Diversity in Design

darc magazine – along with sister publication arc – has uncomfortably recognised the lack of representation of ethnic minorities across the lighting and design communities. It wasn’t until a horrific act of violence towards George Floyd in the USA, which triggered international media coverage in 2020, that we looked inwards at our reporting of the lighting world. As a result, we are now working to better this and ourselves as impartial journalists to ensure we are covering the full breadth of the industry, bring recognition to those that deserve it and support making the design industry an equal one. To begin our journey in ensuring more of an ethnically and culturally balanced representation of our community, in this edition of darc designers we bring you a collection of profiles that celebrate some of the top international professionals in lighting from various backgrounds. This is by no means an extensive depiction of the ethnic minority community in design, but merely a snapshot and starting point to further promote its members and their important work.

To start us off, darc caught up with founders of United in Design, Alex Dauley and Sophie Ashby, who explain a little more about their initiative, which aims to support those entering the interior design industry.

Can you give us a little background about yourselves and your careers? How do you know each other?

Sophie: As is the case with so many interior designers, I moved a lot growing up. With a South African mother and a British father, my childhood was spent living for stints in London, Stellenbosch (South Africa) and Devon and, with 14 or so moves, I got used to unpacking and rearranging my bedroom. I’ve always been fascinated by the idea of home and how much it can mean to people. I was very lucky to get an apprenticeship with Victoria Fairfax, where I worked on some very special projects. Studio Ashby was born as soon as I got my first private client. I was lucky that within a couple of weeks, one client quickly became three and things have continued to grow steadily from there. Alex: My love of interior design started when aged 19 I moved to London from Wales and I began working in the property industry as a relocation agent and property finder. I was fascinated by the wide ranging property styles, architecture and how interiors influenced the way you live and feel within your home. Having renovated my own homes and once my daughters were a little older I decided to follow my passion, studying at KLC School of Design in London and then setting up my practice, Dauley Design. My mentor Evey Dunbavin-Hands has guided me over the years and I now work on wonderful residential projects in Surrey and South London for great clients. I am passionate about creating well-designed homes for my clients and feel incredibly lucky to be able to have a career that I love, which allows me to indulge my creativity Sophie: Alex and I discovered quite quickly that we were simultaneously having the same conversations, thoughts, ideas and were independently beginning to put the edges to some kind of initiative. We spoke on Zoom a few times, got on instantly and agreed that one strong message was better than many quieter ones so we joined forces!

What are your experiences with diversity, or the lack of, within interior design?

Sophie: On 4 June 2020 I issued a statement on the Studio Ashby Instagram in response to the murder of George Floyd and the global anti-racism movement, acknowledging the studio’s shortcomings in running a diverse company and also some uncomfortable home truths about the elitist and exclusionary nature of the design world. The response I received was overwhelming; I spoke to at least 20 people on Zoom over the course of the following week, mainly black designers and students who had a story to tell me. I heard some very real and desperately sad stories and received the most extraordinarily heartfelt and open responses to my post that I felt motivated and compelled to figure out how I could help. Alex: As a black interior designer I am very aware that the industry is not diverse. There are many stories of designers from ethnic minority backgrounds having negative experiences trying to access the industry and that needed to change. My passion

for United in Design was ultimately fuelled by first-hand experience of this reality - which is why having trained and tutored at KLC School of Design I began to reach out to leading industry figures to specifically promote the benefits of addressing the inequality.

What triggered the formation of United in Design?

Sophie: On #blackouttuesday, in light of the murder of George Floyd and the #BLM protests, I, like millions of others put up a black square on our @studioashby Instagram feed. I took the implied intention of that day very seriously and vowed to myself to do much more than just post the square; I took the day off work and tried to give the complexities of the problem thought whilst also considering my position in all of this. I put out a statement a few days later acknowledging my failures with regards to running a diverse company and acknowledged some glaring issues within my industry. Alex: I was inspired by my own positive personal experiences of outreach programmes and mentoring and I knew that incorporating those initiatives, amongst others in the industry could make a difference. The name signifies what we would like to see happen in the world, not just in Interior Design...Unity. People of all races, colours, creeds and genders all need to come together and work together to create unity.

Can you describe the initiative’s concept?

Alex: To face the inequality head-on and provide actionable avenues for change. We hope to play a part in making interior design an accessible and obtainable career choice, by working with the industry to tackle the obstacles preventing this - correcting the balance and levelling the playing field.

How did you get the initiative off the ground and circulated within the industry?

Sophie: Time, love, commitment, a drive for change and an excellent steering committee and teams of trustees and councillors!

What was the aim you were striving to achieve with the programme? Why is it so important?

Alex: We aim to become an ongoing sponsored initiative that can nurture, coach and develop high potential candidates from diverse backgrounds, eventually funding scholarships, apprenticeships and bursaries for programme participants via annual subscription fees and events.

Who is involved in the running of United in Design?

Sophie: We’ve worked pretty tirelessly to get it up and running in a tight timeframe and of course the context of a global pandemic too. We’re really fortunate to have such a dynamic, informed, and perceptive team of trustees and councillors that we can lean on. Admittedly, it’s been a challenge - but a hugely rewarding one, and one we are so proud of! Alex and I work well together - she is a ‘doer’, as am I, and we both seem to be solutions-driven, fast-moving people so the combination of us together works. Who is currently taking part in the programme? Which brands / studios signed up? Are you trying to approach more?

Alex: By pooling groups of four design studios, makers and suppliers together we are able to provide a 12-month apprenticeship placement with the apprentice spending three months in each organisation. The apprentices are paid a junior designer salary, split across the four studios, giving each the scope to gather a broader set of skills, knowledge and contacts in order to progress through the industry. Our first pool of apprentices are already in action, gaining experience over the year with companies such as Laura Hammett Interiors, Turner Pocock and Brady Williams Studio and many other leading firms.

What feedback have you received from the participants?

Sophie: Overwhelmingly positive, inspiring and hopeful for change. Alex: Sophie and I have been so thrilled with the response so far and we have now had more than 120 partners signed up for the initiative. We are also starting to receive emails from applicants who wish to receive mentoring, work experience and apprenticeship placements and many new outreach projects are being set up in partnership with United in Design.

Are you working on expanding the programme for longevity?

Sophie: We know that fundraising will become quite a big part of what United in Design is about; we want to make it easier for those given work experience, internship or apprenticeship opportunities by helping them on their journey with financial support for travel and accommodation. This year we piloted our United in Design Apprenticeship scheme and hope that this becomes a long-term initiative, run by businesses and individuals that have a significant impact in providing a foot in the door for those who need a pathway into our world. We also dream of setting up a United in Design scholarship fund. We will also be hosting our first festival - date soon to be confirmed.

Are you aware of anything else happening in the industry that addresses diversity issues?

Alex: There are some brilliant initiatives like Design Can, which are helping to provide actionable change. It feels like there is real momentum from across the industry.

What can the industry do to help?

Alex: If you are an interior designer, maker, supplier, magazine, stylist, photographer, interior architect or anyone working in this sector looking to take actionable steps toward equity and inclusion - please visit our website to register your interest. We would love to have you as part of the conversation.

www.unitedindesign.com

Laura Hammett

Laura Hammett Luxury Interiors - Steering Committee member, United in Design

Laura Hammett is a London-based studio that creates luxury residential interiors. Husband and wife team Aaron and Laura Hammett bring a wealth of experience of the international property market, along with a thorough understanding of the dynamics and requirements of contemporary living. Founded in 2008, the multi award-winning London studio provides interior architecture and design services with a strong sense of identity.

Image: Kate Martin When did you decide to get involved with United in Design?

The conversation all started brewing shortly after I felt compelled to write an Instagram post following the Black Lives Matter movement last summer, about the lack of diversity within our industry. A number of my followers reached out to me and very generously shared their experiences, ranging from people who have such a passion for interior design but had not even attempted to enter the industry because they just didn’t feel there was a place for them, right through to people who have carved very successful careers but with really shocking obstacles in their way. The common theme that came from each phone call was that the industry is not remotely a level playing field and once I’d been made so aware of what was happening around me it became impossible to ignore. I had a few conversations with Sophie Ashby and Alex Dauley over the weeks that followed, who were already well underway with forming an initiative to change this and make the industry more inclusive and diverse. Those early plans so quickly became the United in Design charity and I was incredibly honoured to be invited to be on the Steering Committee, alongside so many industry experts and powerhouses.

