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INTERVIEW / SUZAN TILLOTSON Pic: Paul Warchol Photography Pic: Michael Moran Photography
Above The Wright Restaurant at the Guggenheim Museum, New York. Right Harvard Hall, New York City. Abby Suckle, Architect
Suzan reports that she and her staff devote a lot of time to the research and conceptual stages of a project. These initial phases lay the groundwork for integrating with and emphasising “the big idea” of the overall architectural design.
“The solution we propose has to be strong—not lukewarm—if it is going to come to life as a value-increasing lighting solution for any architectural style.”
than the past.
Suzan observes that the practice of ar- chitecture has changed dramatically with today’s available software. “Architects em- ploy parametric modeling to give distinctive form to their work. Our job is to integrate lighting design that will appropriately il- luminate the complex forms.”
BELIEVE IN THE BIG IDEA
Suzan reports that she and her staff devote a lot of time to the research and conceptual stages of a project. These initial phases lay the groundwork for integrating with and emphasising “the big idea” of the overall architectural design. “The solution we propose has to be strong—not lukewarm—if it is going to come to life as a value-increas- ing lighting solution for any architectural style.” Recent examples are the elegant, traditional interior of the Harvard Club and the minimalist New Museum of Contempo- rary Art, both in New York City. In some regions around the country, Til- lotson observes increasing numbers of archi- tects who understand the inherent benefits of retaining a lighting designer on their team from the outset. “Many architects are overwhelmed today with problems related to sustainability, energy use, business devel- opment, and firm management,” she points out. She believes that on the East Coast, West Coast and in Texas, more architects appreciate the fact that retaining a light-
BREAKING THE RULES
Fun in this profession, as Suzan sees it, comes from knowing when it is appropriate to break rules. “After over 25 years in this business, one learns, based on technical confidence and experience, to know where the rules can bend so that we can develop solutions that combine both the art and science of lighting design.” According to Suzan, her firm has been successful in work- ing with architects who handle high-profile projects that require complex problem-solv- ing. Such assignments, she relates, motivate her and her staff to analyse a project’s parameters, develop the compo- nents and propose solutions that will be- come an integral part of the architecture of the exterior structure and interior spaces.
EXPLAINING SUBTLETIES “It’s not only what we do with computer tools, it’s how we explain the subtleties of reflections and absorption, sparkle versus glare, gloomy versus dramatic, and
ing professional can increase the visual appeal and improved functionality of the final product. In her opinion, owners too, appreciate the visible difference creative lighting contributes. “Quality lighting that translates into a significant deliverable to the client also contributes to the success ra- tio of the architectural firm’s own business development,” she observes.
the reasons behind intentional darkness,” Suzan says. “Sometimes we have to build a foam core box and peel off the layers of light so the architect and their client will understand it. It’s up to us to demonstrate why the recommended lighting solution is important and emphasise how the solution addresses all of the intended design experi- ences.
“For example, for New York City’s East River Waterfront we employed indirect lighting. This is the first time the City has utilised this technique for ambient lighting in an exterior application,” she points out. To ensure all agencies felt confident in the outcome, Suzan’s firm created a series of mock-ups and renderings to prepare the city representatives for the illuminated pan- orama when the lighting is activated. Energy-efficient fixtures, like LEDs, are being specified or considered for every project and evaluated for their appropri- ateness with the architect and the client. “An energy-efficient space is not about a specific fixture; it is about smart design,” she emphasises. “The goal is to illuminate spaces for people by utilising less power.”
MANAGEMENT CHALLENGES
Suzan puts in long hours working on project design with her staff and communicating with clients. “It doesn’t leave me with a lot of time to search for good people to join the firm,” she says. When she is able to
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