One-on-One with Brian Stacy

The Evolution Of A Lighting Designer On A World Stage.

2 MIN READ

Katja Heinemann

Working in his garage as a teenager, Brian Stacy never imagined that tinkering with light would lead him to traveling the world as an architectural lighting designer. He has been all over, professionally speaking: designing sound and lighting rigs in high school, a theater degree from DePaul University, an internship with Chicago-based Schuler Shook, exhibit and lighting design at the Field Museum, and then to Arup. At Arup he has moved from Los Angeles to London and New York helping build their lighting group into a division with more than 50 people in nine offices. And while the scope of the projects he works on may have grown, Stacy has not strayed from his roots; he continues to experiment, albeit at a professional level, with integrating architecture and light.

You work with a lot of high-profile architects. How do you execute their designs and still have your expertise recognized?
Our best collaborators are those that are also interested in light and don’t want to divorce building performance from aesthetic quality.

Do you practice lighting design differently because you’re part of a global firm known for its integrative approach?
The ability to tap into the resources of other design and engineering disciplines is tremendous, especially the spontaneous conversations with colleagues when you are sorting out a design problem.

How has your philosophy of lighting design evolved?
I always try and start a project without any preconceived notions. Then I let experience inform my decision-making process.

How are new technologies shaping the future of lighting?
The influx of LEDs has jump-started a return to understanding a technology to the point where you can begin to manipulate it for the benefit of your project.

Is there an aspect of practice that has taken on a new immediacy in this economy?
Yes, the realization that we are in a business. And these discussions are starting to appear with more frequency at lighting conferences.

What do you see in the future for lighting design?
We have to accept that the power density question is one we’re constantly going to struggle with. It’s part of a new set of design challenges we need to be able to grab hold of.

About the Author

Elizabeth Donoff

Elizabeth Donoff is Editor-at-Large of Architectural Lighting (AL). She served as Editor-in-Chief from 2006 to 2017. She joined the editorial team in 2003 and is a leading voice in the lighting community speaking at industry events such as Lightfair and the International Association of Lighting Designers Annual Enlighten Conference, and has twice served as a judge for the Illuminating Engineering Society New York City Section’s (IESNYC) Lumen Award program. In 2009, she received the Brilliance Award from the IESNYC for dedicated service and contribution to the New York City lighting community. Over the past 11 years, under her editorial direction, Architectural Lighting has received a number of prestigious B2B journalism awards. In 2017, Architectural Lighting was a Top Ten Finalist for Magazine of the Year from the American Society of Business Publication Editors' AZBEE Awards. In 2016, Donoff received the Jesse H. Neal Award for her Editor’s Comments in the category of Best Commentary/Blog, and in 2015, AL received a Jesse H. Neal Award for Best Media Brand (Overall Editorial Excellence).Prior to her entry into design journalism, Donoff worked in New York City architectural offices including FXFowle where she was part of the project teams for the Reuters Building at Three Times Square and the New York Times Headquarters. She is a graduate of Bates College in Lewiston, Me., and she earned her Master of Architecture degree from the School of Architecture at Washington University in St. Louis.

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