Lighting Design Ideas, Lamps and Solutions

Accento: lighting design, visual comfort and smart control – interview with Gianluca Raineri and Roberta Bonaiti

Paola Selena Gutierrez — Thu, 26 Mar 2026 08:12:06 +0000

From the experience of Erresei, active since 1996 in the lighting sector, Accento was born—a Made in Italy brand that combines technological research and contemporary design. Light here is not just performance: it is atmosphere, perception, chromatic quality.

At the center is visual comfort, together with intensity control designed to enhance residential spaces and contract projects. Guiding this vision is the Hu.Li – Human Lighting philosophy, which places people and their rhythms at the heart of the project.

In this double interview, Gianluca Raineri, CEO of Accento, and Roberta Bonaiti, founder of Masina Studio, explain how engineering and artistic direction meet, transforming technology into light to be experienced over time.

Accento was born from the technical experience of Erresei, active since 1996 in architectural lighting.
Gianluca Raineri, which elements of the original culture—internal manufacturing, engineering precision, attention to detail—still form your foundation today?

All of those mentioned are fundamental and present in our daily work. Internal manufacturing for obsessive control in attention to detail, engineering precision in the pursuit of maximum performance, and attention to detail as a distinctive mark of Made in Italy. All of this with the goal of creating and offering the market products that are unique in technology and design.

Roberta Bonaiti, from your design perspective, what have you inherited from that spirit and how have you transformed it into aesthetic language?

When Gianluca Raineri called me to oversee the artistic direction and product design for Accento, I already knew Erresei, renowned in the lighting sector for its great technical capability and attention to detail.

Qualities so alive and rooted in the company’s DNA that it was a natural transition for Accento as well. Every new product is born first from a technical opportunity (a material, a new way of making light, etc.) around which the designer can experiment and express themselves. Accento connects technological language with symbolic language, creating objects that want to be understood, used, and loved over time.

Light has become a cultural language of living.
Gianluca Raineri, what was the moment when you realized that Accento could “shift” the perception of light in the market?

We know the lighting market thoroughly thanks to continuous dialogue with its protagonists, particularly designers and manufacturers. Combined with this, it must be said that our history in the world of LED lighting goes back a long way, with our first patent registered in 2002. For this reason, years ago we realized that attention was shifting from the quantity of light to its quality—understood as high color rendering, control, and visual comfort.

It is from this awareness that Accento was born, as a project oriented toward more conscious light, designed not only to illuminate but to improve the psychophysical well-being of those who experience it.

Roberta Bonaiti, what does it mean to design a lamp that is not just an object, but a visual and sensory narrative?

Creating a narrative for me means thinking about the experience that object will generate.
Visually, I try to create a form that has its own identity even when off and that evokes an imaginary.

On a sensory level, however, I work extensively on the experience of light. A lamp must not be static but must respond to those who use it, which is why I believe interaction is a very important factor. I like to imagine ever-changing scenarios where light can be shaped not only by design but by those who use it.

Oì

Hu.Li – Human Lighting is the heart of your philosophy.
Gianluca Raineri, what is the most complex challenge in ensuring visual comfort without technical compromises?

The most complex challenge in ensuring visual comfort without technical compromises lies in the continuous search for components, materials, and solutions, capturing the evolution that has occurred in recent years in the LED lighting sector.

As in haute cuisine, another great expression of Italian craftsmanship, what we seek is not only to choose the best “ingredients” but to assemble them with the utmost care in the aesthetic pursuit of the result.

Roberta Bonaiti, how do you translate the concept of “human” light into forms, materials, shadows, and intensity?

Translating Human Lighting into my work means putting the human being, with their rhythms and vulnerabilities, back at the center of the project. A concept that materializes in the creative process through gentle and non-invasive forms, materials that interact with light softly, and where shadow has the same dignity as light.

Ultimately, translating Human Lighting, for me, means treating light as a living material and allowing those who experience it the freedom to manage and shape it.

The choice of Nichia LEDs is a distinctive feature of Accento.
Gianluca Raineri, why has this “unconventional” choice become a strategic pillar of the brand?

Nichia, the Japanese company that invented the white LED, is not only the world’s largest company in the sector and the only one to have internally the three essential components of the LED—the case, the die, and the phosphors—but is also universally recognized as having the highest quality products.
For this reason, for Accento there could be no other choice to guarantee the performance and reliability of its lamps.

Roberta Bonaiti, what does this enable in terms of color rendering and light quality, especially for decorative projects?

Using high-quality LEDs is a fundamental choice not only in technical terms but also in design, because it transforms light from a simple functional element into an element of aesthetic truth.

In terms of color rendering and quality, it translates into real advantages in color fidelity within the space (just as sunlight would), in the purity of white light, and in the absence of flicker guaranteed by the excellent electronics that accompany it.

The choice of LED therefore becomes very important if you want to achieve light that is not only high-performing but also respectful of the materials it illuminates, thus ensuring excellent visual comfort.

Your collections—Pivò, Pivò Plus, Plissé, Oì Circle Shades—have very different identities. Gianluca Raineri, what was the biggest risk or gamble in launching one of these collections?

Rather than a risk tied to a single collection, I would speak of a shared gamble that has accompanied Accento from the beginning: we wanted to focus on creating fixtures that were unique in performance and light quality, and with Masina Studio we chose to prioritize a deep design dialogue, in which form and performance balance naturally, without compromise.

The gamble was therefore on two fronts: on the design and production of the product, which I would say has been largely won, and on the commercial front where we are gradually gaining the consensus and trust of the market, especially in the mid-to-high segment and in international markets, where the focus is exclusively on product value.

Roberta Bonaiti, is there a design backstory—a mistake transformed into value, a sudden intuition, a hidden detail—that you can share with us?

Pivò

With Pivò, Accento’s first collection, we wanted to create a lamp capable of complete rotation, but we wanted to concentrate all the complex mechanics of movement into a joint of only 4 centimeters in diameter. In such a reduced volume, we had to accommodate the fluidity of the gesture, the stability of the position, and the passage of high-quality LED technology.

We realized that traditional production methods would never allow us to achieve that level of miniaturization and millimetric precision. This is where the intuition was born: we abandoned the well-trodden paths to embrace Multi Jet Fusion (MJF) 3D printing, which over time has become one of Accento’s distinctive qualities.

The dialogue between engineering and design is central to your method.
Gianluca Raineri, how do you manage the balance between production, sustainability, quality, and aesthetic direction?

Our method is based, with respect for roles, on close collaboration between the company and the designer. Accento’s task is to invent and prototype a technical element unique in the market in terms of lighting and dimensional performance, which represents the “building block” on which Masina Studio can work to develop a fixture, seeking the union of performance, functionality, and design.

This is our recipe, in which ESG principles are a concrete and transversal reference: from engineering oriented toward efficiency and product durability, to the choice of responsible production processes and suppliers, to design that prioritizes modularity, repairability, and conscious use of resources. For us, sustainability is not a formal constraint but a design criterion that guides every decision, both technical and aesthetic.

Roberta Bonaiti, what is the exact point where the poetics of light meets technical requirements and becomes “Accento”?

The dialogue between engineering and design is never a compromise but the beating heart of the Accento method. The exact point where these two souls meet is that moment when technical complexity disappears to make way for the emotion of light.

I like to think that when someone turns on an Accento lamp, they don’t think about the technology inside (and I assure you there’s plenty of it), but immediately feel that the light is ‘right.’

Physical prototyping, despite 3D technology, is still fundamental.
Gianluca Raineri, why do you continue to invest in matter, in real testing, in concrete light?

Despite extensive experience and know-how developed by creating solutions in the most diverse fields—situations that allow results to be achieved more quickly—it is essential to resort to physical prototyping, particularly in the field of lighting.

Even if it may seem strange, there are lighting contexts in which not even the most advanced computers and software can provide realistic predictions or acceptable precision of what the result will be. This is why it is essential to invest in research and experimentation, physically testing prototypes and the behavior of light before proceeding to product industrialization.

Roberta Bonaiti, what is the moment when you understand that a project “works”: sketch, model, first prototype, or light test?

None of the above. I understand that a project ‘works’ when, presenting my sketches to Gianluca, I see his expression change and the spark ignites. In him I recognize the great ability to immediately understand the potential and feasibility of a project, which, in addition to being very reassuring on a psycho-emotional level, also has practical implications, positively impacting the product development process. It is no coincidence that to date, every validated concept has been developed and brought to market.

Interior and contract sectors today require very different performance.
Gianluca Raineri, how does Accento respond to the demand for hybrid hospitality—hotels, evolved retail, flexible residences?

Those indicated represent exactly Accento’s target, as its collections offer total freedom of orientation, allowing lighting to be shaped with precision, following the architecture and the needs of the moment. A gesture is all it takes to change direction and a touch to adjust intensity, transforming every environment into a perfect balance between form and perception.

The purpose of Accento lamps is indeed to make light a living material, capable of enhancing details and shaping surfaces.

Roberta Bonaiti, from a design perspective, what changes between a lamp designed for a domestic living room and one for a boutique hotel?

Obviously in such different contexts the relationship between individual and space changes greatly, but for me, in both cases, the goal remains the same: whether it’s a hotel room in Bern or a living room in a house in Milan, the lamp must make the guest or owner feel at the center of an atmosphere designed specifically for them. This is what I call ‘light comfort.’

Brand identity and creative vision work together.
Gianluca Raineri, how do you guide a direction that must be coherent, recognizable, yet at the same time open to innovation?

With Masina Studio it was easy to find this balance, as technique and innovation are in Accento’s DNA, and Roberta was able to capture this identity and shape it both in the development of the lamps and in the brand’s communication, where everyone also recognizes the consistency that has distinguished us so far, as it will in the future.

The brand and product “common thread” is expressed in three elements: the essentiality and simplicity of forms, visual comfort, and finally the technological soul that enables smart and intuitive light management.

Roberta Bonaiti, what is the greatest freedom and what is the greatest responsibility in being Art Director?

In my work as Art Director, I feel first and foremost a tremendous sense of responsibility toward the company and the people who work there, even before the ideas.

When Gianluca called me to collaborate, the most precious freedom was being able to start from a blank page: to define a coherent aesthetic, to transform an intuition into a distinctive brand, and to create objects that embody it.

With my work, I have the opportunity to build an entire imaginary around the brand. I have the freedom to decide what emotion a catalog should evoke, what rhythm a video should have, or what ‘tone of voice’ the brand should use to speak to the world.

In a world saturated with visual stimuli, however, the responsibility I feel most acutely is the need to protect Accento’s integrity: every image, every stand, every graphic choice must reflect its identity. If the narrative betrays the reality of the product, or if the image is disconnected from the technical quality, the brand loses credibility. Being Art Director therefore means being the guarantor of this balance: the visual promise we make must always correspond to the product we offer.

If you had to choose a single “iconic” product or project that truly represents Accento.
Gianluca Raineri, which product embodies your vision of light as invisible technology and everyday comfort?

