The Barn at Tyrone Farm

Some of you may already know my connection with Dopapod, but for those that don’t, I got hooked up with the Brooklyn-based band last summer through my camera. You can check out Kevin Chubbuck Photography and search “dopapod” to see all of the shows I have up (many, many more shows waiting to be edited / posted when I find time). I jumped into concert photography last year in an effort to get out of the workshop and get to know some musicians. I try to shoot as many shows as my schedule permits and feel I can give a little back to the live music community that has given me so much inspiration.

Dopapod’s 3rd studio album recording session

Last week, guitarist Rob Compa called me up and asked me if I could stop in on a recording session to work on his PRS McCarty semi-hollowbody. I am a huge fan of Rob’s playing and immediately jumped at the opportunity to help him out. The band had booked 10 days to record their 3rd studio album at the beautiful Tyrone Farm in Pomfret, CT. The farm is only 90 miles from my shop, so I gathered up my kit and headed down to north east Connecticut.

Rob Compa playing a Chubbuck modified 1962 Guild M-20

I thought Rob might like my modified 1962 Guild M-20 to use in the studio, so I brought that along. It doesn’t have the access to the upper frets that his PRS does, but he really enjoyed the notes he could grab.

A few of Rob’s guitars used on the session

Above are a few guitars that Rob used on the session. The guitar on the left is Rob’s circa 2005 PRS McCarty that has been his main guitar for the past 7 years. The middle guitar is a Japanese Tele that Rob makes sound killer in the studio. It had a worn out nut, so I ended up shimming the A, D, and G strings to lessen the open string buzzes. It was not a huge concern to him but I wanted to fix it since I was there. I also put a little more relief in the neck, which is a pain in the ass on these Fender’s as you need to remove the neck to gain access to the truss rod. No problem though. The guitar on the right is my Guild M-20. Not pictured is a Strat that Rob has been using quite a bit on tour lately.

Fun fact: the Strat is actually Luke Stratton’s guitar – the band’s soundman and lighting designer.

Rob Compa’s main guitar – PRS McCarty

Here is Rob’s #1 that he called me about. The frets were heavily worn and he was having troubles with bending and sliding cleanly.

Makeshift workspace in the main farmhouse

Above is my makeshift workspace that the farm’s owner, Ian MacLaren, let me set up. The farmhouse’s sunroom is right across from the barn where the band was recording so I could make all the noise I wanted to without distracting the band. A huge shout out goes out to Ian. Ian is the nicest guy you are ever going to meet and he knows how to take care of his guests. He took all of us out later that night to a local Thai restaurant that was absolutely amazing. You are the man Ian!

Fret level, crown and polish

So back to the repair. The strings were removed and the frets leveled with a piece of glass and sandpaper. The glass pictured above is my short block that I use to spot level and have another longer one for the initial level. Also pictured is my Rocket air blower that I use to clean off my camera lenses. It makes a great little air compressor when you are away from the shop.

I removed the nut because I needed to shim it up from the bottom so I could increase the string heights above the first fret.

This nut happened come out in four clean pieces, which is a new one for me. There was a shim underneath the original nut and then two wings glued to the edges to widen nut to make it flush with the edges of the fingerboard. I took all of my usual percautions when removing a nut and this one still surprised me. Nothing a little superglue can’t fix though. Another concern was that there was a thick paper shim in the D string nut slot. I was going to have to shim the bottom of the nut even more to account for removing the paper. The rest of the slots were fairly deep too, so I was going to end up shimming the nut up approximately 0.025″ (about 5 sheets of paper to give you an idea). I only had clear self-adhesive pickguard material with me that I have used in the past for quick temporary shims in a pinch. This nut however was going to need a substantial lift and stacking 5 layers of this pickguard material provided an unstable base for the nut to sit on. You can usually get away with a couple shims, but not more than that unless you have a something like a Martin or Gibson nut slot. The Martin / Gibson nut is inset into the peghead with three contact surfaces. PRS nut slots only have two contact surfaces since the headplate runs under the nut. The shims were far from an ideal solution in this situation and I had to come back later in the week with some bone (which I forgot to bring initially) to make a new nut from scratch.

