Youth Shall Be Served: Two Gen Z-ers discuss how DEIR principles can shape the profession
CHANGING PERCEPTIONS
Usually when I speak on why DEIR is important in the design industry, I talk about its importance in increasing POC (people of color) representation. Having a background in architecture, I am already familiar with the small percentage of POC designers, so when I entered the lighting industry, I was prepared if I had to face the same facts–spoiler alert: I did. Well, as a young designer in the lighting industry it feels as though POC lighting designers are few and far between. Living in New York City, I am fortunate enough to work and learn in one of the largest hubs of lighting designers in America. But my network of POC, specifically Black designers, reaches across the nation. As beautiful as that sounds, in my case, this isn’t because I love to network, find mentors or cultivate community; it is because in order to have a network of POC designers, I have to look beyond New York. And fortunately, I could. The possibility of expanding my network was largely due to the opportunities I’ve had to attend various conferences across the country through scholarships, grants and fellowships. But those are awarded to a small proportion of designers. So, what about the young designers of color who don’t receive these opportunities? How will they expand their network, receive that mentorship, feel a sense of belonging?
With these thoughts and experiences, I’ve come to realize the importance of DEIR in the lighting industry is to know someone cares. This is the next level to understanding why representation matters. Beyond seeing someone that you may connect with, there is a feeling that care and attention toward your needs is taken into consideration knowing someone like you is designing the spaces you occupy. The world is in a precarious state with the differences between folks being emphasized and used as weaponry, while simultaneously antiquated laws are making a resurgence. This current state we are living in is creating fear amongst those that don’t fit the “status quo.” This also affects folks interested or already working in the industry. DEIR is super important in order to change the mindset of who “fits the job.” The inclusion of DEIR is to reset that narrative that you must look, act or be a certain way to be a designer. Any and every one can design and the more we see diverse designers, the more we as a people will understand and encourage those who have interest to pursue design. Some may say there are too many cooks in the kitchen, but when you have many different people to feed, you want many chefs.
Quincy Drane is currently in the final year of the M.Arch/MFA Lighting Design dual-degree program at Parsons School of Design. He regularly participates in school, state and national organizations such as the Obsidian: Black Designers Collective at The New School; LUX: Pre-professional lighting organization at Parsons; Black Unity in Lighting Design (BUILD); and the National Organization of Minority Architects (NOMA); as well as entering/curating exhibits and various forms of activism.
DESIGNING FOR ALL
As a lighting designer at EXP, a leading engineering, architecture, design and consulting firm, we are guided to view light while considering a multitude of factors. One of which is through the lens of equity–to create luminous environments for all who move through them.
Before we dive into the conceptual development of a project, we must assess how our technical expertise, creativity, diverse perspectives and experiences can bring value to each space we are lighting. DEIR has always been an important aspect of project success. However, it cannot be an underlying component—it must always be brought into focus. To share my insights, I took time to reflect on my role in the lighting design industry and how my background, experiences and profession can offer a meaningful contribution to ensure DEIR is always a critical focal area.
In my role, I am tasked with designing a space that enriches the lives of those who experience it. Who are “those” in that mission? Who are the “all” who move through the spaces we so carefully curate? They are people from different ethnic, racial, cultural, neurodiverse and socioeconomic backgrounds. They include my Italian grandmother, active brothers and spunky sisters, inspiring Black Christian pastors, Hispanic best friends and influential immigrant CrossFit coaches. They are women in male-dominated industries. They are our stakeholders, clients, and all guests who arrive in these experiences, temporarily suspended in moments of disbelief, unaware of the interconnectedness of light.
To make the unknowing of the interconnectedness known demands continuous curiosity and learning to employ the right lighting design techniques to reach our guests. It requires we have empathy, are committed to discovering and understanding and can identify the trials and tribulations of many to create spaces that shine a light on respect. If I, for one moment, can illuminate a space in a way that reinforces a feeling of inclusion and connection that renders an emotional response, then I think I have designed successfully.
Lighting design plays an important role in supporting DEIR and we cannot take this task lightly. I look forward to all that we can do to push the boundaries—together and unified in light.
Madison Diaddezio brings a creative spark to each project on which she embarks. Using both the creative and technical skills learned at Penn State University and now as a designer at EXP, she quickly assumes an integral role on a project, and her curiosity and desire to learn amplifies the success of the projects she has worked on—from boutique hotels, to major Caribbean resorts, to large-scale themed environments.