It’s difficult for me to identify a single product, but, trying to get to the core of Accento’s identity, I would naturally speak of two creations that embody our vision, despite having had different paths: Pivò, particularly the table and floor versions, and Plissé.

The first for its absolute essentiality and adjustability, and the second for its unique aesthetic among table lamps, so much so that a European design registration was also obtained. Both were also winners of the Archiproducts Design Award, confirming their value.

Plissé

Roberta Bonaiti, could you share with us a sketch, a study, a formal research that tells how one of your lamps is born?

Plissé, the latest lamp developed for Accento, was born from the desire to create a lamp where the light source was our starting point: a light that exists but is not seen. From the beginning I thought of Le Corbusier’s Chapel at Ronchamp, the folds of kirigami, and the play of light and shadow that emerges from it. The result: a form suspended between tradition and technique, a light that is both high-performing and poetic.

Internationalization: lighting markets have changed.
Gianluca Raineri, where is demand for contemporary Made in Italy lighting growing today?

Accento has received considerable interest from abroad since its inception, both in Europe and on other continents. Currently, the greatest response for us comes from nearby countries such as Switzerland and Austria, as well as from Northern and Eastern Europe.

Recently we have also undertaken projects in the United Arab Emirates, particularly fascinated by Made in Italy, where significant development is expected.

Roberta Bonaiti, what cultural differences do you perceive in the way people “see” and experience light?

The way people experience light is certainly a cultural matter, concerning people and their habits.
My challenge is to create a language that is as respectful as possible of these differences. Whether for a Swedish cottage or a Dubai penthouse, my goal is for the light to adapt to different cultural rituals, always carrying with it Accento’s identity.

Let’s imagine we’re in 2035.
Gianluca Raineri, what will remain essential in Accento’s DNA?

Accento’s advantage is extensive experience poured into a new and fresh vision of the world of light, not conditioned by past identity legacies. This has meant that from the beginning there has been an orientation toward what are, and will be, the future trends in the lighting world related not only to design but to human well-being and home automation interaction.

For this reason, I am certain that Accento will be able to embrace all the innovations that await us while keeping these defining aspects unchanged.

Roberta Bonaiti, what revolution—aesthetic, technological, or typological—would you like to bring to the world of lighting?

Whatever revolution it may be, I only want to think it can be silent and gentle.

Perhaps the true revolution today is not a light that imposes itself: it is a light that listens. A precise yet non-invasive presence, capable of respecting rhythms, restoring truth to materials, and leaving space for shadow—as part of the same grammar. If Accento has a recognizable “future,” it is here: in technology that knows how to be silent, and in design that does not demand attention but earns it over time.

L'articolo Accento: lighting design, visual comfort and smart control – interview with Gianluca Raineri and Roberta Bonaiti proviene da Archi & Interiors.

Lighting trends 2026: light as an invisible project (that changes everything)

Ariana Micotti — Thu, 26 Feb 2026 06:56:17 +0000

In 2026, trends can be recognized by very concrete details. One above all: the room stops being “beautiful only at certain hours” when the lighting project works on glare, depth and performance of the materials . This is why many interiors are repositioning their choices: fewer aggressive downlights and more stratified light, more walls “washed” with precision, more devices that create atmosphere without invading.

A second signal has become almost daily: the light moves. cordless and rechargeable lamps enter the home as atmospheric micro-architectures (living room, table, bedroom) and transform terraces and dehors into credible extensions of the interior. It’s not just a “decor” trend: it’s a new, very contemporary freedom of use.

Finally there is a more technical, but decisive theme: color quality becomes central again and there is increasingly talk of metrics beyond CRI, with the attention growing around TM-30 to specify color rendering in a more reliable way. In parallel, Euroluce continues to push a cultural reading of light as a transversal discipline “Light for Life. Light for Spaces.” that is, light as well-being, space and design responsibility.

Lighting trends 2026: the signals that matter in the project

In 2026, lighting design trends can be read less in “fashionable” forms and much more in choices that change the quality of space: visual comfort , control of reflections, more accurate color rendering, portable devices that move the atmosphere where it is needed, increasingly discreet architectural integration. In other words: light is treated as a design material, with greater attention to perception and daily use.

To orient yourself, the most solid guidelines of the 2026 lighting trends are seven:

Visual comfort as a premium standard : shielded optics, glare under control, light that is “kinder” to the eyes.
Vertical light and readable walls : more wall washing and grazing light to give depth to materials and volumes.
Simple scenes, designed for the day : few bright, memorable, easy-to-use scenarios.
More serious color quality : not just CRI, but increasing attention to more comprehensive metrics (e.g. TM-30) when working with materials and skin tones.
Cordless and rechargeable : atmospheric micro-lights that follow life (table, bedside table, outdoor, hospitality).
Micro integration in architecture : compact profiles, continuous cuts of light, details that disappear and make the space work.
Adult sustainability : repairability, modularity, durability; and a more responsible idea of ??the outdoors, with attention to light pollution.

1) Visual comfort: the 2026 trend that can be perceived immediately

If there is a criterion that separates an ordinary lighting project from a high-level lighting project, in 2026 it is this: how it makes you feel . Visual comfort is not a “soft” word: it is applied techniqueto everyday life. It means reducing perceptive fatigue, making the space more balanced, making materials and furnishings work without stressing the eye.

What we see in the best projects (residential and contract)

Less exposed source : luminaires with carefully designed optics and shielding, especially in living areas (living room, table, bed).
Designed contrast : the room avoids both uniform everything and aggressive cones; levels build depth.
Governed reflections : metals, lacquers, glass and shiny surfaces become part of the light scene, without creating disturbance.

Three choices that immediately raise the quality (even with the same budget)

More light on the walls (soft wall washing): increases the perception of spaciousness and visual cleanliness.
Indirect credible (continuous light base): the room changes tone without becoming theatrical.
Few and precise accents (objects, paintings, niches, textures): the visual hierarchy can also be read in the evening.

Here the trend is clear: in lighting design 2026 the room does not “light up”, it is composed .

2) Walls, textures, matter: light sculpts again

One of the most interesting developments of 2026 is the return of light as a tool for describing matter. There is no need to load the room with effects: just put a grazing light in the right place on a lime wall, on wood with a bright grain, on a stone with micro-reliefs. It is a very contemporary aesthetic because it works with precision: more design, less noise.

3) Scenes and rhythm: light as “usual direction”

The key word of lighting design 2026 is not smart. It’s rhythm . The difference lies in designing light as a sequence of states: morning, work, conviviality, evening decompression, night. The theme also returns in the way in which Euroluce takes the discussion out of the pure product and into design culture: Light for Life. Light for Spaces focuses on perception, well-being and the relationship between light and behavior.

As can be seen, in good projects

Few clear scenes : 35 scenarios that are understandable upon first use (not 12 showroom presets).
Careful transitions : soft dimming, credible transitions between levels.
Vertical light as a quality base: not just the ceiling; walls and volumes become the main visual field.

The point is not to automate everything. It is to reduce friction: the light must be as easy to use as a well-designed handle.

4) Color quality: beyond CRI, with TM-30 as a serious lexicon

In 2026, attention is growing on how light renders colours, especially forbecause interiors and materials are being refined: warm woods, stones with undertones, textured fabrics, brushed metals, leathers, lacquers. Here the CRI is often not enough to describe the real yield.

TM-30 increasingly enters technical conversations because it offers a richer set of metrics to evaluate the color rendering of a source.

Because it is of interest to an interior project (not just to a lighting designer)

helps to understand if a light restores fidelity or rewrites the colors
makes subtle differences between similar finishes more readable
becomes useful in spaces where skin tone and materials coexist: bathroom, walk-in closet, hospitality, retail

Concrete choice from specifications
Ask suppliers sheets and reports that talk about color rendering in a complete way (not just high CRI). Even just asking the question changes the quality of the selection: it shifts the conversation from promise to data.

5) Portable and rechargeable: the new atmospheric light (mobile micro-architectures)

One of the most recognizable trends of 2026 is the normalization of cordless light : table lamps, bedside lamps, mobile light points for dining and outdoors, up to wireless solutions that avoid traces and invasive systems. It is a practical change: the atmosphere is no longer “fixed” in a corner, it follows the scene.

Because it is more than a trend

allows you to build bright islands (table, armchair, conversation) without turning everything on
improves terraces and dehors: less infrastructure, more composition possibilities
in hospitality gives an immediate advantage: controlled intimacy, operational flexibility

The 2026 criterion (from magazine, but true): the laptop works when it is sober and well calibrated. If it becomes a bright gadget, it ages in a season.

6) Micro architectural integration and silent intelligence

Here the trend is not to make the lamps disappear. It’s making light work as an architectural detail: continuous cuts, compact profiles, clean recesses, precise optics. The room gains visual order and the light seems to “belong” to the architecture.

This trend also includes a technological theme that will become more concrete in 2026: interoperability. When standards and platforms (e.g. Matter compatible ecosystems) really simplify daily use, the smart home stops being a separate project and becomes an extra level of lighting control.

What to look for (without turning the house into a control panel)

simple controls: recallable scenes, consistent dimming, few clear controls
optical quality before functions: smart does not compensate for mediocre light
coherence between luminaires: same grammar of light, even if the bodies change

7) Adult sustainability: duration, repairability and right to darkness

In 2026, sustainability in lighting also means something very clear: designing the night without attacking it . The discussion on obtrusive light and light pollution is increasingly structured; the CIE has published a Position Statement dedicated to the topic, highlighting impacts and the need for responsible practices.

Translation into the project (outdoors, facades, terraces, gardens)

light where it is needed, not everywhere: paths, thresholds, critical points
shielded and directed luminaires: reduces dispersion and glare
lower levels + dimming: this is often where elegance comes from
times and sensors: the light welcomes when needed, then withdraws
color temperature consistent with context and materials: especially outdoors, the perceived quality increases when the light does not “whiten” everything

And there is a second level: durability and repairability . In 2026, a credible project is not limited to choosing the “efficient” LED: it thinks about maintenance, replaceability of components, construction quality. It’s less spectacular, but it’s what distinguishes a system that ages well from one that becomes meaningless after two years.

Lighting trends 2026

The most solid 2026 lighting trends are not styles: they are criteria. Visual comfort, vertical and material light, scenes of use, more accurate color rendering (TM-30), rechargeable portable, discreet architectural integration, sustainability that also includes darkness. Euroluce has pushed the discussion precisely onto this scale: light as design culture, not as an accessory.

L'articolo Lighting trends 2026: light as an invisible project (that changes everything) proviene da Archi & Interiors.

35 contemporary Italian lighting designers to keep an eye on in 2026: light as the protagonist of the project

Redazione ArchieInteriors — Tue, 24 Feb 2026 08:39:59 +0000

A lighting designer is the director of perception: he designs light as one designs a material. It builds legibility, hierarchies, rhythm and comfort , governing what the architecture tells and what the space allows you to do. He is a decisive figure because he brings together visual culture and technical precision: quality of light, control, system integration and on-site verification.

