Eugenia Cheng
After a landmark year in 2024, arc sits down with [d]arc awards Best of the Best winner Eugenia Cheng, founder of LightOrigin Studio, to learn more about her design journey, and see what the future holds after such a successful 12 months.
There are few lighting designers who could claim to have had a more successful past 12 months than Eugenia Cheng. With speaking engagements at lighting events across the world, a slew of beautiful new projects, and a collection of high-profile award wins – including the[d]arc awards Best of the Best honour at the [d]arc awards – 2024 was a breakout year for the Hong Kong-based designer and founder of LightOrigin Studio.
Speaking with arc magazine, Cheng reflected on her banner year in typically humble fashion. “2024 proved to be a significant milestone for both myself and my studio – almost overwhelming because it was so unexpected!
“I attribute our success to several key factors: the dedication of my team, the trust bestowed upon us by our clients, and the invaluable support from our design partners. Most importantly, we maintained a strong work ethic, and despite facing many design challenges, we remained determined, optimistic, resilient, and unafraid.
“Reflecting on the past 12 months, I recognise substantial growth on both professional and personal levels. Participation in the various design and lighting events allowed me to reconnect with old friends while forming new relationships. The exchange of ideas and knowledge with fellow lighting professionals was enlightening and invigorating. I am in awe of the support and generosity demonstrated within our industry, which has further inspired me to pursue continuous learning, contribute meaningfully, and positively impact our field.
“While we received numerous compliments, we also encountered constructive criticisms, some of which were less respectful. 2024 was a valuable lesson in adapting our mindsets, processing diverse feedback, and embracing new perspectives. Although these challenges were not always easy to navigate, they fostered a more profound humility in our design approach and management.”
Born in Hong Kong and raised in Taipei, Taiwan, before returning to Hong Kong for secondary school, Cheng recalls that, unlike her more academically inclined peers, she was more interested in pursuing the creative arts. “However, a passion for the arts and design was often considered unpopular and frowned upon among many traditional Chinese families, as it was not viewed as a viable professional path,” she adds.
“I was fortunate that my parents and teachers recognised my creative potential, provided tremendous support, and encouraged me to further my creative studies in the UK after completing my A-levels. Without their encouragement, I unequivocally would have chosen a very different path in life.”
When in the UK, she attended Loughborough University for her art and design foundation year, before moving to London to study Interior and Spatial Design at Chelsea College of Art and Design, University of the Arts London. She later pursued a Master’s degree in Light and Lighting at The Bartlett, UCL.
With that creative mindset always there, Cheng says that she first “noticed” lighting during her school years, when she was given her first camera, a Canon A1, by her father – something that she says “sparked a lifelong interest in photography”.
“I actively engaged in the school’s photography activities, and as chief student photographer for the school magazine, I often supported our school photography teacher, who imparted invaluable knowledge about the form, and the crucial role of light and shadow. I started exploring different genres of photography, and unlike today’s instant gratification offered by digital cameras, working with film required me to maintain a detailed journal for each picture I took. I recorded notes on aperture, shutter speeds, ISO, the differences between natural and artificial light, and lux levels. This process taught me to control various elements to achieve my desired results.
“Though my knowledge of lighting was elementary, I already knew how powerful light and lighting was as a medium. The realisation struck me that something I had taken for granted, something I encountered daily but often overlooked, could have such a powerful impact on our visual senses and influence our connection to our environments, as well as our emotions and wellbeing.”
Although Cheng’s first dalliances with light were geared towards photography and photojournalism (“I was a huge fan of Henri Catier-Bresson, Steve McCurry and Annie Leibovitz, and since my teenage years I aspired to follow in their footsteps”), after completing her foundation year at university, she applied to both photography and interior and spatial design courses, receiving acceptance offers from both. Ultimately, after much struggle, she chose Interior and Spatial Design, “knowing it was the subject my parents would approve of and prefer between the two”.
It was here, during her third year at university in Chelsea, that lighting design as a potential career path, started to emerge. “I was struggling to find an interior design niche and narrative that represented me while fulfilling the design brief for my final year project,” she recalls. “I loved architecture and interior design, yet I have always felt constrained by the idea of using physical structures to create spaces.
