50|PROTAGONISTA LEDs to be totally integrated into the construction materials has not yet been studied. This “light materials” will give us new opportunities to design the architectural space differently, with a stronger complicity with lighting and maybe in the future without any apparent lighting fixtures. And hopefully, citizens will be able with these LEDs technologies to choose and interact with their own night environment. You have stated that design and creativity can transform the urban space. How? The urban landscape was for decades lighted with a functional approach. I think that a creative lighting can totally transform the urban landscape at night to host citizen differently, to offer them a new vision on their urban environment but also to reveal to them at night invisible things such as original site as it was before the development of the cities, unknown presences of historical infrastructures, ghost rivers (buried today underground), city’s morphology and topography, grids, mental connections, citizens relationships, etc. In the past few years, environmental sustainability and energy savings have become fundamental aspects of the new lighting master plan of cities. Do they condition excessively the end result? Where is the balance? I think that we can and should start our thinking to study and to design a lighting master plan with energy saving and sustainable Medio ambient in mind from the very beginning. No one can design nowadays a nightscape or a nocturnal urban environment without these fundamental aspects in mind. The balance should be global. That’s mean our lighting proposals for residential and actives area should be obligatory balances with proposition of darkness in natural spaces, in term of geographical and night temporalities approaches. Israel, Brazil, France, China. You have designed more than 120 lighting master plans in different countries, where light is understood in different ways. How do you approach the different perspectives of light when doing your projects? I have always been convinced that the design of a lighting master plan in another country should be done in collaboration with local lighting designers or at least local architects and landscape architects. And that’s how we did for studying all these lighting master plans in all these foreign countries. These fruitful collaborations and dialogues allowed us to be literally “feed” by others cultures and other peoples. And the resulting projects are expressions of these “cultural weddings”. And I really like and enjoy that. Working abroad is for me discovering other people, other cultures, it is not bringing our own culture or lighting culture to impose it to another country. The use of LED technology brings color to urban lighting. Do you think this resource is being overused? As I said before, this LED technology should really be carefully studied and mastered in terms of color uses. The use of predigest RGB programs and the use of primary colors should be forbidden in lighting design if we want to create poetical environment that do not get boring for citizens. But this really need specific education and training. Colors are as complicated and complex to use in lighting design as are notes and instruments for composing music. Of all the projects you have done, with almost three decades of experience, which is your favorite and why? In architectural lighting, the lighting design of the Rion Antirion bridge (2,5 River’s nightscape in Dujiangyan, China / Lighting design : Roger Narboni, CONCEPTO & Zhongtai Lighting Group © CONCEPTO & Zhongtai