HLB Lighting Design: The First 50 Years

the first 50 years

In fact, the calling that inspired Jules remains the driving force that propels our firm today: to impart the value of light and the value of the lighting designer’s work. During the early years, we used to say half-jokingly that you didn’t need to know much about lighting to be considered an expert in the field. This encapsulated both the challenges we faced with limited public awareness of the craft, and the optimism we shared about the limitless potential for lighting design as an emerging profession. Jules recognized the opportunity and worked tirelessly to set a high bar for our design work, galvanizing teammates and clients alike with overflowing confidence and contagious passion, while exercising his proclivity to nurture all talent that passed through his doors.

This spirit lives on in each of our Principals—perhaps with more technical knowledge and greater business acumen, but still every bit of his advocacy for light and what it brings to the human experience. Our leaders have built upon his foundational goals to establish a national presence with an international reach as an independent lighting design firm. They have applied his energy and enthusiasm in developing an outstanding team with lighting design excellence as the cornerstone of the five firm values: integrity, artistry, curiosity, balance and legacy.

At HLB we are unwavering in our desire to create the best possible lighting solutions for the myriad of design challenges presented by clients, budget, technology advancements,

energy issues, and wellness concerns. Endless time is spent developing compelling, holistic designs that are mindful of these sometimes contradictory factors. We work collaboratively to consider all possibilities and provide these options to project stakeholders, lending well-earned intuitions and expertise to help each project reach its most luminous potential.

But we are only as good as the way we apply our design and business rigor this morning and every morning. As a pioneering force in lighting design, we continue to face positive pressure to excel, further the evolution of the craft and maintain our leadership role in the industry. The moment we neglect to do our best, uphold our values and deliver innovative lighting for the built environment in a purposeful way, we may be at risk of failure. Our firm believes that our team, clients and professional colleagues must be educated, engaged and excited about all aspects of the lighting process from concept to construction. It is our responsibility to ensure that this happens.

Now, more than ever, there is greater demand for the skills and services of lighting designers worldwide. As the landscape of technology continues to evolve, we remain committed to educating ourselves and refining our services to meet the needs of our clients in a variety of expanding market sectors. This is the most exciting part of growing our firm, as it generates renewed enthusiasm from within and creates opportunities for staff to develop new areas of expertise that inspire them—and in turn, our clients and the many who experience our work.

Since the beginning, our culture has always been about building the team. We are not only proud of our current group, but deeply humbled by the nearly 500 individuals who passed through our doors over the past 50 years, each bringing their unique talents and contributions to the firm’s successes. As we reflect on what we’ve created together, we are inspired and immensely grateful. We will continue to push boundaries, work with conscience, and positively impact the world around us—all with the same vigor, stewardship and passion for lighting we set out with 50 years ago.

Barbara Cianci Horton

FIALD, MIES, LC

Senior Principal | “The H”

Stephen W. Lees

FIALD, MIES, LC, LEED AP BD+C

Senior Principal | “The L”

E. Teal Brogden

IALD, MIES, LC

Senior Principal | “The B”

We are extremely fortunate at HLB Lighting Design. Half a century has passed since the inception of our firm, yet our “raison d’être” is not much different than what Jules Horton envisioned for HLB all those years ago.

Architectural lighting design is a relatively young profession. As a discipline, its roots stem from theatrical lighting in the 1930s and 1940s and the early days of television in the 1950s. Although today, lighting design practices proliferate around the globe, few can boast 50 years in business or trace their origins to one of the pioneering practitioners of the field. Horton Lees Brogden Lighting Design is that rare firm.

Over its 50-year history, HLB has paved the way for architectural lighting design, working to elevate the profession and raise the profile of the lighting designer among the disciplines of architecture, landscape architecture, engineering, and interior design. In the process, the firm’s work has been recognized with numerous design awards, and its staff recognized for its service to the industry’s professional associations and organizations. The firm’s successes are of course a win for the practice, representing years of hard work, but they are also a win for the whole of architectural lighting design. HLB’s 50th Anniversary theme—Legacy, Light and Leadership—is a fitting description for a firm and a group of individuals who have, and will continue to, pave the way for the profession.

Mention the name Jules Horton to anyone in the architectural lighting design industry and it immediately calls to mind one of the true pioneers of the field. A visionary and a thought leader, Jules approached the profession as an opportunity to explore the intersection of architecture, engineering, and illumination—and did so with a passion and curiosity that would define his legacy.

Born in Poland’s capital city of Warsaw in 1919, Jules studied structural engineering at the Warsaw Polytechnic Institute. He was an avid lover of art, music, theater, literature, and travel, and a gifted linguist who was fluent in six languages. Despite being subjected to the horrors of war in his formative years, including surviving a labor camp in the Arkhangelsk Islands during World War Two, Jules never allowed those experiences to dampen his exuberance or stifle the pursuit of his passions.

After immigrating to the United States in 1947, Jules continued his engineering studies at Columbia University, where he received his Master of Science in Structural Engineering. He earned his Professional Engineer (PE) license shortly after graduation, and immediately made his impact on the New York City skyline, completing a design of the radio tower located at the top of the iconic Empire State Building. But as he progressed in his engineering career, Jules grew frustrated by the separation between the design and construction processes. To better understand these distinct practices, he took it upon himself to work for a contractor and explore, in his own words, “how things were put together and worked together.”

Armed with a more holistic understanding and eager to put it to good use, Jules accepted a job as Chief Engineer under Abe Feder, a fellow lighting pioneer and a key influence in Jules’s evolution from engineer to lighting designer. Jules was still new to lighting, but as he put it, “if he’s crazy enough to offer me the job, I’ll be crazy enough to take it.” Jules worked for Abe for three years, learning all he could about how theatrical lighting techniques and equipment could be applied to the scale of building architecture and interiors.

After working with Abe, Jules went out on his own, while simultaneously serving as the in-house lighting

designer for engineering firm Syska & Hennessy from 1963 to 1967. By 1968, with a significant amount of experience and several notable New York projects to his credit, he officially opened Jules G. Horton Lighting Design from his living room studio.

Over the course of the next two years, Jules garnered several high-profile projects and illustrious clients, which enabled him to move his operation to Park Avenue South. His work on the Dallas Fort Worth International Airport with prominent architecture firm Hellmuth, Obata + Kassabaum (HOK) proved to be a breakthrough for the company, opening the doors for other major commissions domestically and abroad. Jules’s ability to forge successful working relationships with clients was a testament to his design skills and his business acumen, but even more so because of his acute understanding of how lighting provided a bridge between the architecture and engineering disciplines.

