, and the difficulty of it. We believe this, and that is why Ström were part of our team from day one.”
Silhouette Awards to announce winners this month
(Worldwide) - The Silhouette Awards has entered a key phase of its 2026 programme as organisers prepare for the upcoming winners’ announcement, scheduled for 27 February 2026 at 3:00 PM (UK time).
This year’s awards attracted a wide range of entrants from across the world, continuing the initiative’s focus on recognising and supporting emerging talent within the lighting industry.
The announcement event will be livestreamed on the Silhouette Awards’ official YouTube and LinkedIn channels. The programme for the session is expected to follow a similar structure to previous years, featuring the introduction of the selected winners, the announcement of their assigned mentors, brief talks from several mentors, and a concluding virtual networking session for all participants.
You can follow the results via https://www.youtube.com/@silhouetteawards
Noor Ridyah
The annual citywide light art festival, Noor Riyadh, returned in November 2025, uniting local and international artists in Saudi Arabia to dazzle the city with kinetic pieces of light artworks under the theme of ‘In the Blink of an Eye’.
(UAE) - Now in its fourth edition, the festival continues to expand in both ambition, scale and impact. To date, the festival has showcased 460 artworks, worked with 365 artists, and earned 16 Guinness World Records. In light of its rapid evolution over the last four years, the theme of 2025, ‘In the Blink of an Eye,’ was created to capture the very essence of the festival’s transformation.
The narrative unfolds two interwoven paths: in the historic centre, light-based artworks converse with ancient architecture, bridging the city’s rich cultural heritage with its energetic present. Meanwhile, animated by installations across the metro stations, which reflect the pace and rhythm of urban life, in the form of kinetic sculptures and responsive installations that trace the flow of people, visualising connectivity and interaction. 
The edition was curated by Mami Kataoka, Curatorial Advisory Lead and Director of Mori Art in Tokyo; Sara Almutlaq, Riyadh-based curator; and Li Zhenhua, curator and founder of Beijing Art Lab. In total, the festival presented 60 artworks by 59 artists, which were located from North to South Riyadh across six locations: KAFD Metro Station, stc Metro Station, Al Faisaliah Tower, King Abdulaziz Historical Center, Qasr Al Hokm, and Riyadh Art, Jax District. In addition to this, the event also saw the introduction of more than 36 new commissions from across Saudi Arabia and the world.
One of the standout pieces included Astrum by László Zsolt Bordos, Hungarian artist, who created powerful beams atop Al Faisaliah Tower – designed by UK-based practitioner Fosters + Partners– acting as a moving planetary compass, pointing celestial bodies in real time. With lasers beaming up to 7km, the work turns the city skyline into an astronomical stage, inviting viewers to reconnect with the cosmos through the lens of metropolitan Riyadh.
Bordos also collaborated with French artist Christophe Berthonneau on Synthesis, a single kinetic performance that merges architecture, drone choreography, and mapping. In this piece, the building appears to levitate, its facade a recombinant geometry, while drones extend the light ballet skyward in dialogue between art and engineering.
Meanwhile, the façade of KAFD Metro Station – designed by Zaha Hadid Architects – was transformed into a shifting lattice of light and sound by Romanian artist, Vali Chincișan, through oscillating patterns that fracture into colour to an electronic score. The work offers a precise meditation on perception in motion, as the architecture appears to inhale data, allowing geometry to unfold into music.
Other honourable mentions include Italian art architecture collective, Luna Somnium’s fuse•, which transforms precise lunar data into a cosmic multisensory experience where shifting visuals and atmospheric design turn scientific observation into a meditative dream-like encounter with the celestial. James Clar’s When the Sky Reaches the Ground (Philippines and USA) displays a monumental sculptural bolt of frozen light, constructed from neon and grid scaffolding, symbolising mom
ents of immense speed and intense energy. Algorithms of Light: The Falcon by Ahmad Angawi (Saudi Arabia) explores the heritage, motion and transformation through a calligraphic design inspired by Najdi Sadu patterns and the Saudi falcon, elongating subtly in a quiet space with enduring rhythm and geometry. that elongates to inhabit space.
