For three decades, award-winning lighting design firm Visual Terrain has illuminated some of the world’s most celebrated spaces, from theme park attractions and architectural landmarks to museums and even a White House Halloween party.
Established in 1995, it has completed over 1,200 projects on every continent except Antarctica and in sectors such as casinos and hospitality, performance venues, resorts, immersive experiences, family entertainment centres, retail spaces, aquariums, theme parks, museums, and more. Services encompass lighting design from concept to completion, custom and themed fixture design, lighting control system design, installation supervision, and video-driven LED systems. The team has worked on an impressive 16 Thea Award-winning projects.
Visual Terrain is co-owned by Lisa Passamonte Green and David Green, both of whom have received the TEA Peter Chernack Distinguished Service Award. To explore Visual Terrain’s story, including its philosophy, technological evolution, and the projects that have left an indelible mark on the industry, blooloop speaks to Lisa Passamonte Green, CEO, co-founder, and principal in charge.
The heart of Visual Terrain
When asked to describe Visual Terrain, Passamonte Green, who was also named a TEA Master by the Themed Entertainment Association in 2019, says it is a company that views each project as a deeply collaborative effort:
“Visual Terrain is a lighting design firm that cares about a client’s vision as if it were ours. I’ve always felt our role is to protect the client’s vision for how their story can be told through lighting while also keeping within their budget and time constraints.”
Drawing on her theatrical background, Passamonte Green highlights how her team—many of whom also hail from the theatre world—approaches lighting design with a storyteller’s mindset. Whether it’s an architectural space or a theme park attraction, she believes every project has a narrative waiting to be revealed.
“We try to create lighting design packages that get the details right so we can realise that vision when we get to the field and install the lights. And that’s sometimes really challenging, especially if we’re working across the globe.
“We’re very diligent, and we care about what we create. Two different chefs could have the same list of ingredients and create completely different meals. The drawings and specifications we develop for our clients are like the ingredient list. And then, what we do with lighting products to make the lighting design real is where that magic comes in.”
This meticulous attention to detail is a hallmark of Visual Terrain’s work. It has earned the company the trust of clients who return project after project.
“We never have repeat projects, but we’ve always had repeat clients. Part of it is that we always do what we said we would. We never promise things we can’t deliver or aren’t in the budget. We help them realise their projects and have fun while doing it. This work is hard, but the idea that you could have fun while doing it was always part of the key, and our clients know that we could be with them through from concept to opening day.”
Three decades of evolution
As Visual Terrain prepares to celebrate its 30th anniversary, Passamonte Green reflects on the tremendous evolution of the company and the lighting design industry itself.
“We have been around long enough to see big evolutionary changes in lighting technology. When I started, we had fixtures that had to be plugged into power. That’s all they needed. Then we could put colour filters on them or do different things, but it was much simpler,” she says.
The advent of halogen and MR16 sources marked an early revolution in the industry. However, the LED revolution in the 2000s truly transformed the field.
“All of a sudden, we had smart lighting sources that needed power and data. The architectural world didn’t have that as much before the theatrical fixtures crossed over into architecture. And then with LEDs, everything suddenly needed a way to control it, and it wasn’t just a light switch.”
From hand drafting to AutoCAD and eventually to Revit, the tools of the trade have evolved in tandem with lighting technology. The leap to 3D drawing platforms and previsualisation tools allows clients to see lighting designs come to life before construction begins.
“It’s stunning,” she says. “We’re now using tools like Unreal to create renderings that allow our clients to see the designs we envision for them, not just us talking them through the vision that was in our heads as lighting designers and maybe doing a glow map. Now, we can put them into the model or the world. We can use photometric files with the real lights and start to show them what they will see when the project is built. That’s a massive evolution for us.”
The shift to remote work has also marked a significant change for Visual Terrain. While initially prompted by the pandemic, the company has embraced the model. This enables it to hire top talent worldwide and serve clients more effectively.
Visual Terrain: memorable projects and industry impact
Visual Terrain’s portfolio is as diverse as it is impressive. The company has contributed to 17 Thea Award-winning projects, underscoring its significant impact on the themed entertainment and lighting industries.
“It’s hard to understand the impact you’re having on an industry until you start to get recognition for your work,” says Passamonte Green. “To me, that speaks volumes to how hard we have worked to create those projects and work with those teams and collaborate.”
However, awards aside, certain projects hold a special place in her heart. One such project was a Halloween party at the White House for the Obama administration in 2010, working with The Bezark Company. She describes the experience as both surreal and deeply meaningful:
“It was incredible. It was a very quick project, but it was spectacular. Being in the White House, which is such an amazing architectural treasure, and collaborating with the team was unforgettable. Seeing the eyes of military families attending the event light up during the event was so moving. That will always be one of my favourite projects.”
Other highlights include the award-winning Templo del Fuego attraction at PortAventura in Spain, which reunited Passamonte Green with former colleagues and introduced her to new collaborators such as Mycotoo founder Cliff Warner, and Beyond All Boundaries at the National World War II Museum in New Orleans, with THG Creative.
The latter was particularly poignant, as it aimed to convey the human cost of World War II while honouring the rapidly dwindling number of veterans from that era. “We had this real need to be able to tell their story,” she says. “It was such an honour and so significant in so many ways.”
Another standout Visual Terrain project is Universal Studios Florida’s Revenge of the Mummy attraction. Despite being over 20 years old, it remains a fan favourite and exemplifies Visual Terrain’s collaborative approach.