What does your role commit to on the Steering Committee?

We have joined up with Brian O'Sullivan Studio, Fromental and David Collins Studio to offer a full year paid apprenticeship across all of our studios, and are really excited to be offering our three month stint to a very talented candidate in January 2022. As well as that I’ve taken on numerous other pledges as part of being a professional member of the charity, such as mentoring, outreach programmes and generally keeping the dialogue going to encourage the industry to continue taking progressive steps.

How do you plan to engage with new talent in studio?

One of the first things we did was speak to our recruiters to ensure that we were being sent a diverse pool of candidates when recruiting and we’ve started to see the benefits of that already with recent hires. However, it’s not going to happen overnight because so much work needs to be done at grass roots level, particularly with education and opening the industry up so that there are more candidates out there. I also hope that the positive message coming from all professional members involved in the charity will naturally create a more welcoming and inclusive environment for anyone wanting to approach those studios and companies for employment.

What has been a highlight for you of being on the Steering Committee so far?

There have been many, but I think the early conversations were very exciting and after what had been quite a heavy few weeks of phone calls with people, it was so encouraging to be talking to likeminded people who were passionate and genuine, wanting to see this positive change. After what was a lot of talk, it felt good to see some real action.

www.laurahammett.com

Edward Bartholomew

Edward Bartholomew began his career as a lighting designer in the San Francisco Bay Area and later in Seattle. This was a formative time for him where he was able to explore big design ideas that interested him, most prominently, sustainable lighting solutions that integrated daylighting and electric lighting, and the application of contrast and luminance in interior spaces that he referred to as "exquisite darkness." He later moved to the Boston area and worked at the utility National Grid as an Energy Efficiency Lighting Program Manager. In this position, he developed utility incentive programmes that supported energy efficiency and lighting quality. After leaving National Grid in 2019, Edward went on to work as a Senior Associate at lighting design firm Available Light. In March of 2020, during the global pandemic, Bartholomew was made redundant from Available Light. While many would have seen this as a setback, he instead saw it as a great opportunity and used his time to restart his own design firm, Bartholomew Lighting, focusing on retrofit lighting, and how these projects could benefit from his lighting design experience. Now, a little over one year into this venture, Bartholomew has multiple projects and is competing for more. Alongside running his lighting design practice, Bartholomew leads Blacks Under-represented in Lighting Design (BUILDup), an organisation of Black lighting professionals who are committed to building up diversity and inclusion in the lighting industry.

What has been your personal experience within the lighting industry?

I have had a challenging journey to become a lighting designer, so I appreciate those from under-represented cultures and communities who are trying to find their way in this industry like me. I studied performance art and received a BFA in Interdisciplinary Arts from San Francisco State University. I also worked as a theatrical lighting designer in the San Francisco Bay Area. While doing research in the library for an art project I discovered William Lam’s book “Perception and Lighting as Formgivers for Architecture.” This showed me the amazing creative potential of lighting architecture and I never looked back.

Who are your lighting heroes? Light Artist, James Turrell; Video Artist, Bill Viola; Phenomenologist, Olufur Eliasson; and Architect Tadao Ando. As well as this, I had many kind people who supported my journey in lighting, but I now have a mentor, Mark Loeffler who has been instrumental in helping me grow my design firm.

What is your most notable project? And is this your personal favourite?

The project that I am most proud of is the University of Washington Facilities Services Training Center, an adaptive reuse project by the architects SHKS, but the conceptual façade lighting for the Rhode Island Natural History Museum is one of my favourites because it celebrates a neglected building for the community.

What triggered you to set up BUILDup?

I have always been committed to increasing diversity in the lighting industry, but I was disappointed in the lack of industry response to the murder of George Floyd by the police that sparked an international social justice movement. This inspired me to join with others to form this organisation and amplify the voices of others like myself. We have a strong leadership board and a growing membership of young and established Black lighting professionals.

What do you hope to achieve through BUILDup?

We hope to support each other in creating a more diverse and inclusive lighting industry. But also develop education opportunities in lighting for Black students to learn what wonderful careers are available to them. Lighting is a dynamic industry that will only become richer and more vibrant by welcoming diverse talent and practicing design that equally impacts both rich and poor communities. I am currently serving on the new IES Diversity, Equity, Inclusion, and Respect committee (DEIR). I believe that through practice and advocacy, we can use lighting to realise social and environmental justice.

How can people get involved?

People can let other Black lighting professionals know about BUILDup and can donate to our organisation to expand our mission in education and outreach.

Sakina Dugawalla-Moeller

Inspired by Eleni Savvidou, who “single-handedly showed that a lighting designer is a key player no matter how small or big a project,” and Steven Rosen – Available Light, who “inspired me to seriously look within myself and realise that there was a talent there that so many had tried to suppress,” Sakina Dugawalla-Moeller is a lighting designer and owner of independent lighting practice Light.Func in the UAE. Tanzanian by birth, she considers herself a citizen of the world, having attended boarding school from the age of eight. Surrounded by multiple nationalities and cultures, she grew up not knowing the difference in ethnicity, culture, religion, or that colour was a thing! Dugawalla-Moeller moved to the UK at just 17 to pursue her A-levels before embarking on her Architectural Degree. While on a gap year she passed through Dubai, where she ended up staying to study Interior Design. “Interning for Erco in my second year made me realise I needed to focus on lighting because it really changed perception, and next thing I knew a passion I never thought was plausible, grew,” says Dugawalla-Moeller. “I joined iGuzzini two weeks after my graduation ceremony for a four-year period, then Linea Light for almost three years and finally I opened Light. Func in 2016. “I was inspired to pursue lighting design by a need to change how people live. Light is so emotive! I am a very emotional being and carry a lot of the emotional aspect of light into every project. Lighting is not just what you see or feel, it is technical, it is inspirational, it requires a lot of planning, sketching, dreaming, then coming down to earth.” For Dugawalla-Moeller the project that ‘put her on the map’ is the SLS Hotel. “It exudes glamour, luxury and restrained elegance,” she says. “The level of detailing by the Bishop team really tested our OCD for detailing. The fact that it is the first SLS hotel in the Middle East is also not to be forgotten, it has shaken the hospitality industry to the core. My favourite project however, is launching at the end of the year. It is the biggest Safari Park outside of Africa and being African first, Tanzanian second, it is very close to my heart.” Dugawalla-Moeller was the first woman to open a lighting design studio in the UAE and having not come from an independent lighting background she didn’t have a 'Little Black Book’ of interior designers or consultants to go back to, to look for work - her first job came from a French-English couple, one half of which was North African. “He was impressed with the work I had done when I was still employed by a brand for Eden - the most famous beach club of that time,” she says. “My never-give-up attitude, no-nonsense approach to getting the project completed left a good imprint. Perhaps it was a coincidence that a mixed-race couple believed in my talent enough to give me work, but now that I look back on it, all the work I won was by people of Arab or African ethnicity. “I think the lighting industry in the UAE is very diverse in the different nationalities, race and cultures but I think there is a misconception that the UAE is inclusive - this couldn’t be further from the truth. Certain nationalities will get paid more, when they’re less skilled; different nationalities have different needs and expectations. “In the UAE the Asian expat community is the largest by far and being of Asian ethnicity myself, I don’t consider therefore that they are in the minority. On the larger scale however, the Asian ethnicity is considered to be a minority - because globally, lighting is still very young here. Therefore, in lighting it is expected that the Western society is more talented. “It is difficult to say whether the lighting industry has become more diverse recently,” she continues. “I would probably focus on the gender aspect… I still find a lot of women in bigger practices (and even sales industries) are not in a decision-making role. But if we look at all the lighting practices and supply industry in the UAE, I would boldly proclaim (without any substantiated data) that about 95% of those have men as CEOs or Middle Management. “A lot of the time, to sit in front of clients/contractors, one has to have a very strong sense of self - and it is often thought that women are either “emotional” or will cave. I have been called aggressive and scary plenty of times, because I have just put my foot down to ensure a semblance of design intent is met. I have not seen that same comment/wording used on any other member within that room. “I fearlessly started Light.Func. I come from a background where my grandmother and mother ran their households - so the idea of a struggle is not scary, it is a way of life. You struggle to get to where you want to be, and when you get there, you face other struggles. I think perhaps this has made me feel that by owning up to our struggles, the industry understands the need to support and become all inclusive! “I think the lighting industry is just like the rest of the world, in the Middle East it will always be a little bit more unstable, because it is still very young. We have a lot of time and work in front of us. The problems we face cannot just be put in little boxes because they range from gender imbalance, ethnic imbalance, nationality treatment (social stigma), as well as lighting as a whole being very much misunderstood. “When I first started Light.Func, I used to chase brands for information, now I get at least 10 requests a week for product presentations. I should be proud because it means I have succeeded, instead I am disappointed. When I started the practice, I contacted countless consultants that were in the top 50, and the level of response was closer to 0.001%. It made for some dark days. "When our first project went to tender, it was substituted with sub-par product, despite the fact we had worked non-stop for six weeks to get it to tender. The supplier who won did not send any queries, just put whatever product they wanted. Then, the client asked us to go and commission the project for free. I am not sure if they asked this of us, because we always say yes, or just because it was expected of us. And this client is known to work with a very reputable lighting practice, that is led by a man who is not of an ethnic minority background. “When I had to make a tough decision about the studio’s financial problems, someone abused my sister, who runs the studio with me. I was shocked and wondered if my sister had been a man and not of ethnic minority, would this person have treated her that way? “There are many stories that I could narrate back to the community, and responses would be, "yes, but they were growing pains," and "look at where you are now". Here is the thing. I used to ask myself when I hit rock bottom, if I was not female, and I was not African, and I came from an independent practice - would this journey have been easier? “I think yes. But I would do it again - not to prove anything - but because it is in my DNA to fight the fight. Also, because I know I have inspired a lot of people to start their own practices, and heck, if I can, so can you! “What being a woman and of ethnic descent in the Middle East rife with gender imbalance teaches you is nothing comes easy - but I was taught that nothing of worth comes easy, so I guess you just have to get on with it.”

