1 / 5
View of stage with a starry dusk.
⇩ The Lion King jr at the Manitoba Centennial Concert Hall
The design was for Grosvenor Elementary School's production of The Lion King jr. It may seem excessive to use such a large space for a small school, but it enabled us to put on a great show with lots of room for parents and family to come and watch. In the end, it wasn't more expensive at a professional theatre than a neighbourhood church.
2 / 5
ground row lighting illuminating the cyclorama
⇩ Ground row lighting at the Manitoba Centennial Concert Hall
Uplighting is the most fun but least natural of lights. Playing around with magentas and analogous colours is my favourite.
3 / 5
stage production of iolanthe.
⇩ Iolanthe or the Peer and the Peri
Iolanthe on stage at the Pantages Playhouse theatre with the orchestra in the foreground. I think every title needs an alternate title.
4 / 5
2 people on a starkly lit stage.
⇩ Faust at the Gas Station Theatre
Creating a lighting design with tight specials and separation of spaces is a challenge and only possible with the support of a director committed to consistent blocking and actors prepared to follow direction.
5 / 5
lighting design with actors in boxes.
⇩ The Glass Menagerie - Director's Cut
One benefit of University performances is the opportunity to reimagine classic works in new ways. This version of the Glass Menagerie uses multiple actors and explores the piece through movement. The design features some footlighting and lots of side and backlighting.

Lighting Design.

How we see.

Lighting is both science and art. Lighting levels and direction can affect our well-being, productivity and safety. Most architectural lighting projects are completed by the manufacturers and electrical engineers with occasional input by architects and interior designers on the products' appearance. All projects would benefit from a dedicated lighting designer.

In 2006, I received the Richard Kelly Grant by the Illuminating Engineers Society of New York for an investigation into the ways a sighted person and a visually impaired person perceive and move through the same space. [The Project].

Richard Kelly was a lighting designer who worked with influential architects on important projects like Mies van der Rhohe's Seagram's Building and Louis Kahn's Kimbell Art Museum. He understood how light can shape space and evoke emotion. It was Kelly's idea to use the yellow onyx in the Seagram Building to make it glow. Mies wanted it to be black...

The three tenets of Richard Kelly's approach to lighting design:

Through the thoughtful use of these three elements we can not only create architectural beauty, but make it easier to see, make surroundings safe and reassuring, and stimulate the spirit. When Richard Kelly presented "LIGHTING AS AN INTEGRAL PART OF ARCHITECTURE" in 1952 he noted that "Nine out of ten of the artificial light sources, fixtures, and equipment specified and used today did not exist twenty-five years ago." What would he think about today's opportunities?

"To play with light is to play with magic-it demands (1) a trained eye to recognize real and relative values (2) experience and knowledge of the cultural and psychological effects of light on people (3) experience and knowledge of physical techniques."

theatrical lighting design

JC ROBBINS ARCHITECTURE principal Jason Robbins trained in set and lighting design at the University of Winnipeg. Theatrical ighting design experience ranges from the small to the grand and includes working with Electrical Engineers and technicians to ensure all regulations are met. Contact JC ROBBINS ARCHITECTURE office@jcrobbinsarchitecture.com for more information about architectural or theatrical lighitng design.