Finished repair, minus the new bone nut

Here is Rob’s guitar all cleaned up with freshly dressed frets. Note that this photo has the original repaired / shimmed nut. I came back later and cut Rob a nice new bone nut.

Rob with his freshly-dressed PRS

And Rob really dug the new setup. His bends were much cleaner to execute and the bone nut helped brighten the open strings and stabilize any tuning issues.

Chuck keepin’ it real on his Fender Jaguar bass

While I was there at the farm, Dopapod’s bass player Chuck Jones wanted me to check out his Fender Jaguar bass that he has had for the past 6 years. He was having issues with the open E string rattling and buzzing on all of the strings when he played up past the 12th fret.

Chuck’s Fender Jaguar fret dress on frets above the 12th

To solve the upper fret buzzes, I leveled, crowned and polished the frets from the 12 fret and above.

New bone nut

His orignal nut was fairly worn and causing the buzzing on the open E string, so I cut him a new bone nut since I remembered to bring extra on my second trip.

Chuck’s bass repairs finished, note the white pick guard under the black duct tape!

And here is the finished repair and all cleaned up. Dopapod fans will notice that the bass looks a little different than it usually does up on stage. The white pickguard was covered with black duct tape for aesthetics. I had to remove the tape to be able to get the pickguard off to do a quick check on the electronics. Also Chuck wanted to raise the neck pickup slightly but it would not come up when you loosened the pickup screws. I found that the foam under the pickup had fully compressed, so I put some more padding under the neck pickup to allow it to be adjusted closer to the strings.

Chuck laying it down with the Jag’s new setup

And here is Chuck testing out the new setup on a take. Good to hear that planing the upper frets made his buzzing issues up the neck go away. There is a slight ramp at the end of the fingerboard that was causing the buzzing, so I minimized that hump my focusing my sanding on those last few frets. In more extreme cases, new frets are usually required as you have to sand the fingerboard itself quite a bit to flatten this transition to the body.

Now that my “work” was finished, I brought out my camera to photograph the band while they recorded.

Rob and a few guitars to choose from

Rob Compa and Eli Winderman tracking while Sandwich relaxes on the couch

Eli Winderman – master locksmith on keys

Here’s Eli Winderman, who plays organ, synth, clavinet, piano and a mean accordion.

Neal “Fro” Evans and his percussion campsite

Fro is an absolute beast behind the kit.

Sandwich getting down on a take

Above is Chuck’s dog Sandwich. Everyone loves this dog and this dog had a blast at the farm for sure.

Luke Stratton – Dopapod’s engineer and lighting designer extraordinaire

The man. The myth. Luke Stratton.

If you have been to a Dopapod show, Luke is the one making sure the band sounds and looks incredible running both sound and an inspiring light show. Think Kuroda in a club environment. He’s good.

Trevor Meyer capturing everything on both film and tape

And above is Trevor Meyer. Currently he is a Brooklyn-based recording engineer who does incredible music videography. Here’s one of his videos from Dopapod’s tour rehearsal back in February. Vol. 3 #86 …

Below is a shot from the loft of the main entrance to the barn. What an incredible space to make music in.

Loft view – main interior entrance to the barn

I loved this place so much that I had to come back for a third time. This time I brought my wife Sarah and daughter Molly to hang out with the band and enjoy the farm.

Below is my 2 year old daughter Molly hearing music pouring out of the barn. She had to go check it out. Maybe she is Dopapod’s youngest fan?

My daughter Molly drawn onward

So there you have it. The guys were so on their game and all of their hard work is really paying off. I can’t wait to hear the album when it comes out. What an incredible few days at an amazing place with some of my favorite people to be around. I want to thank the guys for welcoming me in to be a small part of their world. It’s musicians like this that really get me fired up to do what I do.

