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Brought to you by IESNYC and DLFNY, NYControlled is an educational trade show specifically designed for professionals seeking to explore the latest in lighting controls technology and products. The event offers a unique opportunity to stay ahead in a rapidly evolving industry through a series of technical lectures presented by respected experts. Attendees will have the chance to engage directly with leading manufacturers and thought leaders, gaining in-depth knowledge of cutting-edge technologies and the ability to evaluate the costs and benefits of various systems.
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Find inspiration. Gain insight. Venture forward.
Ver la luz.
Developed by lighting designers and for lighting designers, IALD Enlighten Europe 2025 presents top-tier educational sessions led by the brightest minds in the profession. Two days in the design city of Valencia will resonate with deep discussions, engaging workshops, lively roundtables, and quality networking
Join lighting professionals, designers, and enthusiasts as they exchange knowledge, showcase innovative design methodologies and technologies, and engage in critical discussions on current issues and trends within the lighting industry
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Benya's Art & Science Contributor Principal at Design Services, Inc. and The Benya Burnett Consultancy
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Staff Writer: Parker Allen
Bridget Leary
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designinglighting.com
June designing lighting (dl) is one of my favorite issues.
Traditionally, we cover the IESNYC Lumen Awards, but this year we’re doubling the celebration with bonus coverage of the IALD International Lighting Design Awards, presented during LightFair in May.
We are incredibly grateful to our friends at IALD for their outstanding support. Their team provided us with a complete, polished awards package, making life easy for our graphics crew. I’d especially like to recognize Keir Hansen, Communications, Marketing, Graphic Development, and Audio Production at the IALD. His professionalism and attention to detail continue to make my job as Editor significantly easier.
A reminder to subscribers: the Call for Entries for the 2026 IALD Awards is now open, with submissions accepted through 9 September 2025.
The Awards will be presented next year during Light + Building in Frankfurt, March 2026—another exciting opportunity for the global lighting design community to shine.
We also extend our appreciation to the entire IESNYC team for granting dl early access to the list of winning projects and design teams. This issue includes photos from the 18 June celebration, along with a few standout quotes from acceptance speeches.
Our editorial and design teams worked overnight to finalize this content. Special thanks to Christine Hope, who served as the chair of the 2025 Lumen Awards and provided steady leadership throughout, and to Cathy Bontempo for her help behind the scenes.
Also in this issue: I had the pleasure of attending a product presentation in Paris hosted by Targetti and L’Observatoire International. With its elegant setting, formal attire, and global guest list, the Catirpel event felt more like an awards gala than a typical product launch.
designing lighting is focused on the Business of Lighting Design™ and provides business information to the lighting design community. In addition to the website, designing lighting publishes bi-monthly online magazines featuring original content, interviews within the community and highlights successful award winning lighting designs. While designing lighting is based in the U.S., it has contributors from Europe and is developing a global presence. ISSN: 2693-9223.
Statements and opinions expressed in articles and editorials in dl are the expressions of contributors and do not necessarily represent the policies or opinions of the EdisonReport. Advertisements appearing in the publication are the sole responsibility of the advertiser.
As the role of traditional trade shows continues to evolve, this kind of focused, high-end experience—held in a prestigious Parisian museum—demonstrates the power of storytelling, setting, and strategic curation. It was a bold move and one that I believe will pay off significantly.
Please also see in-depth coverage on the growing role of custom integrators in the lighting industry. CEDIA, the primary trade association for integrators, now counts more than 20,000 members—far surpassing the size of most lighting organizations.
Bruce Clark offers valuable insight into how these professionals are blending design, controls, and connectivity in ways that impact every corner of our field. Thanks to Bruce not only for his expertise, but also for helping us all better understand a rapidly expanding segment of the lighting ecosystem.
As always, I hope you enjoy reading designing lighting (dl) as much as we enjoy creating it. There’s a lot to celebrate—and even more to look forward to. ■
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CHANGES IN
Since my last article, Deborah and I moved across America from northern California to North Carolina. It’s time for us to begin retirement, and after months of study and serious discussions, we ultimately prioritized being a lot closer to family and our oldest friends, the majority living in the east and southeast states.
There were a multitude of other considerations, particularly latitude (36° or less due to winter depression), climate, the quality of senior life, healthcare, and cost of living. While I will miss many friends and things that enriched my life in the West since 1984, we have found the right spot and look forward to this new period in our lives.
There’s a lot of emotion and decision-making that comes with retiring after 53 years of working professionally 5 (or more) days a week. Over half a century in the field of lighting, starting with work as an electrical engineer for the Smith Group. That, of course, is where I caught the lighting bug and IES commitment from the late Steve Squillace, my boss and mentor, and from my first co-worker, David DiLaura
After a truly exciting 11 years, I moved to San Francisco and briefly worked for Fran Kellogg Smith, and then on my own or with partners for over four decades, hundreds of projects, dozens of coworkers, and easily several thousand lighting industry colleagues with whom I worked. More than 75% of my friends are part of the industry, too.
So, even though retirement means not providing professional services, in my heart I really want to stay connected and participate in some way in the national and international lighting communities.
Physically closing an office is one of the most
heart-wrenching steps in the process, and it is really overwhelming. Books, catalogs, photographs, thousands of 35 mm slides, hundreds of medium format film images, IES Handbooks (5th Edition on), reference books, and several generations of LD&A, Progressive Architecture, Architectural Record, and Architectural Lighting in which I had written more than 60 articles since 1975. Copies of my books, Lighting Design Basics (2007 and 2012 editions) and Lighting Retrofit and Relighting: A Guide to Energy Efficient Lighting (still available on Amazon). Multiple IES handbooks and individual recommended practices.
And my treasures, including the EdisonReport Lifetime Achievement Award, the crystal trophies of three IES Awards of Excellence, and dozens of framed lighting design award certificates. Yes, winning design awards was very important to me, and I was certain to share credit with the whole project team.
Moreover, the awards serve as a reminder of the people with whom I worked and the role I played in achieving something special. Literally, a story of relationships and project challenges is found in each one. I plan to keep a few in a special place, like a shrine, maybe in my living room.
On the other hand, cleaning out the sample room was relatively easy. Friends and family know that I “lean green,” so the trash bin is unacceptable. I take care of samples and return most of them while they are still viable. If the rep doesn’t want them, I make sure that they work and donate them to Habitat for Humanity.
I also have a reasonably up-to-date group of light meters including illuminance, luminance, and spectrum
By
JAMES R. BENYA, PE, FIES, FIALD
LONGITUDE
measurement equipment. As I have remaining expert witness cases, they will be safe in a closet and used occasionally. I’ll probably end up giving them away in a few years.
And then, there are generations of office equipment that I bought and used to do the work. This involved a lot of cost for office equipment and software, acquired over the last 43 years. From a series of ever-more powerful computers, software and peripherals dating back to before Windows now long gone, starting with my original IBM PC/XT, original Compaq portable, and the first Toshiba real laptop from 1987 that could be used on an airplane.
And then there were cameras. I knew that images were the soul of the profession and beyond necessary for marketing. It was painful donating my 35 mm and medium format film cameras and lenses that were once worth a small fortune. I had dozens of glass and gel filters to correct the color balance of film to properly render MR16 halogen, fluorescent and HID sources.
I have fond memories of working with Doug Salin, the photographer of most of the major award projects for my firm, partners and colleagues. Doug also taught me how to take and tweak an exposure to eliminate, for example, the green spike of MR16 halogen lamps which was caused by the dichroic reflector. I miss the care and discipline taking a good image took before today’s phones.
We’ve decided that a few of my memoirs will remain in our home, mostly my degrees, IES and IALD Fellow awards, crystal trophies and lifetime awards from EdisonReport and the San Francisco IES community. Deborah is an extremely skilled interior designer. Whether they end up in the foyer,
dining room or the garage is yet to be determined, but I am sure they will look good.
I will probably scan my slides and transparencies into the digital realm, a nice rainy-day project that will allow me to sell my well-traveled Kodak slide projector and much more conveniently review my history on a large video screen whenever I want.
That said, I hope to find a way to remain a relevant part of our lighting community. I’ll stay on with designing lighting (dl). Perhaps it will be writing a column that is more philosophical like the late Bill Warren did for LD&A.
In fact, I would like to model my retirement as he did. I knew and really liked Bill, whose enjoyable column in LD&A ran for what seemed like decades. And I might even be talked into speaking at annual IES or IALD conferences, or maybe even LightFair.
But then again, I considered Howard Brandston to be one of my mentors, and he really retired, happily to his country home.
The biggest question left is what to do with the certificates, awards, trophies, and plaques collected over the years. I’ve concluded that I really don’t need to impress people, and I would rather maintain a relationship with the industry and serve when and if it calls. In many ways I hope it does and in equally many, I hope not.
Thanks to all for the community that I love and for a career that I was very fortunate to have pursued, and for the opportunity to share my thoughts through designing lighting (dl) ■
Better Light and Better Sleep
By JENNIFER BRONS1 AND MARY BETH GOTTI2
1 Light and Health Research Center at Mount Sinai, 2 American Lighting Association
Ninety years ago, the Illuminating Engineering Society (IES) and its members, manufacturers, and utilities embarked on a collective marketing campaign called “Better Light, Better Sight.” That campaign helped assure the public that a given light fixture would provide good visibility without glare.
“Better Light, Better Sight” fixtures were differentiated in lighting showrooms with a hangtag. The public readily embraced this program’s message, benefiting manufacturers who wanted to sell higher quality lighting as well as utilities who wanted to increase electric load (at that time) by encouraging the public to use more incandescent light bulbs.
Importantly, rather than being a hollow marketing gimmick, the “Better Light, Better Sight” program acknowledged only those fixtures that met objective measurement criteria, and those fixtures were the only ones allowed to use the hangtag.
We now know that light isn’t just for vision anymore.1, 2 Rather, light received at the eyes is the primary stimulus for synchronizing our circadian system to local time, including orchestrating when we sleep, how quickly we fall asleep, and how well we sleep.
Taking the cue from the IES campaign, the American
Lighting Association (ALA) investigated the potential benefits of the latest research by funding a Better Light, Better Sleep project at the Light and Health Research Center, the results of which might be used to promote better sleep with residential lighting.
Residential lighting is particularly relevant for regulating circadian rhythms because most of us are at home during the most important times for the circadian system.
Morning and evening light have the greatest leverage during our waking hours for affecting the timing of circadian rhythms (Figure 1). Bright morning light following nocturnal sleep is the most effective for entraining the circadian system to our diurnal behavior and physiology.
Bright evening light can upset that timing. Evening light should be dim, but not so dim that it compromises safety or comfort. (Light of medium brightness can be employed through the late morning and afternoon as an option, but the light levels recommended for the early morning and evening are crucial.)
Thus, it could be argued that residential lighting is the most important lighting for supporting circadian entrainment and good sleep.
Importantly, some forward-thinking members of ALA participated in the project by submitting prototype products to be evaluated. Similar to the early IES’s “Better Light, Better Sight” program, the Better Light, Better Sleep project
Thus, it could be argued that residential lighting is the most important lighting for supporting circadian entrainment and good sleep.
Figure 1. Bright morning light, dim evening light and darkness at night are recommended for maintaining healthy circadian rhythms and promoting sleep.
established four simple performance criteria that could be objectively tested:
• A control that provided daytime (bright), evening (dim), and nighttime (off) settings
• A daytime illuminance of 35 foot-candles (fc) at the eyes
• No more than 5 fc at the eyes during the evening
• A luminance not to exceed 8,500 candela/m2 to minimize discomfort glare.
To meet the Better Light, Better Sleep criteria, the participating manufacturers also had to define the use case for their product. Eight manufacturers supplied products for consideration.
Frankly, the submissions were amazing. Initially, we thought we would get a lot of desk light prototypes, but those we received were in the minority. We also received, as two outstanding examples, an array of six small downlights in the ceiling plane and an entire family of tabletop and floor fixtures to populate a comfortable living room. Impressive.
A few of the prototypes we tested met all the criteria on their first try, and several would have passed with adjustments in position or output. The most challenging criterion was luminance, largely because none of the manufacturers were equipped with a luminance meter.
We suggested, rather than buy a luminance meter, they make a visual comparison to something that would not evoke discomfort glare. As a broad guideline, we pointed out that the brightness should be no greater than the luminance of a T-12 fluorescent lamp or that of the north sky on a clear day, neither of
References
which cause objectionable discomfort glare.
It is probably fair to say that a typical manufacturer of residential lighting fixtures focuses mainly on style and aesthetics without paying much attention to the impact of light on sleep. However, the Better Light, Better Sleep project has shown that it is possible for lighting fixture manufacturers to go beyond style and aesthetics, incorporating the science of sleep into their product offerings and thereby adding value.
Perhaps, one day, circadian-effective lighting will have a place in society alongside those other two pillars of health, diet and exercise (Figure 2). To do so, we will need attractive and affordable luminaires that can also deliver better light for better sleep ■
1 Rea MS. Light for the circadian system: Beans or chili? designing lighing. Feb/Mar ed. Brentwood, TN: Edison Report, 2023.
2 Figueiro MG, Nagare R, Price LLA. Non-visual effects of light: How to use light to promote circadian entrainment and elicit alertness. Lighting Research and Technology 2018; 50: 38-62.
Figure 2. The three pillars of health.
Available Light Enters a New Era
REID By
Steven Rosen Guides the Firm Through a Thoughtful Leadership Transition
RANDY
“I looked around at my incredible team—the senior leadership, senior associates, and designers—and realized how fortunate we are. They’re immensely talented and ready to take on more responsibility. If I stayed at the top forever, it would limit their ability to grow.”
Steven Rosen
After more than three decades at the helm of Available Light, Steven Rosen is methodically guiding his firm into its next phase of leadership.
Founded in 1992, Available Light has grown from a small two-person operation to an internationally respected firm of 35 employees across five cities, specializing in museum exhibits, architectural lighting, location-based entertainment (LBE), and trade show design.
Steven launched Available Light with his wife, Susan, more than three decades ago. Susan, an actor and costume designer blessed with innate business, operational, and organizational skills, partnered with Steven to create a company modeled after the theater world, where an artistic director focuses on the creative side while a managing director handles business operations.
“Since that’s the world we came from, that’s what we knew,” Steven explained. Susan managed the business side while Steven focused on lighting design. Though Susan has largely retired, her foundational role remains integral to the company’s history.
“I was one of those people who thought I would never retire,” Steven admitted. “Available Light was where I’d be until I dropped.” However, the COVID-19 pandemic forced him to reevaluate his priorities. “It gave me the time and space to reflect on what I want to do,” he said.
During this period, Steven recognized both his desire for personal time and the readiness of his team to assume greater responsibility. “I looked around at my incredible team—the senior leadership, senior associates, and designers—and realized how fortunate we are. They’re immensely talented and ready to take on more responsibility. If I stayed at the top forever, it would limit their ability to grow.”
Several years prior, Steven had already begun selling and distributing company stock to senior leadership, with the idea that the firm could continue beyond his tenure. Over the past year, the leadership team finalized a governance structure featuring both an Executive Committee and a Board of Directors.
The Executive Committee includes Steven, along with Matt Zelkowitz, who oversees the Built Environment division
(museums, LBE, and architecture), Bill Kadra, who leads the Trade Show Division, and Annette LeCompte, Executive Director of Operations, who manages the business side.
The Board of Directors is composed of the company’s eight shareholders: Steven, the Executive Committee, and senior leaders Derek Barnwell, Kate Furst, Rachel Gibney, and Ted Mather. “The structure allows the executive directors to lead their divisions while collaborating and reporting to the board,” Steven said. “It also provides flexibility for future adjustments post-my exit.”
Available Light’s unique structure supports two very different business models. The Built Environment division functions much like an architectural design firm, with similar style and operations. They handle design, documentation, specifications, calculations, attend meetings, visit sites, and oversee onsite programming and focusing.
The Trade Show Division, however, operates as a fullservice provider, handling not only lighting design but also supplying truss, rigging, motors, lighting, power distribution, and on-site supervision. “In our trade show work, we design the lighting for the booth and also provide all the equipment and supervision,” Steven explained. “While the Trade Show division represents a significantly different business model, the two divisions are constantly sharing intel on new technologies, methods, and applications— which really adds to our depth and skillset as lighting designers.”