Marién Vélez

IALD member Marién Vélez began her journey in lighting as a self-taught designer and stagehand in Puerto Rico, working in theatre, music and dance. From the very beginning, collaboration has been a determining factor in her work, as she explains to darc: “Having the responsibility of creating a common language with others who I admire has been a privilege during my career. Those collaborators who allowed me to explore light on different stages gave me my first education in light. “Before deciding that I was going to dedicate my professional life to lighting, I spent a few years learning multiple areas of communication and the arts: radio, street theatre and event production among others. I wanted to do something related to the arts and design, but could not identify what exactly moved me, until I learned that lighting was a discipline that could be studied in depth and had various professional possibilities, all of them wonderful. “It is the impact lighting design has on perception and representation that inspires me,” continues Vélez. “It’s always amazing to think how much it affects our lives and environments. We can dramatically change spatial relationships. Buenos Aires challenged my curiosity, opening my eyes to a great amount of knowledge in a short period of time, it was there I finally declared my love of light. Both Buenos Aires and New York taught me the depths of light-space art and the nuances and the craft of architectural lighting design.” For Vélez, it is the work of Es Devlin, Julio Le Parc, Joost Van Santen, Olafur Eliasson, Antoni Arola and Robert Wilson that she finds the most inspiring. “They are light-space provocateurs who advance the frontiers of perception and representation, and sometimes even public or shared spaces,” she says. “I also admire the research project, “Configuring Light / Staging the Social”, since they combine sociology and lighting design, a pertinent combination of disciplines no one else has done in such depth. They are the most extensively documented and articulated in social lighting design.” Discussing notable moments in her career, Vélez sees there are three collaborators in particular that she must mention - Kairiana Núñez, Teresa Hernández and Mima. “The experiences and material I was exposed to during this time marked many of my current design decisions, which have always been in search of simple yet memorable lightscapes,” she says. “Mima’s music concert 'El Pozo', (2011; Theater of the University of Puerto Rico, Río Piedras Campus) ‘put me on the map’ and in front of a bigger audience; with Teresa and Kairiana I share a place focused on performative research. In social lighting, the project that ‘put me out there’ was a collaboration with the organisation La Maraña where I had the opportunity of putting into practice my Master’s degree thesis: a methodology for co-designing lightscapes in public space with and for organised and underserved communities. My favourite endeavour, the one I feel most proud of, is the Light-Space Art elective course I recently designed for the School of Architecture in my Alma Mater, the University of Puerto Rico (public higher education). The course will be a space for discussion and explorations around light. “Beyond my interests in art and design, I feel a responsibility to serve under-served communities with access to lighting design. We need, once and for all, to bridge the gap between our discipline and those who do not have access to the work we do for lack of financial resources. My expectation is to see an international lighting industry that is up to the times, not only in technology, but also in empathy and search for equity. “During my MFA in Lighting Design at Parsons School of Design (201618), I co-founded with other students from Parsons School of Design, a collective (2017-18) that studied the impact of the absence of lighting in the framework of governmental negligence that left a country without electricity for more than a year after Hurricane María (category 5; Puerto Rico, 2017). Then, in 2019 I co-created 22 studio, a transdisciplinary woman-led design practice and in 2021 I became the Ambassador in Puerto Rico and the Caribbean for Women In Lighting.” Throughout her career, Vélez has felt the support of Nathalie Rozot of PhoScope, with whom she collaborated with on the Light Reach project, through the initiative Recreo de Noche in Puerto Rico; and Francesca Bastianini of Sighte Studio, Vélez’s professor at Parsons and has since invited her to forums such as ‘How Very Queer’, recently presented by Women in Lighting and Design and the North American Coalition of Lighting Industry Queers. For Vélez, while she has seen more ethnic and gender diversity in the lighting industry, there has not been as much sexual or class diversity. She explains: “Unfortunately, I have not seen substantial progress towards a more balanced community, except for a few amazing initiatives (like this one!) that are committed to systematic changes; and individuals who carry a sense of respect, solidarity, empathy or justice. I believe that the industry as a whole needs to develop strategies to work on opening up its peripheries and acting aggressively on inclusion, if we really want a heterogeneous body of designers, workspaces, clients and projects. BIPOC communities have not had equal opportunities, attention, support or respect. As a queer Latina I have found myself with little opportunities to freely develop my design interests in a fast-paced, white, male-dominated industry that prioritises ego, capital and fear of being essentially queer: weird, nunaced, unusual. “There are independent projects and platforms out there that are genuinely trying to diversify the lighting industry. All of this helps and is definitely necessary, but I also feel that the industry at large should take responsibility in helping solve real-world problems. That includes everything from creating spaces of exchange and education in the lighting community to companies financially supporting the development of our multiplicity of voices. The change is systematic and urgent.”