I love my job.

Interior Design Blogs line up

1. Interior design, timeless or just for today approach?

2. Interior designers embrace green issues but don’t forget the pop factor!

3. Interiors without quality interior lighting design is like serving fine wine in a plastic beaker!

4. Great interiors that lift the spirit

5. Why choosing a professional interior designer brings rewards?

The first interior design blog is shaping up nicely and over the coming months each blog will move towards an invaluable source of information, ideas and other interesting tit bits.

See you then,

Dee

Lights by Jen DeGolier

Last week my community lost one its members. Suddenly. Unexpectedly.

Jen DeGolier was one of the most prolific lighting designers working in Twin Cities theatre. She went from show to show, project to project. Small theaters, big theaters, universities, often working on overlapping productions.

She was funny, sweet and incredibly talented.

The sudden loss of someone so young, so gifted and so full of life makes it difficult to put in to words how it makes me feel. So in place of words, here’s a picture from last summer. Pre-show lights. The last time I had the pleasure of being lit by her.

Here’s the first…

Shymon Chelad is a lighting designer, theatre actor, and director currently based in Bangalore. He has a Masters degree in Performing Arts  (MPA) and works with TransMedia Technologies a leading service provider of technical equipment for live events. He can be contacted at shymonchelad@gmail.com

I want to start by asking how you started your journey into theatre?

I started working in theatre from childhood. My father used to put up plays, the rehearsals would happen in my farm. When I was in 8th standard I wrote a play, directed it and acted in it as well. That was my first play and it was a turning point in my life.

Where was this?

In my home in Kerala. Later, I did one more play about an old man who who has blind belief in rituals. The play was actually an improvised performance. Later, I joined a mimicry group along with my brother. In the interview they asked me to bark like dog, make sounds like a cat. I got a small role, which was well appreciated. So my work with the group continued along with my studies. I would attend all the shows of the group, staying in rehearsal spaces, sleeping on benches…

Another turning point in my life came at the degree level. I was doing my BA Economics when my friends were rehearsing for a play, I was very curious about rehearsals, so I would go and watch. One day an actor dropped out and I filled in for him. The other actors were so impressed with my work that they asked me to continue in the role, it was the role of a comic character called Paulose. My character was so much appreciated that everyone started calling me Paulose.

My friends and I decided to start a theatre group but we were not able to sustain it, this was also during my final year and I failed to clear the Economics paper. I was devastated as I had always been at the top of my class. I was so depressed that I even thought of killing myself. I had worked so hard to be able to continue my studies – I used to teach and drive an auto-rickshaw so that I could pay my fees and buy books. So when I failed the examination, I felt hopeless.

So how did you overcome that feeling…

My brother, who is a very good artist, suggested that I enroll into the Trissur School of Drama, and take up Direction as a specialization so I joined the school of drama in 1998. After completing Bachelor of Theatre Arts, from school of drama I was again wondering what I should do, then one day one of my seniors from the school of drama called to ask if I would be willing to work on a stage event at Trivandrum that was to be directed by Lenin Rajendran, a film director. I went to Trivandrum and worked on the project as an assistant to the director. I worked with the director for a few more events after which he offered me work in his film.  I worked on a few films and realized that this cinema field was not for me. It was during that time I was called by few of my friends studying drama at the University of Hyderabad to handle lighting for their final presentation. It was my very first encounter with professional lighting design. Looking at my work some of the teachers at the university urged me to join the Masters course. I got through the written test and the interview after which I learnt that the fee was Rs.10,000/-. I did not have that much money so my mother gave me her gold chain, and I borrowed some money against it. I redeemed the chain as soon as could and still carry it with me and whenever I start on a new job, I hold the chain and pray for success.

How did you become a professional lighting designer?

