Paul Marantz, a distinguished architectural lighting designer who illuminated disco flooring and skylines, libraries and stylish resorts, prepare stations and live performance halls, museums and embassies, died on Could 26 at his residence in Manhattan. He was 87.
The reason for loss of life was problems of a stroke, his spouse, Jane Marantz, mentioned.
Mr. Marantz, who was often known as the Prince of Darkness by trade wags, forged a large internet.
His tasks, generally performed in live performance along with his enterprise companions, Charles Stone and the Tony Award-winning lightning designer Jules Fisher, included new buildings — the Sainsbury Wing of the Nationwide Gallery in London (1991), the Rock & Roll Corridor of Fame in Cleveland (1995), the Getty Heart in Los Angeles (1997), the Museum of Islamic Artwork in Qatar (2008), the Barnes Basis in Philadelphia (2012) — in addition to many venerable previous constructions.
Mr. Marantz was concerned, for instance, within the renovations of Carnegie Corridor (1987), Grand Central Terminal (1998), the Rose Important Studying Room of the New York Public Library (1998) and David Geffen Corridor at Lincoln Heart (2022). He additionally did the lighting for New York nightclubs like Studio 54 (1977) and the Palladium (1985), and for the Instances Sq. Ball on the heart of the New Yr’s Eve countdown in Manhattan (1999).
When his agency, Fisher Marantz (now Fisher Marantz Stone), was engaged in 1988 to develop tips for the brightness ranges of illuminated indicators round West forty second Avenue, as new workplace towers had been going up within the space, Mr. Marantz got here up with the concept of the “luts” (or light unit Times Square) meter — a single-lens reflex digicam with a specifically modified zoom lens — to measure compliance. And he and his companions had been the megawatt wizards who, in 2002, helped understand Tribute in Light, the 9/11 memorial in Decrease Manhattan with two luminous columns constructed on 88 searchlights. (Mr. Marantz’s agency continues to be concerned within the annual commemoration.)
“He didn’t invent the sphere of architectural lighting, however he had sufficient of a presence in New York that individuals mentioned, ‘Get me Paul Marantz,’” Tyler Donaldson, a retired architect and mission supervisor who labored with Mr. Marantz on the renovations of Carnegie Corridor and the Park Avenue Armory, mentioned in an interview.
“Architects beloved working with him as a result of he understood that we wished the sunshine not simply to be useful however to assist form an area and make it extra stunning,” Mr. Donaldson continued. “He additionally knew that generally an area wanted to be lit in a manner that made it extra dramatic or extra inviting. Lighting was spotty with out him.”
However Mr. Marantz, who gained awards from the American Institute of Architects, the Illuminating Engineering Society and the Worldwide Affiliation of Lighting Designers, was additionally very attuned to the position — and energy — of sunshine’s absence. One in every of his favourite books, his son Nicholas mentioned in an interview, was “In Reward of Shadows” (1933), by Jun’ichirō Tanizaki, a treatise on Japanese aesthetics that Mr. Marantz considered “the lighting designer’s fundamental textual content.”
“Paul would pause with a delicate smile, level a finger upward and exclaim, ‘Take into account the darkish!’” his companion Mr. Stone mentioned. “That notion is rooted within the theatrical and architectural lighting that was the center of his philosophy about lighting.”
In 1977, when Ian Schrager, now largely often known as a hotelier, was on the lookout for somebody to do the lighting for a brand new nightclub he was creating along with his enterprise companion, Steve Rubell, on West 54th Avenue in Manhattan, “we went to all the same old suspects,” Mr. Schrager mentioned in an interview. Then Mr. Marantz got here by to try the positioning.
“I noticed this professorial-looking man; he had a beard and an enormous coat and glasses,” Mr. Schrager mentioned. “I didn’t know if he would have an interest.”
Nevertheless it was Mr. Marantz, Mr. Schrager mentioned, who got here up with the concept of treating the area — the long run Studio 54 — because the theater it had as soon as been, and created an apposite lighting design: dynamic, vibrant and really dramatic.
The mix of neon, transferring lights, flashing lights and lightweight bars was a departure from typical after-dark aesthetics. “The course that Studio took was all Paul’s concept,” mentioned Mr. Schrager, who later employed Mr. Marantz to work on a number of resorts and homes.
“Lighting is such an ethereal self-discipline,” Mr. Schrager mentioned. “It’s tough to search out individuals with the structure and design sense Paul had. He opened up my consciousness and my sense of potentialities.”
Mr. Marantz, nevertheless, didn’t develop into a Studio 54 habitué. “We weren’t nightclub individuals,” Ms. Marantz mentioned, whereas acknowledging a go to or two. “Paul went in, did the work and left via the again door.”
Paul Murat Marantz was born on April 27, 1938, in Elizabeth, N.J., and grew up in Union and Maplewood, N.J. He was the eldest of three youngsters of Samuel Marantz, a lawyer, and Mildred (Goldstein) Marantz, a former instructor who managed the family.
Paul grew to become fascinated about lighting design at age 10, when he attended a marionette workshop. Impressed, he constructed a mannequin theater. Throughout highschool, he ran lights for dance recitals at a neighborhood Jewish neighborhood heart.
At Oberlin School, in Ohio, he studied architectural and artwork historical past, and was energetic within the theater division. After incomes his bachelor’s diploma in 1959, he did graduate work at Case Western Reserve College and Brooklyn School, however left with out a complicated diploma.
He was working for a New York lighting producer within the mid-Sixties, designing small lighting fixtures for window shows, when he met Mr. Fisher, a fellow lighting designer laboring on low-budget exhibits in Off Broadway theaters.
“I’d go to Paul for lighting options, or to ask which lights he had or which of them he may design,” Mr. Fisher mentioned in an interview. “And in 1971, I requested, ‘Would you wish to be companions?’ as a result of we had comparable pursuits and attitudes. He would at all times say, ‘Let’s attempt to discover out what the issue is earlier than we resolve it.’ And that was a great way to begin.”
“Paul was a genius at fixing issues of sunshine,” Tod Williams, an architect who continuously collaborated with Mr. Marantz, mentioned in an interview.
On the Barnes Basis constructing, designed by Mr. Williams’s agency, Tod Williams + Billie Tsien, among the home windows had been initially lined to guard the artwork. However Mr. Marantz found out how to herald pure mild whereas shielding the artwork, by utilizing controls on the roof that monitored the solar’s place. “His considering was analog,” Mr. Williams mentioned. “However he used digital instruments.”
Analog? Digital? Mr. Marantz generally made do with no matter was at hand. One long-ago Thanksgiving, when the household lived in a home in New Jersey designed by Gustav Stickley, Ms. Marantz mentioned in an interview, he conjured up an Arts-and-Crafts-style mild fixture for the eating room with a number of items of wooden he had stained in his residence workshop. He normal the shade from the pages and binding of a spiral pocket book.
Along with Ms. Marantz, whom he married in 1977, and their son, Nicholas, Mr. Marantz is survived by one other son, Joshua, from a earlier marriage, to Marsha Heller, that resulted in divorce; 4 grandchildren; a brother, Robert; and a sister, Ellen Florin.
Shoemakers’ households typically go barefoot. Years in the past, when the daughter of a household buddy returned residence after babysitting Nicholas Marantz, “she informed her dad and mom, ‘I assumed he was within the lighting enterprise. I couldn’t discover a good place to learn,’” Ms. Marantz recalled.
She added: “In the long run, we had beautiful mild. Nevertheless it took some time, as a result of it mattered a lot to Paul.”