“I was reunited with Bob Shreve, who I had worked with on Islands of Adventure when I first started the company, and he was amazing. We worked with the creative director, Jen Sauer, from Universal Creative, and she’s just a brilliant creative leader. Her vision for that attraction was amazing, and the collaboration was phenomenal. It’s great to me that the attraction is still among the highest-rated when Universal does guest polls.”
Collaboration as a foundation at Visual Terrain
When it comes to building and maintaining relationships, Passamonte Green stresses the importance of trust and respect.
“It’s everything,” she says. “Being respectful, being kind, thorough, listening, and having those collaborations… being trustworthy is so key.” The company thrives on the strength of its partnerships. This has enabled it to grow largely through referrals and repeat clients. “I am very fortunate that we do very little cold calling,” she adds. “We’ve built relationships where people either call us into their projects or refer us to other teams.”
These partnerships are not only about securing projects but also about fostering a sense of mutual respect and confidence in the work Visual Terrain does. “Knowing that people are confident enough to recommend you to other teams is a reward in itself,” she adds.
Lighting as storytelling
Storytelling is a driving force behind all of Visual Terrain’s projects, whether in the high-energy environment of a casino or the reflective space of a museum. For Passamonte Green, lighting is integral to the narrative, shaping a space’s emotional tone and atmosphere. “Every project has a story,” she says. “In an attraction, lighting can be warm and intimate or bold and bright. It can be dark and moody or come at you with sharp angles and dramatic shadows.”
The Ashes and Snow travelling exhibit is a standout example of this storytelling approach. “We wanted people to be contemplative and emotionally vulnerable,” she recalls. “The lighting leans into that to help evoke that feeling.” On the other end of the spectrum, in a casino, the lighting design aims to make guests feel energised and safe, encouraging them to linger longer in the space.
“People know when the lighting doesn’t feel right,” says Passamonte Green. “They may not know it’s the lighting, but they know something is off. It’s about creating the right atmosphere for the story.”
Innovations and interactive lighting
Looking ahead, she is particularly excited about the role of interactive lighting in shaping the future of attractions and entertainment. She envisions a future where lighting not only immerses guests but also responds directly to them, creating an interactive experience unlike anything seen before. In this future, “lighting can directly respond to an individual guest, to a group of guests.”
Advances in control systems, machine learning, and interactive design have made this possible. “There’s a new ability for lighting to be more than just part of the backdrop. It’s now an active participant in the story, responding to the guest’s presence or actions.”
Another development that excites Passamonte Green is the evolution of pre-visualisation tools. “We’re able to show clients the lighting designs and let them experience the difference between products before we even get to the field,” she explains. “That’s a game-changer for ensuring everyone is on the same page and that the project stays within budget.
“The idea that we can now put somebody into that world is super exciting to me, too. I think that trend will continue. But I think the cost of creating those worlds virtually still has to come down for clients to take advantage of it more readily.”
Sustainability in design at Visual Terrain
As sustainability continues to be a growing concern across industries, Passamonte Green ensures that Visual Terrain’s projects adhere to high environmental standards. “We have always tried to develop sustainable lighting designs,” she says. “Is it maintainable? Is it sustainable for the long term? We think about that from the start.”
This commitment extends beyond the design phase. The team carefully selects lighting fixtures and components that can be maintained and replaced over time, avoiding waste. “We work with manufacturers who think about how their products will be maintained in the future,” she says, explaining that a fixture rarely fails in its entirety but rather in individual components.”
“When LEDs first came out, the idea was to replace the whole fixture when it failed. But we said, ‘That’s an awful idea.’” Visual Terrain focuses on selecting manufacturers who produce durable products that are sourced responsibly.
In addition to product selection, Passamonte Green is mindful of logistics. “We consider whether we need to ship fixtures from point A to point B or if there are local products near the project site,” she says. This not only benefits the environment but also reduces costs for the client.
Looking to the future
When Passamonte Green reflects on the next decade for Visual Terrain, she says she is energised by the endless possibilities:
“It’s exciting to think about the evolution of technologies, new light sources, and the kinds of projects we might take on.” The firm has always adapted to the industry’s changing landscape. She is particularly excited about the growth of her team and the collaborative culture they have built. “It’s not just me anymore. We’ve got a whole team that brings different toolkits to the table.”
For Passamonte Green, the highlight of her career isn’t just about the projects but their impact on people. One moment that deeply touched her was working on the Beyond All Boundaries project. Here, the lighting design was integral in honouring veterans. “We got such incredible feedback from the veterans. It was incredibly emotional, knowing that we were contributing to something so meaningful.”
The opportunity to combine creativity with storytelling continues to fuel her passion. “We want the lighting to be integral to the experience and the story,” she says. “That’s why we do what we do.” This philosophy has guided Visual Terrain for three decades, earning the company a reputation for reliability, creativity, and innovation. As it enters its 30th year, the firm remains committed to pushing the boundaries of what lighting design can achieve.
“Lighting has always been highly creative. But it’s exciting to think about where the next 30 years will take us,” she adds.
With a legacy built on trust, collaboration, and a relentless pursuit of excellence, Visual Terrain is set to continue illuminating the world in ways that inspire wonder and awe.
The post Lighting the way: Visual Terrain’s 30 years of creativity & innovation appeared first on Blooloop.