“My studio tutor suggested that I should ‘think outside the box’ and encouraged me to explore the concept of light again, just as I once did with photography. I looked into photographers and installation artists who focused on using light and colour and the primary mediums to create visual dimensions in different spaces. Through the works of Dan Flavin, James Turrell, and many others, I was reminded that when used creatively and thoughtfully, light can create layered dimensions and spaces. The ability to create layers of space – almost walls – through the clever application of illumination, colour, and artistically positioned light, balancing contrast and shadows, can provide viewers with a transcendent experience of navigating through different spaces, even in the absence of physical structures.
“This realisation piqued my curiosity immensely, and it was then that I realised I wanted to further my studies to deepen my understanding of this field. I recognised that lighting is not just an art, but also a science. Although I wasn’t sure which lighting design career path I wanted to pursue then, I knew I wanted to be involved in this area regardless.”
After completing her undergraduate studies, and before she began her full-time MSc programme at The Bartlett, Cheng attended an SLL seminar – her first exposure to professional architectural lighting design. As a relative novice to some of the more technical terms, she says that she spoke with a “kind-looking attendee sitting next to me”, who explained a few concepts. This designer, Alma Cardzic, later became her first boss, offering Cheng the chance to start her career as a full-graduate designer at Hilson Moran while she studied part time. “It was extremely tough to study and work simultaneously, especially with such elementary knowledge of the profession and design discipline. But it allowed me to apply what I learnt from work to my studies while practicing academic and theoretical concepts professionally,” she adds.
After her time at Hilson Moran, Cheng took a junior lighting designer position at BDSP (now ChapmanBDSP), where she worked for several years, before returning to Hong Kong and joining TinoKwan Lighting Conultants, where she says Kwan was an ideal mentor figure.
“Under Tino’s guidance, I learned to become a well-rounded designer, balancing creativity with practicality. He taught me the importance of being artistic, yet realistic, thinking outside the box while remaining grounded, and taking pride in my designs while staying humble,” she says. “I learned to insist on my ideas when necessary, and recognise when to yield. He emphasised working within guidelines without allowing rules to stifle creativity. His teachings have influenced and helped me become who I am today as a lighting designer. Tino pioneered the lighting design industry in Hong Kong, and I was very inspired by his work ethic, determination, and entrepreneurship, which further inspired me to one day have my studio and represent our community in the way that he has.”
Since establishing LightOrigin Studio in 2018, Cheng now hopes to take on a similar mentor role to emerging designers in the industry, both in her native Hong Kong, and internationally.
This has seen her take part in the Silhouette Awards as a mentor, and also form a new initiative aimed at promoting the lighting industry to the wider public.
“I have been fortunate to have had several mentors throughout my career, each playing a pivotal role at different stages of my journey. They guided me and generously shared their professional and personal experiences and knowledge. Apart from my family, my mentors made me who I am today. Truly inspired by their support, I aspire to do the same for others.
“Contributing to our community and industry is something I’ve always wanted to do, and the Silhouette Awards mentorship programme plays a very important role in providing a platform for me to give back, while also being an enriching journey. Being able to guide others towards success by sharing my experiences will bring me great fulfilment, and enhance my personal growth and leadership skills.”
Closer to home, Cheng and some of her fellow Hong Kong lighting peers are also planning to launch a new initiative aimed at bringing the local community together through a series of lighting events to educate the local public, private, and municipal sectors about what “light and lighting” is.
“While many high-profile clients and projects already grasp this concept, there remains a significant gap in knowledge and education regarding lighting design in Hong Kong, especially compared to the UK, Europe, and the US. Consequently, numerous local lighting projects have faced challenges due to a lack of appreciation for well-designed lighting and the expertise of lighting designers.