In Italy this discipline has deep roots. Our design culture has always treated light as part of architecture, not as ornament: the so-called Castiglioni Method is often cited as one of the moments in which the figure of the lighting designer is structured and becomes a method, capable of training schools and professionals.

For this reason we have selected 35 profiles among Italian (or Italian-based) studios and designers who are making a difference in the sector today. The criterion is not notoriety, but what can be verified: real projects, recognizable method, continuity of research, credibility in the sector and ability to interpret the themes that are redefining lighting design (from intelligent control to sustainability, from the relationship with darkness to urban design, from hospitality to heritage).

Following them means reading trends in the right way: not as aesthetics to be replicated, but as design choices that anticipate where the project is going when light truly becomes the protagonist again.

How we chose them for this selection:

Published and documentable projects : completed works, not “concept” renderings.
Consistency of language : a research recognizable over time, not a fluke.
Complete design ability : interior/exterior, architectural light, detail, relationship with materials and installation.
Credibility in the sector : collaborations, commissions, awards/mentions or presence in professional contexts.
Contemporaneity : active today, with a living and evolving path.

This is not a ranking. It is a map for orienting yourself in the light when you stop “making a scene” and start making a plan.

35 contemporary Italian lighting designers to keep an eye on

Before entering the list, a note: you will find already established signatures and more discreet studies, often less cited, but decisive for understanding where the project is going. Because the most interesting design does not always coincide with the most visible: sometimes it is the one that works in silence, in the calibrations, in the prototypes, in the details that sustain a space over time.

The common thread is the same for all: project that becomes constructed light concept, luminaires, control, commissioning between indoor and outdoor, hospitality and retail, heritage and public spaces. Here are the 30 profiles selected.

1) D’Alesio & Santoro (study)

Among the studies that make clear how lighting design is culture + technology , D’Alesio&Santoro worksfrom Milan since 2010 with a rare slant: light as an instrument of identity (for spaces), but also as a field of applied research. Their signature tends to avoid the “scenography” effect: it prefers to build perceptive precision , control and narration through optics, materials and rhythm of intensities. In the collaborations, contexts emerge where the light must be impeccable and credible: Casa Panerai (Milan, Paris, NYC and various international boutiques), Watches & Wonders in Geneva, cultural projects with Triennale di Milano , and exhibition productions with Balich Wonder Studio for Buccellati .
Since 2018 they have also started MEG , a spin-off in applied photobiology , and are involved in several affiliations/patents linked to light systems (also with 3M).

2) Carlo D’Alesio

His profile is interesting because it moves lighting design beyond just the “atmosphere”: he treats it as a cultural and scientific discipline , where perceptive quality arises from method, measurement, experimentation. Co-founder of D’Alesio&Santoro (Milan), D’Alesio works on light projects in the architectural field with an approach that holds together narrative and performance : identity of space, optical control, coherence between light and matter. In parallel, he founded MEG Science (spin-off launched in 2018) oriented towards applied photobiology and non-human lighting , a territory that is increasingly central in 2026 (agritech, well-being, circadian cycles, systems). He is also Adjunct Professor at the Polytechnic of Milan (Lighting Theory/Lighting Design) and is active in international contexts as a lecturer on unconventional applications of light (PLDC).

3) Piero Santoro

If Carlo D’Alesio is often the “cultural” face of research, Piero Santoro brings a very concrete component to the project: technology, engineering, R&D . He is co-founder of D’Alesio&Santoro (Milan) and, in parallel, key figure in the spin-off MEG dedicated to applied photobiology an area in which light stops being just “atmosphere” and becomes a measurable system (spectra, photometries, performances, cycles).

His design style can be recognized precisely here: less scenic gesture, more control and technical responsibility , with a sensitivity for everything that happens “behind” the light (optics, integration, regulation, reliability over time). In the studio’s projects – between retail and culture – high-level collaborations and contexts appear such as Panerai (Casa Panerai and Watches & Wonders), Balich Wonder Studio for Buccellati , and interventions with Triennale di Milano.

4) LOOMIT Studio (Bologna / Milan)

LOOMIT works on architectural and urban light with a very “public project” approach: it builds credible nocturnal identities, works by hierarchies and by measurement, and always maintains rigorous attention to the relationship between lighting and context – historic centersici, landmarks, open spaces, routes.

With operational offices between Bologna and Milan , the studio moves towards interventions where light must not “decorate”, but organize : orient, ensure safety, provide legibility without saturating.

Among the works that help to frame its positioning is the intervention in Genk (Belgium) for the transformation of a central area, where LOOMIT is accredited as lighting design/product company and Susanna Antico as lead designer (phase completed October 2024 ).

5) Susanna Antico

Susanna Antico is a figure particularly focused on the theme of tomorrow’s planning because she brings together narrative and urban responsibility . In his works, light is never an “effect”, but a legible night scene : clear hierarchies, perceptive safety, attention to the sustainability of nocturnal identity and the way in which a place is crossed and understood after sunset.

His profile is also strengthened by belonging to international professional networks APIL, IALD, Concepteurs Lumière Sans Frontières and by research that intertwines practice and teaching , with an approach that does not separate perceptual quality from technical solidity.

In the public portfolio there are interventions in Belgium (for example Antwerp Central Station , as well as projects on Grote Markt and Cathedral ) and, in Italy, the start of work on the UNESCO area Arab-Norman of Palermo : Cathedral, Palazzo dei Normanni , San Giovanni degli Eremiti , Martorana and pedestrian redevelopments, where light becomes a tool for protecting and reading the heritage, not overwriting.

6) Metis Lighting (Milan)

Metis is a “solid” studio for those who want to understand where the sector is going when light becomes process , not just image: coordination with the project teams, mock-ups, checks, on-site control, and a rare ability to handle complex contexts – retail, hospitality and public spaces – without slipping into easy effect.

Founded in Milan in 1990 by Marinella Patetta and Claudio Valent both trained in the practice of Piero Castiglioni Metis brings with it a culture of light made of method and continuity, where the atmosphere is the result of controlled choices, not a coup de theatre.

Among the collaborations declared by the firm, there are relationships started in the early years with clients such as Credit Suisse , Dolce & Gabbana and Bulgari Hotels : a sign of “high” positioning and, above all, reliability in contexts where light is part of the identity and cannot afford improvisation.

7) Marinella Patetta

Patetta is the “holding” part of Metis: in the firm’s profile she is described as the figure who accompanies the projects until completion , with a concrete presence on site and widespread attention to detail the one that makes the difference between a successful light idea and a truly functioning, coherent, stable light over time.

Graduated from Politecnico di Milano and with Master in Lighting Design , she has been co-founder of Metis since 1990 . Alongside her practice, she is also indicated as a teacher in Industrial and Lighting Design courses (Bachelor/Master) and as a founding member of APIL : a profile that brings together project, method and transmission of the discipline.

8) Claudio Valent

Valent is the other half of the Metis DNA: in the official profile he is presented as the “mind” of the studio, the one who pushes the project towards the solution – research into components and technologies, comparison with manufacturers and accessories, and the ability to build custom alternatives when the catalog is not enough. It is a decisive role in contemporary lighting design: transforming an intention into a system that really holds up, without losing perceptive quality.

Also graduated from the Polytechnic of Milan and with Master in Lighting Design , he co-founded Metis in 1990 . And, like Patetta, he combines practice with an educational dimension: he is indicated as being involved in teaching activities at Politecnico di Milano and at ISAD , as well as being a founding member of APIL .

9) Studio Piero Castiglioni (Milan)

Here the point is not just the “signature”: it is a way of understanding light as the material of architecture . The studio’s practice is structured and complete: from the concept to the construction site, through calculations, scenarios, regulations and – when really needed – also the development of tailor-made solutions. It is the difference between “illuminating” and designing a light that lasts over time, consistent with space, materials and use.

In recent and recurring work, frame projects appear that make it a reference: on the homepage are cited MUSE Science Museum , Expo 2015 , Fondazione Luigi Rovati . These are cases in which light cannot be accessory: it must support a story and real complexity.

In terms of declared collaborations, the studio lists a very broad network with architects and companies including Renzo Piano Building Workshop , David Chipperfield Architects , BIG and companies in the sector such as iGuzzini and FontanaArte . A clear signal: when light is a structural part of the project, you work with those who know how to maintain the same level of rigor.

10) Sergio Boccia (Light Me Design)

Boccia has a truly interesting profile as a lighting designer because he works on light as a service before as a “signature”: he starts from the concept and reaches up to commissioning and opening , with a very practical, construction site approach, but with a clear lexicon (the theme of the “invisible”, the conscious use of darkness, the idea of light as responsibility). He teaches at NABA (Milan) and is a lecturer in Integrative Design Management at CEIBS (Zurich), who tells us his vision: not just atmosphere, but project and systems management. He founded Light Me Design in Milan in 2016 and over the years boasts collaborations with large international studios including David Chipperfield Architects, Gensler, Rockwell Group, Renzo Piano Building Workshop and UNStudio as well as recognitions such as inclusion in the 40under40 list of Lighting magazine and several IES Award of Merit .

11) Andrea Carson (Luminum)

Carson works in truly contemporary territory: light as valorization and as infrastructure , not just as atmosphere. He is the founder of Luminum and his profile is interesting because it brings together light design and IoT technologies applied to cultural heritage and smart cities .

The point, in his approach, is the measure: intervening on existing places – often historical – restoring identity and legibility at night without transforming light into a special effect. Technology, here, is not a whim: it is a way to make light more controllable, more sustainable, more consistent with the real use of spaces.

A fact that consolidates the credibility of the path is the recognition at the Premio Italia Giovane 2023 for Art and Culture .

12) Francesca Storaro

Storaro is a name to keep an eye on because it brings lighting design back within a cultured and architectural perimeter: light not as ornament, but as a language capable of interpreting space, bringing out proportions, restoring depth to surfaces and volumes without overwriting them.

In his website and in his curriculum there appear real and verifiable projects , even on delicate topics such as archeology and heritage for example interventions linked to Peltuinum and the archaeological area of Cassino where light must be at once respect, legibility and measure.

To make the profile even more solid there is a clear technical fact: the CLD (Certified Lighting Designer) certification, which signals a structured professional approach, not just an aesthetic sensitivity.

13) Marco Petrucci

His value – which makes him a name to include among the lighting designers to keep an eye on in 2026 – lies in the ability to manage complex projects with a both technical and architectural approach : interior and exterior lighting development, calculations, system integration and control of the final effect without losing design coherence.

High responsibility contexts appear in the portfolio hotel, headquarters, historic buildings where light must be at the same time directorial (atmosphere, hierarchies, perception) and performance (visual comfort, regulations, reliability). Among the

L'articolo 35 contemporary Italian lighting designers to keep an eye on in 2026: light as the protagonist of the project proviene da Archi & Interiors.

Outdoor lighting: the architect’s secrets for a light that enhances the exterior and rewrites the night with elegance

Gianpietro Sacchi — Wed, 18 Feb 2026 16:51:25 +0000

The night rewrites the architecture of outdoor spaces: where natural light is diffused and “democratic”, artificial light is selective, hierarchical, intentional. In other words, outdoor lighting is an act of design: it decides what emerges and what retreats, which surfaces become legible matter and which remain silent. This is where we understand why it is not enough to choose “beautiful outdoor lights”. To enhance a garden, a terrace or a facade you need a methodically constructed system of perceptions: thresholds, depth, rhythm, orientation, safety.