I liked working with lighting equipment. When I joined the University of Hyderabad there were 11 dimmers out of which only two were working. Soon I got all 11 working, I also repaired all the lights. When I was writing my final examination at the university I received a call from Attakkalari Centre for Movement Arts (ACMA), in Bangalore – to fill the post of a lighting designer. I thought to my self ‘lighting designer? Why not?’, I saw it as wearing a new costume. I joined ACMA on June 1st 2008, and on June 3rd we had a show at Dharmaram School near Christ College. At that time I was not familiar with DMX (a standard protocol to operate lights), I did not know how to work on Frog088 (a lighting console). I was at a complete loss, I had watched only one rehearsal and that too it was a contemporary movement piece – a theatre play I could understand, but just movement… I had difficulty. As I was setting up the lights I got a firing from Jaychandran Palazhy, the artistic director of ACMA. So after the show when I saw him walking towards me I felt really nervous, he came up to me and said, “ it was all pukka, I trust you did your best”. And like that I became a small lighting designer.

Coming from an artistic family, your roots seem to be were exposed to people who were creating theatre, painting…

I have another brother who is a violinist. My sister is a dancer, and my elder brother was also a dancer, but unfortunately he couldn’t continue as a dancer because he’s the elder one, you know, he had to take care of the family after my father. My father was a mason.

One thing that I find very interesting is that you say that your father was a mason, yet he found the time to rehearse and put up plays. It seems that there was space for the arts to enter his life. It is very difficult to make the space for the arts in our lives in a city…

In a city, I think, we have lost the ways to bring art into our lives. I sometimes feel like going back to my village. Most of the time only entertainment is happening here, and people think it is a ‘good’ play. I feel no one wants to really practice the art of theatre. Most pople working in theatre talk about Stanislavsky, Grotowski, Schechner and Artaud but they cannot even project their voice. I saw a theatre festival in Kerala where everybody was drunk during the show…

The audience or the actors?

The audience… no seriousness at all. Theatre is hard work and very few people realise that.

You have focused on hands-on experience coupled with related academic study…

I have always liked to study, to do research. When I am working on lights I try to experiment – colours, shades, shadows – and I refer to books as well. I am planning to earn a Doctorate in lights, there are only around three people in India who have attempted a PhD in this field.

So tell us who are the people who have influenced you,  lights, your approach to theatre, your work in the arts?

I am grateful to my parents, first. Next comes my brother – the artist. He would always challenge me to do new things. Other great inspirations have been my teachers, Ashraf Master and Vayala Vasudevan Pillai. ACMA too supported and influenced me. When I joined here I was like a blind man and the institution helped me open up, see things differently. But I must also say that it has not been easy. Working as a lighting designer is often full of tension.

So with all this tension, what keeps you going? What inspires you to continue?

Because it’s a theatre job, if I had not trained in theatre I would have done this as a mechanical job and got bored but my theatre background helps me discover new things. Another thing is that we (Trans Media Technologies) are creating from scratch our own technical department. We are now providing sound equipment and generators also. Only, sometimes I feel sad when technicians are not given respect. Sometimes we don’t even get a tea-break. Technicians are also human beings.

You have a background in theatre and often I have heard people say that they cannot understand a movement performance. How did you bridge this theatre and dance divide?

I had the same confusion in the beginning. But after I did the lights for Quick Death I saw the bridge between theatre and dance.  I had to use both my experiences of theatre and dance to light that performance.

You have a very interesting journey so far, many turning points, not all of them pleasant ,what is the belief that keeps you moving on?

I believe that if I do not forget where I am coming from then I will be ok. All the time I am remembering my journey – when I am sitting in 5 star hotel also, and also on a footpath. I always remember where I come from. When my father died it felt as if my right hand was cut off, but then I remembered my mother is still there, my left hand. I need to live.

Yes, life does go on…

I also believe that my father has been reborn as my daughter. Whenever I start singing the songs that my father used to sing, she starts dancing. So now I am teaching her the songs of my father.

