44|PROTAGONISTA with other entities, even with the space itself in the scale of cosmos. I appre- ciate you posed this question since I had not taken the time to clarify my thinking about it. Thinking in a different level, let’s say anthropological and particularly in the professional field that we care a lot about, lighting and architecture are just meeting themselves. Just to have a metaphor of it, they are just getting acquainted but they have the level of responsibility of a married couple. I say this because actually the collabo- ration between architects and lighting designers is barely seen. I find a high contrast in the approach of both sides: architects let everyone know they are deeply interested in light and they will always speak of lighting as a major fac- tor in architecture but in the facts just a few of them are willing to take time and resources to develop a lighting project in their work; they even use poetry to refer to light but in many cases it is a simple lighting catalog their source of solutions. On the other hand, lighting designers have not been able to create awareness of our profession’s value, we are working on it with the collaboration of manufacturers and specialized media like you but there is still a lot to do. We deal with the most precious raw mate- rial and still struggle to open the door of an architect’s office. Some see us as technical consultants – a role more suitable for lighting engineers, who they need to have energy savings in a project and others see lighting design as the fancy element to raise the aesthe- tics of a work of architecture. There is unfortunately less than 5% of architec- tural projects that hire the services of a lighting designer. In you study Ideas en Luz you are “carried away about the light “. Of between all the realized projects, which has been more complicated at the moment of raising the design of lighting and why? I’d rather see it as complex, not com- plicated. Complicated has for me the implication of something that was not well planned or implemented and that takes more time and resources than it should. Complexity has a degree of beauty and drives a lot of interest. Par- ticularly, museum lighting has this fea- ture due to the circumstances in which it comes to life and of course because of the nature of the objects to be lit. A museum is a space to live experiences which are mostly visual ones. It is the place to take a pause and see things, therefore visual tasks raise to a higher degree. It is not just about way finding, reading, perceiving color or textures. Inside a museum you admire, discover and define a relationship with the art work – emotional upon visual percep- tion. Besides, it is almost impossible to plan with precision what will occur in an exhibition space. It is possible to take into account the layouts, lists of art works, information about the topics and so ... but the moment when an artifact is in its place and the light gets on is really special, there is magic indeed. It is a privilege to become part of this kind of projects, a unique experience. Architectural, monumental lighting, museums, commercial ... which does he like more and why? First impulse is to say that I like everyo- ne since each has something of its own but I must admit that museum lighting is very compelling, I find really plea- sing to be in close touch with heritage,