The Trade Show division often relies on a substantial team of freelancers to execute its projects. At the time of this interview, Steven was on-site at the American Society of Clinical Oncology (ASCO) conference in Chicago, where Available Light had assembled a 30-person team. Of those, only seven were full-time employees, while the remainder were part of a trusted group of approximately 20 freelancers who regularly support the company’s trade show operations.
Steven emphasized that collaboration has always been central to the company’s culture. “We generally operate by consensus,” he said. “I can’t recall the last time I made a unilateral decision. That’s why this team is so strong— they’ve grown into these roles and are ready to lead.”
Though Steven is preparing for eventual retirement, he
stressed that the transition will be gradual over the next few years. “There’s a lot of untangling to do,” he said. “Clients, vendors, relationships—I want to ensure a smooth handoff. I’m intentionally stepping back from meetings and decisions to give the team more ownership, but I’m still here for support.” He also recognizes the emotional complexity of such transitions, noting, “Without a deadline, it’s easy to postpone these decisions indefinitely. I want this team to feel confident when I step away.”
Beyond the firm, Steven remains deeply involved in the lighting design industry. He has played a significant role in launching the professional practice group for museum exhibition design within the Society for Environmental Graphic Design (SEGD), an initiative he began working on three years ago and continues to develop today.
Steven is also closely involved with discussions on transparency within the lighting industry, particularly regarding pricing and specification data. He has moderated several industry panels organized with the IALD and IESNYC that address the growing demand for transparency.
I asked him about the importance of transparency in data, specifically specification sheets. “I think it is important for there to be consistency in the data presented,” Steven said, but emphasized that transparency in pricing is the more significant issue. “Technology and the Internet have
made it increasingly difficult to hide how fixtures are priced. While better spec sheet formatting is helpful, pricing honesty is the heart of the transparency discussion.”
The firm’s name itself is rooted in Steven’s personal experiences. He first heard the term “available light” in college, used by both an architect and a photographer to describe working with existing light sources rather than introducing additional artificial lighting.
When it came time to name the company, Steven convened a dinner with friends Glenn Heinmiller, his wife Cathy, and Susan to brainstorm ideas. After several hours— and a few bottles of wine—they couldn’t agree on a name. Only then did Steven share his idea of “Available Light.” His friends immediately endorsed it as the perfect choice.
Looking ahead, Steven envisions a gradual but complete handoff. “Eventually, I’ll step back entirely,” he said. “There’s a lot that I do that others know I do, but don’t necessarily know how I do it. My role now is to help transfer that knowledge so they can ultimately improve upon it.”
For Steven, Available Light has always been about telling stories through light. “The work we do enhances the stories our clients want to tell,” he reflected. “It’s incredibly gratifying to see what our team has accomplished—and will continue to accomplish long after I’m gone.” ■
At the Buffalo AKG Art Museum, ERCO’s Parscan spotlights demonstrate the power of track lighting in diverse cultural spaces, from architectural lobbies to cafés to sculpture galleries
Featured Luminaire: Parscan
Part of ERCO’s flexible family of track luminaires for cultural, commercial, and architectural spaces
• RGBW and tunable white
This project illustrates how ERCO’s lighting solutions adapt to both the spatial rhythm and curatorial intent seamlessly integrating with daylight, adjusting to objects and scale, and enhancing the visitor experience across every zone
Buffalo AKG Art Museum, New York, Photography: Justin Szeremeta
A Legacy of LightRemembering Paul Marantz
The lighting design community is mourning the loss of one of its most influential figures. Paul Marantz, founder of Fisher Marantz Stone (FMS), passed away in late May, leaving behind a rich legacy that has shaped architectural lighting across the globe.
As reported in his New York Times obituary, his passing was due to complications from a stroke.
Paula Martinez-Nobles, President of FMS, poignantly stated, "We are deeply saddened to announce the passing of Paul Marantz. Paul and Jules (Fisher) founded the company that would become FMS in 1971, creating a legacy of creativity and genius that continues to brighten our lives and the world around us. Thank you, Paul, for your wit and wisdom. We honor your life and legacy."
Paul Marantz's fascination with light began at an early age. As shared on the Fisher Marantz Stone website, his passion was sparked at age ten through a marionette workshop, which led him to build a model theater complete with lighting. Between ages 13 and 15, he was already lighting modern dance recitals and continued to focus on stage design and lighting throughout his undergraduate studies. He served as head designer for a Cleveland theatre company and later for The Berkshire Music Festival (Tanglewood) Opera, setting the foundation for a lifelong career in lighting design.
Paul's professional journey brought him to New York, where he started as Chief Engineer at Lighting Services Inc despite not being an engineer by formal training. He later led R&D at Century/Strand Lighting before co-founding Fisher Marantz Stone with Jules Fisher in 1971. From there, Paul helped shape the field of architectural lighting design, working on some of the world’s most iconic projects.
Among his many groundbreaking works are Studio 54, the Times Square Ball, the Tribute in Light memorial for the victims of 9/11, and the lighting for the Burj Khalifa in Dubai. His projects also include the Barnes Foundation and the Byzantine Fresco Chapel at the Menil Collection in Houston.
As Paul shared in a conversation in the inaugural issue of designing lighting (dl) magazine, much of his later concern focused on the rapidly evolving state of the lighting industry. He wrote, "We are losing many of the manufacturers that we relied on. They are either being swallowed up or they are going out of business." He emphasized how the transition to LED technology, while innovative, brought with it uncertainty due to varying quality and limited long-term data on these newer technologies.
One of Paul Marantz's most celebrated recent projects was the Ford Foundation Center for Social Justice in New York City, for which he and FMS received recognition
RANDY REID By
from the National Lighting Bureau (NLB).
During an interview on the project with Mary Beth Gotti, Paul reflected on the historical significance of the building, originally completed in 1968 by architect Kevin Roche. The renovation aimed to preserve the building’s transparency, both architecturally and symbolically, reflecting the foundation’s mission of openness and inclusivity. The building's iconic 12-story atrium, filled with greenery, presented unique challenges, especially as the lighting system transitioned from incandescent and fluorescent sources to modern LED solutions.
"We had to be very careful about the color temperature and rendering of all the lamps," Paul explained. "Different LEDs with the same color temperature don't necessarily exhibit the same visible color." He acknowledged the difficulty in maintaining a cohesive lighting palette during this technological shift. Yet, despite these challenges, Paul and his team succeeded in delivering a lighting design that both honored the building's mid-century roots and met modern sustainability standards, achieving LEED Platinum certification.
Paul was deeply involved in every aspect of his work, from technical details to artistic vision. As he described in the Ford Foundation project, he worked closely with management and stakeholders, including Darren Walker, President of the Ford Foundation. Their collaboration led to multiple design iterations to ensure that both architectural and social justice goals were met.
Paul's work was not only about creating beautiful spaces but also about elevating the role of lighting design within architecture and culture. He frequently voiced concerns about the industry’s direction, particularly regarding manufacturing consolidations and the importance of maintaining quality standards. His insights served as both caution and guidance for future generations of lighting professionals.
Beyond his remarkable professional accomplishments, Paul Marantz was known for his curiosity, generosity, and boundless creativity. According to the FMS website, he loved being on the water, sailing, paddling, and building (and disassembling) practically anything.
The lighting industry has lost not just a master of his craft, but also a visionary who deeply understood the interplay between light, architecture, and human experience. His influence will continue to guide designers, engineers, and artists for generations to come.
May Paul Marantz rest in peace, and may his luminous legacy continue to shine.
Comments by Charles Stone , Founder, Fisher Marantz Stone
Forty-two years ago, after an interview and lunch at Pete’s Tavern on Irving Place, Paul Marantz offered me a job. At first, he was my boss, then my mentor, then my partner.
Paul taught me about design through 1,000 details. He loved a quick sketch that told a story, and the negative space that allowed it to be told. He had an uncanny ability to quickly identify the single most important issue or detail in any project. He would ask, “What do you think, Stone?” And if I responded by sketching or saying something useful, he stayed; but if I
Comment by Ann L. Schiffers, President, VODE
Paul Marantz was quite the thinker and the tinkerer. When I arrived in 1989, he had divided his office organized into "bays," each with a leader and two to three designers. Each "bay" had a project type, and each "project" was exciting and symbolic to its community—every project mattered and had impact.
Project types included bridges, multi-use buildings, masterplanning outdoor spaces, museums, theaters and more. The projects were all extraordinary, and this is one facet of what set his company apart from others. The other being that he was involved, sleeves up with pencil-in-hand, an eye and energy towards the creation and evolution of creating a lighting project that had never been seen before.
He approached every project as a true thinker—starting with probing questions, exploring new materials that transformed under light, and developing continuous mock-ups to test and refine ideas. He had a gift for helping clients see and trust his vision, effectively "selling" ideas not through persuasion, but through clarity and confidence.
He would explain to us and our clients that light, the intangible material, changed everything. He didn't expect others to fully understand what he saw in his mind, so he found many ways to communicate…he added depth and "color" to a design with his words, that he selected carefully, to paint a picture that he knew the person he was speaking to would understand. He knew light. He knew his client. He knew how to create impact.
As both a tinkerer and a mentor, he began each project by asking thoughtful questions, like, “What would you like to see?”
After he showed me a photo of the bridge in Louisville, KY, that we were tasked with illuminating, I noticed the area lacked vertical illumination—there wasn’t much light from surrounding buildings. I suggested a lavender hue—something soft and subtle, inspired by a photo where the bridge was set against a tranquil sunset sky.
hesitated, then two seconds later, he would walk away.
You always had to bring your A game if you wanted to play with Paul. His lightning-fast mind, fascination with light, and genial disposition made him a sought-after collaborator, whether down the hall or around the globe. And around the globe we did go, completing 5,000 projects on six continents. What fun we had.
My heart goes out to Paul’s family, and to our other founder, Jules Fisher, partner of 53 years, and to all of our colleagues. We all miss him terribly. Meanwhile, we’ll keep sketching and enquiring, remembering his impish smile and reliable genius.
His response was immediate: “Great, we’ll use fluorescent tubes—no phosphor—just a very light etching.” Then he turned to me and said, “Get on the phone with Philips, Osram, and GE, and push for custom tube samples.” Those were the major lamp manufacturers at the time. The project rolled out, on vision, just like that. It was magical. He taught us all to imagine, think, sell, and procure.
A Few Memorable Moments with Paul on Project Sites
Holocaust Museum, Washington, D.C.
Paul once turned to me and asked, “Annie, what do you want people to feel?” He then suggested I create a mood map to help guide visitors through the museum—encouraging me to apply color with intention to inform our lighting choices.
Miho Museum, Koka-Shiga, Japan
Working alongside I.M. Pei, Paul reminded me, “I.M. Pei likes options. You need to present three—and present them equally. No favorites.” Then with a knowing smile, he added, “But never end with the one you like the most… that one always gets thrown out.”
IESNYC LUMEN AWARDS 2025
Women
Award of
EXCELLENCE
Al-Mujadilah Center & Mosque for
Doha, Qatar
BURO HAPPOLD
Gabe Guilliams, Chris Coulter, John Sloane, Elias Gomez, and Aida Miron
In Islam, light is a metaphor for spirituality and righteousness. This center, the first women-led mosque in the Middle East, nurtures a community of women committed to their personal growth and that of their community.
The large hovering roof plane overhangs expansive fenestration while framing views. Notably, the oculus and an undulating plane of 5000+ skylights illuminate the prayer hall below. Each conical skylight perforation integrates custom electric lighting.
The qibla wall pulls away from the roof plane allowing daylight to orient visitors toward Mecca. At night, focal lighting on the qibla wall and ambient lighting emanating
from the apertures replicate the daylighting effects.
Multiple physical mock-ups refined the skylight’s geometry, finish, and glazing to limit solar load, maximize the visual impact of daylighting, and minimize visibility of the electric light source within. Manufacturing these skylights offsite greatly improved the consistency of appearance and significantly accelerated onsite installation.
The 100 ft tall luminous minaret, integrated into the landscape, calls to prayer five times each day. Its cablesuspended base dapples the seating area below. Then, the speaker slowly rises, animating the seating area and visually announcing the traditional, audible call to prayer.
ARCHITECTS
Diller Scofidio + Renfro
Elizabeth Diller
Evan Tribus
Yushiro Okamoto
OWNERS
Qatar Foundation
Her Highness Sheikha Moza bint Nasser
PHOTOGRAPHY
Iwan Baan
Evan Tribus
Gabe Guilliams
John Sloane
“We have been lucky to be honored 2 tonight. Both projects are celebrating and elevating people that have been historically underrepresented…I have one request. Stand up. Please sit down if you are a woman, black, brown, Asian, LGBT, Latinos anyone else. Look at anyone that is sitting and keep an eye out for them, protect them and we are all much stronger for that.”
“ Thank you, Elizabeth and our team TM. This says a lot….(he got choked up.) This has been an interesting year, thank you so much.”
— B. Alex Miller
ARCHITECTS
Leong Leong
OWNERS
The Travel Agency
PHOTOGRAPHY
Will Ellis
Integrated lighting enhances the unique character of an almost-Brutalist retail space along an iconic shopping corridor: Leong Leong’s elevated cannabis experience. The ceiling’s unique, inverted-vault “belly” invited indirect lighting, in dynamic white, integrated along the upturned edges. The sloped reveals at the junction of ceiling and wall disperse light as a soft wash. The product cases (designed and fabricated by the lighting designer) appear softly luminous.
In the back, a fully immersive room draws patrons. The lighting here is customizable, offering saturated light palettes to highlight specific product launches and associated content. The vibrant colors call from afar, disrupting the neutral palette of the interiors. A sculptural, floor-to-ceiling display case is illuminated by a large, elliptical colortunable surface above, and indirect LED striplighting in the base. A perimeter wall niche glows from reveals at both the base and top. All the case lighting and the ceiling’s indirect lighting are choreographed wirelessly.
At the entry and waiting area, shielded cylinders on track set the chrome palm asparkle, while minimalist downlights aid transitions. The edge-lit oculus that faces the street constitutes both a minimalist “moon” and bold visual marker. This oculus also changes color, according to time-of-day, seasons, or other needs.
MERIT Award of
Oxman Studio
New York, NY
TILLOTSON DESIGN ASSOCIATES
Suzan Tillotson and Liyi Pan
The lighting concept for this high-tech design office promotes tranquility and creativity. Tunable-white fixtures in open areas mimic the dynamics of natural light to ease transitions from indoors to outdoors, while precise DMX programming ensures harmony across the two floors.
Downstairs, uplighting from custom, narrowbeam linears emphasize the long, shallow barrel vaults. Downlights in architectural slots provide the workhorse task lighting. Adding some ambience to the glass-walled offices, mini-track in wood shelves illuminate objects. Manual and jamb-switch controls further conserve energy. Between the enclosed offices, trackheads with snoots minimize reflections while highlighting artwork in vitrines, permitting seamless visual flow.
On the upper level, visible above the floating stair, backlit ceiling panels ensure abundant illumination in lab areas, balanced with the barrel vaults below. Modified linears, fortified against extreme humidity and temperature, serve as an invisible layer in specialized capsules that require grow lights.
Static CCTs are strategically chosen in enclosed spaces to save costs while highlighting materials and defining space functions. In private offices, 3000K enhances warmth and intimacy, while 4000K creates an energized, focused atmosphere in individual research spaces. Daylight and occupancy sensors balance light levels and energy use, complying with NYCECC 2020.
“I am always humbled to receive these awards. Thank Liyi for persevering, it was not an easy job.”-- Suzan Tillotson. “Yay, I am very honored as this was a hard job, but the photos make it look simple. There were lots of details to coordinate. Thank you to the manufacturers and reps who provide help with mockups and onsite support. Cheers!”
— Liyi Pan
DESIGN ARCHITECT
Foster + Partners
ARCHITECT OF RECORD
AAI Architects, P.C.
OWNER
Oxman Studio, Neri Oxman
PHOTOGRAPHY
Nicholas Calcott
OWNERS REPRESENTAIVE
TKO Project Management
ELECTRICAL ENGINEER
Cosentini Associates
LANDSCAPE DESIGNER
Hollander Design Landscape Architects
LAB PLANNING CONSULTANT
Jacobs Laboratory Planning Group
GRAPHIC DESIGNER
Pentagram
STRUCTURAL DESIGNER
Silman
CONTRACTOR
Sciame Homes
SPARK STUDIO LIGHTING DESIGN
Scott Herrick, Justine Parrish, and Jess Marshall
“We started the design during the Pandemic and finished last year. Most importantly tonight and in this moment, I'd like to acknowledge my associates, Justine Parrish and Jess Marshall, who really with their attention to detail and their persistence made this a reality.”
