My interest in skylighting as an architectural art form began with the simple observation that in naturally lit interiors, dappled light was inherently more interesting than full sun or full shade.
Dappled light mimics the effect of sunlight falling through a tree or forest canopy.
I set about to explore various ways to simulate this “dappled light” effect and to apply this knowledge to skylighting in general. By etching the glass with palm leaf patterns, a graceful fall of light and shadow would display on the walls throughout the spaces below.
Designing skylights naturally led to the skylights being designed as works of art in and of themselves.
The multi-faceted series involved the extravagant use of exotic woods for the frames, combined with etched or beveled glass. The opening frames, which dress out the area between the roof and the ceiling, were an integral part of the overall design.
The “Prism Skylights” brought the excitement of pure, spectral light into the equation. I figured out a way of creating huge, architectural scale prisms, which I combined into the skylights that cast wonderful displays of pure spectral color on the walls and interior below.
For several years, these early experiments in “Exotic Skylights” were featured at the Laguna Beach Festival of Arts in California. In the annual, juried show, about a million people walked through my displays, providing valuable feedback and many commissions.