“We hope to inspire our community with these talks and, if our first event is successful, expand the initiative to include more local lighting designers as speakers, sharing their insights with the general public. We currently lack a local lighting association to promote our industry and community effectively. This gap has motivated us to take action, leading to the creation of our initiative. We believe it’s time to step up and make a difference. All of us are volunteering our time purely out of a passion and a deep commitment to the Hong Kong lighting industry.”
Spreading the good word about the importance of good quality lighting design is something that Cheng has been passionate about, going back to before establishing her own firm, but she says that it is one of the core principles of LightOrigin Studio.
“When I first started in the lighting industry, I wanted to bring a fresh perspective that emphasised the importance of functionality and aesthetics in lighting design, and that light can curate layers, spaces and dimensions, even in the absence of physical structures,” she explains.
“My ambition was to create illuminated spaces that embodied form and function and impact positively the emotional and psychological wellbeing of those experiencing them. Over the years, I’ve seen my vision evolve, and I believe I’ve made significant strides in achieving this goal through my projects and collaborations.
“As a studio, I aimed to make quality lighting design accessible to a broader audience in the luxury sector and beyond. I wanted to demonstrate that lighting could positively impact everyday environments. Having specialised in hospitality and high-end developments for most of my career, I increasingly felt that quality lighting design should extend beyond the luxury sector.
“I firmly believe that ‘good lighting is for everyone’. Lighting design services needn’t always be expensive, and I aim to give back to the community by demonstrating that quality lighting is available to all whenever I can.
“With the constant evolution of lighting technology and scientific research, high-quality fixtures are now available at competitive prices, making good lighting more accessible to a broader audience.”
LightOrigin Studio’s ethos, therefore, is founded on the principle of balance, and of quality over quantity. Adopting a user-centric approach, the team works to ensure equal emphasis on utility and aesthetics, as well as on daylight and artificial lighting.
“We are committed to designing with health and sustainability in mind, considering environmental and human circadian factors. Rather than treating artificial light as a standalone feature, where possible, we focus on integrating natural and artificial light to complement the architecture. This practice is fundamentally sustainable, as it aims to reduce the number of artificial sources, and the energy expended, rather than simply increasing lighting fixtures for decorative purposes.”
With these principles firmly in place for LightOrigin Studio, Cheng explains that, while every project is of course different, and has its own requirements, there is a typical approach that she likes to take when beginning on a new project.
“We start by thoroughly exploring the design brief by identifying the target audience, understanding the architecture, the purpose of the space, long term projections, and the client’s wish list.
“Based on past experiences, we formulate a design strategy that allows us to work creatively within the framework of lighting guidelines and recommendations. Once these elements are clearly defined, I begin the actual design work.
“After completing the initial design, I revisit it from an ‘aerial perspective’, and assess whether the design has fulfilled our original intentions and aligned with our design ethos. In a world where imagery and social media are such a crucial part of our daily experiences, it is easy to lose sight that while a picture may be worth a thousand words, an experience is worth even more.
“While aesthetics are certainly important, as architectural lighting designers, I believe our focus goes beyond creating visually appealing temporary moments. We design lighting for people and should consider the daily experiences of those who inhabit these spaces, whether or not they are conscious of lighting’s effects. I aim to evaluate our work critically and determine whether our design demonstrates a clear understanding of the space and its users and whether we are fulfilling our design responsibilities by considering comfort, usability, sustainability, cost, and environmental impact.”
The approach has gained Cheng plenty of plaudits over the past year, none more so than for the Artifact Bar – the project that won the Best of the Best award at last year’s [d]arc awards, as well as trophies at the Dezeen Awards, LIT Lighting Design Awards, and FRAME Awards. A speakeasy bar hidden inside Hong Kong’s BaseHall Central, the inspiration for the lighting design was drawn from its rhythmic patterns of underground cisterns, and contributes greatly to a tranquil yet theatrical atmosphere and ethereal ambience. A captivating architectural and lighting experience is exemplified in the venue’s main bar where, on entering, guests are met with a mirrored ceiling that creates an illusion of infinite heights, accompanied by bold, rib-like architectural structures accentuated by strategically placed indirect lights. The bar also features a captivating circular skylight, emitting a soft glow evocative of a sunset, transporting guests to an immersive visual and sensory delight; the ideology of the paradoxical presence of sunlight in an underground space, juxtaposed with the dimly lit surroundings, imparts a sense of surrealism.