— Scott Herrick
Two glass towers stand boldly against the evening sky, their illuminated forms sending a clear message: this is a campus where architecture and light are in constant conversation. In the outdoor plaza, subtlety reigns – concealed sources glow beneath benches, curbs, and trees, reinforcing flow while maintaining visual openness. At the heart of the plaza, programmed fins of light rise from a triangular reflecting pool, simulating dynamic blue-white wave patterns that shimmer across mirrored surfaces.
Airy, energetic themes take flight inside the atrium lobby with a positive-negative play of panels, coves, and custom arrays of floating tubes. Seamless lightboxes in the elevator lobby, achieved through interlocking panels
and removable LED sheets, elegantly conceal and allow access to infrastructure. The auditorium is dressed in a dynamic wrapper: scrolling RGBW effects are activated by realtime weather and traffic data.
From crisscrossing shadows on interconnecting stairs to glowing tubes suspended in air, each lighting moment adds rhythm and texture. In pantries, daylight is maximized and layered with downlights, coves, and illuminated wood details. Even the high-energy fitness zone shines with tubular lighting that jogs playfully across three ceiling types.
Here, storytelling in light is subtle, expressive, and always in sync with the architecture.
ARCHITECT
HLW
Jeremiah Hancock
Mike Iovinelli
Michael Tegnell
Jennifer Louis
OWNER
Charter Communications
Jennifer Tuttle
EXPERIENCE DESIGN
ESI Design
PHOTOGRAPHY
Chris Cooper
Award of 360 Park Avenue South
MERIT
New York, NY
LIGHTING WORKSHOP
Doug Russell, Megan Casey, and Sammie Wu
ARCHITECT
Architecture Plus Information
OWNER
BXP
PHOTOGRAPHY
Magda Biernat
Originally built in 1912, the recent renovation of this classic New York City office tower aims to enhance its appeal to the modern workforce by introducing new amenity spaces. Calm, soft lighting gestures help draw views deep into the interior of the building, playing a key role in its transformation.
Energy from the dynamic streetscape reflects in the mirrored ceiling above the grand staircase. Multicell downlights between the mirrored panels illuminate the space, softened by a backlit, translucent vertical fascia that frames the reflection.
The feature stair doubles as circulation and lounge space. Warm cove lighting and wallwashing at the adjacent cellar
meeting spaces contrast with the slightly cooler stair volume, often daylit from the windows above. Detailing prevents direct and reflected views of the flexible striplighting that outlines the steps and floor opening.
Soft washes on perimeter walls and coves and select focal glows from recessed downlights set the stage for decorative fixtures within the large open lobby. Ceiling popups and a sparkling chandelier define the reception and lounge spaces. Decorative pendants and lamps pull together informal touchdown and meeting areas.
From the street view, the mirrored ceiling provides an intriguing glimpse of the warm interior and activities below.
"We are grateful for trust from architect, Architect Plus Information. Thank you to our rep and manufacturer that we relied on their support and genuine enthusiasm means the world to us."
— Megan Casey
CITATION for Laylight Detail and
Execution
Yale Peabody Museum
Renovation and Expansion
New Haven, CT
CLINE BETTRIDGE BERNSTEIN
LIGHTING DESIGN
Stephen D. Bernstein, Michael Hennes, Jiyoung Lee, and Clara Samudio
“Thanks to people at Yale who gave us input and were dedicated to make this the best museum it could possibly be. This year is our 40th anniversary. There's probably a lot of CBB alumni out there. We want to thank all of you, because over the years, everyone who’s contributed to who we are has made us the firm we are today."
— Michael Hennes
In 2020, the Peabody closed for its first comprehensive renovation in 90 years. The Great Hall, designed specifically to hold the institution’s dinosaur collection, features a 110 ft mid-century fresco. Together, these elements presented unique challenges to relighting a dark exhibit venue.
The new laylight system, which mimics the long-gone original skylights, is transformative. However, the precious, immovable exhibits posed a significant maintenance challenge. Through extensive photometric studies and onsite mock-ups (the museum was closed through COVID), CBB developed an illumination scheme where all the lighting equipment could be accessed from one end of each 9 by 13 ft
ARCHITECT
Centerbrook Architects and Planners
OWNER
Yale University
laylight bay. A combination of four narrow- and wide-beam fixtures are stacked vertically in the cavity above and at the far end of each laylight. The solution ensures smooth illumination across the surface and a convincing connection to the outdoors.
DMX-controlled RGBW fixtures provide tunable white for daylight tracking and saturated colors for special events. By contrast, the fresco maintains its uniform, tuned-white illumination across the mural’s height, using a combination of front lighting and a custom reverse cove.
The design for the Great Hall dramatically improves the visitor experience while maintaining respect for the landmark building.
PHOTOGRAPHY
Peter Aaron/OTTO
CITATION for Art Memorial
HALO
New York, NY
ARTIST
Immanuel Oni
LIGHTING DESIGN
BURO HAPPOLD
John Sloane and Maya Hladišová
OWNERS
FABnyc
Ryan Gilliam
M’Finda Kalunga Garden
Debra Jeffreys-Glass
FABRICATOR
Beam Center
Stephen Callendar
Brian Cohen
PHOTOGRAPHY
Elyse Mertz
John Sloane
Light has long been used by those in power to surveil marginalized groups, like New York City’s 1800s “lantern law,” which required Black and Indigenous people to carry lanterns at night. HALO, by artist Immanuel Oni, reclaims this archaic form of surveillance. His series of luminous elements in Sara D. Roosevelt Park leads passersby towards a garden honoring the nearby and since paved over Chrystie Street African Burial Ground, where thousands of Black New Yorkers were once laid to rest.
In the 1980s, community organizers established the garden to combat local issues and honor the burial site, naming it the M’Finda Kalunga Garden, which is Kikongo for “garden at the edge of the other side of the world.”
At the heart of the installation stands an illuminated reclaimed pole with a mesh shade, symbolic of a lantern. Mock-ups aligned the artist’s vision with design team’s understanding of how light interacts with materiality. Along the previously underlit Rivington Street, luminous
fence elements increase pedestrian visibility. Evoking traditional adire indigo-dye patterns found on African textiles, the mesh forms bear over 400 names of those once buried nearby. Edge-lighting sets the names aglow, educating passersby about the rich history beneath our shared public spaces.
“We want to thank the Lumen committee for recognizing a project with high social value but an extremely low budget. To our younger designers in the room, we hope this can serve as an inspiration no matter what experience you have, together we can make a difference.”
CITATION
for Historic Renovation
Gould Memorial Library Rotunda Renovation, Bronx Community College The Bronx, NY
CLINE BETTRIDGE BERNSTEIN LIGHTING DESIGN
Francesca Bettridge, Michael Hennes, and Nira Wattanachote
Gould Memorial Library, a National Historic Landmark designed by McKim, Mead & White, was inspired by Rome’s Pantheon. Inside, the domed rotunda was originally skylit. A plaster ceiling was added underneath, illuminated by highpressure sodium pendants, resulting in a low CRI and warm CCT that made everything look yellow.
The redesigned lighting is code compliant, dimmable, and highlights the historic architecture. Brighter LEDs with a high CRI sufficiently illuminate the 77’ high space.
AGI studies and mock-ups confirmed that the concept was viable. A custom, frosted diffuser floats under the LED source to refract light onto the plaster ceiling, creating the illusion
“The Rotunda was originally sky lit. A plaster ceiling was added underneath illuminated by high pressure sodium pendants. The result was a low CRI and warm CCT that made everything look yellow. The redesign lighting is code compliant, dimmable and highlights the historic architecture. Meteor Lighting was extremely helpful with samples and custom modifications of their fixture.”
— Francesca Bettridgeudge
ARCHITECT
Beyer Blinder Belle Architects
OWNER
Bronx Community College
PHOTOGRAPHY
Elizabeth Leidel Photography, provided courtesy of Meteor Lighting
Beyer Blinder Belle Architects
of the original skylight. A dimming system adds flexibility for day and night events.
New pendant fixtures hang from the catwalk above the plaster ceiling at the center of each ceiling opening, then drop below the ceiling to prevent overheating, halving energy use. Remotely located drivers aid maintenance.
Before the renovation, HID floodlighting darkened the balcony sculptures and cast decorative elements in shadow. The new lighting reveals the floor pattern’s colors and the veins of the magnificent marble columns. The historic domed space, sculptures, and architectural details that were lost are now rediscovered.
CITATION for Facade Lighting
Garage Facade at Princeton University
Geo-Exchange Plant
Princeton, NJ
FISHER MARANTZ STONE
Enrique Garcia-Carrera, Kristina Jajalla, and Laetitia Stephanos
Developed as part of a large geothermal infrastructure project, Princeton University’s new Meadow’s Drive Garage helps put the university’s net zero program on full view. ZGF created a facade of undulating fabric mesh that gives the building a light and ethereal character. A series of vertical barrel vaults support tensile fiberglass mesh to provide shading while maintaining views and airflow. During the day, shadows create visual interest.
After sunset, 3000K uplighting grazes the facade. Discreet, 15 by 30 degree beams cast shadows in the reverse direction and create an entirely different play of light and shadow. The protruding vaults of the fiberglass mesh catch most of the uplighting, reducing upward spill to address light pollution concerns.
An architectural valance conceals the continuous line of uplighting, and grazing downlighting that renders the curves of the precast base. Digital modeling helped refine the photometrics and produced quality renderings for the client. Princeton is currently seeking Parksmart certification, a sustainability standard established by Green Business Certification Inc.
ARCHITECT
ZGF Architects
Maryam Katouzian
OWNER
Princeton University
Ron McCoy, University Architect
ELECTRICAL ENGINEER
AKF Group
PHOTOGRAPHY
Halkin Mason Photography
Fisher Marantz Stone
“I don’t know how many more times I’ll be up here, so I want to take the opportunity to thank Charles Stone, and Paul Marantz, who I knew for 35 years. “Every day I saw him I learned something knew."
— Enrique Garcia-Carrera
LIGHT FIT GOD for a
Honoring Antiquity with a Modern Design Approach
The Temple of Poseidon at Sounion, Greece, a 5th-century BC landmark perched dramatically on the Aegean Sea, is both visually iconic and culturally sacred. Lighting such a monument demands more than technical expertise; it requires respect, restraint, and deep artistic sensitivity.
“It’s like illuminating our past, our story as Greeks and our civilization,” shared Nasia Lazou of Eleftheria Deko & Associates The firm received an IALD Award of Merit at LightFair in May for the internationally celebrated project.
Under Eleftheria Deko’s leadership, the design team approached the Temple of Poseidon project with measured confidence and a deep sense of purpose. Eleftheria is no stranger to iconic monuments. Her acclaimed lighting design for the Acropolis of Athens redefined the global standard for illuminating cultural heritage.
The lighting concept began with a decision to differentiate and define each architectural element of the temple using carefully selected color temperatures. Warmer lighting at approximately 2700K was used to illuminate the interior of the temple structure, creating a soft glow that speaks to the sacred intimacy of the space. In contrast, the exteriors of the columns were lit in a cooler tone – around 3600K –bringing out their sculptural form against the night sky. The base of the temple in 3000K was given its own neutral tone, further anchoring the monument and visually separating it from the terrain.
This strategy of nuanced differentiation is subtle to the casual viewer but transformative in effect. The careful interplay of warm
“It’s like illuminating our past, our story as Greeks and our civilization.”
Nasia Lazou
and cool light produces a sense of depth and dimensionality that makes the ancient structure feel alive, as though it is quietly breathing against the backdrop of the sea.
The lighting design's success lies not only in its visual outcome. It is equally rooted in the method of execution. According to Nasia, every luminaire was selected and placed with extreme discretion. “We had to be very careful not to harm the temple, as well as avoid any visual nuisance for the daytime visitors” she said.
The fixtures, supplied by Linea Light Group, were mounted on custom-designed bases and hidden within the natural topography. Every single fixture is placed so as not to be visible to visitors, even those in close proximity, maintaining the visual purity of the monument.
This level of discretion required long hours of testing and adjustment, often carried out overnight. The design team worked meticulously, returning to the site again and again to test beam angles, distances, color mixing, and fixture positioning under real conditions.
It wasn’t about filling the site with light. Rather, it was about guiding the light so that the monument itself could speak.
In contrast to the frantic pace and pandemic pressure that accompanied Eleftheria’s earlier Acropolis project, the Temple of Poseidon effort allowed for a more measured process. The design and testing took place over the
It wasn’t about filling the site with light. Rather, it was about guiding the light so that the monument itself could speak.
"Illuminating these monuments is also emotional work, It connects us to who we are."
course of almost two years. That kind of duration is not only a luxury—it’s a necessity when working on an UNESCOworthy site of this scale and cultural weight.
The project was made possible through the sponsorship of Metlen Energy & Metals, the corporate sponsor that provided financial support for the lighting equipment and installation. Oversight was provided by the area’s archaeological ephorate, part of the Greek Ministry of Culture’s antiquities service.
The lighting design team included Marina Matiatou (PM) and Angelos Konstantakatos (who has since moved on from the firm), working alongside system integrator Dimitris Kapetanellis and chief electrician Orestis Akritidis Together, they delivered a result that feels both timeless and forward-looking. It is a luminous tribute that respects the silence of antiquity while revealing its structure with modern grace.
The IALD judges praised the work for its “highly professional and artistic handling of cultural heritage,”
noting the design’s “masterful balance between honoring the monument’s historical significance and addressing contemporary environmental and experiential needs.”
Those needs included sustainability, of course, and the design makes use of energy-efficient LED technology throughout, ensuring minimal impact on both the structure and the surrounding ecology.
Nasia expressed immense pride in the project, not just for the award but for what the lighting represents. It’s not simply about seeing the temple—it’s about feeling its presence. The lighting doesn’t try to reinvent or embellish the monument. Instead, it reveals the form and the spirit of the structure as it has stood for thousands of years, now made visible in the night.
“Illuminating these monuments is also emotional work,” she said. “It connects us to who we are.” And as the sun sets over Cape Sounion, with the Temple of Poseidon now softly glowing against the sky, it’s hard not to feel that connection, too. ■
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42ND ANNUAL IALD
INTERNATIONAL LIGHTING
DESIGN AWARDS
2025 IALD RADIANCE AWARD FOR EXCELLENCE IN LIGHTING DESIGN
Metro Martin Place sits as the primary station for the new Sydney Metro network. The station is split between North and South concourses, linked at numerous ground and basement level connections. One of these connections includes a 67-meter pedestrian tunnel bored through the rock.
The lighting concept proposed two layers of light — static and dynamic — working with a series of audio soundscapes and proximity-sensing, custom-built algorithmic controls platforms to create an immersive experience through this unique space. The result is an organic, ethereal, and personally emotive journey of light and sound.
One judge noted, "The seamless integration of light with the spatial structure responds to movement and time, creating a rhythmic and immersive environment that reimagines the narrow, dim passageway into a surprising and captivating space." Muru Giligu - Metro
2025 IALD AWARD OF EXCELLENCE
New York, NY, United States
This New York City landmark has been altered numerous times since its vaudeville years before this most recent eight-year historic renovation. Central to the transformation, the lighting design reveals the elaborate plasterwork and gilded finishes while quietly integrating this equipment into the historic interior. Aside from the various aesthetic and technical performance demands, the lighting choices incorporate current technology to meet today's energy and safety requirements.
A custom 24-foot chandelier pays homage to the original fixture while offering a contemporary focal point, which the judges noted: "The design team skillfully balanced respect for the theater's heritage with modern lighting techniques, enhancing spatial depth and emphasizing architectural details. The custom chandelier elegantly reinterprets the original, blending history with contemporary design."
Built in 1802, Chongzhou Catholic Church stands in a Chengdu historic district. The structure combines stainless steel with woven bamboo into Gothic-style vaults.