Speaking on the success of Noor Riyadh, Festival Director Nouf Almoneef says: “Each year, Noor Riyadh grows in ambition and impact. I am proud that we continue to champion artists, strengthen the creative economy, and build connections between Saudi talent and the international arts community. Together we are shaping Riyadh into a Global capital for culture today and for the good of generations to come.”
arc to attend Workspace Design show 2026
(UK) – arc editor, Matt Waring, will represent the publication at Workspace Design Show, taking place at London’s Business Design Centre on 25-26 February. Waring is set to moderate a panel on ‘Neuro Adaptive Lighting and the role of AI in its Development’ on 26 February.
The session, co-ordinated by the Society of Light and Lighting (SLL), will bring together leading figures from the lighting sector, Juan Ferrari, Director of Hoare Lea, Daniel Baker, Creative Director of Nulty Lighting, and Carolina Florian, Lighting Director at Qiddiya and President of SLL. The panel will explore the intricacies of lighting for different neurodiversities, what this looks like, and how the continuing emergence of AI can help with its development.
This year’s show also introduces a new theme - ‘Connected Realities’, which organisers say will focus on the impact of hybrid working models, immersive technologies and smart environments on the future of workplace design.
The 2026 edition is expected to bring together exhibitors offering office furniture, materials, technology and design solutions. Brands confirmed to participate include König + Neurath, Sedus, Bisley, Pedrali, Interface, Forbo and Kvadrat. Lighting brands on show will include Daisalux, Kreon, Flexxica, Ricoman, and SAS International.
Alongside Waring’s panel discussion, the talks programme will feature speakers from companies including Nestlé, Arcadis, Octopus Energy, AECOM, Lloyds, Pascall + Watson, Virgin Media O2, Landsec, Gensler, WPP, Foster + Partners and CBRE.
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[d]arc awards extend entry deadline to 12 February
(Global) – After being inundated with last minute call up, the [d]arc awards have announced an extension to the entry deadline for the 2025 edition of the programme, giving designers and manufacturers additional time to submit their latest projects and product launches. Originally due to close on 31 January, the entry period will now remain open until 23:59 GMT on 12 February.
The extension comes in response to high levels of interest from the international lighting design community and feedback from entrants balancing project workloads at the start of the year. The [d]arc media team has encouraged those still finalising their submissions to take advantage of the additional time.
The 2025 awards continue to attract significant attention across the architectural and lighting design sectors. Winners will be announced at the annual [d]arc awards party, set to take place on Thursday 30 April at The Fireworks Factory in Woolwich, London.
This year’s shortlisting panel comprises six judges, all of whom participated as speakers at the recent LiGHT 25 exhibition. The panel includes:
- Magalena Gomez, So It Is Design
- David Atkinson, DALD
- Krishna Mistry, Mistry Lighting
- Sanjit Bahra, Design Plus Light
- Tad Trylski, TandEm
- Zoe Faulkner, Troup Bywaters + Anders
The judges will draw on their diverse expertise to review and shortlist entries across all categories. As in previous years, the final winners will be determined through an independent online voting process carried out by lighting designers from around the world.
Entrants now have just over two additional weeks to complete their submissions for the chance to earn recognition in one of the industry’s most respected awards programmes. So enter now via: https://darcawards.com/enter-the-awards/
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With thanks to this year’s sponsors: OneEightyOne, David Village Lighting (Artemide), DRK Lighting, ERCO, formalighting, Signify, DALI Alliance, Pharos Architectural Controls Ltd, Nicolaudie Architectural Control, Huda Lighting, LiGHT 26, LEDFlex Group, LED Linear, Lucent Lighting Ltd, Vivalyte (together with their UK distributor Nox Obscura), and awards manufacturer, Applelec.
And a big thanks to our lighting design partners this year: Arup, Buro Happold, dpa lighting consultants, Foster + Partners, Foundry London, Nulty+
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