Reflecting on the project’s success, Cheng describes the feeling as “almost surreal and bewildering!” She adds: “The design accolades and recognition we received from the lighting design community and design peers are a tremendous encouragement, making all the long hours and hard work feel worthwhile and meaningful. Having said that, it also serves as a reminder to strive for excellence, continue working hard, and maintain humility. There is a Chinese saying, “不忘初心”, meaning ‘Do not forget your original intentions’.
“Through my achievements last year on such an international stage, I hope to be one of many who continue to represent our design community in Hong Kong and showcase the incredible talents that Hong Kong lighting designers have to offer.”
While the response to Artifact Bar was a dream for Cheng, when it comes to dream projects, there is something else that she has in mind. “My dream project would be to work on a cultural heritage establishment in my hometown of Hong Kong, driven entirely by the concept of light, where we’d be given carte blanche. I envision having complete creative freedom to illuminate the architecture and interior spaces, as well as to design a featured light art installation using sustainable and recycled materials that are intricately woven into the environment,” she says.
“This level of design autonomy would be excitingly challenging. Still, it would allow me to explore innovative concepts and create an immersive experience, encouraging the local community and visitors to celebrate and appreciate the local culture and heritage space. It would hold deep personal significance for me, as it would be rooted in my hometown, offering a unique opportunity to give back to the community by showcasing the profound impact of light and lighting in architecture.”
In the meantime, Cheng has high hopes for 2025, as she looks to build on her successes of the past year with some exciting new projects, both locally and internationally – including her studio’s first heritage project, a Grade I historical establishment. “The existing architecture and interior are very challenging because of their historical nature; we are excited, and I look forward to seeing it completed,” she adds.
“In addition to our core projects, we have some intriguing passion projects in the works. Two collaborative designs are on the horizon: one is an art installation, and the other is a design collection. Details are under wraps for now – please watch this space!”
As for the industry as a whole, Cheng predicts an “aggressive integration and utilisation” of AI and data-driven designs that she thinks will be widely and openly adopted in practices.
“While I don’t claim to be an expert in AI or IoT, I am both wary and in awe of the challenges and potentials these emerging technologies can bring to our creative processes and decision-making,” she says.
“On a more positive note, new technologies can provide more accurately analysed data, helping our industry efficiently innovate better solutions that prioritise circadian lighting and mental health; I believe this will lead to holistic solutions that enhance the built environment in meaningful ways, allowing for more intuitive and responsive lighting solutions that enhance both functionality and aesthetics. We can expect even more sophisticated applications that transform how we perceive and interact with light in our environments.
“Personally, I see myself embracing and utilising these new tools to explore techniques that push my design boundaries and creativity. Growth and continuous learning are of personal importance to me. By leveraging AI as a tool, I hope to enhance, rather than replace the creative process. Through this approach, I plan to expand my influence in the lighting field by mentoring others and sharing my insights on sustainable lighting practices with the public and various building sectors.”
Cheng is also hopeful that, as the lighting design profession continues in its ascendancy, her recent successes can act as an inspiration for emerging and potential designers to enter the world of lighting.
She concludes: “I encourage creative minds considering a new educational or career path to explore the lighting industry. Entering the lighting design profession offers a rewarding blend of artistry and technology, allowing you to transform environments through the thoughtful manipulation of light. This field influences mood, functionality, and aesthetics, with designs that can be both static and interactive, permanent and temporary. It’s poetic and technical.
“As the demand for sustainable and energy-efficient solutions grows, you’ll play a vital role in addressing environmental challenges while innovating new designs. The rapid integration of technologies like smart systems and AI makes this profession dynamic and ever-evolving.
“Ultimately, lighting design shapes how people experience their surroundings, enhances well-being through thoughtful solutions and hopefully makes a meaningful and sustainable impact on our future. It’s an exciting journey worth considering!”