Hand in hand with the evolution of the firm’s portfolio came the growth of a talented and innovative design staff. Jules was a master of surrounding himself with the best people, something he proudly noted as his “greatest achievement.” This extended beyond the doors of his firm—Jules was a founding member and Fellow of the International Association of Lighting Designers (IALD), served as the organization’s president from 1977 to 1979, and received the Lifetime Achievement Award in 2000. He was also an active member of the Illuminating Engineering Society (IES) of North America and was named a Fellow in 1987. Jules officially stepped back from his practice and retired in 1995, but continued to focus on his love and passion for the arts in his twilight years.

- Jules G. Horton

“A lighting designer is a person who first has a perception, has an innate perception of lighting. It is someone who reacts to light, who notices light. You see we all like sunny days, it makes us feel energetic and we are transformed by the light. But the lighting designer is someone who can harness these perceptions and respond to them.”

FIRM MILESTONES

Embracing change has been central to HLB’s approach to business and design since its inception in 1968. So much so, that HLB has frequently served as the catalyst for significant changes both within the firm, and the greater industry. Whether pushing the boundaries of lighting technologies and trends, or embracing market sector changes through the greater AEC industry, HLB’s success has been undoubtably tied to a flexible yet strategic approach, ensuring firm longevity driven by the pursuit of what’s next to come.

1968 Jules G. Horton Lighting Design is established and incorporated in New York City. 1976 Stephen Lees joins the firm. 1980 Barbara Horton joins the firm. 1984 Stephen Lees becomes a partner, firm name changes to Horton • Lees Lighting Design.

Firm expands to San Francisco— originally led by Denise Bruya Fong.

1991 Teal Brogden joins the firm in San Francisco. 1994 Teal Brogden relocates to Los Angeles to open HLB’s third design studio.

HLB is incredibly proud of the portfolio and footprint the firm has achieved in the past 50 years, but most importantly of the team of dedicated and passionate designers and staff who have made it possible. Shared among each team member is the passion for what can be accomplished together, both today and for the perpetual tomorrow.

- Barbara Horton

1999 Firm becomes Horton Lees Brogden Lighting Design. 2007 Carrie Hawley spearheads the opening of HLB’s fourth design studio in Boston. 2015 HLB’s fifth design studio opens in Miami, led by Simi Burg. 2016 Michael Lindsey opens HLB’s sixth design studio in Denver. 2017 Matthew Tanteri spearheads the opening of HLB’s seventh location, Austin, and continues growth of HLB’s Daylighting & Sustainable Design studio.

2018 Illumination Arts joins HLB, adding Principals Faith Baum and Ken Douglas and a new market sector, infrastructure, to the mix.

“Without change there is no innovation, creativity, or incentive for improvement. Those who initiate change will have a better opportunity to manage the change that is inevitable.”

BARBARA HORTON

CLD, FIALD | SENIOR PRINCIPAL | CEO

Ask Barbara Horton how she got her start in architectural lighting design, and she will be the first to tell you that it was a “happy accident.” After graduating from the Fashion Institute of Technology (FIT) in New York in the late 1970s, she set off to begin her career in interior design—or so she thought.

A lighting course at FIT taught by Jules Horton led to a freelance drafting assignment that was only supposed to last three weeks, but with no immediate interior design jobs on the horizon, Barbara decided to stick with lighting as a way of building the foundation she would need for a career in interior design. That was more than 40 years ago, and she has never looked back. Throughout her career, she has been one of the driving forces in the lighting industry, playing an instrumental role in the rapid and continuous growth of the firm, and serving as a mentor to young creatives both within her firm and beyond. Known for her generosity of spirit, lighting and architecture colleagues frequently seek her lighting knowledge and insight.

What fascinates you about light?

It is transformative. Daylight, electric light, and control—all three of these things are constantly changing the environment and the spaces we are designing for. I’m most excited about day to night lighting transitions and how people interact with spaces after dark.

How do you start your design process?

It is really about listening and engaging your senses at every level, tuning in to what the client needs, what the architect needs. We have to be as creative as possible with a healthy dose of pragmatism. However, at this point in my career, with more than 40 years’ experience, you acquire an innate sense about how to approach certain design challenges, a gut feeling so to say. Still, I came from a hands-on world and I always advocate for testing an idea when possible, doing a mock-up to see if a design idea will work.

How has lighting design changed since you first started working?

Today we have a much greater social responsibility— and not just in terms of energy and sustainability, but in terms of creating spaces and environments that provide safety and can enhance people’s everyday lives.

How do you think architects view the lighting profession?

When I speak with architects, they always comment on how exciting lighting is with all the technological advances, particularly those that have occurred due to the introduction of LEDs. They are captivated by our expanding palette of tools; it’s fascinating to them.

As the profession moves forward, do we need to reconceive what it means to be a lighting designer and how firms are established?

You cannot just rely on being an artist and a creative person. You have to have an incredible amount of business acumen, an understanding of technology, and a comprehension of people and psychology in order to run a company and keep it going. It is a symbiotic relationship. The profession is going to change considerably in the way that we do business, rather than what we deliver. The delivery process of design services is still very archaic, no matter the specific discipline. We follow along and respond to architects’ business models. When there is change there, there will be change for lighting designers too.

What the greatest misconception architects have about the practice of lighting design?

Our clients recognize that lighting is a more complex business than just drawing circles and squares on a reflected ceiling plan. Over the years, I think our clients have come to understand that lighting is a necessity—an essential component for any project—that should not be dismissed as a quick or inexpensive project component.

What role does education and teaching play in your practice of lighting design?

I am a huge advocate of learning and I believe I have to set the example for others in my firm. If I do not know something I go out and learn it, whether that happens through attending a lecture, or taking a class, or hiring a consultant to talk to a group in the office. You cannot always learn everything just by doing it. The first generation of lighting designers had to do it that way and it did not always prove successful. As a Principal in a firm, you have to be learning as much as your staff. We also encourage our staff to be active in the various professional organizations and attend conferences and trade shows. It is a great way to network, learn how to interact with people, and handle yourself in public. Education goes hand-in-hand with mentoring. We need to sponsor our future leaders—this, to me, is critical to the future success of the lighting design profession.

Where do you see lighting heading?

We are in a new world. I am in a third era of lighting technology, and the tools we have today are providing the lighting designer with some of the greatest opportunities I have seen in my career. It inspires me to get up every morning.

What makes a great lighting design?

If a design solution is clever and it looks simple, but you know that there was a lot of study behind it, that makes for a great lighting design. It is not only about the architecture. Were you innovative? You do not start a lighting design by picking a fixture; you start the design process by coming up with the need and the solutions. It evolves from there and then you find the tools to make it happen.

