5Qs: Steven Young, Principal Lighting Designer, Visual Terrain

Steven Young serves as principal designer and director of design for Visual Terrain, Inc. in Los Angeles. Designs for Visual Terrain include the Buffalo Creek Resort and Casino in Buffalo, NY, St. Mel’s Catholic Church in Woodland Hills, multiple themed attractions in Las Vegas; King Kong 360 3D at Universal Studios Hollywood; Rivera restaurant in Los Angeles; Choctaw Resort Facades in Durant, OK; the Kongen Park Firefighter attraction in Norway; and Beyond All Boundaries at the National World War II Museum in New Orleans, LA. He will be presenting the session “The Church Is Inclusive, Is The Lighting? Lighting For The Pulpit, And The Congregation, Too” in the LDI@WFX track at WFX on Wednesday, November 14, 4:00 p.m. - 5:45 p.m.

1. What is your role as principal designer at Visual Terrain, and what kinds of projects do you work on?

We design commercial, residential, retail, hospitality, theme parks, houses of worship, and live events. As principal designer, I’m responsible for developing the creative vision for lighting on each project by collaborating with our clients and other members of the project teams, and then, crafting the documentation that makes the project feasible. And finally, going to the field to verify the installation and direct the focus and programming of the lighting.

2. In terms of the church market, what are the leading design principles for successful lighting? 

Is listening a design principle? If it isn’t, it should be. You have to know your congregation, and understand how each church presents the message. We try to listen to the needs and concerns of a church community and help be a partner to achieve their goals. The traditional design principles need to adjust to meet those goals. 

3. As many church services take place during the day, how do you blend daylight with your lighting design?

Daylight is a great natural resource, and many newer architectural spaces are urged to take full advantage of daylighting in their designs. However, this creates huge challenges in controlling the environment and presenting the message over broadcast/internet streaming. Tools like window treatments or coatings are also valuable tools for creating different effects.

4. Have LEDs become a major light source for church lighting in recent years? Do you use them throughout your projects?

Is there anything else left? I’m looking forward to telling my nephew stories about the old days when we used metal halide, fluorescent, and *gasp* incandescent sources. 

5. What is the best advice you have for designers just getting into the lighting of houses of worship, and what kind of systems do you suggest they consider?

My background is in theater, so of course, a foundation in lighting for the stage is a great place to start. My graduate schooling was at a music school, and that’s informed so much of my professional life. Learning the technique of lighting for drama and music, and translating emotions into color, rhythm and movement make all the difference. It’s great to be creative and be able to program all sorts of lighting consoles, but the art of lighting is part poetry, part science, and definitely part craft. A successful lighting designer learns the craft.