Lighting The Soul of Notre Dame: An Interview with Patrick Rimoux

BY RANDY REID

When I arrived in Paris early in the morning, I headed straight to the newly reopened Notre Dame. With my phone in hand, I took nearly 100 pictures, capturing the cathedral’s breathtaking lighting design.

Later that day, in a Paris studio displaying his art, I sat down with Patrick Rimoux, the lighting designer behind Notre Dame’s new illumination. As we reviewed my photos, he walked me through the intricate details of his work, sharing insights into his creative process and the challenges of restoring the cathedral’s lighting after the devastating fire.

The Call to Illuminate Notre Dame

“When the fire broke out, I was in Portugal,” Rimoux recalled. “I saw it on TV, it was awful. About six months later, the architects contacted me and asked if I wanted to contribute to the lighting project. I thought it was a beautiful opportunity.”

Rimoux’s involvement in the project was unconventional. Rather than assigning the lighting design to the usual Ministry of Culture architects, officials chose him, an artist known for his cinematic approach to light. “Often, when state architects handle projects like these, they focus only on architectural lighting,” he said. “But Notre Dame isn’t just an architectural wonder, it’s a place of worship. It needed lighting that reflected its sacred purpose.”

Each chandelier was removed, cleaned and rewired. Photo by Randy Reid

A Balancing Act of Light and Shadow

For Rimoux, lighting is more than just illumination. “I don't just consider myself a lighting designer; I'm a shadow sculptor,” he explained. “Without shadows, there’s no light.”

His approach to Notre Dame was deeply intentional. “The central cross in the cathedral is illuminated by six projectors,” he said, pointing to one of my photos. “We adjusted the angles meticulously to ensure the lighting enhances the space without overwhelming it. The challenge was finding the right balance between ambient architectural lighting and the dramatic illumination needed for worship.”

Notice the uniformity of the centerpiece and the illuminated arches, highlighted against the contrasting shadows in the background. Photo by Randy Reid

Modern Technology, Historic Sensitivity

The Notre Dame restoration project presented unique challenges. “Initially, the cathedral had major electrical issues due to its age,” Rimoux said. “But with the restoration, we were able to place new electrical systems exactly where needed.”

To achieve his vision, Rimoux used a mix of Zumtobel, Lucy Matera from Portugal, SILL from Germany, and OSRAM LED systems. “I prefer working with German brands—they offer exceptional quality,” he added.

Rimoux designed the lighting for two distinct audiences. “With seven masses per day, we needed specific lighting tailored for worship services,” he explained.

“The larger audience, however, comes to admire the art, architecture, beauty, and history, requiring a more ambient architectural lighting approach.” The system, controlled by Pharos, allows adjustments in intensity and colour. “During mass, the lighting is brighter, while outside of service times, it transitions to a softer architectural glow.”

One of the most delicate tasks was lighting the Crown of Thorns, one of Christianity’s most sacred relics. “The designer asked if I wanted to light it of course, I did!” Rimoux said. “Instead of electricity, I used fibre optics to avoid fire risks. This relic is over 1,200 years old, we had to be incredibly careful.”

This photo was taken before sunrise, as evident by the absence of sunlight passing through the stained glass windows. Photo by Randy Reid.

A Race Against Time

The restoration timeline was tight. “We installed 1,400 Zumtobel projectors without the ability to fully test them beforehand because of ongoing construction,” Rimoux revealed. “The final testing took place in early December, a few weeks before the cathedral’s reopening.”

Despite the challenges, the results exceeded expectations. “People often come up to me in cathedrals and thank me for the lighting,” he said. “Some find it too bright at first because they’re used to darkness. But overall, the feedback has been positive. My goal is to create something people love. If they don’t, I feel my job isn’t done.”

Lighting the Future

Looking ahead, Rimoux remains passionate about transforming sacred spaces through lighting.

“Historically, many Latin churches had poor lighting, just a single fluorescent bulb screwed in,” he said. “Now, with LED, we have the opportunity to do more, to bring light in a way that enhances these spaces without erasing their history.”

As I left the studio, I couldn’t help but admire how Rimoux's work blends art, technology, and spirituality. Notre Dame’s new lighting is not just a technical feat; it’s a tribute to its history, its resilience, and its purpose. Thanks to Rimoux, light now fills the cathedral, illuminating not just its architecture, but its soul.

In Part II, we will take a look at how Rimoux used shadowing as his personal signature to the lighting and we’ll also look at the restoration of the chandeliers.■

“Now, with LED, we have the opportunity to do more, to bring light in a way that enhances these spaces without erasing their history."— Patrick Rimoux

“Instead of electricity, I used fiber optics to avoid fire risks. This relic is over 1,200 years old—we had to be incredibly careful." -Patrick Rimoux