In the domestic landscape – garden, terrace, porch, facade, walkways – the most common mistake is to confuse visibility with quality. An overly lit exterior loses volume: it flattens, dazzles, consumes atmosphere and often makes perception more fragile, not safer. A well-conducted lighting project, however, works on levels: guiding light for the passage (paths and accesses), accent light to enhance the materials (stone, plaster, wood, corten), presence light for the greenery, plus rigorous control of emissions to reduce light dispersion and glare (glare). The objective is not to “make a scene”, but to make the space coherent: habitable, orienting, elegant.

Outdoor lighting also lives in resistance: rain, salt, temperature variations, maintenance, duration, consumption, regulations and – a topic that cannot be avoided now – containment of light pollution. But it lives above all in the relationship between the lighting body and architecture: optics and openings, shielding, color temperature, color rendering, millimetric positioning. The “light that enhances” is not an aesthetic formula: it is a verifiable design choice, legible in visual comfort and in the capacity of the space to maintain depth without screaming.

Hence a guiding principle: designing external light as one designs an interior, with the same compositional discipline and an even clearer environmental responsibility. It’s not a question of adding points of light, but of constructing a credible nocturnal story – in which the façade, paths and vegetation do not compete with each other, but harmonize in a single score.

4 architect’s secrets for best designing outdoor lighting

Before the “secrets”, a premise that must be shared: external light is not designed for objects, but for behaviors. It doesn’t start from the catalog of the lighting fixture, but from how the space is used after sunset: where you walk, where you stop, what you look at, what should remain in the background. This is where many projects fail: they add light points instead of building hierarchies. Successful outdoor lighting is that which guides without being noticed, enhances without dazzling, provides safety without “hospitalising” the atmosphere.

In practice, the architect no longer seeks light: he seeks the right light, in the right point, with the right optics , and above all with a clear idea of what must emerge (materials, volumes, thresholds) and what must remain in the shadows to maintain depth. It is on this grammar – levels, accents, continuity and glare control – that the following four secrets are built.

Secret 1 Start from the “use map” and build the light forlevels (not for light points)

The first secret is also the most counterintuitive: outdoor lighting is not designed starting from the lighting fixtures , but from the way in which the space will be crossed and experienced. In practice, the architect first draws a night map made of gestures: entrance, route, stop, conviviality, view. Only then does it decide which light is needed, where and with what intensity .

The method is that of stratification, because an exterior works when the light is organized in levels :

Orientation light (paths, steps, gaps): must guide without dazzling. It is the “backbone” of security, but it must not steal the scene from architecture.
Accent light (façade, texture, material details, vertical elements): it is the light that enhances, sculpts, restores depth and rhythm. Here you decide what deserves attention.
Atmospheric light (outdoor living areas, porch, table, relaxation area): it is the light of permanence. It must be comfortable, lateral when possible, and consistent with the idea of ??intimacy of the space.

This approach avoids the most common mistake in outdoor spaces: a single and uniform light (often too strong) which flattens the garden and “empties” the facade. Quality, on the contrary, arises from a hierarchy: some things must be visible, others only intuitable. The penumbra is not a defect: it is the instrument that maintains the depth.

If you want a simple rule to apply immediately: first decide on the scenes (arrival, passage, stop), then assign a light level to each scene, and only at the end choose the lighting fixtures . This is how outdoor lighting stops being a sum of lamps and becomes a project.

Secret 2 Design against glare: the light must arrive, but the source must not “shout”

The second secret is what distinguishes a “beautiful” outdoor from a professional outdoor : controlling glare . In the evening the eye works in different conditions, with a more open pupil and greater sensitivity to contrasts. A visible, unshielded or poorly positioned source not only causes annoyance: cancels the perception of the surrounding areas, reduces real safety and worsens aesthetic quality.

For the architect, therefore, the question is not “how much light” but where it comes from and with what visual comfort . Three practical criteria:

Correct shielding and optics : better luminaires with controlled optics and recessed source. The light must be directed, not dispersed.
Intelligent positioning : avoid lighting fixtures at eye level along the paths or in front of the seats. Functional light should work cutting, not in your face.
Fewer cones, more shavings : when you can, favor soft shavings and washes (even low) rather than beams aimed everywhere. The result is more elegant and much more readable.

Glare is often the reason why a garden seems “lit” but not very liveable. If after 10 minutes you feel like turning everything off, the problem isn’t the taste: it’s the design.

Secret 3 Choose color temperature as your material choice (and use color with discipline)

The third secret is the most underestimated part of all: the color temperature is not a technical detail , it is an architectural decision because it changes the material. A stone may feel warm and deep or cold and flat. The wood can appear alive or dull. Green can become velvety or unnaturally bright. And above all: the facade, at night, can become credible or artificial.

Discipline is needed here: less variations, more coherence . In general:

Warm and natural materials (wood, limestone, bricks, earthy plasters) tend to perform better with warm and soft shades: they restore atmosphere and continuity with the interior.
Contemporary architecture with metals, light cements, more “technical” finishes can support more neutral shades, but without becoming clinical.
Vegetation : the light must respect the green, not “color” it forcibly. Green already has a color: it is often more elegant to suggest it than to over-illuminate it.

The objective is not to create special effects, but perceptual fidelity : to ensure that, at night, the surfaces remain recognisable. When the color temperature is wrong, the outdoors loses its identity: it looks like a set, not a home.

Secret 4 Design the scenes and govern the time: dimmers, sensors and control are part of the project

The fourth secret is the one that brings outdoor lighting into 2026: the light is not “on or off” . It is a system that changes over time, because the uses change: arrival, dinner, relaxation, night safety, waking up. A well-made system does not force you to choose between atmosphere and functionality: it allows you to switch from one to the other naturally.

Here control comes into play, which is not “gadget” home automation, but management:

Preset scenes : arrival (more orientation), conviviality (more atmosphere), night (safety minimum), cleaning/maintenance (temporary full light).
True dimming : Reducing the intensity is often the easiest way to achieve quality. Too high light ruins facades, greenery and visual comfort.
Sensors with design logic : automation is good, but with criteria. A sensor that turns everything on all of a sudden can be more annoying than helpful. Better progressive ignitions or only on the orientation lines.

This secret also has an ethical and environmental value: less waste, less dispersion, less light pollution . Quality today increasingly coincides with responsibility: an elegant exterior is not what you see from three blocks, but what you experience well up close.

Bonus: design brand to design the illuminaoutdoor tion

In lighting everything changes based on optics , glare control , durability over time and coherence with the architectural language. Having said that, if you are looking for the best designer lighting companies for the outdoors – for design quality and formal cleanliness – this is a perfect mini selection for you.

iGuzzini very strong on the architectural side : outdoor solutions designed to guide, last and enhance the space (paths, facades, parks, advanced residential).
Artemide (Architectural Outdoor) Collections for building outdoor lightscapes with attention to perception and the relationship with the environment.
Flos Professional Outdoor Interesting choice when you want an outdoor with a contemporary identity but without losing technical rigor (bollards, recesses, professional solutions).
Platek Specialist outdoor company: high-performance decorative and architectural collections, often very convincing in gardens and residential/contract contexts where durability really counts.
SIMES Brand to keep in mind if your priority is “clean”, reasoned external lighting, with attention to the ethical theme and the impact of light on the context.
L&L Luce&Light Excellent when working on facades, walls and details: systems and optics designed for different needs (grazing, asymmetric, etc.), with a very serious “construction site” approach.
Accent Accent was born as a vision of visual comfort and adjustable/dimmable light (Hu.Li Human Lighting), more in the interior and hospitality perimeter. But if you are designing an exterior experienced as an interior (portico, closed pergola, outdoor room), it is a consistent name for perceptive quality and control of light.

L'articolo Outdoor lighting: the architect’s secrets for a light that enhances the exterior and rewrites the night with elegance proviene da Archi & Interiors.

Iconic lamps: (some) masterpieces of light design that have made history

Cristina Amici — Sat, 29 Nov 2025 09:52:18 +0000

Lighting is one of the most powerful elements in the success of an interior project. Light has a profound impact on the psychophysical well-being of those who live in a space: a skilful fusion of aesthetics and functionality through light design can radically transform an environment, define its character, influence perception and improve comfort.

The undisputed protagonists of lighting are lamps and chandeliers. Whether pendant, wall, floor or table – opulent or minimalist, designed to diffuse general, accent or functional light – they are never simple light sources. They are real design elements, capable of enhancing a space thanks to their shapes, materials and plays of light. In particular, designer chandeliers are true works of art: they not only furnish, but define the identity of an environment with their scenographic presence.

Over time, numerous designers have explored lighting as a key element of furniture, giving life to iconic projects and objects that have marked the history of design. Some of these pieces have become true collector’s items, capable of illuminating with style and personality.

From sumptuous crystal chandeliers, symbols of classic elegance, to contemporary models with essential and futuristic lines, the evolution of lighting design has followed – and often anticipated – the aesthetic and functional trends of each era. Innovative materials, advanced technologies and sustainable solutions have made light an increasingly customizable element, adaptable to every style and need.

Today the chandelier is no longer a simple furnishing accessory: it is the protagonist of the space, capable of redefining environments and creating unique atmospheres. When turned on they make light, when turned off they are real sculptures.

We leafed through decades of history of light design, compared shapes, materials and visions. It wasn’t easy to decide what to include and what, unfortunately, to leave out.
What we present to you is a thoughtful and heartfelt selection of some of the most iconic lamps: true masterpieces that have passed through time, leaving a profound mark on the world of light design.

Designer table lamps: the iconic ones that made history

The Banker’s Lamp – Harrison D. McFaddin

The Banker’s Lamp is one of the most iconic desk lamps ever, easily recognizable by its green glass shade and brass base. Patented in 1909 by Harrison D. McFaddin with the name Emeralite (a union of “emerald” and “light”), it was immediately appreciated for its perfect balance between austere elegance and functionality. Very widespread in banks, libraries and offices, it owes part of its success to the belief that greenery helps concentration and reduces stress. It is also called as Churchill Lamp .

In the 1930s, its popularity reached its peak, but World War II slowed production due to the difficulty of sourcing European glass. Less refined metal versions were thus introduced, while the company changed management and name. After a slow decline, production stopped definitively in 1962.

Today the Banker’s Lamp is considered a cult object: still reproduced throughout the world, its original versions have become precious piecescollectible. A timeless classic that tells a story.

Ball – Gio Ponti

The Bilia lamp is one of the best-known creations of Gio Ponti, master of Italian design.

Designed in 1931, this compact table lamp perfectly represents Ponti’s poetics characterized by elegance and essentiality, typical of rationalist design.

Geometric and scenographic, it is composed of a conical metal base, available in different color variations, on which, with an illusory (and impossible) balance, an opaline glass sphere rests which diffuses a soft and enveloping light.