STEPHEN LEES

FIALD, MIES, LC, LEED AP BD+C | SENIOR PRINCIPAL | EXECUTIVE VICE PRESIDENT

Despite an illustrious career in lighting design that has spanned more than 40 years and hundreds of buildings, Stephen Lees still has a dream project he would love to work on: a research station in Antarctica. It is a revealing response and confirms his continued passion for light as a medium.

As he explains, “The project I would most like to do is a concept project—a white building in Antarctica. I would love to take a year and really understand the light down there. I would design the fenestration, the lighting, and all the components to create a luminous environment and see how we can make form change, move, and pull in the colors from the environment.” An avid sailor, Stephen is no stranger to nuances of light as informed by location. “The first time I went to Mexico,” he says, “I could see how the daylighting and sunlighting were totally different, and how the architecture responded to that.” It is this keen eye that has set him and his work apart, culminating in perhaps the highest individual honor a lighting designer can achieve—the IALD’s Lifetime Achievement Award.

How did you first get into architectural lighting design?

When I was starting out, I had no idea there was such a job as architectural lighting. I did not even know it was a profession. I came from theater. I had spent a year and a half looking for the right job, and decided I needed to use a shotgun technique. I sent out about 20 letters to firms listed as designers in the New York Yellow Pages and I got two answers. One was from Jules G. Horton Lighting Design. And even then, I wasn’t sure what I was in for, even though Jules described it pretty well. My father was a landscape architect, and as part of his profession he worked with architects and engineers, so I thought, “This sounds like fun.” I took the job, and thanks to Jules and the firm’s Vice President at the time, Henry Hahn, I began to learn what lighting design was all about.

What have been some of the greatest challenges in growing the firm to get it to the place that it is today, both in terms of the diversity of each office and the ability to respond to local markets?

The more important question is, “Why did we do it?” If you come up with an answer why, it motivates you. You will figure out the how’s. So, why did we do it? For me personally, and I know for other people in the firm, and particularly for Jules, we think lighting matters. Lighting the built environment matters. It matters even more than when I started working in 1975. We have all the energy issues, the health issues, the list goes on and on. It does not make any difference whether it is an office environment where you are supporting a task-oriented challenge, or whether it is an opera house where you are trying to delight and help people have a great evening. In every case, the lighting of the space matters.

What advice would you give to a young designer just starting out today?

My advice to a young designer is to gain an understanding of design and construction. Go to design school. Take some classes in electrical systems and construction. Go to construction sites. Apprentice with an electrical contractor, even if you are just helping moving boxes of equipment. You will learn by seeing what the electrician is doing.

Ultimately, we are in the construction industry; we are building something. If you do not understand what you are building, you are probably not going to do as good a job as you could have done. Take a year off, or take a summer off between college and instead of interning at a design firm, get a job with a contractor. Do an apprentice job. I think that is one of the pieces that is missing for a lot of people that come from the design school system. I came from a theater background where you are trying to figure out how to go from concept to full execution. That is why theater is such a great learning ground, because you go from concept to built environment and you are in charge of getting it done.

The firm’s 50th anniversary is a significant accomplishment—not many firms that have reached this milestone. What are you most excited about, in terms of what this represents for, not just the firm, but the lighting design profession as a whole?

Of the 50 years HLB is celebrating, I have been with the firm for 44 years. More than anything else, I am happy for Jules Horton. I really am. He had a vision and a tenacity you would not believe. He knew how to go out and convince a client that they needed us. So, the foremost meaning of this anniversary for me, is Jules’s legacy. Along with that, it is the legacy of improving the built architectural environment for the people who use it every day, and ultimately improving and helping to build the profession so that clients see the value of lighting design.

Ultimately though, this firm was not built and has not become what it has become just because of me or just because of Barbara or any individual Principal.

We have 15 Principals now, and we totally believe in the collaborative effort. We spend an inordinate amount of time in the firm and among the Principals talking about planning and strategizing on a variety of things. The credit falls on a lot of shoulders. And, it is not just the Principals. We have great staff, great support—we are lucky that way.

E. TEAL BROGDEN

IALD, MIES, LC | SENIOR PRINCIPAL | PRESIDENT

E. Teal Brogden has always had a flair for design. She credits the start of her lighting journey to her mother, a microbiologist who she describes as a “scientific mind with an artistic curiosity,” and her father, an engineer fascinated by lighting. Teal caught the “design bug” watching her mother develop the floor plan for the new family home, and recalls sketching racetracks for her brother, equestrian centers for her sister, and gymnastics and dance routines for herself.

Fueled by imagination, creativity and a sense of play, Teal saw early on how the spatial volumes she envisioned on the page could become three-dimensional experiences. Her proclivity for mathematics combined with her artistic eye allows her to transform technical ideas into artistic expressions, and over the span of her 30-plus year career, she has established herself as a creative force in the architectural lighting design community.

Is there a person that made an impression on you when you first started out lighting?

When I started the lighting program at the University of Colorado Boulder, David DiLaura was a particularly inspiring figure. It was immediately clear that he cared about the mercurial phenomenon of light and helping his students learn how to harness it. One of the things he talked about at length, and systematically, was the need to think of your career as lifelong learning—to make sure that you are continuously finding ways to challenge yourself and learn new things. This is such an embedded part of the HLB culture, and it is the reason why so many people have such a long trajectory of vibrancy and success at HLB. Barbara and Stephen are wonderful examples of this mentality, as they are constantly challenging themselves and others. The whole assemblage of Principals is actively mentoring one another and encouraging that continuous curiosity and learning.

How would you describe what a lighting designer does?

Lighting designers are both a creative part of the team and a highly technical part of the team. We are collaborative, dynamic problem solvers that leverage the emotional content of light to design the best possible experience for the people who inhabit our projects. It is our job to ensure that the systems we deliver are successful, not just on day one, but for the duration of the life of the project.

Do you view architecture and architectural lighting as distinct disciplines, or do you see the two as part of the same whole of design?

I think they are part of the same continuum of creative problem solving. If you study one of these disciplines, they teach you techniques for looking at the programmatic needs, considering the emotional and experiential aspects of those needs, and weaving them together. Our most successful projects are often with highly blended teams, all tinkering with different pieces of the puzzle to meet the overall

client goal. What are the boundaries, parameters, or problems we need to solve? And what are the ways we can apply our intuition, empathy, imagination, and curiosity to accomplish stunning, perhaps unexpected, but wholly appropriate results?

Are there other areas of design that influence you?

If I have a tricky design problem to solve, typically I find myself having an epiphany while listening to a great piece of music or attending a dance or theater performance. That, for me, is a real inspirational cleansing. It takes away the barriers when I watch a dance performance. I also really enjoy the theater that Robert Wilson has done—in particular the set design, because he weaves light into all of his design work in such a powerful way. I am definitely a very visual person, so finding a visual feast in other artistic areas, as well as nature, is restorative for me.