Leela Shanker

Leela Shanker is a Chinese-Indian-Australian Designer who currently lives in New York City and works as a Lighting Designer for BR + A Consulting Engineers. In addition to this, she also runs a non-profit organisation, Flint Collective NYC, that uses light to enhance public space, as well as doing work with embodied carbon in lighting in collaboration with the GreenLight Alliance organisation. Shanker has always had a passion for storytelling, which landed her an entry level role at the Australian Film Commission, as well as working on documentaries and children’s content at the ABC network in Australia. However, due to the increasing digitisation of the world at the time, Shanker was eager to step away from the screens and had a greater interest in creative work in the physical environment, public spaces, and public art. This passion quickly developed when she attended various lighting workshops and collectives across Berlin, Shanghai and NYC and resulted in her obtaining a place at Parsons to complete a joint Master’s degree programme in Architecture and Fine Arts Lighting Design to add to her existing bachelor’s degrees in law and commerce in Sydney. “It’s really the transformative aspect of the medium [lighting] and the fact that it's very much anchored in physical environments that was interesting to me,” she explains of her discovery of lighting design. “I guess you could say light was a creative means to a sociological end; give people experiences, bring them back together and make people see different things in the world around them.” Flint Collective NYC is Shanker’s non-profit organisation that works with the public communities in New York to generate unique installations that aid the locals. "Open" was a recently completed project that Shanker began during the pandemic last year, which recently won an industry-based Lumen award. “We got a special citation for lighting as a tool for social impact. It was memorable because of how it came together in the thick of the pandemic and the fact that it was supported by the lighting community to do something positive for the public.” The project brought eight storefronts to life with temporary light installations after store closures because of the economic fallout of the pandemic. The local public were invited to enjoy these installations during nighttime walks through the East Village area. “We really wanted to bring light back to the streets for struggling local businesses and restaurants, and to reinvigorate the neighbourhood. It was special, obviously because of the intent to do something positive for the community, but also because it was a demonstration of the lighting community coming together around that kind of project too. We were funded by the Designers Lighting Forum in New York, loaned all the lighting gear and had so many lighting designers and people from different design backgrounds volunteering time and expertise to pull it off - it was pretty amazing,” she tells darc. "The business owners who participated were so thankful to be included, which is a very unusual in New York, but they recognise that everyone really needed it.” Having grown up in Australia and in such a multi-cultural family, Shanker was fortunate enough to have never felt the direct negative impacts of racial inequality throughout her educational and professional career. It wasn't until the Black Lives Matter protests in New York that she felt an awareness of her racial differences and how it could be perceived by others. “I was really disturbed by the events of last year when all of the Black Lives Matter protests were happening. It was like the final straw in amongst so many layers of pressure and stress and tension about trying to navigate Covid times in New York. “That was the first time I really felt the reality of how bad things are here and I have vicariously chosen to live in a society that has these issues. But for me, I think the sense of concern of fear or anguish associated with race is experienced more in a life-or-death situation,” explains Shanker. “I have chosen to not jog in the morning at a weird time because I worry that police might make mistakes and think I’m someone who's doing the wrong thing and out of place. I am more concerned about that than a problem of race in a professional context. I can say that in New York, in the lighting community, I have not experienced what I feel to be disadvantage or prejudice. I do think New York is a unique place; there's people from all over. And similarly, Parsons’ lighting programme is extremely international. We all work together from all different continents and really love the different influences and perspectives.” When reflecting on the issues of ethnic diversity within lighting specifically, Shanker believes that education is fundamentally the way forward for promoting the niche industry and to encourage emerging and young designers to participate. “I think we need more people having an opportunity to study in this area, and that's the only way we'll get more faces participating from different backgrounds. “In terms of key figures in my design development who came from a BIPOC background, I was incredibly fortunate to have Dr Sharon E Sutton as a professor for a design build project in third year of the dual degree architecture programme,” she says. “Emeritus Professor Sutton, who previously practiced architecture in New York City, was the 12th African American woman to be licensed to practice architecture, the first to be promoted to full professor of architecture, the second to be elected a Fellow in the American Institute of Architects (AIA), and the first to be president of the National Architectural Accrediting Board. “She was an inspiration to many as a trail blazer in the typically white, male dominated profession of architecture. Though to me, it was her design approach and personal integrity that left its greatest mark on me. Through her, I gained a strong sense of responsibility for participatory planning and design processes in disenfranchised communities. As an educator, activist, and public scholar, she continues to inspire me to recognise our role as designers in shaping the experience of community. I hope to continue that work through the Flint Collective NYC. She continues: “In my current role as a lighting designer within BR+A’s Borealis Lighting Studio, I see how a thoughtful hiring policy to select people from different professional and racial backgrounds creates a strong team and effective investment in the future of a lighting industry led by people from an exciting breadth of upbringings. “I do think if there was one thing that we have to highlight, it’s that making education more available to people from varied backgrounds is key. And from there, I really think we're pretty good as a community - we're very open and supportive and it's an amazing community to be part of, it's like a family,” she says. “If we create more opportunities for people from a diversity of backgrounds, we will naturally start to see more representation in the field.”

Kathrin Nuestro

Kathrin Joy Nuestro is a lighting designer at UK-based studio Nulty. Having joined the company in 2016, her career began in the Philippines having graduated in 2012 with an Electronics and Communication Engineering degree from Adamson University, Manila. Deciding that engineering wasn’t for her, following an internship as a software engineer, Nuestro wanted to pursue a career that “captured her heart and would change her forever”. “I know it sounds dramatic,” she tells darc, “but I’m one of those 22-year-olds that wanted to try something different.” And so, after a few months of re-thinking her career path, Nuestro applied for a job as a lighting designer. “I was hesitant at first as I didn’t know about lighting design and how different it would be for me as a career. Little did I know that this would be the best decision I could make and that I would fall in love with lighting design and it would change my life forever.” Nuestro’s lighting career started at Light Plan as a junior lighting designer; a small company in the Philippines where she had to learn everything from scratch. With very little experience in architecture or interior design, this was a definite challenge for her - reading plans, elevations, sections, the importance of materials and finishes and so on. Also, learning about light and everything it does to a space. “As I advanced, I tried to ensure that I educated myself by attending different seminars locally and overseas,” says Nuestro. “The Tokyo Lighting Fair in 2014 really inspired me, listening to the designers within the industry and hearing about their experiences across the world.” After three years working in her home country, Nuestro applied to work overseas, a huge decision for her to make at the time. “I believed it was time for me to move on though and become exposed to different projects around the world. I applied to Nulty and five years later I’m still here working as an Intermediate Lighting Designer and I couldn’t be happier. Having worked on quite a few retail projects at Nulty, Nuestro’s ultimate project and the one that is closest to her heart, is the Selfridges Trafford Centre Beauty Hall. “We created something sustainable by reinstating the old materials of the chandelier to make sure nothing went to waste. There was a challenge with this project to make sure everything we used was within Selfridges’ sustainable guide by carefully selecting all the fittings and collaborating with manufacturers to ensure that their aspirations were being achieved - not just with the design itself but also when caring for the environment.” When it comes to inspiration, for Nuestro, her ultimate lighting hero has to be Kaoru Mende. “I’ve always admired his work and how fascinated he is with light and shadows. He always believes that before designing a space we must start from the darkness as opposed to the concept of beginning the concept that there was light. For me this makes absolute sense as no space exists without shadows. What we can do is embrace it and work with it. “For me, travelling and seeing the world shift from day to night is also one of my inspirations. A view that’s already beautiful and astounding during the day but has the ability to change during the night by creating something magical is very interesting to me. One of my favourite places, for example, is the Singapore skyline. Appreciating the different architectural elements during the day while it transforms at night, creating that magical moment that connects with locals and tourists, is breathtaking.” Nuestro has also found a lighting mentor and inspiration in Cecille Capuz, who works at Nulty in Dubai, UAE. “We worked together in the Philippines and she’s always inspired me and guided me when I started out. I believe that having a mentor was essential when I first started in lighting as the industry was not big in the Philippines at the time - so I’m very grateful to have had someone to guide me, collaborate with and inspire me.” When asked about her thoughts on (a lack of) diversity within the lighting industry, Nuestro replies: “At first I really felt that the lighting industry is less diverse than the other design industries in London. I know this is probably because more people might choose architecture or interior design, but I feel like there are less well known persons of colour in lighting than in the other design industries. However, as time has gone on and the community has grown, platforms such as Women in Lighting have been able to engage more people around the world. The industry is definitely becoming more inclusive...WiL gives women of all colours, all over the world, a platform and is inspiring others to share their own stories. “I believe opportunities such as these, for all BIPOC in our industry, is a good starting point for recognising their achievements. We need to continue providing opportunities, this will be key in ensuring they feel like they belong. I hope that sharing a tiny bit of my story of moving from the Philippines and working here will inspire other people to pursue their dreams and really go for it.”

