THE BUSINESS OF LIGHTING DESIGN
harmony to the aesthetics and performance of the chandelier. If they had gone directly to a manufacturer, I don’t believe the client would have benefited from the refinement that we were able to provide.
What is your favourite part of the design journey, and why? Collaborating and playing a key role in a team. When we are employed as architectural lighting designers, we have to fit comfortably in and become an integral part of the whole process of design and construction. It’s finding that balance between working together and ensuring our corner of the process is realised from inception through to completion. There’s a lot of work in this, and I love it. It’s not about designing a product for the sake of it, it’s about finding a solution to a challenge. That’s when it becomes an incredibly rewarding and useful process to be a part of – to be useful.
What is the biggest challenge you have faced when designing products? It can sometimes be a challenge to get manufacturers and suppliers to understand that we are both designer and client. This actually makes me, and my team ideally placed to offer support. For example, if a large manufacturer has a Research and Development department, they will design a new product in-house. This may be
based on market-research, but often it’s based on what they ‘think’ the market needs. And only once it is released does the feedback come in on what could be improved or what is required. By now it’s likely in production and the commitment has been made. At DesignPlusLight, we are lighting designers who are also the ‘client’ for the lighting industry. If I need a product, I will design it, then got to the manufacturer to collaborate and ultimately build a viable product. It’s pretty much handing insider knowledge to businesses on a plate, but not everyone can appreciate that, and sometimes the years of experience they are gaining access to can be overlooked.
How does your expert knowledge and experience in lighting design influence product design? I have seen an evolution of style and design over the extent of my career. It’s very much like the fashion industry, cyclical trends reimagined with today’s materials. An expression of a moment. Colours, textures, styles are rehashed and reimagined – brass globe fittings and light wood was reimagined with dusky pinks and teals just a year or so ago… and now the pendulum will swing to darker finishes – bronzes and deep browns – earth tones. I’ve also experienced and been part of the design process with hundreds of talented interior designers and architects. Just being in that space and responding to them, in lighting terms, means you absorb so much. Over the years you get to see how products have evolved and refined as the lighting industry has moved into the realm of technology with new ways of production. I have over 28 years of experience - immersive experience in the built environment. I believe there comes a point where you have experienced enough to know where there’s a shorthand. I’m incredibly curious and geeky about the profession. I have a thirst for finding out more, and the luxury of working in a fast-paced industry. I’m always learning, how to work with new lighting solutions, how to reimagine things, how to refine and respond to an ever-changing market.
Does creating lighting designs allow you to discover gaps in the market where new products are needed?
The head of the LD50 can be adjusted up to 90 degrees from horizontal to vertical, allowing the fitting to be placed further away from the path.
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designing lighting global
There are only a certain number of tools – or lighting tricks in the toolbox. For example, you have a downlight, a floor washer, and an uplight. Whilst LED technology brought us linear lines