What is it about being in nature that contributes to how you think about light and shadow, and pattern, texture and color?

In nature, and in cityscapes too, there is a lot of interesting visual texture that contributes to the spatial experience of light. You might be in an open desert, or in a forest with a dense tree canopy, and in each of those environments you will experience a different spatial awareness. The variety can be quite inspiring. You can feel the light as it impacts your body while you are out in nature, and that opens your mind so you can experience things more fully.

With the perspective and experience you have accumulated in your career working in architecture, lighting, and design, what is it that still fascinates you about light?

At this point, I find myself most intrigued while thinking about the daytime and the nighttime—the Yin and Yang of the experience of light. In an exterior environment, for example, it is interesting to think about the luminaries themselves as objects and how they capture a glint of sunlight, lending texture and the potential of visual jewelry to a cityscape. The more I practice working with light, the more I also strive for subtlety, so that when you do something that is meant to be attention-grabbing, it is really a moment of glory against a background of more quiet, simple gestures. One advantage of having

been in the industry for a while is the high level of trust you achieve with architects, the trusting relationships you build with your colleagues. The crafting of the overall experience is more integrated, and it becomes more about the architecture and the light than it is about objects as a decorative afterthought in the spaces we create.

Do you think the next generation of lighting designers is interested in a critical dialogue discussion that’s different than when you were first starting out in lighting?

The profession has come a long way. There are lots of opportunities for people to be general practitioners or niche practitioners, to follow their passion for a broad cross-section of project types or a particular specialty. When I was starting out, lighting designers had to work hard to find their place at the table and convince clients of their value. But as the profession has become more technically complex and artistically bold, we’ve overcome that hurdle. Clients have a greater awareness of what our teams can accomplish with light, and now seek our visionary leadership and expertise in the creative journey.

The 25 projects compiled over the following pages are but a fraction of the work that has contributed to HLB’s portfolio over the past 50 years. This selection of projects represents the dynamic range and diversity of the firm’s work. Each project celebrates its respective architectural elements and creates a complementary illuminated environment that enhances the occupant’s experience of the space.

No matter the architectural style or the lighting technology of the day, each project is state-of-the-art for its time. These projects serve as both a firm retrospective and a primer on the evolution of architectural lighting design. Moreover, the work represents HLB’s fundamental understanding of light—an acute design sensibility coupled with technical prowess—and the firm’s commitment to professionalism and business integrity.

41 Cooper Square The Cooper Union

Photography:

Photography: Mark Herboth Photography

Photography: John Linden / Hunter Kerhart

Photography: James Dow / Patkau Architects

Audain Art Museum

Photography: Robert Benson Photography

City Creek Center

Photo Credit: Benny Chan / Fotoworks

Creative Artists

Eleven Madison

Photography: Eric Piasecki

Photography: Tim Griffith

Photography: Richard Mandelkorn

Los Angeles Airport Bradley

Photography: OTTO / Hedrich

Photography:

Photography: Tim Griffith

Los Angeles Police Department Headquarters

ARCHITECT AECOM Los Angeles, CA

The Metlife Tower Facade Restoration

Photography: Elliott Kaufman

Photography:

NVIDIA Campus

Photography: Elise Gasper / Gensler

Photography: Raimund Koch

Photography: Jeff Goldberg / Esto Photographics

Photography: Andy Caulfield

Temple Beth Elohim

Photography: Bruce Martin Photography

Photography: Ed LaCasse

Photography: Jasper Sanidad

United States Courthouse Los Angeles

Photography: David Lena / Bruce Damonte

Photography: Halkin / Mason Architectural Photography

Photography: Drury

XIQU Center

Photography: Ema Peter

ARCHITECT Revery Architecture Bing Thom Architects, Ronald Lu & Cultural District, Hong Kong

One of the hallmarks of HLB’s approach to firm growth has been to build from within. The foundations were first laid by the firm’s founder, Jules Horton, and have since been carried forward by Senior Principals Barbara Horton, Stephen Lees, and Teal Brogden. The trio’s progressive business acumen is rooted in teaching, learning, and mentoring, with the idea that the firm structures being put in place today will ensure continuity and future successes.

To that end, Barbara, Stephen and Teal have nurtured their team—lighting designers and staff alike—to step into leadership roles within the firm, in the lighting industry, in the architecture and design communities, and beyond. Whether it be fostering peer-to-peer communication, firm-wide learning opportunities, or the newly created in-house HLB grant for professional development, Stephen, Barbara, and Teal have continued to honor Jules's legacy by celebrating the power of their team. In turn, they have established their own legacies working side-by-side with a robust team of firm leaders: Carrie Hawley, Beth Cantavella, Tina Aghassian, Faith Baum, Lee Brandt, Ken Douglas, Brandon Thrasher, Michael Lindsey, and Matthew Tanteri.

CARRIE HAWLEY

IALD, MIES, LEED AP | SENIOR PRINCIPAL | VICE PRESIDENT

As the founding Principal of the Boston office, what do you find unique and inspiring about the Boston market?

What I think is unique about the Boston market is the long-term focus within the architecture industry, which is something I really enjoy. It is very satisfying to make a mark on the architectural fabric of the city that is probably going to be standing the same way that you designed it for the next 50 years, or maybe even longer. Boston is a highly sustainable market. Our clients are really pushing the envelope. So many architects signed up for the 2030 Challenge and made firm commitments to lead with sustainable practices, whether a project has sustainability requirements or not. We share in that belief as a firm. While a client or project might not have a specific sustainability goal, we will endeavor to produce a project using the most cutting edge sustainable best practices. We come out of the gate thinking about what is going to impact the world in a better way.

What excites you most about the growth of the firm? How has HLB changed to adopt a shared set of core values that resonates with each of the national offices?

The great thing about our evolution of HLBOne over the years is how incredibly sophisticated and nimble we’ve become. It’s amazing—I just saw on our team chat this morning, one of our designers in New York messaged HLBOne saying “Hey, I need QAQC on a fixture schedule. I’m estimating it will take someone three hours of work. Does anyone have time to devote to that today?” And immediately someone picked it up—“No problem.” And it continues to get better and better. The nice thing about it is, all the offices are slightly different, they all have distinctive personalities. We have different people, but we share a very strong firm culture and alignment in terms of how we think.

Looking forward to the next 50 years, what are some of the things that you hope would have continued based on the foundations that have been set this first 50 years?

