Balcony laid out a narrow retail shell like an old New York apartment: three connected rooms, each with its own identity, moving through stages of love. Against that domestic frame the lighting stays technical. A machine-like track instrument sits in the room as an object in its own right, and a luminous ceiling panel spans the merchandise, both tuned to the materials: acrylic glowing translucent, warm wood grain, stark concrete.

Exterior lighting for Philip Johnson's 1984 tower, its Chippendale crown, and the new public garden at its base. The canopy fixtures are custom and color-tunable, 75 percent 4000K diodes and 25 percent 3000K, so the same luminaires run cool through the day for the planting and warm after dark for the people beneath them. In the garden, light juxtaposes the clean geometric lines of the benches with the wilderness of the greenery spilling over them. At the crown, the positions of the original non-functioning fixtures set the geometry, and narrow optics pick out the outer edge, echoing the circle motif that recurs through the building. The previously unlit Madison Avenue arch is grazed by a pair of custom double-adjustable in-ground uplights covering a 26-foot span, keeping the walkway clear and glare-free.

A multi-level immersive observation deck at the top of One Vanderbilt, fully mirrored. Colored light is integrated into the mirrored environment so that it seems part of the architecture itself, multiplying through infinite reflections into a single continuous field. A DMX dynamic lighting control system drives it, developed alongside daylight analysis modeling light behavior within the fully mirrored volume.

Local Projects' exhibition carries visitors through Roosevelt's life in scenes, from a magical-realist salon where his boyhood nature collections sit in a forest, to the battlefields of Cuba. Within Snøhetta's sweeping architecture, the lighting and its controls work in two registers at once: traditional museum practice for the objects, world-building for the rooms that hold them.

Developed new lighting for the museum's collections from Africa, Oceania and the Americas, and redesigned the landmarked south-facing curtain wall to meet conservation requirements for the light-sensitive art while daylighting the galleries and restoring a visual connection to Central Park that the previous design had closed off.

The campus redevelopment pairs a historic renovation with a 30,000-square-foot expansion, the Gundlach Building, wrapped in a sloped glass veil facing Delaware Park. Fixed and movable luminaires integrated into the façade mullions carry the ambient, emergency and art lighting together. After dark the glass veil glows out across the park, like a jewel box. Named one of TIME's World's Greatest Places in 2024.

The renovation of a landmarked 1915 Ogden Codman townhouse gave the gallery curved, cornerless walls. A single custom linear fixture wall-washes them end to end in one continuous field. The surface softens, depth flattens, and the art carries the only edges in the room.

A new museum on a reconstructed bluff above the Mississippi, its permanent collection held in a continuous single-story loop around a courtyard. Alongside integrated architectural lighting and conservation daylighting analysis, a custom modular track system with integrated power and bridging elements maintains the building's pure architectural expression.

Scope Collective's work centers on the Gowanus Canal, where metagenomic sequencing found microorganisms living in the toxic sediment that had evolved to eat the contaminants. The gallery's curtain wall is four layers of light built to resolve into one: custom linear luminaire extrusions, printed images, projection, and light grazing the fabric. The chandelier spent time at the bottom of the canal, and grazing light rakes the crust it came back with, bringing up every pit and bloom the water left. Lit tanks and transparent pipes carry the canal into the rest of the room.

A temporary artwork on the plaza at 300 Ashland, commissioned by Van Alen Institute with the Downtown Brooklyn Partnership and Two Trees. The pavilion and its floor motifs draw on the geometry of shrines and on the terraces of the site. After dark, 74 feet of individually controlled RGB line the sculpture's steps and two sound sensors listen to the plaza. At rest the light pulses slowly in the artwork's palette; when sound crosses a threshold, waves of turquoise and pink ripple across the steps from the side it came from, so stomping, dancing and singing register in the light. Conceptualized, designed, programmed and installed in one scope.

A listening room built around twelve loudspeakers in an ambisonic array, reproducing Metal Machine Trio: The Creation of the Universe from the acoustic position Reed occupied onstage in 2009. The lighting draws its palette from Reed's albums and artwork and is cued to the music, so the room changes state with what is playing. A single file written for the room cues its separate lighting, sound and video systems to run in concert.

Twelve steel arches at the Westchester landing, raised from reclaimed Tappan Zee bridge steel, each apex fitted with iridescent dichroic fins that throw shadow drawings and pink and yellow refractions across the plaza as the sun moves. After dark, twenty-four runs of encapsulated LED trace white light along the arches, triggered by motion sensors at either end. A passing pedestrian draws one of sixteen animations out of the arches, running in the direction they walked. Up to three overlap, so the arches get busier as the plaza does. The Hudson here reverses with the tide; the light reverses with each crossing. Between triggers it holds a low pulse, like the sculpture breathing.

A month-long installation at the New York City AIDS Memorial in Greenwich Village, opened on World AIDS Day 2020 on the former site of St. Vincent's Hospital. By day, low pulsing light beneath the benches drew people in to hear the names of the dead spoken quietly from hidden speakers. In the evening the lighting opened out across the central water feature, gathering passers-by into a collective experience for a program drawn from Vito Russo's speeches, ACT UP recordings made by David Wojnarowicz, Michael Callen's music, and poetry by Melvin Dixon and Kia LaBeija. Designed, tendered, procured and installed in ten weeks, outdoors, in winter, during a pandemic.

Pedro y Juana's Young Architects Program winner: a 40-foot-tall cyclorama of jungle, 90 feet across, raised on a scaffold tower above the concrete courtyard and studded on the outside with timber spines. Omni-directional sources sit among the scaffold and the timber spines, and the structure casts its own jungle of shadows across the printed panorama. The scheme was analyzed in daylight first, then built to carry the courtyard from day into night, collapsing and expanding the layers of the structure depending on where you stand.

Snøhetta's expansion puts a glass-lantern recital hall and a partially submerged dance studio around a new forum. A performance building designed to be seen into is an unusual brief for light: daylight had to reach a room below grade and a hall that is mostly glass, while after dark the lit interior becomes the building's face on the plaza.

Aesthetic lighting scenes for the twin-span crossing. The state now schedules more than forty displays a year for holidays, cultural observances and awareness months, and turns the whole bridge off each April for Earth Day. The commission covered the process as well as the scenes: a route for the public to propose a display, a method for assessing the requests that arrive, and hands-on programming for several of the special events.