48|PROTAGONISTA of a lighting designer and it all starts by understanding in the best possible way the user’s needs, which often the user himself doesn’t know. The designer must interpret the needs and context to have a proposal that makes sense; this is the difference between a lighting de- signer and a lighting engineer. Design is personal, contextual and unique; the- se are challenging premises that will be achieved only by understanding people and their context in order to provide custom solutions based on the proper technics. This means to me that styles are not the best solution neither in architecture nor in lighting design; what I mean is that no one can pretend to pre define solutions of their own that will be impo- sed to the user. By the contrary, aside ofastylethereisaneedtothinkofa work philosophy; one that considers the unique circumstances of a project from the beginning and that provides value solutions to it. Also you realize studies of natural light. In a project, which is, to his to seem, the ideal relation between natural and artificial lighting? The best relationship depends on the client. For some of them, a predomi- nant use of daylight will be essential while for others it will be valuable to constrain it. In some cases, artificial light will try to mimic daylight becau- se it lacks under certain conditions; in other cases artificial light will provide a completely different ambiance to that of daylight. Nowadays, there is a need to harvest daylight because of energy costs and that brought us back to the basics, the dynamic relationship of our bodies with sun cycles, daily and yearly. It is remarking that economics made us look back to the roots, more natural and ergonomic solutions. The built envi- ronment prior to electric light sources was by far more efficient and functio- nal, oriented to the comfort of people. Today, we are seeking ways to improve the relationship between natural and artificial matters. The irruption of the new technolo- gies in lighting, as the LED or OLED, are they changing the way of desig- ning projects? It is changing radically if you think of the specific solution as there are now some resources that we didn’t have some time ago, technical solutions are more diverse now. Lighting designers are facing a big cha- llenge related to the irruption of electro- nics in the lighting industry; there is a lot to learn. The essence of design remains the same; it is the tools what has changed. What is more importantly at the moment of projecting: the intuition, the emotions, or the application of the technology? Balance is. In the design process, there is intuition and emotions linked to the need of providing a viable solution, in terms of economy and technology. A quality design brings balance to all factors, for a lighting designer collabora- tion is a must. Architects might afford to be hermits and to work in solitude to certain degree –there are many cases; light is relevant to so many things and has so diverse effects that it is impos- sible to design with light without being part of a team. Related to the new technologies, the energy efficiency has turned into a fundamental topic at the mo- ment of realizing an architectural project. Is energetic saving scolded by the creativity or showiness of the designs of lighting? Concepts don’t fight to each other; it is humans who do it because we have di- fferent goals. I have insisted that ener- gy efficiency is a condition of design, not a goal. When we pursue energy savings –as many have done- we do terrible things that diminish the quality of lighting. Have you seen CFL’s in soc- kets where there was an incandescent without any consideration to lighting