It has a strong aesthetic impact and a timeless style: its minimalist shape still makes it extremely current and versatile, allowing it to adapt to any furnishing style, from classic to contemporary.

Today the Bilia lamp is produced by FontanaArte, a historic Italian design company, and continues to be a cult object for interior design enthusiasts.

Bat Gae Aulenti

Designed in 1965 by one of the few great Italian architects and designers of the 20th century: Gae Aulenti – also known for projects such as the Musée d’Orsay in Paris – the Pipistrello lamp is still an emblem of interior design today.

Originally created for the project of two Olivetti stores, in Paris and Buenos Aires, it was only later that Martinelli Luce decided to put it into production for large-scale distribution.

Its design represents a perfect balance between Art Nouveau influences and the Rationalism of the 1960s. The distinctive element is the opaline methacrylate diffuser, which with its shape recalls the spread wings of a bat, from which it takes its name.

The telescopic base in stainless steel or painted metal allows you to adjust the height, a feature that makes it one of the first hi-tech lamps of Italian design.

Produced continuously by Martinelli Luce since its debut, the Pipistrello lamp is considered a symbol of Italian design of the 1960s and is still highly desired today, perfect in any environment.

Atoll – Magistretti

The table lamp par excellence, impossible not to have ever seen: protagonist of magazines, film sets, very often present in sophisticated environments.

Born in 1977 from the genius of Vico Magistretti, the Atollo lamp won the Compasso d’Oro in 1979. The perfect embodiment of the philosophy of its great designer, founded on geometric purity, it perfectly reflects Magistretti’s thoughts: “I love geometric shapes. I love making essential things that seem like nothing”, he said .

With Atollo, Magistretti reinterprets the classic lampshade through the balance of three pure shapes – a cylinder, a cone and a hemisphere – giving life to an object as essential as it is elegant, destined to become an icon of lighting.

Available in three sizes and in different finishes white, black, satin bronze and satin gold Atollo continues to be an undisputed synonym of style.

Tolomeo De Lucchi/Fassina.

Designed in 1987 by Michele De Lucchi and Giancarlo Fassina , great exponents of Radical Design of the 70s. the Tolomeo quickly became thedesk par excellence. Although over forty years have passed since its creation, its design is still very current today.
The two designers have reinterpreted the concept of classic spring lamps, enriching it with modern technologies and an essential but extremely functional aesthetic. With its light lines and perfect balance between shape and movement, the Tolomeo conquered the public immediately, becoming a bestseller and winning the Compasso d’Oro in 1989 .
Its versatility makes it suitable for a wide range of contexts, from the most minimalist offices to contemporary domestic environments. Today Artemide produces it in numerous variations and colours. It confirms itself as a classic of Italian design, capable of combining practicality with innovation and style.

Iconic wall lamps: design models that have made history

Lampe Gras n.312 Bernard Gras

Functional and with a timeless character, the Lampe Gras n.312 is one of the variants of the famous series of lamps designed in 1921 by the Frenchman Bernard-Albin Gras , a pioneer of industrial design. This version is characterized by a wall structure with an articulated and adjustable arm , which allows you to direct the light precisely, always maintaining an essential and solid shape. It offers maximum mobility without any visible screws and with very clean joints.

Le Corbusier was a great admirer of it and took inspiration from it in numerous of his interior projects.

Today produced by the brand DCW éditions , the Lampe Gras n.312 is available in different finishes and colours, keeping the original spirit of the project intact.
An object still capable of integrating into both industrial environments and contemporary domestic contexts or offices.

Power Pivotante Charlotte Perriand

It is an extremely representative creation of twentieth century design, signed by Charlotte Perriand in 1938, the period in which she collaborated with Le Corbusier and Pierre Jeanneret. The Potence Pivotante adjustable wall lamp embodies the elegance of essentiality, extremely simple but not at all banal, it interprets a functional vision of space, in which every element must be useful and minimal. Made up of a long and articulated arm that ends in a naked light bulb, without lampshades, as it rotates, it forms a graphic sign on the wall and precisely illuminates different areas of the environment. A clear reference to the clean lines of modernist architecture. No superfluous decoration, just balance between form and function, sobriety and style. Perfect for a living room, a study but also for the sleeping area. Timeless, in line with the principles of functionalist modernism, it dialogues with contemporary interiors and adapts to any style. Nemo Lighting produces it faithfully to the great Charlotte’s design.

Lampe de Marseille Le Corbusier

Designed by Le Corbusier between 1949 and 1952 for the Unité d’Habitation in Marseille – a symbolic building of the Modern Movement, inaugurated in 1952 – the Lampe de Marseille takes its name from this extraordinary architectural project. The lamp was designed during the construction phase of the building and perfectly embodies its author’s philosophy: combining form and functionnor in perfect balance. With a marked industrial style, the Lampe de Marseille stands out for its functional structure: two adjustable conical diffusers, a double-jointed arm and a rotating base allow for both diffused and directed lighting. It adapts naturally to both residential environments and public or professional spaces, integrating harmoniously into any architectural style thanks to its essential and sculptural lines.

Still produced today by Nemo Lighting, it is also available in the Mini version, as well as in sophisticated finishes such as matt grey, satin white and matt black. The Lampe de Marseille remains one of the most elegant and recognizable expressions of modernist design: an object rich in history that illuminates the space with character and functionality.

AP2BD Serge Mouille

Created in 1953 by the master of lighting design Serge Mouille, the AP2BD is a wall lamp that perfectly represents the designer’s unique style: sophisticated minimalism, impeccable craftsmanship and strong aesthetic impact.

With a design inspired by human anatomy, the AP2BD fascinates with its light and dynamic silhouette.

It consists of two thin movable arms in black metal, whose sinuous shape evokes a sense of movement and harmony; adjustable metal diffusers at the ends, designed to direct the light in different directions, creating fascinating plays of light and shadow; internal white reflectors, which amplify brightness, ensuring intense and uniform lighting.

The AP2BD is much more than a simple lamp: it is an artisanal masterpiece in which the purity of the lines meets functionality. Each element is designed to offer elegance without excess, adapting naturally to any environment: Classic, for a touch of sophisticated discretion; Contemporary, for those who love essential but distinctive designs; Industrial, where materials and clear shapes find their maximum expression.

Despite a history spanning over 70 years, the AP2BD maintains a surprisingly modern and current design. It continues to be produced according to the original design, with the same artisanal attention to detail that Serge Mouille dedicated to each creation.

The AP2BD is a cult piece for refined environments, a true symbol of refinement and essentiality. Capable of transforming any space with its unique character, this lamp remains a perfect choice for those looking for a timeless design that combines style, quality and personality.

With the AP2BD, Serge Mouille has left an indelible mark on the world of design, offering lighting that is simultaneously art, architecture and functionality.

265 Paolo Rizzatto

In 1973, the Milanese architect and designer Paolo Rizzatto made his debut in the field of lighting with a project destined to become an icon: the Lamp 265 . With this creation, Rizzatto explored for the first time an area that would later become his strong point: light design.

“The reason I wanted to design a lamp was not to produce an object, but to produce light: a lamp that would help enhance the human experience of an architectural space.”

With these words, Paolo Rizzatto describes his design approach, highlighting a vision that seeto go beyond the simple function of the object to focus on the sensorial and spatial experience of light.

The 265 stands out for its essential and ingenious structure. It is an asymmetrical and adjustable wall lamp, composed of a long rotating arm (2 meters in the original version) which allows you to adjust the position of the light; a cone-shaped counterweight, fixed to the wall, which balances the arm and allows its fluid movement; a diffuser with a 360° rotating head, which allows you to direct the light precisely wherever you want.

Famous floor lamps: iconic design models

Fortuny Mariano Fortuny

Designed in 1907, the Fortuny lamp is still extraordinarily contemporary and timeless today. Its creator, the Spaniard Mariano Fortuny y Madrazo an eclectic and visionary artist was inspired by the camera tripod and, by inverting the lampshade, devised a new way of directing the light. Thus was born a lamp that revolutionized stage lighting thanks to an innovative indirect light system designed for the stage. The new version with Silver fabric from the famous Rubelli weaving confirms its timeless value. Undisputed protagonist in an environment, a lamp that certainly does not go unnoticed!

luminator Pietro Chiesa

In the panorama of Italian design of the 1930s, few objects were able to embody avant-garde and formal purity like the Luminator lamp , designed by Pietro Chiesa in 1933 . Still in production today thanks to FontanaArte , a company with which Pietro Chiesa collaborated for a long time as artistic director. Luminator represents one of the first expressions of indirect lighting with a revolutionary idea: the light rises, aiming at the ceiling. No lampshades or ornaments, a metal body that opens slightly upwards directing the light which is refracted on the ceiling creating a soft and enveloping atmosphere. The base is cast iron. An experimental design that reflects the principles of Italian rationalism, capable of naturally communicating with classic and modern environments, a sculptural presence despite its essentiality. It retains its charm intact even after ninety years and is still present in museum collections and in interiors designed by the greatest architects and interior designers.

Parentesi – Achille Castglioni / Pio Manzù

Designed by Achille Castiglioni and Pio Manzù , and produced by Flos since 1971, Parentesi embodies functionality and minimalism and represents a true icon of industrial design all Italian and never waned. A lamp that moves in space. It is the result of the collaboration between two brilliant minds that perfectly embodies the fusion between function and poetic form The intuition was Pio Manzù’s, the idea was that of an adjustable lamp that would slide along a cable stretched between the ceiling and the floor . Upon the untimely death of Pio Manzù in 1969, Achille Castiglioni resumed and completed the project, replacing the fixed rod with a bracket-shaped tube , from which the n.ome. Essential at the highest levels, it is made up of a few elements: a vertical steel cable that goes from the ceiling to the floor; a lower counterweight to ensure tension; a metal tube with a typical bracket shape; an adjustable and minimalist light bulb, which can be oriented as desired.

It won the Compasso d’Oro in 1979 and is today part of the permanent collection of the MoMA in New York . Its success is linked to simplicity, attention to functionality, the ingenious use of industrial materials.

Flos continues to successfully produce it in different finishes and has produced a celebratory re-edition for the 50th anniversary.

Callimaco Ettore Sottsass

Designed by Ettore Sottsass in 1981, the same year as the founding of the Memphis group, Callimaco perfectly embodies the experimental and radical spirit of the movement: a design that does not respond to a simple functional need, but asserts itself as an aesthetic provocation and an act of creative freedom.

Despite being a lamp, Callimaco is first and foremost a symbolic and totemic object, through which Sottsass intended to overcome the dogmas of modernist functionalism. It presents itself as a vertical luminous sculpture, composed of colored geometric elements arranged in an asymmetrical and deliberately bold way.

It is made with materials that Sottsass loved to combine in an unusual and provocative way: metal painted in bright and contrasting colours, glass, plastic, wood and ceramic. Its function as a lamp deliberately takes second place, in favor of a strong visual and sculptural presence in the space.