The interview was conducted by Anish Victor of rafiki.

Transcription by Mary Premila.

Hamilton Dramaturgy’s TheatreNow!

Interview with Jennifer Tipton, Lighting Designer

(Season Two, Episode Five, Recorded October 29, 2011)

Hamilton Dramaturgy’s TheatreNow! Podcast with Jennifer Tipton

Jennifer Tipton is well-known for her work in theatre, dance, and opera. In theatre, her recent work includes AUTUMN SONATA by Ingmar Bergman, directed by Robert Woodruff at Yale Repertory Theatre, and The Wooster Group’s version of Tennessee Williams’ VIEUX CARRÉ. Her recent work in dance includes Alexei Ratmansky’s THE NUTCRACKER for American Ballet Theater and Paul Taylor’s THE UNCOMMITTED. Her recent work in opera includes Gounod’s ROMEO ET JULIETTE directed by Bartlett Sher at La Scala and LA CLEMENZA DI TITO for the Festival in Aix-en-Provence directed by David McVicar. Ms. Tipton teaches lighting at the Yale School of Drama. She received The Dorothy and Lillian Gish Prize in 2001, the Jerome Robbins Prize in 2003, and in April 2004, the Mayor’s Award for Arts and Culture in New York City. In 2008, she was made a United States Artist “Gracie” Fellow and a MacArthur Fellow.

You may read the interview here: http://theatrenow.wordpress.com/2011/12/17/theatrenow-interview-with-jennifer-tipton-lighting-designer/

This episode is dedicated to David Rogers.

Hamilton Dramaturgy’s TheatreNow! is a sponsored project of Fractured Atlas, a non-profit arts service organization. Contributions for the purposes of Hamilton Dramaturgy’s TheatreNow! must be made payable to Fractured Atlas and are tax-deductible to the extent permitted by law.

Hamilton Dramaturgy’s TheatreNow!

Interview with Jennifer Tipton, Lighting Designer

(Season Two, Episode Five, Recorded October 29, 2011)

Hamilton Dramaturgy’s TheatreNow! Podcast with Jennifer Tipton

Jennifer Tipton is well-known for her work in theatre, dance, and opera. In theatre, her recent work includes AUTUMN SONATA by Ingmar Bergman, directed by Robert Woodruff at Yale Repertory Theatre, and The Wooster Group’s version of Tennessee Williams’ VIEUX CARRÉ. Her recent work in dance includes Alexei Ratmansky’s THE NUTCRACKER for American Ballet Theater and Paul Taylor’s THE UNCOMMITTED. Her recent work in opera includes Gounod’s ROMEO ET JULIETTE directed by Bartlett Sher at La Scala and LA CLEMENZA DI TITO for the Festival in Aix-en-Provence directed by David McVicar. Ms. Tipton teaches lighting at the Yale School of Drama. She received The Dorothy and Lillian Gish Prize in 2001, the Jerome Robbins Prize in 2003, and in April 2004, the Mayor’s Award for Arts and Culture in New York City. In 2008, she was made a United States Artist “Gracie” Fellow and a MacArthur Fellow.

You may read the interview here: Hamilton Dramaturgy’s TheatreNow! Interview with Jennifer Tipton

This episode is dedicated to David Rogers.

Hamilton Dramaturgy’s TheatreNow! is a sponsored project of Fractured Atlas, a non-profit arts service organization. Contributions for the purposes of Hamilton Dramaturgy’s TheatreNow! must be made payable to Fractured Atlas and are tax-deductible to the extent permitted by law.