Featuring the Helmi chandelier Bespoke Sculptural Lighting

Ketryna Fares

Ketryna Fares is a Lebanese Lighting Designer at New York-based HLB Lighting Design. Her work revolves around the human-centric approach of constructed environments that bring forth form and function with the activities in the place. She examines the impact of lighting on the environment and how spatial opportunities impact the human experience. As an international designer, Fares manages to remain flexible to the needs of different projects and clients and enrich her understanding of universal design notions and how to apply them to local project requirements. She is also interested in health and wellness, sustainability and a design that has a positive and durable lasting impact on communities. After pursuing an early career as an Interior Architect in her home country of Lebanon, Fares has also dabbled in stage design before transitioning into architectural lighting design after recognising the “weight daylight and electric light carried” in her projects. “During my MFA in interior architecture at the Academie Libanaise des BeauxArts, I took a course in lighting design with Cherine Saroufim who later became a close friend,” Fares tells darc. “She is an alumnus of Parsons the New School and the Women in Lighting ambassador of Lebanon, and she recommended I apply to the lighting design programme. After graduating, I headed to New York to attend Parsons. It was such an enriching experience that allowed us to discuss issues surrounding spatial design within the urban context, and all of which it encompasses; and connect with like-minded people.” After graduating Parsons in 2016, Fares joined the team at HLB, whilst also holding a place on the IES Emerg(ies) Committee (Emerging Professionals Committee) in New York and later became an IALD (International Association of Lighting Designers) NY chapter coordinator. “In my five years at HLB Lighting Design, I have been fortunate enough to work on amazing projects within many market sectors including Aviation and Transportation, Academic, Corporate, Cultural, Hospitality, Sports & Rec, Residential, and Retail; with skilled and thoughtful team members across our seven offices,” says Fares. “I am also fortunate to contribute to the culture of the firm by developing and being a part of the UNPLUG group at HLB, a platform for creators with the purpose of experimentation, collaboration and growth, where we host a multitude of educational workshops and clubs; and by actively participating in strategic planning and open-book management firm-wide initiatives.” One of Fares’ most recent and most notable projects she has completed with HLB is the David H. Koch Center for Cancer Care at Memorial Sloan Kettering Cancer Center in NY (MSKCC). This project won both an IESNY Lumen award and an IALD Award of Merit. Fares references numerous design heroes that inspired her journey in lighting. “Lighting heroes aren’t only those who have mastered their craft but also built businesses around their craft, and in that way paved the way for others to find their voice in design and architecture as well,” she says. “I would instinctively need to mention the greats: Zaha Hadid, Le Corbusier, Louis Kahn, Bjarke Ingels, Steven Holl. However, there are so many lighting heroes among us, from the artists at Flint Collective who’ve used lighting as a tool for activism, to organisation leaders at Equity in Lighting, Women in Lighting, WILD, Nacliq and to the women who have trailblazed the way for lighting design to be part of the conversation and are pioneers of women-owned businesses on a worldwide platform such as Cherine Saroufim, Dalal Anwar Al Sharhan, Barbara Horton, Teal Brogden, Suzan Tillotson, Monica Luz Lobo, Mokoto Iishi, to name a few!” Fares adds that she is always open to the idea of being a mentor: “I didn’t particularly seek mentors based on their ethnicity, but I’ve been fortunate enough to be surrounded by wonderful mentors in and outside of the industry who’ve helped me in figuring out the path I wanted to take. I am always happy to pay it forward.” Continuing the conversation on ethnicity issues with darc, Fares says: “As a premise, I would like to clarify that my experience of “otherism” whether that is race, ethnicity or anything else, is different from what’s experienced in the US (and where race-related terms such as “BIPOC” arise from). While I do acknowledge to have had a relatively “privileged” life, I do also believe that it did come from being conditioned to normalising unacceptably bad situations that are still pulling Lebanese talent down, from not having access to running water, electricity and the most recent scarcity of gas, the 4 August massive port explosion, hyperinflation, mothers not being able to provide citizenship to their children, and LGBTQ rights being completely overlooked amongst all the chaos. “Otherism” holds different meanings that are relative to history, politics, country, region and socioeconomics. There are so many people that work as hard as I do, with as many ambitions as I do, with skill that I admire so much, who are, simply put, stuck in a context that doesn’t allow for the same opportunities or rewards that their hard work should be rightfully receiving. This is for them.” When asked about her experience of diversity, or lack of, in the lighting industry, Fares adds: “I believe there is more diversity in the niche market that is lighting design in comparison to other industries such as architecture, engineering or distribution. Diversity is not only a women to men ratio. However, with lighting design being a niche in the industry, access to it becomes scarcer. I feel there isn’t much socioeconomic diversity observed in schools that are renowned for providing lighting design courses or diplomas. A solution to creating more diversity within the industry that from the bottom up would be for the schools to either reach out and give real incentives for people from underserved communities to join their lighting programme, or more lighting design courses should be taught at more diverse universities. Either way, creating opportunity at a larger scale would then provide options for lighting and architecture firms to hire from a wider and more diverse pool of students. Moreover, the gender revolution that has been broiling in society should be celebrated in the lighting industry as well. We should openly (and in action not just words) reflect the context we are in rather than opt out of being too “political””. Looking at the industry as a whole and how balanced and diverse it is, Fares believes, despite being relatively new to it, there are a lot of people and organisations in lighting that are striving to make it a better one. “I feel there are many people in the lighting industry invested in continuously making it better as a whole, whether it is through organisational work or by simply starting and being a part of real conversations around race and equity. I think it has a bright future and hopefully that trickles into every aspect and all factors within the industry. “I feel like lighting organisations definitely joined the conversations and other organisations have been formed and/or taken part in response to this topic: IES, IALD, DLF, Women in Lighting (WiL), Women in Lighting + Design (WILD), Equity in Lighting (EIL), North American Coalition of Lighting Industry Queers (NACLIQ), and others. So long as they are actively speaking and acting on the issue, I see a more balanced future for the industry.”