Today Callimaco lamps are considered rare and highly coveted pieces by design collectors. Gallery objects, often sold at auction for significant sums. Originally they were produced in small series by Ultrafragola or other artisan companies linked to the creative universe of Sottsass.

G Altarel lamp Aldo Rossi

The G lamp , also known by the evocative name of Altarel , is one of the most emblematic creations of Aldo Rossi , an architect and designer famous for his ability to transform everyday objects into micro-architectures full of meaning . Designed during the 1990s and produced in limited series by Bruno Longoni Atelier d’Arredamento , G/Altarel represents an architectural and symbolic reflection on light , combined with a deeply personal visual language. The name Altarel already suggests the conceptual intent of the work which evokes in its rigorous form an altar , a place of meditation. As in many of Aldo Rossi’s works, the object is full of memory , symbols and historical references. The lines are clear, severe, geometric: it recalls a neoclassical façade , with elements that recall gables, columns and mouldings. All condensed into a small object, which conveys a silent and intimate solemnity. Made of brass, lacquered wood , G/Altarel is more of a symbolic presence than a simple object to shed light, which is diffused discreetly and creates an intimate environment. Like many of the works ofAldo Rossi in the field of design, the G lamp is a limited production , intended more for collecting than for large-scale distribution. Today it is a gallery object , often present in auctions and twentieth-century design collections.

Ingo Maurer: the sculptor, the poet of light

Speaking of lamps and lighting, one cannot fail to mention Ingo Maurer , to whom a separate discussion should be dedicated.

He is often called the “poet of light”. For him, light was much more than a technical function: it was “ the fourth dimension, a spiritual element that profoundly affects our well-being”, as he liked to say.
His creations escape the rules of conventional design: they are luminous sculptures , ironic, poetic, sometimes surreal. Each lamp designed by Maurer is a visual story, a gentle provocation, an invitation to look at light – and the world – from another perspective.
Choosing just one work among his is almost impossible: his production is a hymn to creative freedom, where technology and imagination meet in never predictable forms.

We have chosen two very similar ones, designed with almost ten years of difference:

One from the Heart

Among his most representative works stands out the lamp One From The Heart , which Ingo Maurer created in 1989 to symbolize love through a design object to give to two of his friends for their wedding.

The lamp is composed of a red heart in blown glass from which two thin metal rods branch out and support a small tilting mirror that seems to float above the base, reflecting and diffusing the light in ever-changing and evocative ways.

After this first example, Maurer decided to put it into production.

One From The Heart perfectly represents Ingo Maurer’s expressive language, in which functionality and poetry blend harmoniously.

The name One From The Heart resonates like a dedication of love, a gift made from the heart, this creation fully embodies Maurer’s philosophy: combining light and art, transforming an everyday object into something extraordinary.

It is a collector’s item that celebrates love.

Kokoro – Ingo Maurer and Dagmar Mombach

Inspired by One From The Heart (1989), but with a soul of its own, Kokoro was born about ten years later from the collaboration between Ingo Maurer and the talented German designer Dagmar Mombach.

A lamp that goes beyond lighting, light becomes emotion.

Kokoro , a Japanese word that means heart but also soul, is exactly what Maurer and Mombach instill in this evocative creation. A large red heart, made of artisanal Japanese paper, diffuses a soft and enveloping light, giving the room an intimate atmosphere. The irregular lines and delicate texture recall the wabi-sabi philosophy, which celebrates the beauty of imperfection and simplicity.

Another reference to One from the heart is the thin metal arm that supports the small tilting mirror also in the shape of a heart.

Kokoro presents a soft and organic aesthetic, One frome the heart has a more rigid and industrial structure, Kokoro appears more artisanal, it is pure poetic essence, a celebration of light as emotion, a design object that touches the soul.

More than a lamp, it is a sensorial experience, with a play of reflections and the warm and enveloping light that it diffuses, Kokoro does not limit itself to illuminating: it excites, inspires, relaxes.

Iconic designer lamps

In an era in which design moves between technological innovation and a return to the essential, these lamps remind us that light is not just a function: it is emotion, culture, memory and vision, we haven’t mentioned

Each piece we have chosen tells a story – of research, of audacity, of genius – and represents a turning point in the way we experience space. Whether they were born to revolutionize, amaze or simply accompany everyday life, these icons of light design continue to speak the language of art and architecture.

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LUMISONA: the new multisensory system by Arcdecor&Macrolux that revolutionizes luxury lighting

Redazione ArchieInteriors — Wed, 26 Mar 2025 05:17:58 +0000

Arcdecor, the new brand of Macrolux, a leading Italian company in luxury architectural, technical and decorative lighting, announces the launch of LUMISONA , an innovative proprietary operating system that integrates light, sound and fragrances into Arcdecor&Macrolux products. The company thus presents itself on the market as a Living Concept Company of immersive furniture, founded on a unique vision of design and sensorial experience.

LUMISONA and multisensoriality in luxury between innovation and emotions

Arcdecor&Macrolux introduces a revolutionary philosophy in the luxury lighting sector, offering an unprecedented multisensory experience. The brand stands out for six key values: Emotions, Art, Technology, Product, People and Meaning, creating a precise and recognizable identity.

Emotions are understood as a new way of experiencing luxury through the stimulation of senses such as Optimism, supporting a progressive spirit and abandoning the logic linked to the “status symbol” and social stratification; Joy, creating the conditions so that the environment in which we live can fill human perceptions; Anticipation of future lifestyles through the product; Amazement and Surprise, through the use and references of non-ordinary elements, such as multisensorial and artification.

The new system places people at the centre, responding to every type of request for every age group; from the elderly, to adults and children, for family well-being. The objective is to facilitate the use of the system by all interlocutors, both through digital management of commands and through the presence of analogue buttons. The focal point is everyday life, with the aim of creating authentic bonds by rediscovering the value of emotions and the simplicity of everyday life.

The artful Design and the Rêverie compositions of LUMISONA

Design develops through a process of project realization that starts from an artificial drawing, which in addition to being a technical and aesthetic drawing has an intrinsic meaning deriving from art, which is the inspiring motif of the design itself. In fact, each product is born from a work of art created by an artist who reinterprets iconic figures from the history of fashion, art and science and which the stylist then translates into an object with an exclusive design.

Thus was born a portfolio of products organized by concepts, where different styles give life to furnishing compositions that take the name of “Rêverie”.

The Rêverie 1950s concept gives life to Puck, the super object inspired by Nikola Tesla; Jiff takes inspiration from Coco Chanel with her Rêverie 2000s concept; Darkside is inspired by Pink Floyd by proposing the Rêverie 2050s concept and Rêverie 1920s is inspired by Yves Saint Laurent.

Among these, the first Arcdecor product that will be launched on the market is Puck. Designed through the artification process, Puck, with the Rêverie 1950s concept, is a product that includes different versions, including wall with arm, ceiling, ceiling, 3 and 5 element suspension, table and reading models, available in configurations that combine direct and indirect light, sound and fragrances.

His versionne outdoor, called Oasis, will be available in the wall version with arm, floor, bollard, projector and will integrate direct light, sound or fragrances.

Cutting-edge technology for an immersive experience between lighting, sounds and fragrances – LUMISONA

Technological innovation is at the center of Arcdecor’s identity. The products integrate an advanced hardware and software system that allows the intelligent management of light, sound and fragrances.

In technical detail, the light is made up of LEDs with dynamic white temperature, with the possibility of regulating the light intensity; presence sensors capable of detecting people inside the rooms and therefore managing the switching on and off phases of the lighting; the functionality of the circadian cycle, identifying the color temperature within the artificial light environment with the temperature characteristics of the external environment, influencing human biorhythms.

The system also integrates amplified and equalized speakers and music synchronization with the Music-Sync system capable of interacting with light. The light intensity, color dynamics and color temperature of the light vary depending on the type of music being listened to. Rhythmic music generates a greater light intensity than lighter music which creates other types of more relaxing scenarios.

The system also allows the sense of smell to be involved with different types of fragrances that can be diffused and customized for each environment, with the possibility of replenishing the aroma through a simple perfume pod refill. The technology designed for the system allows it to operate via the Bluetooth Mesh System network which allows integrated communication of the lighting objects present in the environment and voice control via digital assistants such as “Lumi” or external voice assistants.

Living Concept Company: beyond the product, a complete experience

Arcdecor achieves a change of direction in luxury sales, introducing the philosophy of the Living Concept Company: therefore moving from a sale of the product in the strict sense to the sale of a concept as a whole-product, i.e. with the possibility of purchasing only the entire concept. The concept is composed of a “Core Product”, i.e. a super object characterizing the concept which determines its style, “the Expected Product”, the product that the customer expects to receive with the lighting and the addition of sound, fragrances, the functionality of the system, the design, the quality. The Augmented Product goes beyond the expected product and the core product because it brings with it the meaning that generated the artification.

A brand that brings romance into homes

The brand claim, Brings Romance into Family Lives, summarizes the mission of Arcdecor&Macrolux: transforming every home into a place of emotions, beauty and innovation. The Brand therefore has the Romantic mission of making family everyday life extraordinary through a unique and pioneering approach that combines art, design and multi-sensoriality.

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Lighting Trends 2025: light is increasingly the protagonist of design

Luca Zanetti — Sat, 08 Mar 2025 04:00:00 +0000

lighting is no longer just a functional detail, but a true art form capable of transforming environments, influencing our mood and defining the character of a space. 2025 marks a decisive turning point in the world of lighting design: light becomes the protagonist, no longer an accessory but a central element in interior design.

The new lighting trends combine advanced technology, sustainability and refined aesthetics, responding to the desire to create environments that excite and improve the quality of life. It’s not just about choosing designer lamps, but about completely rethinking the relationship between light, architecture and well-being. Let’s discover together the lighting trends for 2025 and how light is changing the way we live.

**Biophilic lighting: the dialogue with nature –** Lighting trends 2025

2025 sees a strong return to nature, even in lighting design. Biophilic lighting is inspired by the rhythms of natural light, reproducing its variations throughout the day to promote psychophysical well-being.

Lamps no longer simply emit light, but create immersive experiences: warm shades at dawn, increasing intensity at midday and a soft, relaxing light at sunset. This technology, known as Human Centric Lighting , is supported by intelligent algorithms that adjust color temperature and light intensity based on our biological clock.

Natural materials such as wood, bamboo and blown glass are increasingly used to create lighting fixtures that evoke the connection with the external environment, bringing nature into the home.

**Sensory minimalism: the essence of light –** Lighting trends 2025

The minimalist trend is nothing new, but in 2025 it is evolving in a more sensorial direction. Away with the superfluous: light becomes the protagonist through plays of reflections, transparencies and contrasts.

The shapes of the lamps are simplified, reduced to light and almost ethereal structures. Designers experiment with innovative materials such as translucent resins and opal metals, capable of diffusing light in a soft and enveloping way. The effect is that of a diffused and almost impalpable brightness, which enhances the spaces without weighing them down.

Even the switches become invisible: touch surfaces and voice control allow you to manage the light without physical intermediaries, making the experience more intuitive and fluid.

