6 minute read
Iald Makes A Bold Change
By Randy Reid
In a landmark shift, the International Association of Lighting Designers (IALD) has altered its bylaws to allow individuals who both design lighting and sell products to join its ranks—a move that has been colloquially referred to as the “Paul Gregory Amendment.” This change not only shatters a long-standing barrier within the professional community but also marks a significant transformation in the business of lighting design. The amendment to the bylaws was accepted with 71% in favor and 29% opposed.
Paul Gregory, a seasoned lighting designer whose career traversed from the stages of regional theatre to architectural wonders across the globe, has long been a proponent of such a change. Paul started his career in entertainment lighting, beginning with an unexpected call from Robert Stigwood, manager of the Bee Gees and the force behind the iconic film Saturday Night Fever. Gregory admits, "I didn't know who Robert Stigwood was," but this introduction led to his involvement with the movie and subsequent lighting designs for clubs worldwide.
Litelab, located in downtown Buffalo, was founded in 1975 by Paul Gregory and Rick Spaulding, giving rise to a firm that not only designed but also manufactured bespoke lighting equipment. Gregory explained, "We had five offices across the United States—Boston, Buffalo, New York, Chicago, and LA. When the club business was booming, we were there, creating architecture with light." For the first time, lighting wasn't just a utility; it was an integral part of the club's experience, "where you could feel the lighting as you could feel the sound," said Gregory.
At the height of Litelab's operations, their designs were ubiquitous. "There wasn't a club in Tel Aviv or Baghdad or Reykjavik or Buenos Aires or Hamburg that we didn't know about," stated Paul.
While Litelab supplied stage lighting and control equipment to clubs worldwide, Paul never really intended to be a supplier of architectural lighting. With a desire to go back to his roots as a lighting designer, he founded Focus Lighting, an award-winning architectural lighting design company based in New York City, in 1987.
His original intention for Focus was that it be solely a design firm, but that all changed with a request from a valued client.
Recalling the event, Paul shared, "It all began with Planet Hollywood, back in 1990. We had successfully designed one project, and then they threw us a curveball for the second one. They demanded, 'We want you to supply it.' When we said we do not do that, they were adamant. 'You do now,' they insisted."
On their first Planet Hollywood job, Paul had estimated a $90,000 budget, yet the client was billed $180,000 by a distributor, reflecting $90,000 in unplanned extras. Faced with the need to control costs due to plans for multiple new restaurants, Planet Hollywood directed their purchase orders to Paul, which solved the budget problem. Focus Lighting then designed and supplied the next 30 Planet Hollywoods.
That was a turning point, and he realized the only way to control all aspects of the lighting job was to control all aspects of the lighting job. The added value to the client was obvious, and since then, Focus Lighting has had hundreds of clients request the service.
His model of business was a comprehensive one, encompassing design and the distribution of lighting equipment—which afforded his projects a higher degree of finish and quality, given that profits from product sales were reinvested into the design process. The problem was that this conflicted with the IALD’s ‘purity’ of practice, as lighting designers were expected to remain separate from the commercial aspects of product sales.
Leslie Wheel, whom Paul described as “a wonderful woman, incredibly smart, and her work was beautiful,” came to him and said, “Paul, you need to be a purist.” His response highlighted his dedication to the craft: "I told Leslie – I fight hard to make my projects look beautiful, and because I am involved in every aspect, I am in much more control of my projects.”
Other lighting designers often admitted to him, "We can't do the quality that you do because we can’t coordinate it." Paul’s hands-on involvement in both design and lighting distribution allowed him to surpass what was traditionally expected, coordinating the minutiae that would elevate a project from standard to extraordinary.
IALD’s amendment of its bylaws is a testament to the evolving landscape of lighting design. It acknowledges the viability and even the necessity of diversification in professional practice within the field. The change also addresses a longstanding friction between design purity and practicality, a dichotomy that Paul has navigated throughout his career.
Furthermore, this development reflects a broader trend in the industry—where rigid delineations between design and sales are being reconsidered in favor of a more holistic approach to project execution. This shift has already been seen in Europe, according to Paul, and with the IALD’s change, it may soon become a standard in North America as well.
Notably, the revision of the bylaws also revisits past contentions, such as the resignation of Jonathan Spears from IALD due to their exclusion of Paul Gregory. It hints at a reconciliation of ideals and, perhaps, the healing of old professional wounds.
IALD's updated stance is not merely an operational change; it is a cultural one, signifying a new era where the boundaries of lighting design are expanded to embrace both the art of illumination and the tangibility of commerce. This alignment may well be the harbinger of enriched creative outcomes and a deeper understanding of what it means to illuminate spaces in ways that are both economically and artistically enlightened.
ARTICLE 3.02
IALD Members shall, at the bidding or request for proposal (RFP) stage of a project, disclose in writing all known or potential conflicts of interest to their clients and employers by promptly informing them of any business association, financial interest, or dual role in which they are involved, including situations where the IALD Member or business in which the IALD member is employed is engaged in the sale of lighting equipment. Such disclosures shall be made to ensure transparency and allow clients and employers to make informed decisions regarding any potential influence on their judgment in the performance of lighting design services. Additionally, IALD Members shall take steps to mitigate conflicts of interest, such as but not limited to establishing clear boundaries between the sale of equipment and the provision of design services, articulating fee structure to clients to maintain objectivity and uphold professional standards.