The lighting design maximizes the space's historical spirit and cultural value by employing traditional and modern techniques, emphasizing sustainability with concealed, energy-efficient lighting capable of intelligent scene adjustments.Green design and adherence to Venice Charter principles set a leading example for preserving and revitalizing the district's historic buildings. Judges commented that the original and playful use of light to create a seemingly solid vaulted ceiling — or to show the expanse of the roof structure above — is particularly noteworthy.
This 5-star hotel sits in the bustling metropolis of Shanghai. The interior lighting creates a "light maze" as an extraordinary spatial experience for guests. In common areas, fixtures are concealed in folding metal wall screens to strengthen the sense of space, while a central chandelier is a visual focus, like a bright moon suspended overhead. Reception and corridor spaces create a soft, warm, Zen atmosphere through slightly illuminated bamboo curtains. Minimal downlights provide accent lighting.
Guest rooms use traditional Chinese garden palettes with appropriately soft lighting, all dimmable to provide the desired atmosphere and cost control. Judges applauded the collaborative effort of the design team that resulted in an urban oasis that redefines the role of light in healing and enriching the guest experience.
LIGHTING DESIGN
DOV Design / CDN Lighting
Xiaoying Zhang, Bin Fan, Tao Xiao
2025 IALD AWARD OF MERIT
Current
Columbus, OH, United States
Illuminating an ephemeral sky-high sculpture suspended across a busy downtown intersection featured complex challenges. Privately funded and donated to the Museum of Art for curation and care of its permanent installation, the public art piece stretches an impressive 229 feet at varying heights across its span. The color-changing luminaires highlight the flow of the ever-changing choreography of the kinetic piece.
Coordination with the adjacent buildings and approval from the city's historic commission were critical parts of the project's success. One judge noted, "The transient quality of light, combined with the temporary nature of the installation, offers a captivating moment of visual delight."
LIGHTING DESIGN
Zinkon Creative Studio Ardra Zinkon, IALD, CLD
CLIENT Edwards Company
INTEGRATOR
Village Controls
ELECTRICAL ENGINEER Tec, Inc. Engineering & Design
This project is the client's largest flagship store in the world, and the interior space adopts highly reflective materials to show the brand's sense of technology and signature image. To avoid these lustrous materials causing reflections, refractions, and other phenomena, the interior space is predominantly lit from the center by a four-story cylindrical light-emitting wall. This innovative approach caught the judges' attention, noting how such a clever challenge to conventional notions of lighting harmonizes with the space's reflective surfaces, amplifying the effect without overwhelming the overall aesthetic.
An intelligent control system changes the indoor lighting with daylight, and four dimming scenarios are developed for sunny or cloudy days, closing time, or overnight, so customers feel the brand's unique sense of technological ceremony and cultural charm at every point in time.
Koto is a new fine-dining restaurant on Canberra's King George's Terrace in a 1975 pavilion with a long history as a function space for Australia's politicians. Now a contemporary dining experience, the original heritage-listed architecture has been cleverly converted into a Japanese-style pavilion, complete with Zen gardens surrounding the elevated bridge entry.
The lighting approach focuses on the primary architecture and interior features, sculpting the delicate timber forms and stone textures while accenting the focal points and main kitchen bar. Void of decorative luminaires, the architecture becomes a lantern of structure, texture, and light.
As one judge commented, "The lighting is indeed noticeable and important in this restaurant, but never more so than the architecture. For many, this would be a visual experience teaching them what lighting design is."
The Luce Memorial Chapel
Taichung City, Taiwan
LIGHTING DESIGN
CosmoC Lighting, Ltd.
Ching-Yu Lin, IALD, CLD
Kuo-Chan Huang
Chia-Jung Lu
Jr-Yuan Ho
Jie-Yu Huang
Ruei-Han Chang
Hui-Ning Lee
Yu-Ling Huang
Jun-Yan Wang
This lighting design revitalizes the spiritual and architectural essence of the iconic Luce Memorial Chapel, harmonizing its curved structure with modern technology.
Through indirect lighting, the design accentuates the chapel's flowing surfaces, achieving balance across day and night. Smart systems adapt the lighting for worship, meditation, and exhibitions, enhancing functionality and atmosphere. Exterior wall-washing lights highlight the diamond-patterned tiles and sculptural form, while precise beam control minimizes light pollution.
The rooftop cross is illuminated with balanced projector lights, creating a serene nighttime focal point. Energy-efficient fixtures and sustainable controls reflect a commitment to environmental stewardship and enduring beauty.
The Matheson is a revival of Healdsburg's history, an expansive renovation, restoration, and expansion of a historic commercial building where every corner pays homage to local artisans and farmers. From the bar and dining hall to the mezzanine and terrace, each space is a tribute to the vibrant local community, inspired by their spirit and craft.
Custom-made lighting fixtures glow like timeless beacons, while raw oak, walnut, and stone materials infuse the building with warmth and authenticity. The deliberate use of chiaroscuro (light and shadow) guides patrons' attention to curated art, wine displays, and the open kitchen, where culinary expertise is displayed.
The design masterfully preserves the building's soul while transforming it into a living monument, honoring the heart of Sonoma County.
The interior design concept for this project is "The Arena", where lighting serves as a contemporary homage to a traditional imagination of space.
In the auditorium, light strips are masterfully embedded within the arched grilles through an innovative magnet system, overcoming installation challenges in confined spaces and allowing light to spill from the stacked layers of arches. Unlike conventional designs that maintain a distinct boundary between stage and house, the arch lighting is programmed to synchronize with the active performance, expanding the stage to encompass the entire auditorium.
The lighting orchestrates a harmonious fusion of sound, space, art, and experience. The lighting kindles the audience's emotions, encouraging them to imagine, explore, and interact within the space like the performers themselves.
AWARD OF MERIT
The OWO
London, United Kingdom
LIGHTING DESIGN
dpa Lighting Consultants
Nick Hoggett, IALD; Michael Curry, Design IALD; Ian Clarke; Tim Leeding; Fiona Acton; Ashley Maxwell; Declan Sullivan
The team carefully considered the lighting design for both the interior and exterior of this landmark building.
A sensitive approach was taken when lighting the exterior architecture, creating a striking impact with selected elements softly lit to expose the sculptural architectural features. They conceived a lighting hierarchy for the façade, with lighting becoming dimmer and fading towards the top of the towers, building, and to the night sky.
The designers applied a similar sensitivity to every lighting element for the interior spaces, with the lighting concealed from view to enhance the interior architectural details without drawing attention to the lighting equipment. Careful coordination with local planning authorities was essential to gain approval for a successful lighting scheme.
The resulting work presents the magnificent architectural exterior and opulent interiors in a way never before seen.
2025 IALD AWARD OF MERIT
Seattle Convention Center Summit Building
Seattle, WA, United States
The Seattle Convention Center Summit Building redefines urban convention centers with a vertical design that integrates lighting into its architecture, embodying the Pacific Northwest's essence.
The 58,000-square-foot ballroom features a forest canopy-inspired wormwood ceiling illuminated by hidden, custom luminaires that introduce warmth, shadow play, and dynamic branding opportunities via a networked control system.
Public spaces like the ‘Mixing Zone’ blend lighting with art, engaging visitors and locals. Achieving 34% energy savings and LEED Platinum certification, the project balances innovation and sustainability.
The Summit Building emerges as a transformative beacon of light, culture, and community connection.
This indoor plaza doubles as an office building entrance. Sunlight shines down on the timber-covered space during the day, while at night, indoor lights envelop the space, reminiscent of the moon behind mountains.
Horizontal lighting boldly illuminates the large wooden louvered front wall. Miniature upper lights highlight the delicate curves.
With the mirrored and patterned panels at the office entry, downlights reflect ripples on the floor, emulating a stream flowing in the wooded mountains.
One judge commented, "The lighting design employs a restrained yet precise approach to evoke a sense of tranquil beauty, transforming the office atrium into an immersive and memorable space."
The new lighting of the Temple of Poseidon at Sounion breathes life into the monument, honoring its timeless presence and respecting its historical significance.
The design team chose different color temperatures to distinguish each part of the monument. Warmer light illuminates fortification walls; columns are enhanced with cool light on their exteriors and warm light from within; a neutral glow defines the base. Discreet, energy-efficient fixtures blend into the landscape, protecting the monument's dignity and minimizing environmental impact.
"The execution is testimony to a highly professional and artistic handling of cultural heritage," one judge shared. "It exemplifies a masterful balance between honoring the monument's historical significance and addressing contemporary environmental and experiential needs."
When approaching the lighting design of this unique space, the team adopted a bold and innovative "extreme dark" concept. The goal was to create a light space that perfectly integrates cuttingedge interior design and comfortable lighting effects, raising the overall lighting standard.
The design team meticulously studied the luminance and brightness levels of the overall space and divided it into five functional stages, each with a signature tone and distinction. Ingenious details make the design implicit and unforgettable, profoundly marking Eastern aesthetics.
Judges considered the highcontrast lighting masterful, adding that "the project expertly displays a deliberate juxtaposition of light and dark, creating a visual dynamic that draws the eye and imbues the space with drama and emotional depth.
Hervé Descottes; Leah Xandora; Carlos Garcia; Billy Wong; Esteban Varas; Iam Chen; Jacinda Ross; Wei Jien; Wen Y. Lin; Carrie Chang; Sunmin Park
ARCHITECTS
CLIENT
PHOTOGRAPHY
Completed in 1972, the Transamerica Pyramid reopened in 2024 following an extensive renovation. The architecture was so forwardthinking it was immediately both controversial and worldfamous, becoming an icon of the San Francisco skyline.
The design studio strived to capture this innovative spirit with interior lighting that establishes a clean, defined look that respects the fabric while being contemporary and articulated. At its peak, the renovation of the "beacon" is redesigned with a state-of-the-art, dynamic LED system, enabling the pyramid to transform day to night, from plaza to pinnacle.
One judge observed that "the refined design language and technical execution exemplify an impressive force of regeneration and cultural significance, seamlessly harmonizing the building's historical context with contemporary demands."
The lighting concept for this twostory office space promotes tranquility while supporting diverse and creative functions. The refined design supports each area's diverse function while ensuring smooth transitions between spaces from day to night. Long bands of shallow barrel vaults are a focal point in the open office. Custom linear uplight fixtures with narrow beams create a magical, threedimensional effect on the vaults, peaking in brightness at the center and gently fading toward the edges, boosting the geometry of the ceiling.
As one judge commented, "The lighting design creates value spaces on both floor levels, whether along the façade or in the depth of the space; each area has a refined individual character that also complements the adjacent space's lighting and creates visual connection throughout."
LIGHTING DESIGN
Brandston Partnership Inc.
Sony Wang
Ying Zhu
Boyu Liu
ARCHITECTS
Scenic Architecture
CLIENT Shanghai Liangrang Hotel Management INTERIOR DESIGN CONSULTANT AW
The lighting concept for this twostory office space promotes tranquility while supporting diverse and creative functions. The refined design supports each area's diverse function while ensuring smooth transitions between spaces from day to night. Long bands of shallow barrel vaults are a focal point in the open office. Custom linear uplight fixtures with narrow beams create a magical, threedimensional effect on the vaults, peaking in brightness at the center and gently fading toward the edges, boosting the geometry of the ceiling.
As one judge commented, "The lighting design creates value spaces on both floor levels, whether along the façade or in the depth of the space; each area has a refined individual character that also complements the adjacent space's lighting and creates visual connection throughout."
WNDR Hotel
Jiaxing City, China
At the heart of this hotel's lighting design is the series of "life" lamps that traverse the third-floor atrium. Inspired by floating jellyfish, the research and development of the lamps took half a year, solving problems of shape, fixed spot size, mixed light dynamics, and reflectivity of the ceiling material.
After numerous experiments, the design team decided to have light emit downward from a source concealed within a thin suspension rod, reflected in a limited light range off a mirrored acrylic hemisphere, all suspended at the minimum distance mandated by the client.
Programming generates different pulsation rhythms and color changes based on the time of day and weather conditions, letting the space resemble a living entity and creating a calm pace and visually appealing atmosphere
HLB Lighting Design Transforms
Seattle's Summit Building with Award-Winning Illumination
By RANDY REID
VERTICALLY FUNCTIONAL, FUNCTIONALLY BEAUTIFUL
When the Seattle Convention Center set out to create its Summit Building, the vision extended far beyond simply adding more space. The goal was to redefine how a convention center could connect with its urban environment, serve its community, and reflect the character of its region.
The result is a bold vertical structure in the heart of downtown Seattle – an architectural and civic landmark that merges functionality with a profound sense of place. For HLB Lighting Design, the project, led by Associate Principal Michael Lindsey, CLD, IALD, MIES, LEED AP BD+C, presented an extraordinary opportunity to craft a lighting experience that was both technically precise and emotionally resonant. That vision was honored with a 2025 IALD Award of Merit, presented at LightFair 2025.
HLB Senior Principal and President Teal Brogden IALD, MIES, CLD, LC, played a pivotal leadership role throughout the project, helping steer the design from its earliest concept through final execution. Her guidance ensured the lighting approach remained aligned with the building’s architectural intent, and her influence was instrumental in shaping the project's success at every stage.
The design process began in 2015, and even then, HLB was joining a project already in deep development. Construction challenges and pandemic-related delays stretched the timeline considerably. Michael noted that this was the first fully vertical convention center in the country, a design decision that brought its own complexities.
Unlike traditional horizontal centers built across vast plots of land, the Summit Building stacks functionality, rising through multiple floors of meeting spaces, public areas, and circulation corridors. The lighting needed to unify these spaces and shape an experience that would feel distinctively Seattle.
Working closely with LMN Architects, whom Michael described as one of the best in the world when it comes to convention centers, HLB began exploring a lighting concept inspired by the forests of the Pacific Northwest. “The idea,” he explained, “was to filter light through the trees, through the canopy, and bring that feeling inside.”
Nowhere is that vision more fully realized than in the Summit Building’s 58,000-square-foot ballroom. With a 30-foot ceiling, the space is defined by a field of suspended, six-foot-tall wormwood elements that recall the texture and layering of a
forest canopy. Lighting this architectural feature in a way that was both dramatic and subtle required a carefully coordinated approach.
Rather than rely on a single source of illumination, HLB implemented a four-layer lighting system, beginning with general ambient lighting and building upward from there. Permanently installed theatrical projectors, some embedded within the ceiling and others mounted along the room’s perimeter, added a flexible, dynamic layer. These fixtures, capable of projecting textures, colors, and patterns, allowed the design team to recreate the effect of dappled light passing through tree branches. In the right scenes, the ballroom looks as if it's lit entirely by nature, yet every moment is orchestrated by design.
The ballroom’s lighting also includes a theatrical-grade
control system. Given the scale and complexity of the DMX programming – each theatrical fixture required over 40 DMX channels – Michael and his team knew they needed the most robust, flexible system available.
ETC’s infrastructure not only handled the technical requirements but gave the team creative room to program scenes that would demonstrate the room’s potential. Michael described days spent simply “letting our imagination run wild.” The end goal was a system that would be powerful enough for large-scale productions but intuitive enough for daily users.
Event producers renting the ballroom have the option to bring in their own lighting consoles and operate the system directly, or they can work with a trusted local integrator who’s deeply familiar with the setup. “That’s the big differentiator,” Michael said. “It’s a permanent system that doesn’t require clients to roll in racks of theatrical lighting. It’s already here, and it’s ready.”
The Summit Building isn’t just for conventiongoers. One of its most thoughtful features is the inclusion of public areas designed to be accessible even when the center isn’t hosting events.
One such space is known as the “mixing zone,” a welcoming area filled with retail and dining options open to the general public.
Suspended above this area is a commissioned wood art installation, developed in collaboration with a local artist.
HLB’s job was to light the piece without overwhelming it. The result is a luminous form that glows from within— more chandelier than sculpture, but with a presence that’s understated and artful. Fixtures were carefully concealed and aimed to create a soft, floating effect.
Michael emphasized that mock-ups were a critical part of the design process. “You can do all the 3D modeling in the world,” he said, “but there’s no substitute for building it and seeing it in person.” To that end, the convention center rented a warehouse in Seattle where full-scale mock-ups of the ballroom canopy, the theatrical lighting system, and the Hill Climb circulation zone were assembled.
The Hill Climb, another signature space, features a vertical
wood ceiling element shaped like a comb, with layers of rich timber descending above a major stair. Lighting this feature required fine-tuning to ensure that every plane and angle read clearly without introducing glare or unevenness.