Rouwaida Dugawalla

Rouwaida Dugawalla is the Tanzanian-born Director and Partner at Light.Func, an independent lighting design practice in the UAE, and sister to lighting designer and owner of Light.Func, Sakina DugawallaMoeller. Dugawalla studied in Tanzania and Nairobi before moving to the UK aged 16 where she went on to complete a bachelor’s degree in Physiotherapy in London. “As a physiotherapist, I worked on many private contracts in different roles including audit and regional management and therefore have always handled budgets, staff, as well as coordinated services. I stayed within the UK working for a private healthcare provider for more than eight years before I joined Light.Func. Light.Func was established in 2016 and Dugawalla slipped into her role in the lighting world, just as many others have before her, with no direct intention. “I am not a Lighting Designer and not a part of the creative team within our studio. My role within our practice is commercial and mainly involves the operational and financial running of our studio as well as project budget management. “I never chose lighting or lighting design as my career choice unlike big sis! It somehow chose me! A funny story: I had my second born Madina in March 2016 and was out on annual maternity leave. During this period, I took some time out and went to Tanzania to visit family. Whilst I was there, Sakina must have been talking to mum and she had suggested that perhaps I could help her with emails and a few minor details as she was very busy. “At the time, the studio comprised herself, Ramees and Feisal. I therefore joined the team to be a temporary administrator. However, I grasped so much in the four months of maternity leave I had left and became such a crucial part of the team. Sakina therefore asked me to stay behind and grow my role within the studio. I then assumed the role of Director. My role within the studio largely involves the commercial, HR, budget management, procurement coordination along with leading business direction. With a great foundation in sciences, I have quickly learnt to grasp the technology and am now well versed in the technical side of lighting design.” Dugawalla’s time in lighting has been short so far, but she has fully emersed herself and followed her sister with great admiration and referenced her as her lighting hero when asked by darc: “A bit biased here as she is my sister but honestly my time in lighting has only been five years, so I am a light baby in some respects! I think for her creativity and her relentlessness in achieving excellence. I work alongside her and the attention and significance she gives every project is incredible. It could be a private apartment or a five-star hospitality project, it doesn’t matter. She is unafraid to turn a stone for there being too much dirt under it, therefore no detail is ever ignored. No concept is ever reimplemented, every new project is a blank new canvas! And lastly, she has taught me the importance of light and shadow and the impact of human centric lighting and its impact on our lives.” Dugawalla notes that some of Light.Func’s most stand-out projects to date include A’Capella, Molecule and SLS Dubai Hotel and Residences. “[A’Capella and Molecule] definitely showed we had arrived, and we are versatile as a practice. A’Capella remains my favourite project to date and its concept is truly timeless. “But the biggest one is the SLS Dubai Hotel and Residences opened in April 2021. This is a 75-floor, five-star hospitality project with an incredible number of spaces within it. Our young team came on board at the end of September in 2018 and in just a six-month period completed our scope from concept design all the way to IFC. It has now opened, and the result is spectacular and really shows our ability as a studio to handle large projects and the level of detailing is absolutely incredible,” she remarks. When asked about her roots and racial identity, Dugawalla explains her family’s multi-cultural background: “So, this is a really complicated one. As a family, we are multi-racial in that we have a father who is of Indian and native African heritage and a mother who is of Yemeni, Omani and Comorian heritage. I find ethnic forms restrictive to this day because they group people, and if you don’t fit a certain box you go in the others box. “There is also an unspoken concept that whoever is not White/ Caucasian is then considered Black/coloured. However, I feel this concept doesn’t give a true representation of the differences we have as people, which I feel should be more embraced in society. A person’s make-up is much bigger than just the colour/appearance of their skin and sadly colour does not tell a person’s heritage on its own. Considering the above, I would therefore prefer to call myself Afro-Indo- Arab, or a pretty mixed person!” Continuing with the topic of diversity but looking at some of the potential issues with it in the lighting industry, Dugawalla goes on to describe the experiences she has witnessed across both the UAE and the UK’s lighting communities: “Firstly we look at gender. I think there is a lack of representation of women in senior leadership roles within lighting design. You will find most directors are male and of course this has been a massive drive of the WiL movement in really challenging the stereotypes and it’s a big point to be embraced. It is fantastic that having opened the first lighting design studio in Dubai by a woman and paved the way for others, there are now two additional studios owned by women in the UAE. “Again, I think within the UAE and in the UK from experience in the events I attend, there is a lack of representation in ethnic minority lighting designers. I don’t know if this is due to lack of opportunity or if it is more because lighting design is a specialisation and there is a lack of influence/ role models that drive this aspiration within ethnic minority students. “As an example, if you go to Ghana, there will be many architectural students who are inspired by the work of Sir David Frank Adjaye. Therefore, they mould themselves and study his methods of design and aspire to take the same paths. So, in this case, the big question is, are there a lack of role models in publications that can inspire the minority groups? Is there a problem whereby perhaps there are not adequate programmes that target ethnic minorities in inspiring them to perhaps specialise in lighting design?” she asks. “Having come from a physiotherapy background in the UK, there are BAME support groups as well as mentors within these groups that provide support. Perhaps a similar society would really help to bring minorities into the lighting specialism. “As a lighting design studio that was founded by a Tanzanian woman in the Middle East, we hope to serve as inspiration to others in choosing this field and are more than happy to mentor as well as guide others.” When asked about whether she has witnessed any improvements in the industry, Dugawalla again commends the efforts of the Women in Lighting initiative: “I think mostly from a gender perspective, there has been a much larger inclusion of women in conferences, award juries as well as just a general spotlight overall in celebrating the achievements

of women. It is fantastic with movements such as WiL and WILD really encouraging stake holders in balancing the gender gap. “There is nothing more challenging than being a woman in construction and then being a woman of colour in lighting design. “I still think, if we are looking at inclusivity from a race/ethnicity perspective, there is a really long way to go,” she explains. “As an example, on why I say this: There are many Philippine and Indian nationals who work in some of the largest lighting design studios within the UAE. You will seldom see them being touted forwards or being featured in panels or celebrated by and be the face of most studios. I think this is something that should be looked at within lighting design. Architecture and interior design seem to be slightly further forward in this regard. “There is then the dreaded pay gaps in the MEA where pay is dependent on nationality. Having spent my time in the UK since age 16, I am baffled that people can still advertise and specify a nationality and pay others less because of who they are or where they were born – but this is seen in a lot of industries, not just lighting. “Sadly, and unfortunately, there is a large misconception that if something is from the West, it automatically means that it is better than something from another part of the world. As an example, we have clients who insist a product must be a European brand and that if it is from certain countries than it automatically means that it is less superior. I am not going to mention names, but we recently tested a linear grazer from India that outperformed a Western product but convincing a client can be another issue. Unfortunately, people apply this concept to human beings too, which is extremely sad. Because I deal with tenders and proposals, there are plenty of times when people have expected us to be the cheapest in fees – we have expected and deduced that our studio is made up only of ethnic minorities or that we are much smaller in size,” she continues. “What these types don’t realise is we are boutique, what we offer is tailormade to a specific project and in this case, you do get more for your money because there is more detailing that goes into it and the service is much more personalised. It doesn’t matter if this service is being delivered by a Western-born/raised individual or an ethnic minority from any other part of the world. “As an example, both my sister and I are UK educated, yet we still have doors shut on us because of how we look or who we are. At times we are spoken to in ways that say a white middle-aged non-ethnic minority gent in a suit wouldn’t. I hope that everyone reading this article will challenge their own stereotypes and think of how to help others, especially ethnic minority groups – perhaps in celebrating their achievements, helping them to grow in confidence and in their role and within lighting design and the industry,” says Dugawalla. “Reaching out to many international practices and consultants and even with an exquisite portfolio, you can easily get overlooked, so the only way is to constantly keep fighting the battle and getting the chance at a fair interviewing process because on those occasions we have won the tenders by proving our expertise. “Someone funnily once mentioned to me as a director that I should approach a lighting designer that was available on the market because they are the ‘right skin colour.’ I found this insulting. This came from an Afro-Asian person within the lighting community, which also shows the history of where those problems come from.” She continues: “From an ethnical perspective I think firstly there needs to be a change at many levels: Ethnic minority lighting designers are very underrepresented within the lighting design community worldwide I believe. It is extremely important that the community puts together an interest group that helps to educate and draw this group to this specialism. Also, encouraging studios to show their diversity monthly and celebrating the achievements of ethnic minorities within the studio. This helps both in bringing their achievements to light but also inspire others in viewing these as heroes/sheroes and as role models,” she explains. “I think my last word is to challenge the lighting and design communities in to looking at diversity and pay gaps as well as exposure that is given to ethnic minorities in publications. Because publications create role models. If they are missing from these then who inspires the next generation?”

Kapil Surlakar

Indian lighting designer and Architect Kapil Surlakar is the Founder of Light@Work Design Consultants, an award-winning lighting design practice based in Goa, India. Prior to this, Surlakar completed a degree in Architecture from Goa University and pursued a Post Graduate Diploma in Management studies. He practiced Architecture for seven years before enrolling for a Master’s degree in Architectural Lighting Design at Hochschule Wismar in Germany. His lighting design practice has since completed more than 150 projects across various parts of India and the Indian Subcontinent and has had the privilege of being a workshop head at Lights in Alingsås and Lights in Blokzijl, as well as a speaker at numerous international conferences. “I try to keep my approach honest and strongly believe that light is inherently attractive to humans, but very few understand its impact and manifestation in our mundane everyday routine, making it difficult to convince people on the benefits of good lighting that go beyond the glamour and drama that it induces,” he explains. “As a practicing architect I was fascinated by the works of other architects showing a sensitivity towards light in spaces. Light was part of the language and cleverly articulated to show the character to that space. My complete lack of understanding of how and the need to learn to be able to make an educated intervention made me study lighting, to enhance my capabilities to do better architecture.” Drawing his inspiration from nature and the power of light; the various manifestations of light, visual and non-visual, fascinate Surlakar and guide his design approaches. The project that he regards as his most notable is the Akshardham Temple in New Delhi. “[It is] a magnificent structure, displaying the Indian knowledge and science of architecture, construction and artisan skills, along with its allied facilities on a 93acre masterplan. [It] was one of my first projects that was recognised internationally and was awarded the IESNA Paul Waterbury award of excellence in 2007. This was a project that exposed me to scale and complexity and allowed me to test my knowledge and confidence on a newly acquired skill. This is one of my favourite projects. “We are also currently involved in a small 12 key boutique hotel in Sri Lanka, which has a more personal and intimate scale and pushes us to work with limited resources as well as with sensitivity. Such a project is also my favourite.” When discussing his experiences of diversity within the lighting industry, Surlakar explains the historic influences that impacted the geographical prevalence of lighting design in recent years: “Until the end of the 20th century, lighting design as a profession was largely prevalent in parts of the European Continent and the USA. I learnt about lighting design at the beginning of the 21st century and I believe that was the time when awareness to, and the educational avenues in architectural lighting design, started opening. This has now led to the propagation of the profession globally and thus has professionals from various regional and ethnic backgrounds. But this is a recent phenomenon and there’s no limit to the diversity we will see in the times to come. “The dominance of the West is slowly waning. Certain Eastern countries are challenging the West by sheer numbers and cost benefits they bring to the table. Today, I strongly believe the business sensibilities are going to dictate the decisions of inclusivity. It will no longer be an emotionally loaded decision. Whether one is accepted or excluded would depend more on the performance and value one brings to the venture.” Surlakar also experienced entry into the lighting world without the support of the mentor, but relied on his strong work ethic and determination to push him through. “I have taught myself. I ventured into the rough sea, unaided and learnt to weather the storm. Strong survival instincts, work ethics and a need to succeed have always been a guiding force. I have met a lot of good people who have supported me at times in my professional journey. But one needs to keep a keen eye on business practices to progress today. Mere excellence in the subject of lighting is not enough to navigate the professional currents,” he explains. When looking at the lighting community as a whole and whether there are positive changes happening to improve diversity and equity, Surlakar says: “Technology is taking strides that are opening up exciting possibilities. By being inclusive there is easy access to such technologies. However, such access can be detrimental to the profession, unless these technologies are used and applied with proper knowledge of the subject of lighting and design principles. Though inclusive is a very attractive and politically correct term, how pragmatic that is through the paradigm of knowledge and commitment to the profession needs to be examined more closely. Inclusiveness vis a vis ethnicity and skin colour are archaic concepts and would eventually fade into oblivion. However, one must not confuse the term inclusive to allow the unfettered dilution of the lighting design profession as is happening today, with no well-defined qualifying and educational criteria, dictated and diluted by financial considerations, which in the short run might appear beneficial to a few, but are largely detrimental and contribute to the downgrading of the profession.”

