7 minute read
Illuminating a Global Path of Lighting Design
By RANDY REID
The landscape of the lighting industry, much like the kaleidoscope of architectural wonders across continents, is ever evolving. I recently sat down with Nitika Agrawal, an adept lighting designer with a unique multinational perspective. Nitika's experience spans various roles in different geographies (Europe/ India/Middle East/US), allowing her a fresh and global perspective on the Business of Lighting Design™️.
Nitika's journey began in her native India before she moved to London to broaden her architectural design perspective. Recognizing the value of a global outlook she studied at the University College London, a leader in architecture and environmental studies.
After earning her master's degree, Nitika started her professional career in London at AECOM. A market teeming with opportunities for lighting designers and the lighting industry, London provides a perfect platform for networking and collaboration. Often referred to as the heart of global lighting design, it offers a vibrant and flourishing community of lighting designers. Nitika notes, "London is a place to do a lot of socializing and affords many networking events."
Her responsibilities with AECOM in London offered her extensive experience in the UK and also exposed her to India and the Middle East. Nitika highlights the intense working conditions as the Middle East is bursting with new construction. The conditions, especially for foreign workers, can be grueling. While London is known for demanding work hours, Abu Dhabi takes it one step further.
In London, a 40-hour workweek is common, but working conditions in Abu Dhabi are more rigorous. It is not unusual to find laborers working up to 60 hours a week, often at night due to extreme daytime temperatures.
LONDON’S SIGNIFICANT DRAWBACK
However, it's not all rosy in London. The high concentration of designers in London has resulted in lower fees, which Nitika was unaware of when starting her career due to her focus on her passion for the city.
In a talk at the IALD Enlighten Americas, Andreas Schulz, founder of Licht Kunst Licht, explained that fees were half of what they were in 1992 when he began his career in lighting design.
FROM LONDON TO MUNICH
After almost five years in London, Nitika relocated to Munich, Germany. Drawn by Munich's balance of urban and natural life, she desired a change from the concrete-dominated landscape of London. Munich's appeal lay in being closer to home, and the opportunity to explore the manufacturing side of lighting, particularly the specialist lighting sector.
Nitika began working for Zumtobel, where she was the only lighting designer in their Munich office. Her responsibilities spanned managing and executing projects in Bavaria, working closely with teams in Austria, and even outsourcing work if needed.
During the pandemic, she embarked on a new venture and founded her own lighting design firm, named Light Dew. With clients in the surrounding Munich area, she expanded her portfolio and adapted to a more flexible work environment.
Starting a consultancy in the midst of the pandemic was no easy task. Nitika relied on various strategies to build her client base, including launching a website and utilizing social media such as Linked In. She also sent cold emails to potential clients, primarily targeting electrical engineers, who played a key role in securing lighting contracts in Germany.
Nitika's work in Germany was predominantly with the German government, focusing on heritage projects. Collaborating closely with electrical engineers and attending government meetings, she navigated Munich’s unique market dynamics.
NAVIGATING THE GERMAN MARKET
In many countries, architects may take the lead in hiring lighting designers, but Germany offers a different perspective. It's more common for an electrical engineer to select a lighting designer.
This approach reflects the country’s emphasis on technical precision and engineering expertise. In other regions, architectural aesthetics might lead the decision-making process, but, in Germany, electrical engineers often hold the initial contract for lighting. They will evaluate technical requirements, adherence to standards, and integration within the electrical systems before considering a lighting designer.
Unlike a traditional hourly billing system, Nitika quotes German projects as a package, offering a lump sum fee based on the time and expenses. She charged higher rates in Munich compared to London, though these rates were offset by higher expenses, including insurance.
The move to Munich required a comprehensive understanding of market differences. Nitika observed significant differences in working with architects and engineers in Germany, as well as the contrasting cost of living between Munich and London.
When Nitika married, she and her husband moved to the San Francisco Bay where she joined the esteemed Banks Landl Lighting Design. Nitika's insights on independent lighting design firms were enlightening. These firms have a singular focus on lighting, allowing for a nuanced emphasis on aesthetics over numbers.
Later she joined AlfaTech, an MEP (Mechanical, Electrical, and Plumbing) firm, where lighting typically becomes a segment of a comprehensive package. This can make the work either invigorating or mundane, depending on project specifics. However, an MEP firm offers a broader perspective, aiming for sustainability and other engineering standards.
Nitika experienced a significant change in software when she moved from Europe to the United States. DIALux and AutoCAD reigned supreme in the Middle East, India, and across Europe. However, the US seemed more attuned to AGi32 and Revit.
"It’s fundamentally about understanding the lighting intricacies. It doesn't matter what software you wield; the essence remains in comprehending the core," Nitika shared with a chuckle when asked about the switch.
COMPARING THE US AND EU MARKETS
"While you might charge two to three times more in the US than in London, it balances out with living expenses," Nitika explains. Silicon Valley is understandably pricey, making services expensive.
In Germany and the UK, the approach to employee benefits, specifically sick leave, is an interesting contrast to the US. In these European nations, it's common for workers to receive between 25 to 30 days of annual leave, with up to six weeks additional paid sick leave. The focus is on worker well-being and a commitment to balanced work-life integration.
In the US, however, while the compensation might be higher, American workers typically do not enjoy the same level of holidays and leave. The absence of this benefit is seen as a trade-off for the potentially greater earning opportunities in the US.
In Europe, especially London, designers relish a broader canvas for innovation. The US, although potentially more remunerative, tends to gravitate towards off-the-shelf solutions. Specific state regulations, like California's Title 24, also shape design choices. "In Europe, you're more liberated in your design approach," she emphasized.
The climate in a region plays a substantial role in shaping lighting design requirements. California's abundant sunlight leads to a preference for dimmer light levels. Conversely, the UK's grey winters necessitate higher light levels.
The differences in how the general public perceives and utilizes light also lead to distinctive design philosophies. In the US, there's a preference for indirect lighting, while Europe favors more direct illumination.
A GLOBAL PERSPECTIVE ON LIGHTING DESIGN
Nitika's perspective offers an insightful glimpse into international lighting design. Her experiences, observations of market trends, and challenges paint a rich portrait of the business as it stands today. These reflections are sure to remain essential for professionals maneuvering the multifaceted domain of worldwide lighting design.
In today's swiftly globalizing landscape, recognizing the subtleties of various markets is more vital than ever. While each region presents distinct opportunities, it's essential for designers to approach them with mindfulness and compassion. Every locale brings unique challenges and possibilities, and for those passionate about lighting design, the world becomes a stage ready to be artfully illuminated. ■