Even the construction process posed unusual challenges. The Summit Building was assembled using a method Michael referred to as “railroad construction.” Instead of building floor by floor, the team constructed one vertical section from the ground up, then moved over and repeated the process.
It made energizing the lighting system more complex than usual, as certain zones came online before others. This rolling activation required HLB to be highly adaptive, coordinating site visits and system checks in lockstep with the construction schedule.
Despite the hurdles, the final product is seamless. At the 2025 IALD Awards, Michael and Teal accepted the Award of Merit with pride. “It’s a remarkable achievement,” Michael said. “But really, it belongs to the whole team— the architects, the contractors, our former designer Sam Hewitt, who poured so much passion into this project.”
In the Summit Building, lighting doesn’t simply illuminate the architecture—it becomes part of it. The interplay of shadow and material, the flexibility of control, and the responsiveness to both daytime users and theatrical needs set a new standard for convention spaces. The IALD recognition is well-earned, not because the lighting shouts for attention, but because it whispers with purpose. ■
LIGHTING DESIGN
HLB Lighting Design
LIGHTING DESIGNERS
Teal Brogden, Michael Lindsey, Samuel Hewett (formerly with HLB Lighting Design)
New architectural lighting products available for specification
The Millwork Series is a collection of 11 recessed and surface-mounted fixtures powered by Optique’s Nano Neon ultra-thin light engine, provides a continuous smooth glow of light with no inconsistencies. The dimensions of each fixture match common router bits to ensure a clean, discreet finish. The series is offered in a variety of mounting angles and a unique up/down configuration.
Peerless Lighting’s Prim™ is a sleek linear luminaire that balances seamless design with high visual comfort, available in recessed or pendant mount options. With field-interchangeable trims, quiet 50-degree cutoff optics, and tunable white control via Modulus™, Prim delivers glare-free illumination. Installation is streamlined with a patent-pending Fast Link system and adjustable mounting bridges.
The Whiz 2.0 Bi-Directional combines powerful downlighting with an integrated uplight. Its metallic finish and elegantly designed parallel airflow gaps enhance aesthetics and heat dissipation. Advanced DMX dimming allows independent control of both downlight and uplight. Meteor’s proprietary Archi-Color™ W+RGB technology enables dynamic color changes with true-to-color white light performance.
ERCO’s TesisNew is an advanced outdoor luminaire family featuring precision optics, tiltable heads, and zoomable beam options that minimize light spill and support dark-sky goals. From flush-mounted to semi-recessed wallwashers, this series offers unmatched flexibility and uniform vertical illumination.
LODES debuts its OUTDOOR Collection, an elegant fusion of decorative design and architectural performance. From garden pathways to hospitality terraces, the collection features sculptural luminaires like FOCUS (pictured), KINNO, CHELSIE, REED, and STITCH, each crafted for durability, visual comfort, and aesthetic harmony.
Sekonic’s new C-4000 Spectrometer is a compact, Bluetooth-enabled tool built for lighting designers, offering precision measurements with smart device integration. Paired with the Sekonic LD App, it enables real-time data sharing, GPS-tagged reports, and advanced analysis of CRI, TM-30-18, chromaticity, and more.
From wall washing to evenly illuminating architectural curves, the Skin family is aimed to provide flexibility. Different configurations of fixtures can be combined with the innovative anchoring system, creating eye-catching and innovative lighting scenes. With multiple beam spreads, Skin will draw attention to what matters the most while fully blending into the space.
The Acoustic Dial is a modern drum pendant wrapped with curved, straight, or angled acoustical felt fins made from 50% postconsumer recycled PET. Offered in a range of lighting options with color temperatures from 2700K to 4000K, and CRI ratings of 80 and 90, these new lighting designs are specifically engineered to enhance speech clarity and minimize noise distractions.
ETC has released the ACP Mk2, a new version of their Paradigm Architectural Control Processors, doubling the capacity while reducing system cost with a DIN rail mount model. Available in two models, the Mk2 is the heart of ETC’s Paradigm, controlling channels, groups, presets, macros, and sequences, delivering 2,048 channels of control over DMX and sACN and connecting with up to 128 stations and sensors.
Coronet LED's new Taskbar is a sleek, deskmounted luminaire designed for focused, glarefree task lighting. Featuring high-efficiency TIR optics and a minimalist profile, it delivers precise illumination while keeping work surfaces clear with a grommet-mounted base. Available in single- and dual-arm versions, Taskbar adapts to modern workstations with specifiable finishes, beam spreads, and dimming controls.
Collaboration in the City of Light
By RANDY REID
The City of Light provided a fitting backdrop last week as Targetti, together with L’Observatoire International, presented its latest outdoor innovation, Catripel, at a special event at the historic Musée de Montmartre in Paris.
The evening celebrated not only the product showcase but also the 50th anniversary of Targetti France, marking a half-century of creativity, craftsmanship, and continued international growth for the company.
A Global Team, A Global Collaboration
The Paris event served as a true gathering of the global Targetti family, with teams from Italy, France, and the United States all in attendance—not just the executive leadership, but staff members who played hands-on roles in Catirpel’s development and launch. Representing the Italian headquarters were Giovanni Bonazzi, CEO of 3F Filippi, Targetti Group, and Nicola Bertini, General Manager of Targetti Sankey srl.
Alain Arcamone, General Manager of 3F Filippi, Targetti France, led his team, while Marie Paris, Chief Executive Officer of Targetti USA, was joined by members of the American
team. The broad international presence at Montmartre reflected the deep, collaborative spirit that brought Catirpel to life. It was an achievement made possible by the close coordination of teams across continents.
As my wife, Lori, and I arrived, we were greeted by Marie Paris just before the evening began. She smiled and assured us, “It’s going to be a fantastic evening. We’re happy to debut Catirpel in Paris with our French team and our guests from around the world in the magical garden of Montmartre. A little rain doesn’t hurt—this product is IP66rated and very durable in this kind of weather, so it’s perfect for this event.”
The garden of Montmartre, drenched in a light Parisian rain, was transformed into a living showcase for Catirpel. The product was demonstrated in a variety of applications throughout the gardens. A dedicated team worked into the early hours—some staying until nearly 3 a.m.—to install and fine-tune the luminaires in preparation for the evening.
The Inspiration Behind Catripel
Catirpel’s distinctive design was the result of a global
partnership between Targetti’s Italian R&D team and renowned lighting designer Hervé Descottes of L’Observatoire International.
The initial connection came through Targetti’s French team. Descottes, who is based in New York but originally from France, was introduced to the project through his relationship with the French office, which led to the broader collaboration with Targetti’s global design and engineering teams.
In his remarks to the audience, Descottes explained that nature itself provided the inspiration for Catirpel. “We studied how caterpillars adapt and camouflage themselves,” he said. “Their ability to move, change color, and disappear into the landscape led us to design a fixture that is both discreet during the day and highly functional at night.”
Later, in my exclusive one-on-one interview, Descottes explained that the goal behind Catripel was to create an outdoor luminaire that would blend organically into its surroundings, minimizing visual clutter while delivering superior lighting performance.
He described how the cylindrical, modular fixture can be adjusted on-site to meet precise lighting objectives. “Lighting design is all about precision,” he told me. “Even two degrees of misalignment can completely change the effect. Catripel allows for that fine-tuning.”
More Than a Product — A Philosophy
While many product presentations focus on performance specs alone, Catirpel represents more than just engineering achievement; it embodies an evolving philosophy of how outdoor lighting should interact with the built and natural environment. As cities and designers worldwide confront issues of light pollution and energy efficiency, Catirpel answers the call with its dark-sky sensitive design and careful light distribution.
Descottes elaborated, “As lighting designers, we need to find new ways to illuminate landscapes without contributing to light pollution. Catirpel directs light downward and allows the natural beauty of trees and gardens to emerge without overwhelming the night sky.”
A Modular, Flexible Solution
From a technical standpoint, Catirpel sits within Targetti’s 24V/48V Outdoor Lighting Systems portfolio. It features
fully adjustable, articulating heads, allowing designers to configure multiple modules along a single vertical support. The system accommodates a range of optics and beam spreads, with an array of interchangeable accessories to meet diverse project needs.
The fixture’s IP66 rating makes it well-suited for harsh outdoor environments, and its cast aluminum body is engineered for both durability and elegant form. This flexibility means Catirpel can serve a wide variety of applications, from residential gardens and hotel courtyards to botanical gardens, historical sites, and urban landscapes. As Descottes noted, "It was almost like developing a toy for kids—fun and rewarding to create something so versatile."
Industry Excitement
Industry leaders attending the Paris event were quick to praise both the product and the occasion.
Teal Brogden, President of HLB Lighting Design, called it “an incredible opportunity in the City of Light to gather with our colleagues to celebrate the power of design.”
Her HLB colleague, CEO Carrie Hawley, added, “I am always inspired seeing fantastic collaborations between brilliant lighting designers like Hervé and amazing manufacturers like Targetti coming together to help move us all forward into the future.”
Lighting designer Chip Israel, CEO and Founder of Lighting Design Alliance, attended the event with his wife Lisa. “I’m very excited to see the Catirpel in action,” Chip remarked as the evening demonstration began.
50 Years in France, Nearly 100 Worldwide
Catirpel’s celebration in Paris also honored Targetti France’s 50th anniversary. Reflecting on the company’s legacy, Marie Paris and Nicola Bertini emphasized that Targetti’s long-standing success—50 years in France and soon 100 globally—has been built on a foundation of continuous innovation, made possible by open dialogue and strong collaboration across teams and borders.
The evening ended with gratitude expressed from every corner—Hervé thanking his design team, Targetti’s leadership thanking its global teams, and the guests appreciating an unforgettable experience in the magical Montmartre gardens.
As the rain continued to fall lightly, the IP66-rated Catripel fixtures stood proudly in operation—a living testament to Targetti’s design, engineering, and enduring global collaboration.
Congratulations to Targetti and L’Observatoire for not only presenting an innovative product but for doing so in such spectacular fashion. To display Catripel under the Parisian sky, in the enchanting gardens of Montmartre, with teams gathered from around the world—it was nothing short of magical. In all my years covering product presentations, this was easily the most enjoyable and memorable showcase I’ve ever attended! ■
Hervé Descottes Reveals the Inspiration Behind Targetti’s Catirpel
Lighting for Body, Mind, and Spirit in Maharashtra
A Sanctuary of Healing and Design
Nestled within the Satmala mountain range near the sacred city of Trimbakeshwar, Maharashtra, Energise Boutique Resort offers a gateway to divine serenity. Located near the revered Trimbakeshwar Temple—home to one of India’s twelve Jyotirlingas—the resort sits at the intersection of spiritual tradition and modern wellness.
Uniquely, this Jyotirlinga symbolizes the Trimurti: Brahma, Vishnu, and Shiva, representing creation, preservation, and destruction. Designing a resort amidst such profound spiritual context required a highly intentional and layered design approach.
A three-layered wellness resort design framework (Schweder, 2022) guided the project to ensure meaningful, consistent experiences for guests. The design considered
By DR. AMARDEEP M. DUGAR Founder and Principal, Lighting Research & Design
the masterplan, external and internal adjacencies, and individual facilities, allowing even apprehensive visitors to pursue personal transformation within a thoughtful and balanced environment.
A Harmonious Blend of Nature, Luxury, and Sustainability
Energise Boutique Resort has been meticulously crafted to provide guests with a place to disconnect, heal, and rejuvenate amidst breathtaking landscapes. The resort reflects a commitment to holistic well-being, balancing luxury with sustainability.
Eco-friendly materials, energy-efficient design, and locally sourced resources form the backbone of the resort’s philosophy. Tranquil gardens, elegant architecture, and curated wellness experiences help guests form deep connections with nature while honoring the surrounding environment.
Layer One: Masterplan Lighting –Calming and Community-Building
At the masterplan level, lighting balances privacy with opportunities for communal engagement. The nighttime
Photos courtesy of Energise Boutique Resort
lighting design offers a soothing atmosphere that considers not only guests but also the region’s flora and fauna.
Key artifacts and pathways are carefully highlighted, guiding pedestrian and vehicular circulation while amplifying nature’s therapeutic presence. The layout ensures therapeutic benefits while respecting nocturnal life.
Layer Two: External and Internal Adjacencies – Arrival and First Impressions
The arrival experience is both welcoming and environmentally considerate. Inground LED linear grazers highlight textured, vernacular architecture, while backlit perforated terracotta tiles cast dappled illumination beneath pitched roofs. Lotus-shaped marble sculptures glow softly, reflected in the water feature at the reception, with focusable lensed projectors from Flexalighting precisely mounted on the pergola. The cozy reception’s warm indirect lighting creates an immediate sense of comfort, despite the resort’s smaller footprint compared to larger properties.
Layer Three: Individual Facilities – Comfort, Wellness, and Versatility
Lighting for the wellness center—including the spa, one of the resort’s most frequented areas—was designed to be soft, inviting, and calming. Indirect lighting integrated into architectural coves creates a soothing environment, while pendant fixtures at the spa reception add a decorative touch.
A flexible conference room, used for both off-site training and informal group sessions, features a backlit stretch ceiling
with tunable white LED strips, offering diffuse illumination adaptable to various uses. Dining areas provide diversity for guests partaking in wellness programs throughout the day. Decorative pendants create playful shadow patterns in the main dining space, paired with SmartLight adjustable track spotlights for functional lighting.
For family guests, children's play areas are subtly lit, and these areas have been thoughtfully separated to ensure tranquility for all guests.
Energy-Conscious Design
The built forms are positioned to maximize natural light, airflow, and scenic views, minimizing reliance on artificial cooling and heating. Locally sourced, natural, and durable materials—including the lighting equipment—require minimal maintenance while supporting sustainability. The carefully crafted environment fosters both personalized wellness experiences and organic guest interactions.
Whether guests are beginning or continuing their wellness journey, Energise Boutique Resort offers a deeply enriching environment that reconnects visitors with nature and themselves. ■
Nexa Suspended
Refining Space. Elevating Light.
The profile you know and love, suspended.
Vode’s sleekest surface-mounted profiles just got elevated, literally. Nexa | 807 can now be suspended using our innovative click-lock power cord technology.
Designed with precision, engineered for performance, and crafted for aesthetic appeal, this fixture transforms linear illumination into a bold statement.
DESIGN WITH CLARITY
By STACIE DINWIDDY, CLD, IALD, LC, LEED BD+C
In residential design, lighting is often one of the most customized and, at times, underestimated disciplines. As lighting designers, we are increasingly invited to the table early, yet fee conversations often lag behind. Compared to commercial work, residential projects require more fluidity, deeper collaboration, and a highly personalized touch.
This makes defining and defending our value even more essential.
What follows is a breakdown of common and emerging fee structures—fixed, hourly, hybrid, and à la carte—with practical insights into how each model supports creative integrity, transparency, and sustainability in residential lighting design.
Fixed Fees: Structure with Boundaries
Let’s start with the most familiar model: a fixed fee aligned with design phases. This structure, widely used across sectors, typically follows the standard sequence— Schematic Design (or early Concept), Design Development, Construction Documentation, and Construction Administration. In residential lighting, we often find that critical services like Controls Commissioning and Aiming are
Photo
Navigating Fee Structures in Residential Lighting
recognized as additional phases to emphasize their importance in the design process.
This model works best when paired with a defined project schedule and clearly articulated scope. In residential work, such schedules are often elusive, except for a fixed end date, frequently driven by a holiday or milestone event. When schedules or deliverables are undefined, proactive communication becomes a key success factor. Setting expectations around meeting frequency and the role of lighting in design discussions becomes key.
When neither a clear schedule nor regular meetings can be confirmed, transparency is your best tool. Communicating what can be reasonably delivered within the negotiated fee helps align expectations and supports internal project management. Schedules— even informal ones—act as reference points. They offer the framework needed to navigate changes, delays, or client-driven shifts in direction.
This brings us to one of the more sensitive elements of fixed-fee work: requests for additional services. Contrary to popular belief, saying “no” can strengthen professional respect. Clients and design teams often appreciate boundaries, especially in a field where "yes" is the default.
Early and open conversations about scope provide opportunities to introduce optional services that fall outside the base fee without disrupting the core engagement. Examples can include decorative fixture specification, architectural fixture procurement, enhanced control system design and commissioning, or extra meetings, mockups, and showroom tours.