Looking to the future is exciting because we have a legacy of forward thinking and taking the future seriously. We take an entrepreneurial and visionary approach and then put our resources into place to make those things happen. We are really committed to strategic planning, and our focus over the last five years was really to up the game in terms of enhancing our structure as a firm, bringing on amazing professionals that could really lead us in all the business-running aspects of HLB. It allows us Principals to focus on what we do well—getting work and fostering client relationships, focusing on firm expansion, and mentoring the next generation. It is exciting. I think because we are planning, it allows us to stay an autonomous, successful company, which we all love.

ELIZABETH CANTAVELLA

SENIOR PRINCIPAL | CFO

What are some of the unique challenges of running a business that’s centered around design services?

The design industry has one key component that makes it challenging to work in—the fact that it is art, and therefore tough to nail down. How do you put boundaries on art, on creativity? Our designers are trying to produce something that is of value to the client, fulfills a goal, and creates a look, a feel, and a sensory experience. Yet we have to run the firm like a business and put boundaries, such as time, on the creative process. It is often the person in my role as CFO that has to say, “Pencils down. It is time to stop being artistic and to move the product along.” This is a huge challenge, no matter the area of design. We have to find ways, as businesspeople, to tailor the design process so that our designs can be delivered in a manner that is beneficial to the livelihood of the business.

What are some of the elements that contribute to building a successful business and its longevity?

For a business to be successful, you have to find success with your employees. You have to hire smart and train them properly, and a lot of that comes down to transparency of information. It is about educating employees, not just about what number they are stamping in the assembly line, but the whole business from the top down. Sharing education, sharing the strategic plan of the company, sharing the goals of the company and how everyone can work together as a team to achieve those goals is vital. At the end of the day you have much more job satisfaction when you understand what your role is in the company and you know what you’re contributing. You know that your ideas matter and you know that the company cares about whether you are healthy and whether you have good work-life balance and such. Hands down, employees first from beginning to end, or you cannot have a successful business that will last over the years.

How do you maintain the balance between the firm in its totality and having multiple offices with specific needs for their respective markets?

HLB is a unique lighting design firm. First, because of our size, as there are very few lighting design firms that have as many employees as we do, and second, because of the number of offices, as we have seven offices nationwide. I really enjoy visiting our offices. Even though we have this great, virtual communication capability, there is something that you get with face-to-face communication that does not come across in a video conference. I make it a point to do routine visits and just talk to people, see what is on their mind, see what their problems are, and determine where I can help, and what resources I can provide firm-wide. A lot of times I hear very similar stories office-to-office, and then I will work to develop a system or solution that resolves those issues. That is my job, to listen and then find solutions for problems that will help people deliver their design.

HT TINA AGHASSIAN

IALD, MIES | PRINCIPAL

Is there a person or experience that inspired you to get started in lighting design?

My career path to lighting design was an unexpected one. I started working in architecture and really wanted to become an architect. One of my first projects was a job with a lighting designer, and he spoke a lot about the choreography of light. I felt like, as a career option, lighting design encapsulated my artistic interests and the ability to balance science and art, more so than if I had continued to pursue architecture. The opportunity to use my experiences with art, photography, shapes and shadows was appealing to me.

How do the firm’s five core values—artistry, balance, legacy, curiosity, and integrity—resonate with you and your work as a lighting designer?

All of our firm values resonate with me, but the one that resonates the most is curiosity. Without curiosity we stagnate, we do not pursue ideas or initiatives. We live in a world and work in an industry that is ever-changing—if we want to really know what is next from a technology and a design standpoint, to understand how technology outside our field can impact what we do, we must be open to what is happening in the world around us. For example, I am always curious to know what NASA is doing; what other entities are doing. There are so many potential sources of inspiration that can enrich our thinking.

How would you describe the firm and the firm’s work to someone who is not familiar with lighting design?

Beyond the technical aspect of what we do, a lot of our business is about the people. That is why I come to work every day. It is about our relationships with the architects, designers, and landscape architects that we work with. We also deal with a lot of manufacturers and representatives who we need.

Being a good people person and being able to create valuable relationships is essential. As for the work we do, it all emanates from creating a clear diagram of the architecture, the project aspirations, the owner’s requirements, and the designer’s aspirations for the building, and determining how I as a lighting designer can pull it all together to create a space that is fabulous at the end of the project.

FAITH BAUM

IALD, MIES, LC, LEED AP | PRINCIPAL

Is there a person or an experience that you had that enabled you to think about lighting design as career?

It is interesting to think about how I got into lighting design as a profession because it was not an “aha” moment. It was not a single person, and in fact, as I think about what my inspiration was to get where I am today, I start to focus on what my most recent inspiration was actually—and it was joining HLB. It has been one of the most energizing and inspiring opportunities I have had in a really long time, including running my own business, which was an amazing opportunity. HLB has refocused my energies and refocused that passion for what we do as lighting designers, and that has been really exciting for me. I am getting back to what I do best, and that is the most exciting thing about joining HLB.

The firm has five core values; artistry, balance, legacy, curiosity, and integrity. How do those five principles make their way into your work as a designer and is there any particular one that has a certain resonance for you?

Of the core values of HLB, all of them resonate on some level or another. Balance is critical because it defines who we are and how we approach lighting design. Integrity is also critical, and that is not just about honesty, it is about the integrity of our designs. It is about the integrity of how we approach everything that we do, and that is critical to developing the relationships that we need with our clients, with the owners, with the end users, and with the people who we are working with on every level. I think integrity in design is about making sure that our designs are appropriate, not just layering on things because we think it will look pretty or we think it will have an impact, but because it is the right thing to do for that client and that space or that community.

How do you think about collaboration as a process of design?

Collaboration is essential to everything we do, and one of the most exciting collaborations that I participate in is when we design projects with communities. When we’re working with stakeholder groups that include regular people, and we’re collaborating not just with the design team, not just with the agency or with the organization owner, but with an entire community to help create something that will be a significant part of their neighborhood. Whether that’s a bridge, or a park, or some other interesting piece of infrastructure, it is reflective of that community, who they are, and its character.

I have learned so much about places I would have never gone to if I didn’t have a project there.

LEE BRANDT

IALD, MIES, LC, LEED AP BD+C | PRINCIPAL

How do you think about sustaining a firm? What opportunities and resources are you trying to create for the staff to help them further their own kind of personal and professional development as lighting designers?

The development of our staff and how we work to cultivate their professional growth is at the core of my involvement. We have a tree metaphor—we talk about the roots, the trunk, the branches, and the leaves, and how these concepts relate to professional development. It is critically important that we attract,

develop, and retain the best talent, so we really work hard at recruiting. And this does not just apply to students, it can apply to anybody at any point in their career. When we start working with a new employee, we pay a lot of attention to continuing education, making sure we are aligning what they want to do in their career within HLB and their role. We have different paths and processes to give feedback and ensure we’re all on the right path. If that path changes, that is fine; it is all part of the process.

