This page contains a Flash digital edition of a book.
QHow did you first become involved in the lighting industry?


Pure chance. I left school after sixth form and looked for work in the ‘design industry’. I really didn’t know what I wanted to do, but I was interested in using my creativity, and in business in general. One of the more interesting ads that I responded to was placed by Lighting Design Partnership, which at the time was the largest lighting consultancy in Europe, possibly in the world. Of course I was completely oblivious to this at the time. Anyway, I joined as an assistant: making tea, reception duties, trying to manage the library, dealing with samples and archive document storage (we were still storing huge rolls of drawings; CAD was still a debate at that stage). There was also a huge amount of photocopying, cutting and pasting, then re-copying to create finished documents. I progressed to assisting in luminaire selection, site trials, producing visuals, and eventually parts of projects and a few complete projects on a small scale. The library and samples had been invaluable in learning about what the market had to offer, and I had been introduced to lots of people who I still know throughout the industry. I was working with Andre Tammes, Jonathan Speirs, Barry Hannaford and Douglas Brennan, along with people now very well known in the industry such as Mark Sutton-Vane, Tim Downey, Adam Weir, Kevin Sturrock, Graham Phoenix, and many more. All great designers. I learned a huge amount about client communication from Douglas. He was very particular, but always spot on. I don’t think anyone could have come through that without wanting to be a successful lighting designer. It was a brilliant start.


QWhat is the highlight of your career so far?


I find that an incredibly difficult question to answer. I am fortunate enough to have had many fantastic moments. There are two brilliant moments in any project: winning the job against stiff competition, and seeing the realisation of your design in the final installation. Winning and realising The Core building at Eden Project, and the Barbican Arts Centre are both very important to me, and more recently winning the HSBC HQ refurbishment in Hong Kong with Fosters (they of course designed it originally) was a key moment. That is ongoing so not yet realised. I also have to mention though that designing a product range that a lot of people really love is a hugely gratifying thing. I am humbled by the amount of support we get from the lighting design community for


30 www.a1lightingmagazine.com Profile: Douglas James


Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32  |  Page 33  |  Page 34  |  Page 35  |  Page 36  |  Page 37  |  Page 38  |  Page 39  |  Page 40  |  Page 41  |  Page 42  |  Page 43  |  Page 44  |  Page 45  |  Page 46  |  Page 47  |  Page 48  |  Page 49  |  Page 50  |  Page 51  |  Page 52  |  Page 53  |  Page 54  |  Page 55  |  Page 56  |  Page 57  |  Page 58  |  Page 59  |  Page 60  |  Page 61  |  Page 62  |  Page 63  |  Page 64  |  Page 65  |  Page 66  |  Page 67  |  Page 68