While not required to initiate the project, these defined options allow clients and design teams to make informed decisions midstream without the surprise of unexpected costs. Ultimately, the goal is to deliver a high standard of work without compromising its value through scope creep or misaligned expectations.
Hourly Models: Flexibility with Accountability
In some cases, an hourly fee structure is the best approach to preserve value and empower the client and design team with full control over the project’s pace and level of design engagement. This model offers flexibility, allowing timelines to stretch or contract, and gives clients autonomy over how deeply each consultant is involved across phases.
To function well, this arrangement requires transparency. Consultants should provide proactive updates as the estimated fee nears its cap. Depending on region or client type, reaching that
Photo Credit: Derek Skalko
cap can happen more quickly than expected, and the client’s willingness to continue spending may vary significantly.
Hourly estimates are typically built from known variables, such as expected project kickoff and completion dates, the scope of work (interior and exterior), and the size of the design team required. Unlike fixed-fee models, hourly agreements may allow for broader participation—additional team members attending meetings or providing design input—depending on client preference.
Late-phase changes are where hourly models tend to offer more agility. Clients may request refinements, or existing scope boundaries might shift.
This is especially common in renovation projects: work may begin in a single space, but a desire for cohesion often expands the scope to adjacent rooms,
Photo Credit: Dallas & Harris
Photography
Photo Credit: Astula_Raul J. Garcia
floors, or site areas. Under an hourly model, these transitions are smoother— new work is acknowledged as additional scope, and because the rate structure and terms are already outlined in the proposal, moving forward is less contentious.
So why aren’t all lighting designers using hourly models, especially when clients are open to them?
Because it’s not always profitable. Just as we expect transparency from distributors during value management—requesting line-item pricing from manufacturers— we too are expected to justify our own time, line-by-line. Time spent is time billed, and efficiency becomes paramount. Unlike fixed fees, where profit margins can be managed against the full project scope, hourly billing leaves less room for ambiguity—or for absorbing inefficiencies.
Hourly proposals work best when there’s mutual trust, solid communication, and a clearly articulated scope with room for adjustment. When handled well, they can offer both fairness and flexibility, protecting the value of lighting design while adapting to the evolving nature of residential projects.
Blended Fee Models: Fixed for Design, Hourly for Construction
A hybrid approach—fixed fees during design phases and hourly billing once construction begins—is often the most realistic reflection of how residential projects unfold. It recognizes that while design phases benefit from structure and definition, construction often introduces a level of unpredictability that fixed fees struggle to accommodate.
In the early phases (Schematic through Construction Documentation), deliverables and scope are typically well-defined. A fixed fee works here because the path is relatively clear, and deliverables can be projected with confidence. Clients appreciate the predictability, and consultants can plan
staffing and time allocation accordingly.
But once construction begins, new variables emerge. Field conditions, contractor questions, product substitutions, and evolving client expectations all demand quick responses and additional hours that often fall outside the original design scope. Shifting to hourly billing at this stage avoids constant renegotiation and recognizes the continued value of the designer’s expertise, even as the work becomes more reactive.
This transition is easy to define in a proposal and sets expectations early. It also helps avoid uncomfortable conversations later about fees running out or work exceeding scope, maintaining transparency and accountability without constant contractual revision.
Photo Credit: Mountain Home Photo
Photo Credit: Steve Freihon
À La Carte Services: Expertise in Scaled Doses
Not every project needs—or can accommodate—a fullscope lighting design package. Sometimes, a design team or client may simply need a second set of eyes on a layout, a sanity check on fixture selections, or help navigating a specific issue like glare, color temperature, or control compatibility.
In these situations, offering limited-scope or à la carte services can be an effective way to deliver value without requiring comprehensive engagement.
Peer reviews, fixture audits, or one-time consultations are low-barrier ways for clients to experience the value of working with a lighting designer. They also serve as an introduction to the discipline for those who may not have worked with lighting consultants before. For design teams, they offer a collaborative opportunity to integrate
lighting expertise at key moments— particularly helpful in fast-paced residential timelines or smaller renovations.
These services can be structured as fixed-fee packages (e.g., a flat rate for a layout review) or hourly blocks, giving clients clarity and control. They’re especially useful for owner reps managing multiple scopes or clients balancing budgets across trades. Importantly, they also demonstrate that lighting design is not an all-or-nothing proposition—it can be precise, strategic, and scaled to need.
Offering these targeted services helps build trust and often leads to deeper collaboration down the line. When a client or architect sees the impact of a focused lighting intervention, they’re more likely to prioritize lighting in future projects and budget it accordingly.
Clear Structures Build Better Projects
Fee structures do more than outline compensation. They shape relationships, project flow, and the quality of collaboration. Whether working under a fixed fee, hourly model, hybrid approach, or limited scope engagement, what matters most is clarity.
Lighting designers offer high-impact value in residential projects. By articulating that value with confidence and transparency, we ensure a smoother process for everyone. As our industry evolves, so should the way we approach scope, communication, and compensation. ■
Photo Credit: James Florio
LINEAR XTR H1
Extend your reach with a higher output Unwavering
Innovation That Illuminates
The Lighting Sherpa Guiding Integrators Into Lighting
By RANDY REID
In a rapidly evolving industry, where technology and business models are in constant flux, Bruce Clark has carved out a unique and timely role for himself: the Lighting Sherpa. In my interview, Bruce shared his perspective on how custom integrators are entering the world of lighting—sometimes out of necessity, and increasingly, as a strategic opportunity.
Many integrators begin their careers with a passion for audio or video. As their businesses grow, they expand into control systems, often working with platforms like Lutron, Crestron, Savant, Vantage (Legrand), and Control4. Over time, they’re asked to control lighting fixtures that aren’t always compatible with those systems.
“When the control system causes lights to flicker or fail to dim properly, it’s the integrator who’s usually expected to fix it,” Bruce explained. “They’re often the last ones in and the last ones out. And they stay connected to the client for years through service contracts and firmware updates.”
To reduce these challenges, many integrators have started to specify and provide lighting fixtures themselves. This shift allows them to ensure compatibility while unlocking new revenue opportunities. However, it also comes with increased responsibility.
Bruce pointed to early leaders like Tom Doherty, Director, Home Technology Specialists of America, Inc., who pioneered lab environments to test dimming compatibility and educate clients on premium lighting options. By managing both the control system and the fixtures, integrators can better guarantee performance, though it also means they must support those systems long-term.
While much of this innovation is happening in the
high-end residential market, Bruce sees growing interest in light commercial applications. He is currently advising an integrator working on a new church project, where understanding IES recommended illuminance levels is essential. “Sometimes these integrators find themselves in unfamiliar technical territory,” Bruce said. “That’s where I can step in—to educate and support them.”
The integrator’s business model can vary significantly by project type. On residential and light commercial jobs, they might be brought in by the client, builder, or electrical contractor, depending on how well they articulate their value to the team.
Bruce clarified that while integrators often claim to do "lighting design," their definition can differ considerably from that of a professional lighting designer. This gap creates both friction and an opportunity for collaboration.
Bruce is passionate about educating integrators on lighting through the lens of design. “They hold a lot of decision-making power,” he noted. Many are entrepreneurs overseeing projects with lighting and control budgets in the hundreds of thousands of dollars. He cited Lutron’s Ketra system as an example, where individual downlights can cost over $1,000 apiece.
Authorized dealers of these high-end systems must complete extensive training to deliver, program, and support them effectively—blending advanced control, shading, and lighting technologies into seamless solutions. “Though they may understand the technology on the back end, there’s so much more to learn about how to properly sculpt, shape, and specify light.”
When asked how the integration channel could further
“Sometimes these integrators find themselves in unfamiliar technical territory. That’s where I can step in—to educate and support them.”
Bruce Clark
expand into lighting, Bruce pointed to the critical role of buying groups like HTSA, ProSource, Azione Unlimited, Oasys Residential Technology Group, and Ellipsys (the latter three operating under the Nationwide Marketing Group umbrella) that are investing heavily in lighting education for their members. Bruce consults directly with Nationwide, providing training, coaching, and serving on lighting committees to help elevate integrators' knowledge and market impact.
The scale of opportunity is significant. While buying groups collectively represent around 1,500 companies, CEDIA, the leading trade association for integrators, boasts over 20,000 members. Bruce is actively collaborating with CEDIA on their expanded lighting education initiatives, working with their education team to develop and deliver new training content.
He also emphasized the growing visibility of lighting at major industry gatherings. Events like CEDIA Expo and Lightapalooza now feature a surge in intelligent lighting manufacturers exhibiting alongside traditional AV leaders.
Lightapalooza—founded and spearheaded by Tom Doherty—has emerged as the premier lighting-centric
event in the custom integration space, doubling in size nearly every year since its inception four years ago. The 2026 edition will be held 16–19 February at the Kalahari Resort in Austin, Texas.
This past January, Lightapalooza introduced an Academia Track, featuring lectures by thought leaders like Dr. Craig Bernecker, Dr. Kevin Houser (who delivered the keynote), Mariana Figueiro, and Jennifer Brons. Buying groups like Azione and Oasys also host semi-annual, members-only events where lighting manufacturers meet face-to-face with dealers. Bruce often leads workshops at these gatherings, helping members at various stages of lighting integration maturity. While some of these events are vendor- and dealer-focused, Bruce sees increasing awareness of them as a catalyst for broader cross-industry dialogue.
Photo Credit: Shane Horner | Horner Networks
Photo Credit: Jen Stone
Photo Credit: Mark Williston
By working together, integrators and designers can elevate their craft and deliver the kind of sophisticated, thoughtful lighting today’s clients crave.
Last fall, Bruce also participated in a webinar roundtable hosted by Business of Light and moderated by Sara Schonour, exploring how traditional lighting designers can collaborate with integrators. “There’s a tremendous untapped resource in custom integration,” Bruce said. “If lighting designers are willing to look with fresh eyes, integrators can bring them into projects they might never have accessed through traditional architecture or electrical channels.”
Bruce believes this dialogue is happening—whether or not lighting designers engage. “Right now, much of what goes on in the CI [custom integration] space is still like the Wild West,” he said. “There’s gold in them hills—but
also a real need for professional expertise to elevate the conversation.”
Meanwhile, Bruce continues his mission as a Lighting Sherpa—helping integrators deepen their design acumen and fostering collaboration between the lighting and integration communities. “My goal is to ‘lighten’ their load,” he said, “and to elevate and expand the craft of lighting design to a broader audience.” As the lines between integration and lighting design continue to blur, Bruce Clark’s role as a bridge-builder will become even more vital.
His message is simple: by working together, integrators and designers can elevate their craft and deliver the kind of sophisticated, thoughtful lighting today’s clients crave. ■
Photo Credit: Steve Weber | Liaison Technology Group
Bridging the Gap
Helping Lighting Agents Serve the Design Community
In today’s rapidly evolving lighting industry, technical fluency and professional credibility are no longer optional. They are essential.
Lighting agents and manufacturers who wish to successfully call on specifiers, architects, and engineers must do more than sell. They must educate, collaborate, and provide real value throughout the design and specification cycle.
To meet this growing demand, NEMRA Lighting, in collaboration with their alliance partner, the Illuminating Engineering Society (IES), is working to introduce a strategic and accessible solution: the NEMRA Lighting Stepped Educational Curriculum. This multi-level, onlinebased education pathway is designed to develop lighting and controls knowledge while also building a bridge toward broader industry certifications.
More importantly, it creates a mutually understood and respected foundation of lighting competency for all NEMRA Lighting members, strengthening industry trust and increasing opportunity across the entire specification chain.
Why This Curriculum Matters
The lighting industry has grown more complex, and so have the expectations of its specifiers. Whether working with a lighting designer balancing aesthetics and performance, an architect focused on integration and code compliance, or an engineer concerned with technical detail and system longevity, today’s specifier demands knowledgeable partners, not just vendors.
Yet, for many agents and manufacturers, accessing reliable, structured education on lighting and controls has often been fragmented or cost prohibitive. The NEMRA Lighting curriculum will eliminate these barriers by offering a clear, accessible path to professional growth that supports
every stage of learning, from foundational knowledge to advanced specialization.
A Stepped Approach to Professional Mastery
The NEMRA Lighting Stepped Educational Curriculum is comprised of four progressive levels. Each tier is aligned to real-world job functions, customer interactions, and strategic knowledge needs, ensuring agents and manufacturers build the right expertise to serve the right audience effectively.
Level 1: NEMRA Lighting Trained
Level 1 serves as the entry point for all participants. This online collection of foundational courses focuses on basic lighting and controls principles, terminology, and system understanding, ideal for those new to the industry or seeking to solidify their core knowledge.
By completing Level 1, agents and manufacturers establish a shared baseline of lighting literacy, giving them the confidence to speak accurately and intelligently with distributors, contractors, and even specifiers.
Level 2: NEMRA Lighting Educated
Once foundational knowledge is achieved, participants move into Level 2, which focuses on the fundamentals of selling lighting and controls across a range of customer segments—including contractors, distributors, facility managers, and end users.
These modules are specifically geared toward the lighting agent and manufacturer audience. They cover best practices in product positioning, customer conversations, solution-based selling, and common application scenarios for both lighting and controls.
Level 2 is especially valuable for team members working in
JEFF BRISTOL By
sales, quotations, or project management, equipping them to provide informed guidance while also deepening their understanding of customer needs.
Level 3: NEMRA Lighting Specialized
Level 3 represents the transition from generalist to specialist. This advanced tier dives deep into how lighting products and solutions are evaluated, selected, and integrated by specifiers—including lighting designers, architects, and engineers.
Courses focus on the cradle-to-grave journey of a lighting system—from concept development and design intent to bidding, approval, and long-term performance. Participants learn how to effectively engage in the specification process, anticipate pain points, and add meaningful value during critical project phases.
By completing Level 3, agents and manufacturers demonstrate their readiness to work alongside the design community—not just to sell, but to collaborate and consult.
Level 4: NEMRA Lighting Professional
Level 4 builds upon the principles of Level 3, delving into even more advanced lighting and controls applications, including layout techniques, system integration, control zoning, and aesthetic design principles.
Ideal for those supporting design-build teams, integrators, and high-performance building projects, this tier empowers professionals to speak the language of visual comfort, spatial intent, interoperability, sustainability, “lighting quality” and other key priorities for today’s specifiers.
Level 4 helps ensure that agents and manufacturers don’t just understand how systems work, but also how they serve people and places. Like Level 3, this tier will be available through trusted portals and requires verified completion to achieve certified recognition by NEMRA Lighting.
A Path Toward Industry Recognition
One of the most valuable aspects of the curriculum is that it creates a consistent and credible path for participants to show their learning progress. NEMRA Lighting will offer a centralized repository where members can upload completion acknowledgements and receive official Level 1, 2, 3, or 4 certificates.
These recognitions not only enhance personal and organizational credibility, but also serve as internal benchmarks for agencies and manufacturers looking to evaluate readiness, train new hires, or promote continued development.
Additionally, select courses at the
advanced levels may serve as preparation for industry certifications such as the Lighting Certified (LC) credential, the Certified Lighting Controls Professional (CLCP™), and others such as CLMC® or LS-C. This approach allows participants to use the NEMRA Lighting curriculum as a launchpad for long-term specialization and career advancement.
Building Trust with the Specification Community
The end goal of this program is simple but powerful: to help agents and manufacturers build stronger, more trusted relationships with specifiers, architects, and engineers as well as with distributors and contractors by speaking their language, understanding their process, and respecting their challenges.
By committing to structured learning, NEMRA Lighting members not only improve their own skills but also elevate the professionalism and credibility of the independent representative model. In doing so, they position themselves not just as sellers, but as strategic partners, ready to contribute to the design process and deliver better outcomes for every stakeholder involved.
In an industry where knowledge is power and credibility is currency, the NEMRA Lighting Stepped Educational Curriculum will offer a clear, accessible path forward. For lighting agents and manufacturers ready to grow, adapt, and lead, the journey towards an enlightened and elevated lighting industry starts here. ■
FROM SHELTER
Sighte Studio’s Thoughtful Design Turns a City Shelter into a Welcoming Haven
By PARKER ALLEN
Photography: Alex Fradkin
On a quiet street in East Harlem, a modest one-story building has been reimagined into something far greater than its shell suggests.