Clint Bryson, Lighting Designer

Clint has designed lights for nearly every Rogue Theatre production. Other lighting design credits include As Bees in Honey Drown and Golf Game for Borderlands, Woman in Black for Beowulf Alley, and The Seagull for Tucson Art Theatre. Clint is currently the Shop Foreman, Production Technical Director and Marketing Director for Catalina Foothills Theatre Department where he designs and coordinates the construction of all scenery. He is also a member of Rhino Staging Services, and a regular participant in Arizona Theatre Company’s Summer on Stage program where he designs and builds the scenery as well as teaches production classes.

Clint Bryson, Lighting Designer

Clint has designed lights for nearly every Rogue Theatre production. Other lighting design credits include As Bees in Honey Drown and Golf Game for Borderlands, Woman in Black for Beowulf Alley, and The Seagull for Tucson Art Theatre. Clint is currently the Shop Foreman, Production Technical Director and Marketing Director for Catalina Foothills Theatre Department where he designs and coordinates the construction of all scenery. He is also a member of Rhino Staging Services, and a regular participant in Arizona Theatre Company’s Summer on Stage program where he designs and builds the scenery as well as teaches production classes.

Below are some pictures of the space that I took during our walk thru this past week. Once again I will be the technical director and lighting designer for the run. Stay tuned for more updates as they develop.

Check out these BOLD pics!

Photography by 6 of Four/ Floral & Decor by Bold American Events

What do you think? I’d love to hear….

 Let’s Conncet!

Facebook│Bold American Events│ Twitter

Interested in Bold American Events for floral and décor needs?

Contact me: Danielle Boler  dboler@boldamerican.com

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Lumen (Lm)

Lumen adalah satuan Internasional dari luminous flux, yaitu besarnya cahaya yang dipancarkan oleh suatu sumber cahaya (Lampu)

Beam Angle [Satuan : Derajat]

Beam angle adalah besarnya derajat dari suatu sumber cahaya. Gunakan lampu dengan beam angle yang sempit apabila anda memerlukannya untuk menerangi suatu objek, dan gunakan angle yang lebar apabila anda memerlukannya sebagai sumber cahaya utama.

Candela (cd)

Candela adalah satuan internasional dari dari intensitas cahaya, ukuran dari sinar yang dipancarkan oleh suatu sumber cahaya pada arah tertentu.

Setiap sumber cahaya akan memiliki intensitas cahaya untuk yang berbeda untuk arah yang berbeda. Dengan kata lain, semakin besar beam angle yang dimiliki suatu sumber cahaya, maka intensitas cahayanya akan semakin kecil

LUX (lx)

Lux adalah satuan internasional dari sinar yang menyinari suatu bidang.

Lux is the international(SL)unit of illuminance, a measure of light arriving at a surface, 1 lumen per square foot equals 1 footcandle, while 1 lumen per square meter equals 1 lux .

[lux
= lumen/m2]

Color Temperature / Correlated Color Temperature(CCT)

Setiap perbedaan temperatur akan memiliki perbedaan warna sinar. Warna warm white (2,700-3,000 Kelvin), warna cool white (5,500-5,800 Kelvin), warna daylight (6,500 – 6,700 Kelvin)

Color Rendering Index(CRI)

Color Rendering Index adalah kemampuan dari suatu sumber cahaya untuk menghasilkan cahaya yang menyerupai cahaya dari sinar matahari (CRI = 100). Nilainya berkisar dari 0 hingga 100. Seakin besar nilainya, maka cahaya yang dihasilkan akan semakin menyerupai sinar matahari. Lampu LED dengan kualitas yang baik akan memiliki index CRI sebesar 80.

Efficacy(lm/W)

Eifficacy adalah tingkat efisiensi dari sebuah sumber cahaya untuk merubah listrik menjadi cahaya. Eifficacy diukur dari output lumen dibagi dengan power input watt. Semakin besar nilai Eifficacy yang dihasilkan, maka berarti lampu yang anda pilih semakin hemat energi. Apabila saat ini anda masih menggunakan lampu dengan konsumsi listrik yang besar dalam jumlah banyak, maka mulailah pertimbangkan untuk menggantinya dengan LED.

