Rogier van der Heide, the pioneer of lighting design

Light is not just an element of architecture—it is a fundamental medium of experience. It creates narratives not by illustrating a story but by shaping how people move through a space, feel its dimensions, and interact with its textures. I don’t use a “predefined alphabet” or “vocabulary”. Instead, I work with materials, the interaction of light with surfaces, and the qualities of the light of the sun and the sky to create immersive experiences. My focus is on discovery, rather than calculation. Light only exists when it meets something—so I explore materials like glass, coatings, and textures to shape the way it is perceived. Many lighting designers aim to “enhance” architecture, but I see light as something that creates space, not just reveals it. My approach is about rethinking how we experience light rather than where we place the light fixtures. Our experience of light is so important, and yet it is not being taught at universities or academies. That’s why I teach a 10-day course this July, in Naples, much like a masterclass to offer young lighting designers a career boost. Because once you integrate the experience of light into your approach, you add value to spaces, and uniqueness. At a time that everyone can use the computer to make a “proper” lighting scheme, the ability to create a profound experience is what differentiates. 

I didn’t start with light at all! I started with space, materials, and how people inhabit places. My approach is driven by curiosity—how does light reveal the soul of a space? How does it change with time, season, and material interaction? Natural light plays a crucial role in my work. Lighting designers focus on electric light, but I believe the most powerful and sustainable source is the sun itself. Natural light is dynamic, emotional, and responsive. My goal is to shape it—to craft experiences where architecture and light are fully integrated. My work is also enriched by teaching, and exchanging knowledge. I have always done that! Engaging with young professionals and established architects keeps my perspective evolving even after 35 years in the profession. That’s why I invest in creating new ways to explore light through education, bridging artistic vision with scientific understanding. 

I work for any client of course. The best clients, however, don’t ask for “lighting design”—they ask for an experience. They see light as something that transforms a space, shapes emotions, and interacts with culture. I enjoy projects that push boundaries. Take the “Boeing Sky”, for example. It wasn’t just about making an airplane interior feel spacious—it was about using light to counteract jet lag, support circadian rhythms, and enhance the well-being of all passengers and crew. It is a project where lighting had a measurable physiological impact. Similarly, my work for ESA’s Mars500 project had nothing to do with aesthetics. It was about enabling a team of scientists and engineers to create a Mars rover that performs well in the lighting conditions of Mars, including its sun path, diurnal, atmospheric conditions and reflections of the landscape.  My work for Apple and for BBC is architectural, but is characterized by integration of light and material. The glass facade of the Broadcasting House interacts with both natural light and electric lighting, and Apple’s stretched ceilings include a unique approach to translucency. It is fascinating, and a privilege, to work on projects like that. These types of projects—where light is more than illumination—are the ones that excite me. They challenge conventional thinking, and that’s where real innovation happens.