The Manhattan Pet Adoption Center, a collaboration between Studio Joseph and Sighte Studio, breathes new life into a 1930s garage, transforming it into a sanctuary for animals and a welcoming experience for prospective pet owners. At the heart of this transformation is a lighting design that balances utility, compassion, and visual delight.
Sighte Studio, the lighting firm behind the project, is no stranger to working in spaces that serve the public. Two former Parsons classmates, Francesca Bastianini and Alex Pappas-Kalber, founded the firm in 2016 with the idea of designing more projects that are accessible to the public but often overlooked in the world of lighting design.
That ethos made the Manhattan Pet Adoption Center a perfect fit.
A Project Years in the Making
The lighting design began taking shape back in 2017. At the time, Sighte was still a young firm looking to align with like-minded collaborators. Bastianini recalled her admiration for Studio Joseph’s public-facing work and their clear design sensibility. “We knew we wanted to work with them,” she said.
Their timing was fortuitous. Studio Joseph was preparing a proposal for the Manhattan Pet Adoption Center, a project
commissioned by the New York City Department of Design and Construction (DDC) and operated by the Animal Care Centers of NYC. Sighte Studio joined the team, and together they began reimagining what a city-run animal shelter could be.
The project was never going to be simple. The building was an aging garage – long, narrow, and deeply constrained by zoning laws that prohibited modifying its original apertures. The existing structure had very real limitations. But, the foundation was there to create something special.
Design With Dignity—for Animals and Humans
From the outset, the team approached the project with a retail sensibility, prioritizing openness, warmth, and comfort over the institutional feel so often associated with municipal shelters. They sought to redefine what a shelter could be, trading the usual sterile, institutional feel for one that was inviting and serene. “We wanted to create a space where animals and people both feel at ease,” noted Robyn Bohn, a designer at Sighte who joined the firm after studying under Bastianini at Parsons.
That approach began with natural light. The existing structure already included three long skylights running through the central axis of the building. These became a cornerstone of the design.
While the skylights introduced natural light into the central
TO
hallway, they weren’t enough to meet all of the shelter’s needs. Sighte Studio supplemented the daylight with a system of carefully integrated lighting – primarily recessed linear fixtures positioned to complement the skylight rhythm.
The team had originally hoped to integrate lighting directly into the skylights, but mechanical constraints altered those plans. The ceilings in the kennels had to remain high, so all MEP systems were routed through the corridor, leading to the recessed approach.
Still, the lighting remains seamless, balancing brightness with visual softness. The interior palette – white and light gray finishes chosen by Studio Joseph – helps reflect and diffuse light, contributing to a sense of cleanliness and openness.
Lighting With Empathy
Designing lighting for animals comes with its own unique considerations. Sighte Studio worked closely with an animal behavior consultant who introduced them to the Fear-Free Animal Hospital Design Guidelines. One of the key lessons? Avoid the “cavern effect” – a situation where only the floor is lit, creating visual imbalance and discomfort.
To address this, each kennel is equipped with its own sealed downlight featuring wide distribution optics that light both floor and vertical surfaces. The fixtures are wet-rated and fully cleanable to support the facility’s rigorous hygiene requirements. “It was important to avoid harsh shadows and create a more evenly lit space,” noted Bastianini.
Crucially, the kennel lights are individually controlled. Each room can be dimmed or brightened as needed, whether for cleaning, medical evaluations, or to provide a calming environment for the animals.
A timeclock governs the broader lighting scenes throughout the day. In public and back-of-house areas, sensors harvest daylight to modulate lighting levels. Occupancy sensors control lighting in low-traffic spaces like staff restrooms, while the rear courtyard features photo sensors to illuminate outdoor dog runs only when needed. The goal was to keep the lighting intuitive and automated.
Enhancing the Adoption Experience
Beyond its technical rigor, the lighting contributes to the narrative flow of the building. From the moment visitors step off the sidewalk, light helps guide them through a calm, welcoming experience. A glowing facade with colorful vertical fins flickers in changing light, catching the eye and inviting curiosity.
Inside, visitors are greeted not by a sterile reception desk, but by a shared table where conversations about adoption begin. “It’s not transactional,” said Bastianini. “It’s personal.”
Cats and rabbits are visible through glass partitions, while dog kennels are located deeper in the building, along a softly lit corridor. Frosted glass between kennels prevents dogs from overstimulating each other, while still allowing visibility for staff and guests. “We were always thinking about how light affects both behavior and perception,” Bastianini explained. “The lighting is low-glare, low-stress, and designed to support calm interactions.”
A lenticular art piece near the entrance flickers between the image of a dog and a cat as you move past it – a playful nod to the mission of the space, and a small delight for visitors.
A Subtle Success
By traditional standards, the Manhattan Pet Adoption Center may not be the flashiest lighting project. It has no dramatic color shifts or digital displays. But its impact is measurable and deeply felt. Since its completion in 2024, the center has seen a noticeable increase in adoptions.
“To hear that more animals are finding homes—that’s the best feedback we could ask for,” said Bastianini.
The project recently received a Citation for Interior Design at the 2025 AIA New York Design Awards, but for Sighte Studio, the real reward is seeing lighting quietly improve lives. “We’re proud of this project,” says Bohn. “It proves that even a small space, if it’s designed with care, can make a big difference.”
For Sighte Studio, that’s the kind of work that matters most. ■
A Global Platform for Emerging Talent
By
The Silhouette Awards is a global mentorship programme dedicated to identifying, celebrating, and supporting the next generation of talent in the lighting design industry.
Launched in 2021 through a collaboration between Archifos and Parrot PR & Marketing, the initiative has actively brightened the careers of emerging designers. designing lighting (dl) has previously highlighted the programme’s impact and evolution, chronicling its growth and influence within the lighting community.
Now celebrating over 80 successful pairings from across the globe, the Silhouette Awards continues to support rising stars who bring vision, creativity, and leadership to the future of lighting design.
How the Programme Works
In case you are unfamiliar with the awards, each year the programme ‘shines a spotlight’ on 20 outstanding mentees who are selected from an application process based on their originality, achievements, and potential.
As part of the application process, aspiring participants are invited to submit a three-minute video sharing their story, accomplishments, and aspirations for the mentorship. Designed to be personal, inclusive and accessible, this format allows applicants to communicate their passion directly to the judging panel – the selected mentors.
Each year, the winners are publicly recognised across the global lighting design community and are matched with established professionals for a six-month mentorship. This experience is designed to help mentees develop their skills, build valuable industry connections, and grow both personally and professionally.
Building a Global Mentorship Community
At its core, the Silhouette Awards is about more than
individual success. It promotes a global community of mentors, mentees, and supporters, encouraging collaboration, knowledge-sharing, and long-term growth within the industry.
The programme is proudly supported by leading industry organisations and media platforms, including arc magazine, IES, APDI, designing lighting global (dlg), the Society of Light and Lighting (SLL), Women in Lighting, VLDC, and many, many others.
Lighting Design as a Transformative Force
For the lighting community and beyond, light is far more than just illumination - it’s a force that shapes how we experience the world. It defines architecture, enhances well-being, drives productivity, and plays a key role in sustainability. As the Silhouette Awards continues to grow, its mission remains dedicated: to champion emerging talent and ensure the future of lighting design is in inspired, capable hands.
Now in its fourth year, the programme continues to thrive, with dynamic relationships forming among the pairings. The Silhouette Awards not only recognise emerging talent but also celebrate the experienced professionals who dedicate their time and insight to mentoring the next generation. For many, what begins as an opportunity to give back becomes a deeply rewarding experience, one that aids personal growth and inspires fresh perspectives.
Through this unique opportunity, the Silhouette Awards is helping shape not just careers, but the future of the lighting design industry.
Mutual Growth Through Mentorship
Some of this year’s participants have shared their
The Silhouette Awards Celebrates and Elevates the Next Generation of Lighting Professionals
PARKER ALLEN
experiences of being part of the Silhouette Awards. From learning new skills to building confidence and making valuable connections, their stories so far highlight the real impact of the programme and what it means to be part of this growing community.
For many, the programme mentorship has been a catalyst for self-reflection and fresh thinking.
Fabiana Nery Pardhanani shared what it is she values from the experience so far with her mentee, Tiago Winer. “It has been a good learning curve for both of us. We are learning a lot from each other, finding many things in common and topics to discuss. Tiago is a senior designer with a lot of experience. Therefore, our approach is more about future ideas and how to develop a few areas that are not working well. We are both learning about deeper conversations on lighting topics and getting one another’s opinions on developments. It has been a good journey, and we are enjoying it very much.”
Sometimes, the mentor's journey is not just about support, it's about being transformed by their mentee’s ambition.
Philip Hammond explained, “I was, of course, very excited to start the mentorship with Lally Wildelska. I have encouraged her to step out of that comfort zone and go forward into the unknown. This has been an amazing process for me as an international educator and an illumination engineer with 54 years of experience. I have been challenged to make it my business to ensure that Lally succeeds. It will not only be her success, but it will uplift my spirits to the highest if she succeeds. It means that I have to plan each session for her next step to success.”
While mentorship in the lighting industry supports technical and professional development, it often offers something even more meaningful - a genuine human connection.
Eugenia Cheng expresses this through her partnership with Petra Koza. She said, “This mentorship is a two-way journey for Petra and me. While I give, I also receive - and vice versa. Although we are of similar age, our personal and professional paths are alike yet quite different.
Our journey is about building a trustworthy friendship, dedicating time to help each other hone new skills, and developing empathy as we share our challenges. We strive for honesty and hold each other accountable for our commitments.
I aim to provide options and fresh perspectives, and no matter which path she chooses, I’m here to support her emotionally and mentally. This relationship fosters selfreflection and personal growth for her, while I also evaluate my own experiences and approaches. Every meeting has been uplifting, and I know I will treasure this experience. The more we share, the more I want to help her succeed
in whatever endeavours she pursues!”
Creating Lasting Connections
Beyond each annual programme, the Silhouette Awards have created lasting, meaningful relationships that have significantly influenced participants' careers and developed a thriving and connected community. Past mentees have reported increased confidence, expanded professional networks, and new opportunities arising from their involvement in the programme.
One pairing from Year 3 shared their personal experience of the programme and what it has meant to them.
Tiziana Regalado, a mentee from 2024, said, “The Silhouette Awards gave me the confidence and drive to pursue more than I ever expected for myself. I began this journey thinking I would simply gain a mentor to guide me through some daunting upcoming projects.
Instead, I found a friend, a confidant, and a true source of support in Panos. I’m deeply grateful to the Silhouette Awards for this wonderful opportunity and for connecting me with such an amazing, talented, and inspiring community.”
Panos Ferentinos, Tiziana’s Mentor, added, “The Silhouette Awards experience has been truly inspiring, offering mentorship and a deeper understanding of the industry. I had a great connection with my mentee and learned a lot from Tiziana. It has been a journey of growth, happy times and connection and I hope everyone has the opportunity to experience the same.’’
Looking Ahead to Year 5
As the Silhouette Awards look ahead to Year 5, with celebrations planned to mark this exciting milestone, there’s a real sense of anticipation around what the future holds for both the programme and the wider lighting design community. Reaching a fifth year is not only a moment to reflect on the incredible achievements so far, but also an opportunity to look forward to the emerging talent still to be discovered, the mentors yet to share their wisdom, and the continued growth of a truly global network.
To celebrate this landmark year, a number of exclusive sponsorship opportunities and celebratory activities will be introduced. These will offer supporters and partners a unique chance to align with a recognised and highly valued initiative that backs the next generation of lighting designers. From special events and collaborative campaigns, to enhanced brand visibility across the lighting industry, Year 5 promises to be a standout moment in the Silhouette Awards story - one that welcomes even greater collaboration, recognition, and impact.
Get Involved
The Silhouette Awards 2025 is collaborating with: Power sponsor Huda Lighting, Core sponsors ADO Lights, formalighting, Traxon e:cue and Light sponsors Intra lighting, Ligman, Signify and Vivalyte. To find out more about the Silhouette Awards and how you can get involved as an entrant, mentor, or sponsor, contact info@silhouetteawards.com. ■
L i g h t i n g B e s t P r a c t i c e s C O M I N G I N A U G U S T
P r o j e c t F o c u s : A r e a , S t r e e t , a n d M o n u m e n t L i g h t i n g
P r o j e c t F o c u s : A r e a , S t r e e t , a n d
M o n u m e n t L i g h t i n g
T r e n d s : A I - D r i v e n D a t a a n d A u t o m a t i o n
T r e n d s : A I - D r i v e n D a t a a n d A u t o m a t i o n
L i g h t i n g 1 0 1 : O u t d o o r
L i g h t i n g 1 0 1 : O u t d o o r L i g h t i n g B e s t P r a c t i c e s
A Life Painted in Light
RANDY REID By
Lunch with Ken Billington
One of the greatest privileges I have serving as Editor of designing lighting (dl) magazine is the opportunity to build lasting friendships with some of the world’s most talented lighting designers. Paul Gregory, IES is among that distinguished group, and over the years, our professional relationship has grown into a personal friendship.
So, when Paul discovered that I had never met the legendary theatrical lighting designer Ken Billington, he didn’t hesitate. He arranged for the three of us to have lunch.
Lunch with Ken Billington isn’t just a meal—it’s a master class. On a clear spring afternoon in New York, we met at Gallagher’s Steakhouse on West 52nd Street, just steps from the very theaters Ken has illuminated for decades. True to Paul’s instincts, the time spent with Ken was not only enlightening but unforgettable.
Ken Billington remains a towering figure in lighting design. His career spans 96 Broadway shows and 25 years as principal lighting designer at Radio City Music Hall, and includes a Tony Award for Best Lighting Design for the 1996 revival of Chicago
Sitting across from him, what strikes you first isn’t his résumé. It’s his passion. He’s still energized by the magic of stagecraft, still tinkering with cues and bulb specs, still fighting for artistic control in a world increasingly dominated by LED complications and corporate decision-making.
Paul and I began with calamari. Ken, allergic to seafood, passed. As we settled in, he reflected on his earliest inspiration, “I turned the lights on and off for my fourthgrade play,” he said with a grin. “That was it. I knew what I wanted to do.” By 18, he was already working professionally. By 19, he was lighting Broadway.
He never looked back.
Ken recounted his most recent project: the Majestic Theatre previously home to The Phantom of the Opera for 35 years, where he led a full lighting upgrade. “We completed the renovation about a year ago,” he said. “Although the first production hadn’t loaded in yet, one of the major challenges was addressing the 47-foot dome.”
Initially, he experimented with LED grazers, but they proved ineffective. “Fortunately, there was an existing 148-foot trough in place,” Ken explained. “We opened it up, replaced the E26 sockets, installed new wiring, and ultimately fitted 148 Tala A19 Clear LED bulbs. The dome turned out beautifully—clearly, the original designers knew what they were doing.
Also in the auditorium: one large 10-foot-wide chandelier with 123 bulbs, eight medium chandeliers with 20 bulbs each, 19 small chandeliers with six lamps each, and 20 three-lamp sconces, all fitted with Tala Candle E12 Clear bulbs.
For the bar and retail areas as well as lobby highlights, Ken selected iGuzzini pin spots to highlight statues and architectural details. He added, “…and iGuzzini provided exactly what I needed.”
But the real challenge came with the lighting control system. “We used ETC’s Paradigm,” Ken noted, “and the complexity arose from how the system handled the chandeliers and sconces.” The main chandelier, for example, used to run on four 3K dimmers but now operates on a single 2400 W dimmer.
With multiple chandeliers spanning the space, the load and varying distances from the dimmer racks caused uneven fade-ins. “The lights would come on at slightly different times depending on their cable runs,” he said, “which disrupted the seamless look we were aiming for.”
Ken dove deep into the technical weeds—writing custom dimmer curves, creating pre-cues to avoid fade inconsistencies, and building macros to smooth transitions. “It’s not just about the fixture,” he emphasized. “It’s about the behavior of the light. That’s what the audience sees.”
The upfade posed the biggest challenge. While ETC was able to provide custom dimmer curves, Ken needed to ensure they worked for both fades up and down. “I didn’t need much for the downfade,” he said. “But the upfade was a different story.”