[Efficacy
= lumen / wattage]

Design Life Time

Design Life Time adalah nilai rata-rata dari sebuah produk lampu apabila dioperasikan dengan input voltage yang tepat dan stabil. Lampu LED dengan kualitas yang baik akan memiliki life time sebesar 30,000 jam

Dimmability

Tidak semua produk lampu didesign untuk bisa dioperasikan degan dimmer. Misalnya saja lampu hemat energy tidak didesain untuk bisa dioperasikan dengan dimmer. Apabila anda memerlukan lampu yang bisa dioperasikan dengan dimmer, pertimbangkan untuk menggunakan LED, karena beberapa type lampu LED memang didesain untuk dioperasikan dengan dmmer. ]]> http://theatrenow.wordpress.com/2012/01/19/jennifer-tipton-wins-ald-medal/ Fri, 20 Jan 2012 04:10:48 +0000 hamiltondramaturgy http://theatrenow.wordpress.com/2012/01/19/jennifer-tipton-wins-ald-medal/ Congratulations to Jennifer Tipton for winning the Association of Lighting Designers’ 50th Anniversary Medal for her outstanding achievement in Lighting Design. TheatreNow! interviewed Jennifer in October, where she was the final guest in Season Two of the podcast. Read the interview here: Hamilton Dramaturgy’s TheatreNow! Interview with Jennifer Tipton. The podcast is in post-production and will be released shortly.

Here is the ALD announcement:

As part of their 50th Anniversary celebrations, The Association of Lighting Designers is proud to announce a new international award which honours practitioners who have made a sustained and significant contribution to the art and esteem of theatre and live performance lighting design.

The recipient of the Anniversary Medal for Sustained Excellence in Lighting Design for Live Performance is Jennifer Tipton, who has been at the top of her profession for a number of years and engenders a philosophy and practice which has inspired generations of theatre makers, especially in the world of contemporary dance.

Tipton’s distinguished career includes many Tony Awards for winning Broadway designs, as well as long term creative relationships with American Ballet Theatre, Paul Taylor Dance Company, and choreographers: Jerome Robbins, Twyla Tharp, Mikhail Baryshnikov, Dana Rice and Shen Wei.

As Adjunct Professor of Design at the Yale School of Drama since 1981, Jennifer has trained many of the top lighting designers working around the world today, and continues to inspire respect and admiration amongst the emerging generation of theatre makers.

The Light World Tour was a chance to follow the experience and travels of Paula as she discovered the world’s most inspirational lighting installations and designs in the world over a three month period at the tail end of 2011.

From the likes of Dubai (a place I’m slightly more familiar with) to Tokyo, Perth, Laukvik and more (places I’m certainly not!).  You can check out the full route here and judging by the regularly updated blog the whole experience looked rather spectacular.

Tokyo

And so given the opportunity to ask a few questions I got in touch and it went something like this…

Inspirational Geek:  So Paula, for my readers that may not be so familiar with you, I believe you trained as an architect, what made you make the move into lighting?

Paula Rainha:  At some point in my life I had to choose between Dance and Architecture, and I eventually chose the latter. When I finished Architecture, part of me still wanted to connect the two subjects and I started looking for a course in light stage design. I ended up finding a lighting master at an Architectural School, which interested me. Since then it just made sense working in Architectural Lighting.

IG:  What inspires your work?

PR:  Creativity and people more than anything. I love the human side of design either by working with people or designing for people as the end users.

Madrid

IG:  It must have been such a fantastic opportunity for you to explore the world, myself amongst many others were quite jealous!  What have you learnt whilst on the WT?

PR:  Light is not something that you can actually see from pretty pictures but you actually need to experience it, if you think that perception is one of the key elements for lighting. So having had the chance of perceiving it myself was a great learning process for me as a professional and as an individual. I always tried to talk to  as much people as I could, not only designers or architects but general people and this was really interesting also because all the cultural differences on how people perceive lighting.  People are not really aware of the importance of lighting and neither how good lighting design can be beneficial for them.