How do you encourage staff to participate in the lighting community and design community at large?

We encourage involvement in professional societies. We want our employees to join committees. And this isn’t just for lighting, we ask our marketing folks to join SMPS. We encourage everyone to attend conferences and develop professionally. We want to make sure they’re fueling their fire. And it does not just have to be HLB and work. It can also be some of their personal passions, giving back to their communities, or their school.

How do you communicate the idea of legacy within the firm and beyond?

It happens through our people. Whether it comes through talking to a new employee about people who have been with the firm for years and years, or people who have come back to the firm if they took a different opportunity or followed a different path for a little while. The passion of our team and the firm culture speak to that idea of legacy.

KEN DOUGLAS

FIALD, MIES, LC, LEED AP | PRINCIPAL

Is there a person or experience that inspired You to pursue lighting design as a career?

My pursuit of lighting design actually grew out of an interaction I had with a junior high school teacher. I’m one of those people who met somebody as a kid that changed the course of my life. My junior high school teacher got me involved in theater, and I ended up becoming the lighting guy in junior high school, then the lighting guy in high school, and then the lighting guy for community theater. From there, I went to college for theatrical lighting design, and now here I am at HLB. One person at 14 years old determined my path as a professional.

How do the firm’s five core values—artistry, balance, legacy, curiosity, and integrity—resonate with you and your work as a lighting designer?

I think artistry and balance really play into the day-to-day of what we do. I spend of a lot of time each day guiding the design team and making sure that the project is moving in the right direction, ensuring that they are thinking outside the box and bringing the best solutions to the project. At the same time, we need to keep our work balanced and our outlook balanced. I find those two to work well with what we do.

How do you sustain a firm and maintain a level of motivation and excitement?

In sustaining your firm and growing your firm, there is never a simple one solution answer. You have to tend to the people who work for you, and you have to make the environment and the culture something that they want to be part of and take ownership of. You want them to feel like the leadership is working with them, like they have a stake in things.

It is really important to cultivate and encourage that perspective, and that attitude will radiate out from there. Then obviously you need to take that same perspective out to the marketplace and inform your clients, be a thought leader that your clients know to turn to. Make sure that what you are producing for your clients is as good as it can possibly be. You do not want to leave people feeling disappointed for any reason. You should be delivering the highest caliber work that you can within the boundaries that the project allows.

BRANDON THRASHER

Assoc. IALD, MIES, LC, LEED AP | PRINCIPAL

Is there a person or experience that inspired you to get started in a career in lighting design?

There were several people and experiences that led me to the architectural lighting design profession. When I was in high school, my theater teacher and her husband showed me that there was a place for people who are interested in design and lighting for the stage. Later, when I went on to graduate school, I was exposed to an architectural lighting class, which was the first time that I even realized I could do something different with my theatrical lighting background. After that class, I applied for an internship with Available Light in Boston. There, I got to work with several other designers that had the same experiences and background as mine.

I was able to see that I could take that theatrical knowledge and apply it to the built environment. That kickstarted my career in architectural lighting because I had the opportunity to work on a variety of projects, from special events to museum work, and apply my theatrical knowledge to those projects.

How do the firm’s five core values—artistry, balance, legacy, curiosity, integrity—resonate with you and your work as a lighting designer?

The value that resonates with me the most is curiosity. I strive for perfection, so I’m always asking, “How can we do better professionally, personally, and as a design studio?” That curiosity leads me to question, “How can we provide a better design? How can we serve our clients better?” On an internal level, I am always thinking about how we can improve processes or methods of working to make our own lives better. Curiosity is the thing that fuels my inner fire, keeps me going, and prevents stagnation throughout the design process and my professional career.

How do you think about diversity of the firm’s portfolio and establishing a broad range of project typologies?

Being able to juggle different project types is a wonderful part of our profession. It is what creates our diverse portfolio. Often, you will find that one project type will inform another as you work through the design process, which helps you develop a better design. We have so many designers with different backgrounds and expertise that allows us to work on a wide variety of project types. This is really beneficial, especially during different economic conditions where we find that one market sector is lacking, but another is really booming. The diversity aids in the sustainability and longevity of our firm.

MICHAEL LINDSEY

IALD, MIES, LC, LEED AP BD+C | ASSOCIATE PRINCIPAL

Which of the firm’s five core values—artistry, balance, legacy, curiosity, and integrity—resonate with you and weave into your work as a lighting designer?

On a personal level, balance really resonates with me. I love what I do for work, and I am lucky in that respect. I get to go to work every day with people, clients, and projects I enjoy, but beyond that, achieving a balance between our professional and personal lives is important. As a firm, we convey that to our employees, and it starts from the leadership. It is important to demonstrate that we care about this balance and extend this to our staff. Legacy is also very important. When I started in our LA office, I focused on doing my job well for the Principals responsible for the office. As I started to understand more about the firm, I realized that I was not just representing myself or my office, I was representing the culture of a firm that has now achieved 50 years in the industry. That is incredible. I think about the firm’s leadership and predecessors and the hard work that they did to put me in a position to make me successful today. That’s something of which I am appreciative.

How do you hope to represent the firm on the local, national or even global stage among the lighting design and broader architecture communities?

I hope that our peers recognize we are trying to raise the standard of design. I have always loved competition, and I think all the markets that we are in have great lighting design firms. Our goal entering these markets is to push for lighting design—we always want lighting design to be a part of the conversation and have a seat at the table. We strive to grow awareness of our profession and our industry, so that more people continue to recognize it and bring us to the table. From there, it becomes about facilitating competition, so hopefully our competitors are continuing to grow and challenge themselves along with us.

How do you communicate the value add of lighting? By raising the bar for the firm, how do you think that impacts the lighting community as a whole?

The best way to communicate what we do, and the value of our skillset, is through the finished product. This is always challenging when you are entering a new market or starting work with a new client. But by the end of the project, it happens, especially when people interact with the space. We serve such a unique role, as light is used to enhance a space, a mood, or material. My hope is that by challenging people with the work that we do, clients come to learn to what expect in our final product. Hopefully our competitors see that and say, “This is what we need to be delivering. We need to deliver that visual, that final product.” It comes down to proving ourselves and seeing the end results of all our hard work.

MATTHEW TANTERI

Assoc. IALD , FIES, CPHC | ASSOCIATE PRINCIPAL

How do the firm’s five core values—artistry, balance, legacy, curiosity, integrity—resonate with you and your work as a lighting designer?