He discovered that fixtures wouldn’t visibly emit light until the system hit between 14% and 18% intensity. His solution? Write a cue at zero count to bump all dimmers into that activation range, follow it with a 0.7-second macro hold, and then trigger a second cue to bring the lights up gradually in 8 seconds—albeit in just two steps. “You could only get two steps out of it,” he said, “so I had to game the system.”
What made the Majestic project especially frustrating, Ken explained, was the broader issue of inconsistent behavior in modern LED fixtures and control systems. “I told ETC, ‘You’ve got to fix this. LEDs aren’t going away next week— they’re here to stay. If you want to stay in the game, you have to solve the fade curve problem.’”
His concern wasn’t with technological progress but with the lack of precision. “This isn’t just a Broadway issue,” he emphasized. “It’s going to show up in people’s living rooms.
The standard has to be higher.” Fortunately, ETC responded and is addressing the issue, hopefully implementing a solution that will bring the LED system’s performance back in line with the professional demands of theatrical lighting.
As our burgers arrived, we shifted to the topic of tours. Chicago, for example, has nine active productions around the world. “They all look the same,” Ken said. “The contract requires it.”
That consistency, however, brings its own set of challenges. Many of the original fixtures—color scrollers, MR11 lamps, R40 floods—are no longer manufactured. “I still specify discontinued bulbs,” he explained. “We’ve resorted to buying cases on eBay and storing them in a warehouse. The technology changes, but the design has to remain consistent. When those bulbs are gone, I’ll find another way.”
When discussing his process, Ken emphasized that lighting design is as much about subtlety and sculpting as it is about illumination. “Sometimes color is about mixing,” he explained. “On stage, I might start with a pink wash, then layer in a bit of blue from another circuit, maybe some lavender from a third. That combination shifts the shadows just enough to create dimension.” His approach is less about lighting objects and more about shaping space and emotion, using contrast, texture, and nuance to tell the story.
Curious how such precise compositions hold up in real-time performance, I asked what happens if an actor is slightly off and not standing in the correct place. Ken smiled. “Actors are trained to hit their marks. That’s their job,” he said. “If someone ends up in the dark, they’ll quickly learn—if you want to be seen, you need to be in the light.”
While all lighting cues are pre-programmed, the execution isn’t automated. A stage manager watches the show live and calls each lighting cue, syncing it with the actors’ movements. “If someone’s walking across the stage,” Ken said, “the stage manager might call the cue five seconds before they reach their spot, and the lighting operator executes the change at just the right moment.” It’s a seamless blend of technical precision and live human intuition.
After lunch, Ken invited me to tour his office—a working archive of lighting history in the heart of the Theater District. The space is packed with project files, light plots, scale models, and photos documenting more than five decades of innovation and artistry.
We spoke about the contrast between theater and architectural lighting. Though Ken has made meaningful contributions to both, he’s partial to the collaborative spirit of theater. “Theater people are nice,” he said with a chuckle. “When a show closes, we’re all out of work. We help each other.”
His architectural lighting philosophy echoes his theatrical roots. “I paint with light. I don’t calculate lumens. It’s about how people feel in the space,” he said. “Downlights should be a last resort. Use sconces, chandeliers—fixtures that bring presence. The apparent source of light matters.”
He shared a story about a restaurant project where the lighting was so welcoming that patrons refused to leave. “The bartender even dimmed the lights to try and clear the place out,” Ken laughed. “The lighting was too good.”
Ken also reflected on the state of Broadway real estate. With only 38 theaters, nearly all of them occupied by long-running hits like Chicago, The Lion King, and Wicked it’s increasingly difficult to find space for new productions. “You can have a great new show that’s fully rehearsed and ready to go—but there’s no theater to put it in,” he said. “Broadway is a victim of its own success.”
Ken’s generosity stood out throughout our conversation. He openly shares knowledge with the next generation, whether it’s drawings, advice, or entire light plots. “I can’t light every show,” he said. “Why not help others do great work?”
For Ken, lighting is ultimately about emotion. “Good lighting makes you feel something,” he said. “It’s not about the light itself—it’s about the mood it creates. That’s what makes a show great. Not just the singer, but the way the light hits them at the right moment, against the right background.”
He doesn’t think of himself as a technician. “I’m not an engineer,” he said. “I’m an artist. I paint in layers. Color, shadow, contrast. Change the background, and the actor suddenly jumps forward. That’s the magic.”
From our first bites of calamari to the last stories shared, Ken was candid, curious, and deeply committed to his craft. After more than five decades at the top of his profession, he’s still evolving, still problem-solving, and still showing up, often with a roll of gels in hand.
As we parted ways, I silently thanked Paul Gregory for arranging the meeting. Spending an afternoon with Ken Billington wasn’t just an interview—it was a front-row seat to the legacy of a legend.
And yes, the lighting was perfect. ■
and Standardizing the Lighting Industry’s Data YOUR LIGHTING BRAND: BUILDING 200 WEBSITES
By
Your Lighting Brand has reached a milestone few could have imagined when the business began nearly 12 years ago: 200 lighting industry websites built.
Rob Hilbert, co-founder of Your Lighting Brand (YLB) and The Lighting Exchange (LEX), shared how this achievement reflects not just growth in numbers, but an evolution in how lighting agencies and manufacturers manage their digital presence and data.
"We’re sitting right around 199 to 203," Rob said, noting that some websites are in production and nearing completion. "It’s funny. Internally, I knew that we’d built many websites, and that maybe I should check the count to see where we stand. And when I did, I was happy to see we were approaching the nice round number of 200."
The journey began with a single website for a lighting agency—likely a Cooper rep, as Rob recalls—thanks to early relationships with manufacturers who saw the potential of YLB’s services. One memorable early client was J.G. Murphy. "He never had a website," Rob laughed. "When we built him one, the Acuity agents joked that if we
could build one for him, we could build one for anyone."
What started as a one-off service quickly led to a realization that agency websites had unique challenges, particularly with maintaining accurate line cards. "The page that changed the most was the line card," Rob explained. That realization led to the creation of The Lighting Exchange, a software platform that now serves as the backbone for most of their clients' product marketing and data management.
"Today, roughly 93% (400+ installations) of commercial and industrial lighting agencies use our software either embedded into a website that YLB built or as a plug-in to their existing website," Rob stated. “And with key software advancements over the past 2 years, we now have over 30 manufacturers integrating The Lighting Exchange into their websites.”
This integration allows real-time synchronization of spec sheets, installation files, and product data across manufacturers and their entire rep network. When a manufacturer updates their product information, it
RANDY REID
Photo Credit: Rob Hilbert
automatically updates across all their agents' websites, ensuring consistency and saving countless hours of redundant work.
The efficiencies extend far beyond website maintenance. Rob explained that analysis of user behavior revealed that 82% of site visitors go directly to an agent’s line card, with another 10% visiting the contact page. That leaves very little engagement with other content, which is why Your Lighting Brand advises agencies to keep their sites "lean and mean."
"An agency doesn’t need a massive website," Rob emphasized. "They need a great line card. That’s what people come for."
While the agency websites remain a major part of their work, Your Lighting Brand has evolved into a full-service marketing, design, and software firm for manufacturers as well. Their team of 26 employees in Columbus, Ohio, offers everything from graphic design and web development to video production, social media management, SEO, and custom software solutions. "If a lighting manufacturer needs it to go to market, we can help them do it," Rob said.
The relationship between Rob and his partner, Jonathan Ayala, has been instrumental to the company’s balanced growth. Both are 50/50 owners of Your Lighting Brand, which owns The Lighting Exchange platform. Jonathan, a former lighting agent, oversees The Lighting Exchange while Rob focuses on design services. "It’s a very balanced business," Rob noted. "From a revenue standpoint, it’s pretty much 50/50."
As the platform matured, the conversation has naturally shifted toward standardization—a word Rob uses carefully when speaking to manufacturers. "Manufacturers bristle at the word ‘standardize,’ but the specifiers and reps are demanding it," Rob acknowledged. Lighting designers, in particular, have voiced frustration over inconsistencies in spec sheets across manufacturers.
"They want the same categories on an Acuity spec sheet to be on a Cooper, Hubble, or Amerlux spec sheet," Rob said. "Our belief is that there’s only so many ways to present the critical information a specifier needs. You can call it a template or a belief system, but we think it’s simply the right way to do it."
Rob believes that The Lighting Exchange’s position as a widely adopted platform gives them both a responsibility and an opportunity to lead this push for better, more consistent data management. "We serve as infrastructure for the industry. If we don’t solve it, no one else will," he said.
That vision extends to new product features, including a spec sheet builder currently in beta testing with several manufacturers. This tool allows users to configure a product directly on a manufacturer’s website and generate a customized spec sheet in real-time—a step toward the consistency and efficiency that specifiers have long requested.
Beyond domestic growth, Rob sees potential for expansion within North America through partnerships with organizations like NEMRA. "The MRA reps would be
perfect for our software," Rob suggested, noting that while international expansion is theoretically possible, focusing on other sectors within the U.S. market remains more immediately plausible.
Rob’s team has already collaborated with industry groups, having previously developed onboarding and training programs for AAILA, now part of NEMRA. As he eyes future growth, Rob has also had preliminary conversations with NEMRA leadership, including Jeff Bristol, to explore further opportunities.
Despite the company’s remarkable growth, Rob remains focused on listening to the market, particularly to specifiers. An industry friend suggested that Rob participate in IALD or DLF-NY meetings, where standardization is often a hot topic among lighting designers. Rob agreed, saying, "If we can get specifiers on a call to show them what we’re building and get their input, that would be invaluable."
Such conversations, Rob believes, could generate momentum for broader industry adoption. "If specifiers endorse a spec template, manufacturers will be more likely to follow. That carries weight."
Rob reflected on the organic way the company has grown, "We never planned for The Lighting Exchange to become what it is today. It just evolved as we saw the industry’s needs."
For now, both Your Lighting Brand and The Lighting Exchange continue to expand their influence across the lighting sector, providing much-needed solutions to simplify data management, improve specifier experiences, and help reps and manufacturers better serve their customers. Rob's simple but powerful philosophy remains: "If we don’t get ourselves aligned, we’re not going to go anywhere."
The milestone of 200 websites may be just one number, but for Your Lighting Brand, it represents something larger: an industry increasingly open to the efficiencies, standardization, and collaboration that digital tools can finally deliver. ■
IESNYC Lumen Awards 2025
The Lumen Gala was held Wednesday, June 18, 2025. See the winners here.
The IALD International Lighting Design Awards 2025
The Awards were presented at LightFair on May 7, 2025. See the winners here.
IES Illumination Awards 2025
FINAL SUBMITTAL DATE Closed
AWARDS PRESENTATION
22 August 2025
IES 25 Lighting Conference, Anaheim, CA
LIT Lighting Design Awards 2025
SUBMITTAL DATE
31 August 2025
ANNOUNCEMENT DATE
November 2025
DLFNY Beacon Awards
FINAL SUBMITTAL DATE 15 September 2025
AWARDS PRESENTATION 29 October 2025
Sony Hall, NYC
NLB Tesla Awards™ 2026
FINAL SUBMITTAL DATE Mid-January 2026
ANNOUNCEMENT DATE 14 April 2026
LEDucation, NYC
Light Justice NOW Awards 2026
FINAL SUBMITTAL DATE 2026, Date TBD
ANNOUNCEMENT DATE TBD
Light Middle East Awards 2026
EARLY BIRD SUBMITTAL DATE 18 July 2025
SHORTLIST ANNOUNCEMENT DATE 20 October 2025
The awards ceremony will be held on 14 January 2026 at the Dubai World Trade Centre.
LIGHTING BEYOND
Jake Needham started a new position as Senior Lighting Designer at New York City.
Morgan Keegan started a new position as Principal at New York City.
PEOPLE MOVE ON THE
ELLUMINET AN ELEN CONSULTING STUDIO
David Shaeffer started a new position as Senior Lighting Designer.
Yon Choy was promoted to Principal.
ONE LUX STUDIO, LLC
was promoted to principal.
was promoted to principal.
RTM ENGINEERING CONSULTANTS
was promoted to Senior Lighting Designer.
Associate.
Carlina Geraci
Yasamin Shahamiri
Aldo Espina was promoted to
Sirun Olivapotenza started a new position as Lighting Designer.
Maryia Pupkevich was promoted to Lighting Designer III, Denver, Colorado.
CELANO DESIGN STUDIO CO.
Claire Song
salutes and thanks its advertisers for their support. We applaud the achievements of lighting practitioners and recognize the importance of their work in architecture and design.
UP CLOSE with LISA REED
SHIRLEY COYLE, LC By
Somewhere around the age of five, Lisa Reed was already laying down a path to her future, as she designed and built tunnels and structures in her sandbox with a neighborhood friend. Her playmate was more focused on watching any airplane going overhead.
“Fast forward fifteen years” Lisa laughed, “and we were both at The University of Kansas. I was studying architectural engineering, and he was studying aerospace engineering!”
It took some time to find lighting within architectural engineering. Fortunately, Lisa was told in a lighting course about the Besal Fund. She applied for, and became, a Besal scholar, and over the next two lighting courses, Lisa found her calling in lighting design.
“I was really lucky to be there at that time. The KU architectural engineering program was both in the School of Architecture and the School of Engineering.” There were three professors during Lisa’s time at KU— Ron Helms, Lou Michel and Clay Belcher who were very interested in lighting from a design perspective and helped crystallize Lisa’s interest in the field.
Moving to Florida for her husband Todd’s job after graduation, Lisa’s budding IES network connected her with Tom Brownlee, who sat her down in his office with a list of local IES member contacts to call to try to get a job. “It was a bad time in the economy, so I took a job at an MEP firm as a CAD tech. Early on, I asked the electrical guys, ‘Who does the lighting design around here?’ They said, ‘We just call the reps.’ And I said, ‘Not anymore!’”
After two years in Florida, Lisa and her husband moved to Wichita, Kansas, where Lisa went to work for another MEP firm. At the 1998 IES Annual Conference in San Antonio, Texas, Lisa had a critical interaction.
“I met Tom Scott and was having the conversation with him that I had with everybody… ‘I’m an electrical engineer, but what I really love is lighting design.’ Everyone else had just let me say that. Tom said, ‘Wait, if you want to do lighting design, you should be doing lighting design. Everyone’s hiring—now is the time!’”
She continued, “It hadn’t occurred to me that you could go out and do just lighting design. Tom suggested a few names, including Chip Israel. I called my husband and asked, ‘What if I quit my job, and we sold our house and moved to California?’”
Soon, Lisa and her husband were off to Los Angeles for new adventures; it was a hectic time that included becoming parents.
By 2004, they moved their very young family back to the Midwest, settling in St. Louis, Missouri, with Lisa focusing on being a full-time mom. She continued to stay involved with IES, where she met Kevin Flynn
Her IES connections led Lisa back to doing lighting design part-time, and for a year Lisa commuted into the city to HOK. She moved on to work from home part-time for a local lighting agent—a choice that helped Lisa balance home and career.
In 2011, with her kids now a little older, Lisa’s next move was a big one. She founded her own lighting design company, Envision Lighting Design, a business she ran and grew successfully for over ten years.
In 2022 Lisa merged her firm with Randy Burkett Lighting Design, creating the entity now named Reed Burkett Lighting Design (RBLD). And while that growth on its own is impressive, it expanded again this past year with Chicago-based Aurora Lighting Design joining as an RBLD Studio!
Lisa has frequently spoken on the challenges of managing a full-time lighting design career and family home life,especially for women with young children. “It was important and lifechanging for me. When I started my company, my first hires were women I knew who were working at a lighting design firm in town, had a baby, and they quit. I called to say, ‘Are you like me—do you love lighting design? If we can just figure out a way you could do it—not full time—and balance your family.’”
Reflecting on her success, Lisa recalled her parents’ influence. “My Dad was one of 10 kids and was told by his own father and teachers that he was stupid and probably
shouldn’t go to college. But he was the first one in his family to go to college, and he became a teacher! Together with my mom, a nurse, my parents raised two daughters who have engineering degrees and believed they could do whatever they wanted. And there were all the mentors along the way—people telling me I could do something. And I believed them.”
Asked for her advice for newcomers to the lighting community, Lisa offered, “Lighting is an incredibly welcoming community. Anybody will talk to you, so if there is somebody you want to talk to, do it! There are so many opportunities for mentorships and friendships in lighting. At the same time, it’s a very small industry, so don’t
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