8 minute read
A Legacy of Light
from June 2025
Remembering Paul Marantz
By Randy Reid
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 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 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.
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, master-planning 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.
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.”