Seraphina Gogate

Having trained as an Interior Architect, Seraphina Gogate became fascinated by light in her final year of study and so, rather than going down the traditional RIBA route, she chose to do lighting design as a Master’s degree at Edinburgh Napier University, catapulting her into a world she now loves. Having started her career at Nulty, Gogate has since worked her way up within the company, currently holding the position of intermediate lighting designer. “There is a certain poetry associated with the field of lighting design that enthrals me,” she tells darc. “By “designing” light, one in turn allows other facets of design to be viewed in their full glory; a property of nature that designers actively seek to control allows for their creations to be viewed unfettered. If improperly handled, light can bring down the very best of design, but on the flip side, it can elevate the simplest design decision to levels never seen before. I have always been fascinated by this dichotomy that is so intrinsic to Lighting Design” Having worked on numerous projects at Nulty, the one that ‘put Gogate on the map’ so to speak is the Chelsea Barracks project. “I took on the project at stage four and experienced what has been so far, my greatest learning curve as a lighting designer,” she says. “I realised my creativity isn’t rooted simply in trendsetting, it also comes from problem solving. “One of my favourite projects though, is a small children’s play area I designed in Lusail, Qatar. It’s the most fun I’ve had on a project because I was working with roller coaster designers." Identifying as Indian, for Gogate, while she does see some diversity within the lighting industry - with Nulty alone employing a huge number of South and East Asian team members, one thing she has noticed is the lack of people of colour in positions of power. “Most of us are quite young and new to the industry still,” she says. “Also, there aren’t that many practices out there willing to hire from outside the UK. When I see ‘must have a right to work in the UK’ on an advert, it fills me with much disappointment. It would also be nice to see more people of colour from within the UK choose a life in the lighting and building industry, and this is something that starts at University level.” While Gogate has not personally had a mentor during her career, she explains to darc why she has now herself, begun to mentor her juniors who come into the UK from abroad. “My sister’s just moved into the NHS from India and hasn’t had the advantage of having gone to university in the UK,” she says. “Her experience of integrating with and understanding professional life in the UK is so different from my own that I try my hardest to do for my junior designers, what I would want my sister’s consultants to do for her as a junior doctor. Whether that be explaining the meaning of common phrases used in calls or going through British Standards with them before discussing associated deliverables, it’s all about making them feel comfortable enough to speak up and ask questions instead of scrambling around in the dark… pun intended! “For me personally, I look to Shashi Caan, author of Rethinking Design and the Interior, and designers Tadao Ando and Louis Kahn for inspiration. Shashi Caan, said: “The main protagonist in the story of the interior is not the discovery of habitable space but the human being”. These words are so incredibly poignant and define my practice. While Tadao Ando and Louis Kahn are masters of architecture, they use light as a tangible medium, much like concrete. Their work is a shrine to lighting design. Emotive and evocative.”

Goziem Ukachukwu

Goziem Ukachukwu is an Interior and Lighting Designer based in Nigeria. The married-with-three-children designer who identifies from the Igbo ethnic group of Nigeria, began her professional career with a Bachelor of Education, majoring in English and Continuing Education. She furthered her education with a Master’s degree in Business Administration from Enugu State University. Following this, Ukachukwu went on to open a travel agency, which she managed for 12 years before venturing into the interior design community. She enrolled at the KLC School of Design to complete a diploma in interior design and alongside took some short courses including lighting design. Ukachukwu now runs her own interior and lighting design business in Nigeria. Reflecting on her inspirations for lighting, Ukachukwu tells darc: “I was inspired to get into lighting design after attending a lighting workshop. This passion increased after attending Light Middle East in Dubai, where I came across some very experienced lighting professionals and got a lot of encouragement from them. Ukachukwu’s lighting heroes are Rebecca Weir and Sakina DugawallaMoeller, who she considers are some of the great achievers in the industry. “Rebecca was my first lighting instructor, and who first inspired me. Sakina founded the first independent design studio owned by a woman in the UAE. She has made some good contributions in the industry, including the popular Light.ication,” she says. Aside from inspirational figures in lighting, Ukachukwu believes some form of mentorship would have been beneficial to her in the early stages of her career progression. “Unfortunately, I was not privileged to have a mentor at the start of my career. Unlike the West, lighting design, in the real sense of it, is not a popular career path for us here in Nigeria. We have more lighting and electrical engineers. Having the guardianship of a mentor in the early stages of my career would have helped me a lot in starting off strong, aiding my growth rate and confidence to carry out larger projects,” she says. One of Ukachukwu’s most notable projects also happened to be her first. “My very first project as a lighting designer was a one I carried out for a church. It was a project in the public eye, that showcased my career as soon as I started.” When asked about inclusivity in the lighting industry, Ukachukwu says: “I would say that the industry has become more inclusive. An example is the Women in Lighting initiative, which has made it possible for a lot of women, who play key roles in lighting design all over the world, to be known and heard. It has allowed a high level of equality in the representation of all genders in the lighting industry.” [However], an improvement to what is already achieved is still much needed. The industry should extend a hand of support to their contemporaries in Africa. They can assist us by providing training and mentorship. Africa is a huge and growing market but requires a lot of awareness creation. Investing in African-based designers will help a lot in its growth. The industry could also show more generosity by establishing an institution for lighting design in Africa. This can be achieved with the help of lighting designers.”

Anuj Gala

Anuj Gala is a Finnish Indian Lighting Designer who has been part of the team at Lighting Design Collective in Helsinki for the past four and a half years. With a background in electronics, his interest in learning all about light and a career in lighting design began while working as an engineer. “Early on in life, I aspired to become a Cinematographer as I was fascinated by how the camera and light work in unison, but I soon decided I wanted to delve into how technology, combined with design, can enrich spaces around us and I’m really happy I chose a path in lighting,” he tells darc. “My lighting design journey began in Goa, before moving to Berlin and then New York, where I worked at L’Observatoire International, before heading to Helsinki.” Having obtained his Master's Degree in Architectural Lighting Design from Hochschule Wismar, Germany, in 2017 Gala was nominated for the ‘Best Newcomer’ Award at the PLDR (Professional Lighting Design Recognition Awards) in Paris and in terms of influences and inspiration, he says his two lighting heroes are American light artists Jim Kampbell and Leo Villareal. “Both artists use LED technologies in creating a transcendental experience of light, space and perception,” he says. “I find it amusing how both use light as an element in creating breath-taking artworks. Recently, I had the chance to see the works done by Leo Villareal for the "Illuminated River" project on the River Thames, but I am yet to see Jim Kampbell’s work personally.

