Lighting Design + Application • October 2003 - Illuminating ...

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .PROFILEdesigns, the firm likes to delve deeply into theclient’s business and marketing goals. In otherwords, immersion begets immersion.IC initiates these projects by analyzing theclient’s branding strategies, regional demographicsand target audience. Based on thisresearch, the design team develops an “eventclock,” which scripts visitor movement andidentifies under-utilized areas throughout thescheme. Next, they devise an “entertainmentstrategy,” which infuses the environment—from the parking lot to the cash register—withthe combination of special effects that consumersultimately experience.Harwood explains. “Once it is assumed thatlighting, sound and special effects or featureswill be part of the architectural enhancements,the strategy is to utilize the tools to their maximumeffect. The methodology we use is toparticipate in owner-authored charrettes withfirms like MRA Associates in Philadelphia orERA in Los Angeles where the customer profilesreveal the potential weak spots, or wherebusiness is likely to be weak because of thedemographics. For instance, some areas of the countryhave mature and more affluent clientele and others have agrowing, youthful and less affluent potential market. In themall we just completed in Chandler, AZ, the consumerbase on weekdays was young mothers and fathers fromthe tech world. On Fridays and Saturdays, our potentialaudience included Mexican and Native American familiesthat would need to drive 45 minutes to two hours to shopthere. Our strategy was to produce a light, sound andwater show that worked during the day and evening, butwe varied the song list to encompass the tastes of a wideraudience. The light and water show became so popularand well received that we drew a larger audience fromthose driving two hours than we had hoped for. Moreover,PHOTOS: RON HARWOODwe drew more moms with kids during the day than theprofiles had projected.”Not surprisingly, the level of “scripting” provided by ICdepends on the client. The large media companies mayhave a script concept in mind, while property developersoften look to IC as a one-stop shop. Because Disney andWarner Bros. “have such amazing in-house scripting and‘vision’ talent, we facilitated their imaginations with hardwareand software,” says Harwood. “As the years passed,we became more adept at creating our own visions for aspace, which included content development (lighting,audio, video) and even architectural enhancements. Whena media giant comes to us with a script for their experience,we follow it with a ‘media script’ that punctuatestheir words with reactions in light and our other skills.When an entrepreneur comes to us with an architecturalendeavor that it wishes to animate to attract a consumerbase as well as create a brand identity, then we put ourscripting hats on and give them the whole shebang.”Another challenge is choosing the right medium forcommunicating the concept to an owner who might notbe tech savvy or who might have a hard time envisioningthe entire package. “Just the other day, we presented anentire casino interior and exterior to a client without theneed for ‘inspiration boards.’ Instead we used video clips,computer renderings and animations – all with a specificmusical backdrop for each of the eight areas we presented.Of course we had the boards as a back-up, whichproved useful to the interior designers as they presentedtheir work to the client,” says Harwood.The Next ActSo what is the next act in this performance?“Immersion experiences are still in an infant stage.. . . . . . . . . . . . . . . . . . . . . . . www.iesna.org . . . . . . . . 37. . LD+A . . . November . . . . . 2003 . . . . . . . . . . . . . . . . . . . . .