**Luminous sculptures: the art of light –** Lighting trends 2025

James Turrell

In 2025, light becomes an artistic material. More and more designers transform lamps and chandeliers into true works of art, capable of communicating with space and becoming the focal point of an environment.

Inspired by the light installations of artists such as Olafur Eliasson and James Turrell , the new light sculptures play with bold geometries, dynamic volumes and new color combinations. Light is no longer just a medium, but an expressive language that changes the perception of spaces.

Among the most interesting trends we find:

Modular and reconfigurable lampsclever , which allow you to change the arrangement of the lighting elements to always create new configurations.
Lamps that interact with movement , thanks to sensors that regulate the intensity based on the presence of people.
Dynamic lights , which gradually change color and intensity, transforming every environment into an emotional experience.

**Sustainability and circularity: the future of lighting design –** Lighting trends 2025

Sustainability is now an essential value in all sectors, and lighting is no exception. In 2025, the focus is on reducing waste and using recycled and recyclable materials.

Lighting companies are investing in low consumption technologies , such as the latest generation LEDs which guarantee efficiency and durability without sacrificing the quality of light. Also increasingly widespread are off-grid lighting systems , powered by solar energy or rechargeable batteries, perfect for reducing environmental impact.

Another innovation concerns lighting as a service : instead of purchasing the lamps, users can subscribe to a service that guarantees the maintenance and recycling of the products at the end of their life, reducing the problem of electronic waste.

**Light and well-being: the science of emotional lighting –** Lighting trends 2025

2025 marks the affirmation of emotional light , a new frontier of lighting design that combines neuroscience and technology to create environments that positively influence our state of mind.

Studies show that light can reduce stress, improve concentration and even promote sleep . For this reason, more and more architects and interior designers are integrating adjustable lighting systems that allow users to customize the atmosphere according to their needs.

smart technologies allow you to adapt the light to moods, with pre-set scenarios ranging from “energizing light” for the morning to “relaxing light” for the evening. The goal is to create spaces that respond intuitively to people’s emotional needs, improving the quality of life through light.

The sensorial experience of light in design

The lighting of 2025 is not just an aesthetic or functional question: it is a sensorial experience, a bridge between nature and technology, a means to improve our daily well-being. New trends teach us that light is not an accessory element, but an absolute protagonist of design .

From biophilic solutions to emotional light, through luminous sculptures and sustainable lighting, the future of light is bright, engaging and increasingly human-scale.

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The right light in environments: how to design lighting for well-being and design

Gianpietro Sacchi — Mon, 03 Mar 2025 15:40:00 +0000

The importance of light in interior design

Light is one of the most important elements in interior design. Not only does it affect the aesthetics of a space, but it also has a significant impact on our mood and well-being. Choosing the right light can transform an environment, making it welcoming, functional and visually fascinating.

Artificial light and quality of life

Artificial light has a significant impact on quality of life. It allows us to extend our activities beyond sunset, improving productivity and socialization. Furthermore, good lighting can positively influence our mood and psychological well-being. However, it is also important to consider negative effects, such as light pollution, which can disturb sleep and affect health. Therefore, finding a balance in the use of artificial light is essential to maximize the benefits and reduce the disadvantages.

The use of artificial light during daylight hours

In our modern life, artificial light is used a lot even during daylight hours.
It is therefore necessary to consider the lights that mix with natural light and study the lights for the night hours. The night-time lights may be some that are turned on during the day, or they may be different ones.

The human being and natural light

We must never forget that human beings have lived for millennia without artificial light as we consider it today, and therefore on an anthropological level we were “built” so that the light came from the sun and nothing more! So a light that comes from Above! in fact our eyes are made to protect themselves with the eyelids that close at the top and with the closing of the pupil.
Another factor to consider is that natural light changes continuously, at any time of the day. The light changes intensity and color, regulating a biological clock that connects us to the passing of hours and time.

Analysis of natural light before artificial design

Before designing artificial light we must analyze how natural light intervenes in our environment, so that the different sources can communicate in accordance with the lighting project.
By knowing the modalities of natural light within our environment, we can study a night light that can work accordingly, or that on the contrary highlights different details that are not perceived or highlighted during the day!
I insist on this aspect, as many times we notice lighting engineering creations that do not take into consideration the architecture of the spaces as we see them during the day.
We find settings that say nothing about what already exists or the opposite, that is, it is not clear whether we want to accentuate what the interior designer has achieved or, on the contrary, whether we want to create an added aesthetic stratification of contrast.

Describing the environment through artificial light

With artificial light we can describe and make the environment perceived in a different way: we can stratify aesthetic information, we can underline elements or volumes, we can exclude details tohighlight others, we can broaden the sensation of space, etc.

Understanding the effect of light sources

But to govern all the elements we must understand how the various sources of light act.

Lighting engineering: beyond quantitative data

When carrying out a light design project, we must take all aspects into consideration, and not limit ourselves to giving a quantitative answer; satisfying the necessary lux requirements is not enough, we must not forget that we are human beings who for millennia have lived with very complex lighting characteristics in outdoor environments.

The three main types of light

Ambient Lighting

This is the main light of a room, which provides general lighting. It can come from chandeliers, ceiling lights or windows. It is important that it is uniform and does not create excessive shadows.

Functional Lighting

This light is designed for specific activities, such as reading, cooking, or working. Table lamps, spotlights and under-cabinet lights are examples of functional lighting. It must be sufficiently intense to ensure comfort and safety.

Decorative Lighting

This type of light serves to highlight architectural or decorative elements, such as works of art or particular characteristics of an environment. Wall lights, floor lamps and LED strips can add a touch of style and personality.

Key aspects to consider

Color temperature

Color temperature, measured in Kelvin (K), plays a crucial role in the atmosphere of an environment. The warm lights (2700K-3000K) create a welcoming and intimate atmosphere, perfect for living rooms and bedrooms. Neutral lights (3500K-4100K) are ideal for work spaces, while cool lights (5000K-6500K) can be used in modern, minimalist environments, giving a more energetic and clean look.

Light distribution

It is essential to avoid shadow areas and ensure uniform light throughout the space. The use of different light sources, such as floor lamps, spotlights and ceiling lights, can help create balanced and harmonious lighting.

The importance of regulation

The ability to adjust the intensity of the light is another aspect to consider. Dimmers and smart lighting systems allow you to adapt the light to different needs and moments of the day, creating different atmospheres depending on the occasion.

Sustainability and innovation

Finally, let’s not forget the importance of sustainability. LED bulbs, for example, consume less energy and last longer than traditional incandescent bulbs. Choosing eco-friendly lighting solutions is not only beneficial for the environment, but can also reduce energy costs.

The impact of light on our daily lives

Artificial light has a significant impact on quality of life. It allows us to extend our activities beyond sunset, improving productivity and socialization. Furthermore, good lighting can positively influence theour mood and psychological well-being. However, it is also important to consider negative effects, such as light pollution, which can disturb sleep and affect health. Therefore, finding a balance in the use of artificial light is essential to maximize the benefits and reduce the disadvantages.

Light as a design tool

In summary, the right light is essential for creating design environments that are not only beautiful, but functional, welcoming and that allow us to feel good as human beings.
Experimenting with different types of lighting, color temperatures, and light distribution can make a difference in transforming a space.

Final considerations on the role of light

Man has a deep and fascinating connection with light, light is fundamental, without it we cannot perceive the world that welcomes us (except touching or feeling it).
Remember that light is not just a practical element, but a real design tool that can make a difference in the quality of life in all everyday environments. By quality I also mean aesthetic quality and not just functional (obviously).

The responsibility of the light designer

The light designer, having understood how important his work is, must delve deeper and have the sensitivity to create lighting solutions that seek to provide an answer to the complexity involved.
We must ask ourselves how the human user will feel, how he will be able to develop his functions in a positive way. It is certainly not a mission, but the planning actions must be responsible for the collective good and for improving human life, not the other way around.

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Luxury lamps brands: elegance and refined design for every environment

Luigi Annese — Sat, 18 Jan 2025 10:35:12 +0000

The luxury lamps are not just functional elements, but real pieces of art that enrich the environment, giving a unique and sophisticated atmosphere. Thanks to fine materials, innovative designs and advanced technologies, luxury lamp brands continue to redefine the concept of lighting , creating solutions that capture attention and enrich the interior design of every home. Today we talk to you about the best luxury lamp brands , the iconic models that made them famous and the features that make them indispensable for design lovers.

Luxury lamp companies: the best luxury lighting brands

1. Flos Innovation that illuminates

Flos is one of the most famous brands in the luxury lamp scene, known for its cutting-edge approach to lighting design. Founded in 1962, the Italian company has collaborated with iconic designers such as Achille Castiglioni , Philippe Starck and Antonio Citterio , bringing innovative and sophisticated solutions to the market. Among the most famous models, the Arco Lamp (1962), a floor lamp characterized by a long steel structure, and the Skygarden (2007), a ceiling lamp that combines minimalist aesthetics with decorative plaster details, stand out.

2. Luceplan A balance between design and technology

Luceplan , an Italian luxury lighting company, is renowned for creating lamps that combine aesthetics and functionality. Their philosophy focuses on sustainability and the innovative use of materials. Among the most loved models, there is the Costanza , a table lamp which with its simple and refined design has become an icon of the brand. Another iconic model is the Mesh , a suspended lamp that combines the use of lightweight materials with a contemporary geometric design.

3. Vistosi The art of Venetian glass

Vistosi is a brand that has turned the processing of Venetian glass into a true art, combining traditional craftsmanship with contemporary creativity. Its luxury lamps are recognized for their elegance and innovation, with pieces that transform any environment into a true work of art. Among the most iconic models of Vistosi , we find the Neochic , a suspended lamp that combines modern shapes and bright colors, the Lucciola , which captures the light with its design inspired by the delicate movement of fireflies, and the Jube , a creation that plays with fluid lines and transparencies, creating a refined and enveloping atmosphere. Each lamp by Vistosi is made of blown glass, a material that allows you to obtain unique and extraordinary light effects, becoming the protagonist in every space.

4. Artemide The innovative design par excellence

Artemide is synonymous with innovative design and high quality. With its long tradition in the field of lighting, Artemide has collaborated with some of the most influential designers in the worldor, like Ettore Sottsass and Mario Bellini . The Tolomeo (1987) and Nesso (1967) lamps are among the most iconic models, known for their elegant lines and their versatile approach which makes them perfect for any environment. Artemide lamps are ideal for those looking for a mix of high technology, design and functionality.

5. Baccarat Luxury and crystal

The Baccarat brand, renowned for its mastery of crystal craftsmanship, has created some of the finest luxury lamps in the world. Each Baccarat lamp is a masterpiece of craftsmanship, combining elegance, shine and timeless design. The Harcourt collection, introduced in 1841, represents one of the brand’s most iconic creations. Originally conceived as a ceremonial chalice for Emperor Napoleon III, its distinctive silhouette with a hexagonal base and six faces has inspired numerous objects, including table and wall lamps.

