Is there a project that changed the way you think about lighting design?
It’ s difficult to pinpoint a specific project, but one of the most significant experiences for me was an early project in my career: lighting historic buildings along Broadway in Downtown Los Angeles. The goal was to use light to help revive the existing architecture while being mindful that we were adding something new to a place with its own history and legacy.
That experience reinforced an idea that has stayed with me: lighting doesn’ t always need to be the frontrunner. Sometimes its most powerful role is a supporting one, to reveal the architecture, honor what is already there, and help people experience the space as it was intended. Some of the best lighting is lighting you may never consciously notice. You experience the architecture, atmosphere, and emotion of a place without necessarily thinking about what the light is doing. To me, that’ s one of the strengths of good architectural lighting. It doesn’ t always need to call attention to itself; it can quietly support the architecture and function of the space while shaping the experience of the people within it.
How do you balance creativity with technical requirements, budgets, and energy goals?
Balancing creative ideas with budgets, technical requirements, and energy goals is an ongoing challenge, but over time I’ ve learned to enjoy working within those constraints. Some of the best ideas come from having limitations. It’ s relatively easy to imagine a grand design when there are no restrictions. Finding a thoughtful solution within real-world constraints is what pushes us to become stronger designers.
Throughout my career, I’ ve also developed a deeper appreciation for the importance of every discipline and trade involved in bringing a design to life. The initial creative idea is only one part of the process. The people who engineer the systems, manufacture the fixtures, coordinate the details, and ultimately install them all have an impact on the final experience.
Looking at design as a collective effort rather than simply protecting my initial idea has helped me navigate those challenges. The goal isn’ t necessarily to preserve every aspect of the original concept, but to work together to maintain its intent and find the best solution for the project as a whole.
Which facet of your job do you find most satisfying?
The most satisfying part of my job is the collaboration. When I’ m able to develop a lighting design that captures and supports the vision of the architect, interior designer, or client, that’ s incredibly rewarding. I also find a lot of satisfaction in making the process easier for the people I’ m working with and being someone the larger team can rely on.
Not every project has to be a spectacular design statement to be meaningful. Sometimes the value we bring is in finding thoughtful solutions, supporting the rest of the team, and helping create a better overall project.
One of the best moments is when a project is finally built and you get to walk through a space that, for so long, existed only through drawings and ideas. Seeing people experience that space, and knowing the client is happy with the result, is extremely rewarding. At the end of the day, we design projects for people. Knowing that something we created has contributed positively to their experience is what continues to give me the drive to do this work.