IG:  I’ve been following the WT blog and one of my favourite photos of yours has been the peony petals on the beautiful facade of the Liuli China Museum in Shanghai.  What were the particular highlights and experiences for you?

PR:  I loved that museum too. It was very special. The intensity and speed of the trip was actually determinant on how experienced it. Everything was really intense and is very fresh on my mind, meaning that I still find it very difficult to have enough distance to judge what were my highlights. I think the most interesting part of the trip was actually the human side of it: talking to people, meeting different designers, architects, friends and just learning from what I saw and heard.

Shanghai

IG:  What was your favourite stop off on the tour?

PR:  I love all the big metropolis such as London, NYC, Sydney, Hong-Kong, Tokyo, Berlin, Amsterdam but I also liked the natural landscapes such as Arizona and the Lofoten Islands in Norway.

Dubai

IG:  What was your favourite lighting installation / design that you encountered?

PR:  Most of the light art installations I found were really interesting to experience, from Janet Echelman´s sculptures in Sydney, Phoenix & Porto to Victoria Coeln´s light-colour paints in Vienna or Olafur´s installations in Oslo & Copenhagen amongst others.

Janet Echelman light sculptures in Sydney and Phoenix.

Victoria Coeln’s Chromotop in the Stephansdom, Vienna

IG:  What are the biggest differences in lighting design you encountered between different countries and cultures on the tour?  How does LD in the far east for example, compare to Europe?

PR:  I was actually quite surprised to realise that Lighting Design is not that well known or developed as I had imagined, even in bigger cities or more developed countries. Obviously with the actual economic situation across Europe the development of light design might become slower than actually some places in the Far East. In China for example I heard that clients and investors are becoming more aware of the potential of light and asking for lighting consultants to be part of the design teams.

London

IG:  Has your perception of lighting industry changed since you’ve been on this tour?

PR:  Yes, it has changed in the sense that the lighting industry actually should be raising the importance of good lighting around the world. The more I learn about light, the more I think this would be crucial and beneficial for all of us.

Olafur in Oslo

IG:  The tour has been quite full on for you, what do you plan to do now you’re back?

PR:  I would like to be more involved in raising awareness of the importance of light in our own environments. Nevertheless I´m still thinking of what to do with all the information I gathered throughout these three months, it would be interesting to turn this into something more physical either a publication or an exhibition. These are just some thoughts for now…

IG:  Does anything frustrate you about the industry?

PR:  There is nothing major that frustrates me about the industry but I´d like to see manufacturers and designers pushing towards the same goal and that would be good lighting.

IG:  Which project or piece of work of yours are you most proud of?

PR:  I would like to see the Mayfair & Belgravia lighting masterplan in London being implemented from when I worked at BDP Lighting. Every time I pass a COS (Collection of Style) store around the world I know that I was part of this when I developed all the roll out manual with Campbell Design. Or recently, a temporary exhibition for the Triennale of Architecture in Lisbon, where overcoming the challenge of time, budget and design and the site constraints was very self rewarding.

IG:  Who, if any, are your design heroes?

PR:  I´m not sure if I have design heroes but I find that many light artists are a real source of inspiration. Secretly I feel that one day I´d like to do amazing things such as the ones of James Turrel and Olafur Eliasson´s for example.

Your Blind Passenger in Copenhagen

A big thanks to Paula for taking the time out to answer my questions, and to Philips in their support of the World Tour itself.  You can check out loads more great photos over on the Light WT Flickr stream, and there are some lovely videos on the Philips You Tube channel too.

All photos and images used here with permission.  Copyright © Paula Rainha.

Have you just finished an exciting trip or project you’d like to get featured on Inspirational Geek?  Or is there somebody you would like to see interviewed?  Then please get in touch or leave a comment below.

Ha! Ha!