They all resonate with me, because they are all part of being a complete person. But if I had to pick one of those values, I would pick balance, because it’s something you deal with daily. As different challenges come up on projects, balance becomes a key factor in maintaining excellence and giving each challenge the attention it requires. You want to fulfill what you bring to a project. You want to bring the best solution, you want to bring value to the project. It is the balancing act that I think overtakes all the other values.

How do you think about daylighting to maintain design leadership and stay connected to technology?

One of my roles at HLB is to maintain leadership in daylighting, and also in technologies, as the leader of the Daylighting and Sustainable Design Studio. It’s a wonderful position because daylighting continues to be at the forefront of lighting. It is pretty amazing that this source—the sun in the sky—that we evolved with, is still at the front of technology, and, it encompasses all these new technologies that are coming out. One of my responsibilities is to be sensitive to these other technologies and look for things that might become part of our daily design process, such as artificial intelligence, fabrication, drone technology, LiDAR technology, augmented reality, and virtual reality. All those things can factor into our design process. Some may not become a hard deliverable, but others are just naturally integrated. You must think ahead as those technologies are being fully developed and consider if they will be useful to your design process. You must be sensitive to all the different technologies that impact our lives and understand which ones will have relevance for us.

How do you maintain design leadership in the lighting profession given the vast amount of technological change that has occurred, especially the past 15 years?

It is a challenge to maintain leadership in the lighting profession, especially because of technology. Technology encompasses change, and change can be linear, or it can be exponential. Then there are technologies that are disruptive. They come out and suddenly change the course of what we’ve been doing in a very short time. If you’re an active lighting designer, you participate in the profession and you start to sense the curve. You can become active on a code committee, where you look at codes, which are drivers for where things go and what technology may be implemented, so you have a chance to impact that technology.

HLB Next Generation

As a firm built on collaboration, innovation and entrepreneurial spirit, HLB is thrilled by the company’s continued evolution in both the lighting community and the industry as a whole. Establishing seven offices nationwide as an independent architectural lighting design firm is an unprecedented accomplishment, and certainly something to be proud of. With New York, San Francisco, Los Angeles, and Boston as the initial core offices, the firm had a strong foundation for future expansion that was realized through the strategic notion of “ready, aim, fire.” The additions of Miami, Denver, and Austin represent the firm’s latest geographic expansions, with sights set on further growth as we continue to spread our legacy.

The next generation of HLB leaders, many of whom were involved in these expansions, has been carefully mentored and trained over several years with the firm. This group of individuals has shown incredible leadership and a business-savvy mentality during their careers at HLB. The firm is pleased to continue our growth with the addition of three new shareholders in the Principal group: Robyn Goldstein, Darcie Chinnis and Simi Burg. Together, our HLB leaders continue to raise the bar in the lighting design profession with outstanding design excellence, business acumen, client care, service, and marketing efforts. All fifteen of our shareholders look forward to future generations of HLB leaders and expanding our unique footprint in the greater design industry.

ROBYN GOLDSTEIN

IALD, MIES ASSOCIATE PRINCIPAL

“Mentorship has always been an integral part of HLB’s culture, and I’ve been extremely fortunate to have been mentored by some of the best in the business throughout my career which has been integral to me getting to this point. I believe the future is bright and I’m beyond honored and excited to be a part of HLB’s continued growth and legacy of design innovation and excellence.”

DARCIE CHINNIS

SIMI BURG

Assoc. IALD, MIES, LC ASSOCIATE PRINCIPAL

“Becoming an Associate Principal at HLB is truly an honor and I am so grateful for the years of mentoring, coaching, and support the HLB family has provided. I have my sights set high on the future of HLB, growing an incredible team, and continuing to provide design excellence through the power of light to our clients and our communities.”

“I have always admired the culture of mentorship at HLB and am honored to be a part of the next generation of HLB leaders that will strive to continue the legacy of design innovation, celebration, and stewardship built over the past 50 years.”

PhD, PE, IALD, MIES, LEED AP BD + C, WELL AP ASSOCIATE PRINCIPAL

We are thankful for the talent, ingenuity, and collaborative minds that have defined our team both past and present.

Abigail Iorio

Abraham Benguigui

Adam Bernardino Adam Kroll

Adam Levine

Adam Melnik Adam Zweig

Alana Mackey

Alec Buxton

Alessia Pope

Alexander Guerra

Alexis Friend Alexis Schlemer

Alicia Persaud Allison Hunter Amaia Puras Ustarroz Amelia Gochez

Amelia Jarvinen Amy Felix Amy Huan

Amy Leder Amy Ruffles

Ana Franco

Anastasia Mulyono Andre Yew Andrew Moore

Andrew Robbins Angela Lawrence Angela McDonald

Angelique Sonnier

Anisa Hawley

Ann Little

Ann Schiffers

Anna Ballard Anna-Lisa Dawson

Anne Flaherty

Anne-Lynn Cheney

Anthony Pualani

Anton Lundkvist

Antonia Spiess

April Stevenson Ariana Hawley

Ariel Heintze

Arminda Diaz

Asher Harder Ashlee Broadus

Ashley Lam

Ashley Rafalow Atul Jain Austine Liburd

Autumn Hart Avik Roy Chowdhury Avishag Argov Awilda DeLaCruz-Gorman Azusa Yabe

Bahareh Hosseini

Barbara Horton Barrett Newell

Barry Kramer

Beth Heitner

Birgit Walter Bonita Pirch

Bradley Sisenwain Brandon Thrasher

Bree Stewart

Brent Medsker

Brian Conrad Brian Franco Brian Keefer

Brian Smith

Bruce Hostetter Bruce Houck

Bryan Jass Bryan Raguskus

C. Annette Newton

C. Matthew Olson C. Webster Marsh Candice Kling Caralynn Dame

Carlos Madrid

Carly Gordillo Carol DePelecyn

Carol Jones

Caroline Aghakhanian Caroline Campobasso Caroline Fink Carrie Hawley Catherine McGroarty Chad Groshart

Channing Roberts Christina Andriole Christine O’Neill Christine Sicango Christopher Norbury Claudia Reinhard Claudia Saavedra Clement Fung Clifton Manahan

