Preface
Perhaps more than any other design discipline, lighting design is a combination of art, science,
and technology. Lighting designers need to understand a wide range of architectural
and interior design styles, so that our work supports the aesthetic goals of the owner
and the design team. We need to know how light affects vision and perception, and
understand the interplay between light and materials so we can extend and reinforce the
viewer’s response to a space. We need to understand the lamp technologies, lighting hardware,
and control systems that will bring our vision of a project to fruition. It sounds like
a lot, and it is. The wonderful thing about lighting design is that there is a wide range of
projects with room for many types of designers. Some practitioners have a science, math,
and numbers orientation. Some lean toward art, aesthetics, and intuition. Most designers
fall somewhere in the middle. If you’re bright, talented, and have a discerning eye there’s
a good chance you can have a career as in lighting design. I hope that encourages you.
I came to the practice of architectural lighting design after two decades as a theatrical
lighting designer. As a result my design approach, and the emphasis of this book, focuses
on aesthetics and design. I outline several approaches to the process of working through
a design and present case studies of my own work, walking you through the design from
start to finish so you can see how it was done. However, one cannot practice lighting
design without a firm grasp of the technical side of the profession. That fact is becoming
truer every year. After several decades of relative stagnation, so much of the lighting
industry is changing that it’s sometimes hard to keep up. New energy legislation, phasing
out of old technology, introduction of new technology, and expansion of the body of
knowledge that a designer must master are keeping all of us on our toes these days. I’ve
devoted chapters to all of these issues, from lamps and luminaires to controls and codes.
Most books are a reflection of the author, and this one is no different. First, I love history,
and I always want to know how things were discovered, not just the outcome of the
discovery. As a result, you’ll see that I often start with some history on the scientists and
researchers responsible for important discoveries to give you some background on the
concepts that are covered here. Second, I’m fascinated by science, and try to present some
of the dryer material with a sense of excitement and wonder. I hope that comes through.
Finally, I love this profession and I have fun at work (almost) every day. I take this material
very seriously, and I strive for perfection in my work, but I’m not dour about it. I hope my
joy for design and my excitement at solving design challenges comes through, and I hope
that encourages you, too.Read more or
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This book would not have made the journey from idea to manuscript to published work
without the support and assistance of many wonderful people. My good friends Paul
Bartlett and Ed McCarthy generously provided photographs and assistance. Lenore Doxsee
gave me thoughtful feedback that clarified the text, and Sabra Zacharias and Lisa Cohen
were sources of unfailing support and encouragement. I also want to thank Paul Drougas
at Wiley for believing that there was room in the world for another book on lighting
design, and that this should be the one
Architects and manufacturers I’ve had the pleasure of working with over the years supplied
many of the drawings and photographs. I want to especially thank David Rudzensky
and John Ruiz of R2Architects, Frank Moya of Matthews Moya Architects, Emma Price
of Edison Price, Michael Hewitt and Carolyn Kerr of Philips, and Wendy Luedtke of Rosco
Laboratories.
Finally, I want to thank my students whose questions and engagement in class have
made teaching both a challenge and a joy, and who have helped me to clarify my own
ideas about light, design, and education.
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