Vida universitaria

“Lighting is a fundamental part of our life and our built environment”

Tapio Rosenius is one of the most “brilliant” names in lightning designing. His background in film lighting regularly influences his architectural lighting design work. His company Lighting Design Collective, operates from offices in Madrid and London acting as a collaborative platform between professionals from the worlds of architecture, lighting design, visual arts, interaction, film production, and motion graphics.

The designer has come to the ETSAM to pronounce a speech included in the Aula de la Luz Seminars where he has encourage students to be original in their jobs and to start creating  as soon as they can.

Question: Your design approach considers the human factors in lightning together with the architectural composition. How do these two disciplines (lighting and architecture) coexist? How are they mutually modified and affected?

Answer: Lighting is a fundamental part of our life and our built environment. With the right set of collaborative minds the two disciplines can come together with powerful results. The emotional power that lies in the skilled manipulation of natural light is unparalleled. The opportunities of using artificial light as a communicator, interactive entertainer, creator of identity and a positive contributor to our health are equally powerful.

Q: In which elements or subjects do you look for inspiration when you are creating?

A: Right now I’m exploring concepts such as natural movement of light, user experience, creation of memories, performance, digital design, responsive architecture, algorithms etc. Once you dig into topics like these you will find fountains of inspiration every time.

Q: What is the message you want to give to the ETSAM students? Is there a future for new lightning designers in this moment?

A: For sure there is future for new lighting designers. This is very international profession and does not have to be tied into local economical fluctuations. We have projects in 22 countries but our base is here in Madrid. I would recommend couple of things for the current students: learn English, learn one or two specific skills to high level (Vray, AutoCAD, Processing, AfterEffects), be original with your concepts and most importantly start creating a kick-ass portfolio right now!

Q: Is there any project you remember with special affection or that has become a special challenge for you?

A: Our project in Helsinki, Silo 468, represented a turning point for us. It was extremely challenging and ambitious project where we attempted to combine our research into natural movement of light, public art, multi-use civic space and interactivity into one simple gesture. We ended up writing software, researching swarm intelligence and all sorts of other things that now have become a standard part of our lighting design process. It was also a kind of homecoming for me personally as it was the first project I have ever done in Finland. We now have an office in Helsinki so overall this project really pushed us forward.

Q: According to your beginnings and the evolution of your jobs, do you think the light has a nationality? How does each country light affects to your design procedures?

A: Each country does appear to have its own lighting culture in my experience. This is either consciously acknowledged or hidden into habits and customs.  In my home country, Finland, for example we have a very strong connection to darkness, low level light, flickering candle, sense of warmth. We love these things and we are comfortable with them. Further South or East you go more prominent the use of light becomes.

One of our goals is to be very site specific and connected to the local culture and sensitivities. We follow a design process that identifies these issues early on so by default they end up embedded into the final scheme.