Can you tell us about the event?
This was the second year that SLX designed and produced Illuminated Ashridge, which is a festive illuminated trail set in and around the grounds of Ashridge House in Berkhamsted. It takes audiences on a journey through the gardens, lawns and wider landscape, using lighting, video and feature installations to create an immersive experience.
Every year the aim is to build something that feels magical but also sits comfortably within the setting. You’re working with a really beautiful location, so it’s about enhancing what’s already there rather than overpowering it.
Which Ayrton fixtures were used and how many?
We used 6 × Ayrton Cobra and 10 × Ayrton Rivale Profile fixtures across the show, mainly for longer throws, aerial effects and key architectural moments.
Why did you specify Ayrton for this particular project?
A lot of it comes down to output and optical quality. When you’re lighting large outdoor spaces, especially in winter, you need fixtures that can really punch through and still look clean.
We build the show in layers, and the Ayrton fixtures sit right at the top of that. They give you the clarity and presence you need to add contrast and depth, which really helps the whole show read properly from the audience viewpoint.
Was there anything specific about the fixtures you particularly liked?
The speed and the clarity stood out. They move quickly, respond well, and the optics stay sharp even over longer distances. That gives you a lot of creative freedom when you’re building dynamic looks or chasing across wide areas.
What did you like the most about lighting for this particular project?
It’s the creative freedom, you’re essentially given a blank canvas – the house, the lawns, the trees, and a long viewing perspective, and you get to decide how the whole thing comes together.
I see it as creating something visually engaging, with plenty going on, but also knowing when to pull things back so moments can breathe.
Can you explain any parts of the light show that you think worked really well?
One of the strongest elements was adding a video-mapped pixel field into the foreground. That extra layer of movement and texture really helped bring the whole scene to life and gave the audience something dynamic to engage with, rather than just lighting the background.
It helped tie everything together and made the space feel much more immersive.
What were your inspirations when creating the light show?
My nicknames are “Mr 80s” & “The Wizard of Light”! My inspirations are very much rooted in big, old-school stadium shows and classic French Son et Lumière productions. I’ve always loved the scale and drama of shows by people like Pink Floyd and Jean-Michel Jarre, as well as large-scale experiences like Puy du Fou.
How important was fixture durability and IP rating in your choice of equipment?
It’s absolutely critical. These shows run for around six weeks, right through winter, so the fixtures are exposed to pretty much every weather condition you can imagine!
You need kit that’s reliable, durable and properly weatherproof, otherwise you’re constantly firefighting. Having confidence in the fixtures means you can focus on the creative side rather than worrying about failures.
Who else was involved?
“Flow” digital pixel field – Squid Soup
MA3 Programmer – Scott Campbell
Project Manager – Elliot Carmichael
Now we just have to top this for 2026!
For more information on equipment hire from SLX please visit their website – https://www.slx.co.uk/expertise/hire/
Photos: Alex Keighley