Cody Nowak Colin Conroy Connie Ortiz Crystal Chen

Cynthia Gerardo Cynthia Gernetzke

Cynthia Liang Dan Cuadra Daniel Burgoon Darcie Chinnis

David Clinard

David Gerardo David Meagher

David Smith Debora Chadorchi

Denise Fong Derek Bauer Diana Vera

Diane Smoller

Donald Gerstoff

Doris Gravette

E. Douglas Russell E. Sara McBarnette

E. Teal Brogden

Eda Kowan Eddy Garcia Edith Fournier

Edward Yelonek Eleanor Huang Elena Mitschkowetz Eleni Savvidou

Elizabeth Cantavella Elizabeth Johnson

Elizabeth Schrott

Emi Hamada

Emily Koonce

Erica Reitman

Ethan Neslund

Faith Baum

Faith Jewell

Fausto Rivera Zarate

Frank Gerardo Gabriel Vasquez

Gary Gordon

Genesis Vasquez

Gladiola Moore

Golsana Heshmati

Guy Smith

Hadar Koren-Roth

Haley Bendis Haley Darst

Hayden Lees

Hayden McKay

Heather Libonati

Heather Lion

Heejung Son

Helena Pietrusiewicz

Henrik Khodaverdi Henry Hahn

Heru Tan

Hope Rice

HT Tina Aghassian

Iliana Filotheidi

Ilona Salmons

Jacob Bloom Jae Yong Suk

Jaime Wisniewski

James Mandle

Jamie Medeiros

Janet Nolan

Jason Gill Jason Groob

Jay Wratten

Jean-Pierre Vanhoegaerden

Jeffrey Miller

Jennifer Abele

Jennifer Concepcion

Jennifer Curley

Jennifer Gong

Jennifer Kasick

Jennifer Scheib

Jesse Blonstein

Jesse Lowenstein Jessica Hawkins

Jessica Smith

Jhennesys Loisos

Ji Kim

Jillian Flynn

Jinah Kim

Jiyoung Bae

Joan Valencia Joanna Billy Joanna Lisiak

Jodie Ferguson John Decker John Dunn

John Keyes

Jonas Foster

Jonathan Tedjakusuma

Jordan Hornback Joseph DiBernardo Joseph Fala

Joseph Spinnato

Josephine Pan Josephine Wratten

Joyce Hahn

Juan Acosta Zapata

Juanita Cox

Jules Horton

Julie Vogel

June Park

Junsup Chung

Justin Hoin Justin Horvath

Justin Lee Karen Goldstick

Karen Park Katherine Gabriel

Katherine Stekr

Katina Zachrisson

Kelley Burney Kelly Roberson

Kelly Ryan

Kenneth Douglas Kenneth Gerardo

Kerry Gibbons

Ketryna Fares

Kevin Hsia

Kimberly Daley

Kristy Philp Kruttika Garde Krystal Wells

Ksenia Yachmetz Kuntal Pathak

L. Katherine Hanson Landon Roberts Laura Alferes

Laura Yates

Le Nguyen Leah Manning

Lee Brandt

LeeAnn Popoff Leela Shanker

Leia Kozel

Leo Canales-Wong

Lilian Fu Linda Liljeback

Lindsey Dieter Lindsey Mackey Lindsey Paquette

Lisa Mercurio

Lisa Passamonte

Lisa Piana

Loretta Sheridan

Lucia Palmitessa-Maes

Lucille Lisiak

Luis Carrasquillo-Alicea Luke Adachi

Lupita Legaspi Castellanos

Lynn Perry Madison DiAddezio

Malcolm Murray

Malte Borssim Manal Kahale

Manisha Patel Marc Dimalanta Margaret Golden Margaret Tucker Maria Dautant

Maria Del Castillo Berrio Maria Toro-Ortiz

Mariealiert Smith Marissa Gesell Mark Ekberg

Mark Harris Marsha Stern Marta Casarin

Martin Law Matthew Tanteri Matthew Tirschwell

Maura McGuinness

Maura Reinhart

Maxwell Pierson

Megan Casey

Meghan Howell

Melissa Dollman

Meredith Mottola

Michael Friedman

Michael Kershner

Michael Lee

Michael Libonati

Michael Lindsey

Michael Rubinfeld

Michael Spaniol

Michael Tarricone

Michele Sonsini Michelle Aquino

Michelle Douglas Michelle Gregg Michelle Murray Michelle Tessier

Michelle Wilson Michiru Tanaka Mi-Seon Lee

Molly Dickert Molly McKnight Molly Sharry

Morgan Hostetter Muge Kayimoglu Nadia Yavorsky

Nadine Kohane Nam Choi Natalie Glover

Nehal Youssef Neil Mishurda Nicole Cabrera

Nicole Hodges

Nicole S. Skogg Nina Italiano

Nishat Alam

Oktay Akanpinar

Olivia Basic

Olivia Vargas

Pamela Hull Wilson

Patricia Lubin

Patricia McGillicuddy

Paula Winckler

Pawornpod Boonruangkao Pei-Chun Yang

Peter Veale

Phyllis Eckstein

Prianka Giridharadas

Rachel Belle Rachel Cary Rebecca Bowen Rebecca Slocum

Regina McGee

Reginald Guillermo Remington Wither Renee DeCristofaro

Reva Mishkin

Robert Gutwillig Robert Schulz

Robyn Goldstein Robyn Mierzwa Rodolfo Rodriguez Rohini Pendyala Rosemare Allaire Rosemary Snyder Ruoxiao Zeng Ruoying Wu

Russell Goettel

Ryan Jackson S. Sitabkhan

Sabine Schumann

Sabra Zacharias

Salwa Osman

Sam Elders Samantha French Samantha Hollomon Samuel Hewett

Samuel Woolf

Sara McElroy Sarah Dafoe

Sarah Kreider Sarah Rushton Scott Hatton

Sean Alexander Sebanti Banerjee Seok Min

Seoyeon Park Sergio Barrios Sha-Londa Waterman Shannon Burry Sheida Roghani Shelby Allen Shih-Hsin Lin Shoshanna Segal Shuyi Wu Simi Burg Simone Adamson Spurthy Yogananda Stacie Brunet

Stefan Maassen Stefano Amabile Stephanie Herburger Stephanie Romanias Stephen Lees

Steven Espinoza

Steven Salas Susan Bloch Susan Brady Susan Porter Suzanne Schoenfeld Swantje Braun Swapna Sundaram Tabitha Ellett Takanori Taira

Tena Pettit

Thsthea Lunnon-Nails Tina Huang Tonya Diller-Robertson Tonya Dooley Tracy Daoudi Tracy Hub Tran Chau Trevor Hopkins Valeria Holland

Vasudha Rathi Venna Resurreccion Victoria McNulty

Vinicius Stella Virna Abraham Visswapriya Prabakar Vivian Chou Whitley Montaque

Will Ayers

William Rutledge Windley Knowlton

Yeune Kim Yi Bai Yike Pan Yousun Hwang

Yvette Fields

Yvonne Rodriguez Zhenyu Ye

Zoe Garaway

*Bolded names indicate our current team members

Completed in association with: Schipper Design, Elizabeth Donoff and in-house contributors Abigail Iorio, Sam Elders, Jamie Medeiros and Molly Sharry.

© 2020, All rights reserved, HLB Lighting