TONY EKSKLUZIVNE VILE - DalCasa

dc INTERVJUWhat is the current situation in this profession in Croatiaand the world?After my return to Croatia, it was a lot easier for me tokeep up with the latest construction technologies asAmerica is way ahead of us in that department. Thatwas 23 years ago, and I already had a chance to seewhat it means to perform a knauf ceiling, install a centrallighting control system and observe numerous othermethods that only arrived to our part of the world tenyears ago or even now. Europe is catching up Americain big steps, and maybe it has already caught up creatively.However, in America new technologies and productsare embraced and placed in much faster fashionby the users due to the enormous market of 250 millionpeople that has certain unique rules. The European marketis much more complex, as every country has its ownlanguage, culture, rules and standards.Croatian universities do not offer classes on the subjectof lighting design. How do Croatian people get educatedon this matter and is there an increasing need forthis profession?The Croatian market and the trading business have ledto certain novelties in educational methods within thelighting business, unlike America that offers educationon lighting within their universities and various associationsthat organize professional lectures every month.50In our country, professional lectures are organized bypeople who sell lamps in order to present their productand convince the buyer in its adequacy for a certainfunction. These lectures make the process of choosinglighting objects a lot easier for consultants in designingphase. Foreign investors have also played an importantrole in the process of generating the need for our professionas they insisted on lighting designers in basicallyall architectonic teams. The level of consciousness onthe subject of lighting is now much higher than it was 15years ago.Which are the specifi c aspects of shaping a space with lighting,and where are our opportunities to get creative?The lighting aspect cannot be separated from architecture,so I am often questioned of the importance oflighting in architectural processes, and my usual responsestates that lighting is not important for architecture,but for people. I do not arrange lighting because ofhouses, and museum paintings are not highlighted withlight because of themselves, but because of the peoplewatching them. In that sense, the entire approach oflighting up architecture is fundamentally wrong. Our jobis specifi c primarily because we know psychology of lightand general reactions of people to the certain typeof light. It is possible to predict that the majority of peoplewill react a certain way if they fi nd themselves in a