Amardeep Dugar

Dr Amardeep Dugar has worked in architectural lighting design since 2002. Having trained as an architect, it was thanks to a “friendly exchange” with an electrician during his undergraduate studies, that saw Dugar go on to pursue an MA in architectural lighting from the University of Wismar, Germany, before completing a Ph.D. in architectural lighting from Victoria University of Wellington, New Zealand. “I chanced on an electrician who had so many complaints about architects and their insensitivity towards lighting,” Dugar tells darc. “The electrician suggested so many practical ways of ensuring clean lighting installations. I was contemplating a career as a hip hop dancer (and still am), but this exchange became my ‘watershed moment’ and inspired me to pursue a career in lighting design.” In 2010, Dugar founded Lighting Research & Design with the intention of basing his career on the three key elements of lighting - design, education and research and has applied this three-pronged approach when exploring new career paths, ever since. While Dugar considers that every project a lighting designer works on eventually becomes ‘a favourite’, as they provide a “unique set of challenges and opportunities to demonstrate one’s creative skills and problem-solving abilities,” the GD Car Museum is probably one of the projects he’s best known for. Inspired by “all those people who are working toward providing better lit environments - activists, artists, designers, enthusiasts, installers, manufacturers and suppliers - these are my lighting heroes,” Dugar “I have been fortunate so far to learn about, and become exposed to, cultural and lighting trends in different continents,” continues Gala. “I have worked on a variety of different projects including light art, interactive, commercial, UNESCO Heritage and mixed used development sites. My works mainly aim for developing innovative lighting schemes to create a long lasting and immersive atmosphere while improving the human experience.” Reflecting on his career so far and projects worked on, Gala says: “I always dreamt of being involved in a successful media architecture project as my Master’s thesis topic was on media architecture. At Lighting Design Collective, I got this opportunity with ‘Moment Magnet’. It was a project full of zest and life, incredibly fast-paced and was successfully executed by various cross-disciplinary teams collaborating such as coders, clients, structural engineers, architects, marketing teams, and manufacturers. The concept and budget were approved by the client in the first instance. It was fascinating to be part of this project and see how this project was realised and came to life.”

tells darc. “ While there are some sung heroes heavily marketed on social media, there are so many unsung heroes who are making a significant contribution to the realm of lighting and I’d like to pay my respects to both the ‘sung’ and ‘unsung’ heroes.” When asked about diversity in the lighting community and how he likes to be addressed / how he identifies in relation to race / ethnicity for this article, Dugar tells darc: “ Having lived and worked in so many different countries, my personal experience of the lighting industry is that it has always been very diverse and inclusive. In my humble opinion though, this is more dependent upon the individuals’ attitude and behaviour. “It’s funny you ask how I identify, as I have been addressed under so many different ethnicities (sometimes Arabian or Asian, sometimes Australian, sometimes European and sometimes just Indian!). In my humble opinion, all creative people belong to a single race called the “creative” race. If you would like to add ethnicity to this mix, then it could be “audaciously creative,” “carefully creative,” “meaningfully creative,” “sensitively creative” and so on... “I would however really like to see more people of different ethnicities being encouraged to undertake leadership roles e.g. boards of directors for associations like IALD, IES, SLL, etc. While such positive changes are happening, more inclusiveness is always a pleasantry. “I see a lot of discussion about ethnicity/diversity/inclusivity but nobody seems to mention anything about aspects like comedy/hilarity/wit within the lighting industry. Laughter is something that binds the entire human race, and I think one thing that the lighting industry needs more than anything else, especially in these trying times, is a better sense of humour!”

Linus Lopez

Linus Lopez’s professional education began with an Engineering degree in Electronics from The Manipal Institute of Technology in India, although he says his real education began when he started designing electrical services for a variety of architectural projects. “Each excursion into a different typology yielded a deeper understanding of the complexity of electricity, its generation and distribution while also learning important lessons engaging in design dialogues with all the stakeholders,” he tells darc. “Accounting for safety while also delivering aesthetic elegance, designing for robust systems to handle local power conditions within tight budgets and communicating ideas on sustainability from the boardrooms to the worksites were significant lessons. After spending about 10 years doing a variety of projects from luxury hotels to metro stations, large format hospitals to airport hangars and multi-dwelling residences to corporate institutional projects, I sought to indulge my creative instincts a little more and that’s when I stumbled into the world of creative architectural lighting design.” With a Master's in Lighting Design from Hochschule Wismar in Germany, Lopez continued explorations into understanding the power of light and together with his brother and partner, Lyle, began, “what has been an incredible 20-year journey in lighting.” Now, together with a passionate bunch of colleagues operating out of Delhi, India, the duo seek out challenging projects and innovative solutions for projects in and around India and, through collaborations, a few projects outside India as well. “In the early 2000s, we were lucky to be chosen to light a travelling exhibition of Picasso’s works in Delhi and Mumbai,” continues Lopez. “Although we were selected based on the technical competence of understanding and controlling the UV and IR components of the ubiquitous dichroic LV halogens of those times, we were completely blown away by the interaction of light with art! Further conversations with artists and their understanding and interpretations of light fired our imaginations to experiment with the more creative aspects of light – there has been no looking back since!” Influenced and inspired by many in his professional life - including “the absolute brilliance of light artists Olafur Eliasson and James Turell, for their constant experiments with human perception,” Lopez says: “I must include my architect heroes – Antoni Gaudi, Le Corbusier, Louis Kahn, Tadao Ando and Peter Zumthor, whose seminal works complement form with light in ways that gently surprise and soothingly calm without ever being overt. In fact, one of the collaborations of Eliasson and Ando had me thinking of the magical outcomes that would emerge from the meeting of more of these intensely creative minds, each bringing their unique interpretations. “But at a more fundamental plane of design thinking, I have been, more recently, completely won over by Janine Benyus’ work in understanding and promoting Biomimicry and the amazing, influential works of Neri Oxman and her team at MIT in combining the technology of the times to sustainably solve some of the bigger design challenges we face today.” In terms of stand out projects in his career so far, for Lopez lighting the India Pavillion at the World Expo in Shanghai, 2010, “was a fascinating design challenge – to light one of the largest free-standing bamboo domes ever made and to share that space with Heatherwick’s brilliant “Seed Cathedral” and other amazing works was definitely monumental.” However, among his favourite projects, “I think my fondest memories would be lighting the annual Serendipity Art Festival, Goa,” he says. “Despite always dealing with challenges of time and budget constraints, the adrenalin rush of lighting art in all its various forms and the engagement with some brilliant artists and art curators adds layers to our understanding of light and provides plenty of food for thought for weeks and months after.” While born an Indian and hailing from the western state of Goa, for Lopez “manmade state and country borders are quite unnecessary when it comes to identifying oneself,” he says. “And even while I believe more in cultural inheritance and community-based value systems, I strongly believe there is more that unites us as just human beings than anything that differentiates us.” In India, the lighting industry is quite small and relatively young and as such, according to Lopez, is relatively free of diversity issues based on ethnicity or sexual preference. “Ensuring equal opportunities and motivating a gender balance in the workplace has been a focus area for us within the firm and in the industry,” he says. “However, our biggest challenge here is overcoming an economic imbalance and its related effects on education and opportunity. We have chosen to work directly with many that might not have had access to the best education but show a desire to learn and nurture them by imparting skills that suit a particular mindset. “I would say overall that things are getting better in terms of inclusivity... I’m proud that our little global fraternity of lighting designers is at the forefront of the movement for a more balanced equitable professional space and I am very happy to see the progress made in the last few years. I do believe that this pandemic has made us view the fragility of life with a more balanced perspective of our priorities. Of course, there will always be more that we can do and I think one of the key areas going forward would be straddling the chasms that nationalism and divisive politics creates by focussing more on what unites us.”