An emblematic example is the Harcourt Marie Louise , a table lamp that takes up the shapes of the Harcourt glass, maintaining the same proportions and facets. This versatile creation can be used as a vase, wall light or table lamp, bringing the elegance and tradition of Baccarat into modern homes.

Another distinctive model is the Harcourt Tulipe , a contemporary reinterpretation of the classic Harcourt, combining tradition and innovation in a sophisticated design.

These lamps not only illuminate spaces, but also represent a piece of history and crystal art, testifying to Baccarat’s commitment to combining tradition and modernity.

6. FontanaArte History and innovation

FontanaArte is an Italian brand that has marked the history of luxury lighting, combining tradition and innovation. The “ Fontana ” lamp (1954), designed by Max Ingrand , is an icon of Italian design. This table lamp features a white blown glass body and a truncated cone-shaped lampshade, offering diffused and indirect lighting thanks to the triple switch which allows you to separately illuminate the base, the top and the bottom of the diffuser.

Another example of FontanaArte’s quality and timeless design is the lamp ” Paralume ” (1954). This table lamp is characterized by elegant lines and a play of transparencies, with a white satin blown glass diffuser and a brushed nickel-plated metal base. The power cord, dimmer and plug are black, giving it a sober and refined look.

7. Jonathan Adler Elegance and fun

Jonathan Adler is an American designer known for his distinctive approach to luxury lighting, which blends elements of modernism with a touch of irony and glamour. His creations are characterized by clean lines, high-quality materials and an aesthetic that celebrates art and popular culture.

Among its most emblematic models, the Charade Blocks table lamp stands out for its inspired designoriented towards brutalism, with bars and blocks that recall the style of the Memphis movement, made of timeless white porcelain.

Another significant example is the Meurice floor lamp, which reinterprets the classic bamboo in a modern key, adding a touch of glamor to any environment.

Jonathan Adler’s creations represent a unique fusion of sophisticated elegance and playful spirit, making them ideal choices for those looking to add a distinctive, luxurious element to their space.

8. Louis Poulsen Functionality and Scandinavian design

The Danish brand Louis Poulsen is an institution in the world of luxury lamps, known for its attention to functionality and essential design. Lamps such as PH5 (1958) by Poul Henningsen and AJ Floor Lamp (1960) by Arne Jacobsen are perfect examples of the Scandinavian design philosophy, which aims to create lighting that is as functional as it is aesthetically perfect.

9. Kundalini Creativity and innovative technologies

Kundalini is a luxury lighting brand that focuses on innovation and the search for technological solutions. Its lamps are renowned for their distinctive design and use of innovative materials. An emblematic example is the Kushi pendant lamp , which combines geometric shapes and advanced materials such as metal and glass, creating enveloping and sophisticated lighting.

10. Tom Dixon Luxury industrial design

Tom Dixon is a British designer known for his distinctive approach to design, which combines industrial and luxurious elements. The Beat collection, including the Beat Light pendant lamp , is one of his most famous creations. These lamps are made of hand-beaten brass, with a golden interior that diffuses a warm and welcoming light. Available in different shapes, including Wide, Fat, Tall, Stout, Flat and Waist, Beat lamps adapt to various furnishing styles, adding a touch of elegance and modernity.

Luxury lamps brands

The luxury lamps brands represent the maximum in elegance and functionality, bringing the beauty of lighting into every corner of the house. From the iconic models of Flos and Artemide to the unique creations of Baccarat and Jonathan Adler , each lamp tells a story of quality, design and innovation. Choosing a luxury lamp means not only illuminating a space, but also enriching it with a work of art that transforms the environment and creates unique atmospheres.

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The best Italian lighting brands: Made in Italy that brings light to the world

Studio Eco Interiors — Sat, 14 Dec 2024 10:49:23 +0000

Italian design is synonymous with quality, elegance and innovation. There is no sector that has not had its share of influence on the global panorama, and lighting is no different. Lights, in fact, are much more than simple functional accessories: they are an integral part of the environment they create, objects that tell stories and shape spaces. Italian lighting brands not only illuminate environments, but reflect the craftsmanship and tradition of “Made in Italy” that continues to inspire the entire world. Here are some of the best Italian lighting brands , which have made light a true art form.

Italian lighting: a journey through the best lighting brands and lamp companies

The magic of Italian light

When we think of “Made in Italy”, we are led to imagine fashion, sports cars and cuisine, but in reality Italy also plays a fundamental role in the field of lighting. In recent decades, the lighting sector has evolved rapidly, embracing new technologies without forgetting its artisanal roots. Italian companies are not only able to create functional lamps but also authentic works of art, which express the perfect balance between aesthetics and functionality.

From big names to more emerging brands, Italian lighting brands are constantly evolving, bringing creative solutions and innovative designs to the most prestigious projects around the world.

Italian lighting brands that make the difference

Artemis: where light is an emotion

Founded in 1960, Artemide is one of the world’s leading lighting brands, recognized for its cutting-edge approach to design. His philosophy is based on the fusion between technology and creativity, to create objects of light that are, at the same time, useful and poetic.

Artemide lamps are designed to improve the quality of life, adapting perfectly to the environments in which they are placed. Among the most iconic models we find Tolomeo , which, thanks to its versatility and simplicity, has become a symbol of design. The lamp, which was designed by Michele De Lucchi and Giancarlo Fassina in 1987, is still a point of reference for enthusiasts in the sector.

Artemide is also famous for its attention to eco-sustainability, carrying forward the concept of sustainable lighting technology . With innovative and high-performance products, Artemide continues to be an industry leader, with a presence in over 98 countries.

Flos: the art of light

In the world of lighting, Flos is synonymous with excellence and creativity. Founded in 1962, the company is famous for having revolutionized the way of conceiving light, transforming lamps into real luminous sculptures. Flos has collaborated with some of the most prestigious designers, including Achille Castiglioni, Philippe Starck and Jasper Morrison, creating timeless masterpieces.

An icon of Flos is the Arco Lamp , designed by Achille and Pier Giacomo Castiglioni in 1962, which still remains one of the most loved and copied models in the world. With its steel arch, the Arco Lamp was designed to illuminate large spaces without the need for ceiling supports, becoming one of the greatest design successes.

Flos’ approach to light is not limited to creating simple lamps, but explores the emotional power that light can transmit through innovative materials and shapes. The company continues to be a pioneer in combining aesthetics, functionality and sustainability.

Lodes: the tradition that looks to the future

Lodes , founded in 1950, is a brand that stands out for its ability to combine Italian artisan tradition with the most modern technologies. Lodes has made light an integral part of interior design, creating unique solutions for every type of environment. Its wide range of products ranges from table lamps to pendants, to recessed luminaires and decorative lights.

Among the most famous Lodes products is Chandeliers , a line that expresses a sophisticated and modern aesthetic, while remaining linked to the tradition of classic chandeliers. The brand also stands out for the use of innovative materials, such as hand-blown glass, which enriches its beauty and quality.

Lodes’ ability to combine modern design with traditional craftsmanship is the key to his success, so much so that his creations are often chosen to furnish some of the most prestigious buildings in the world.

Foscarini: light that tells stories

Always innovative, Foscarini is a brand that is not afraid to break conventions. Founded in Venice in 1981, the company has revolutionized the world of lighting by creating products that are true artistic installations. Foscarini’s philosophy is to treat each lamp like a sculpture, where light becomes the protagonist, not just an accessory.

The Foscarini lamp collection includes some of the most revolutionary designs of recent decades, such as the Twiggy by Marc Sadler and the Caboche by Patricia Urquiola. Each lamp tells a story, creating a link between the environment and the light. Foscarini is also known for its innovative use of materials, from the use of hand-blown glass to polyethylene, creating products that are both aesthetically striking and functional.

With a strong focus on sustainability, Foscarini has continued to earn global respect, becoming one of the most admired Italian brands in lighting.

Louis Poulsen: minimalist light

Although thebrand Louis Poulsen is originally from Denmark, one cannot fail to mention its impact on lighting design, particularly thanks to collaborations with talented Italian designers. The minimalist light and attention to functionality have made the brand a point of reference for those looking for elegant but essential solutions.

Foscarini was one of the main Italian partners for collaborations with Louis Poulsen, combining the art of Italian design with the philosophy of the Danish brand. Its lighting line is perfect for those looking for sophisticated but timeless design, with particular attention to the quality of light.

Catellani & Smith: the art of light in every corner

Founded in 1989 by Enzo Catellani, Catellani & Smith is one of the most prestigious companies in the field of designer lighting, famous for creating unique lamps with great visual impact. The company stands out for its ability to transform light into art, creating solutions that combine aesthetics and functionality in a perfect way.

Catellani & lamps Smith are authentic sculptures of light. The “Turci” series, for example, is one of the most iconic, where light diffuses in a delicate and refined way through materials such as copper and gold. Each piece is designed to make the environment unique, creating magical atmospheres thanks to the play of light and shadow.

Catellani & Smith has made craftsmanship and the quality of materials his strong points. Each lamp is made with great attention to detail, and the company continues to amaze with increasingly innovative and cutting-edge solutions, such as its latest series of LED lamps.

Karman: design that tells a story

Karman , founded in 2005, is a company that has been able to quickly establish itself in the lighting design panorama thanks to its ability to combine tradition and innovation. Based in the Marche region, the company has stood out for its innovative approach and use of unconventional materials. Karman lamps are true works of art, born from the meeting of design, research and craftsmanship.

The brand is known for its approach to light as an element that tells stories. Each lamp has a personality, a soul that is expressed through unique shapes, colors and materials. The “Le Vie della Luce” , a series of lamps inspired by Italian history and tradition, is an example of how Karman combines the modernity of design with traditional craftsmanship.

Karman continues to evolve and propose creative solutions that enrich environments with a warm and engaging light. His creations are perfect for those looking for lighting that goes beyond simple functionality, creating unique and exciting environments.

Viabizzuno: light that becomes emotion

Viabizzuno is one of the Italian lighting companies that has contributed most to redefining the concept of design for architectural lighting. Founded in 1994, this company has developed a solid reputation for the elegance and innovation of its lighting solutions. Viabizzuno’s mission is to create a light that not only illuminates, but excites.

The design of Viabizzuno stands out for the purity of the lines, the use of noble materials and the functionality of the solutions. Lamps like “Meander” , created by designer Leonardo, are perfect for those looking for lighting that enriches any environment with a warm and fluid light, without ever being intrusive.

Viabizzuno’s lighting solutions are designed for the most sophisticated environments, where light becomes an invisible protagonist, capable of modifying and enriching every space, adapting perfectly to the surrounding architecture and furnishings.

NEMO Lighting: the light that sculpts spaces

NEMO Lighting , founded in 1993, is another Italian brand that has made lighting a strong point in interior design. Collaboration with great designers such as Jean-Marie Massaud , Bernhard Osann , and Cesar Mendoza has contributed to making NEMO Lighting one of the most admired brands in the design landscape. Its lamps are perfect for those looking not only for functional lighting, but also for an object of great aesthetic value.

NEMO Lighting has a unique ability to integrate technology with design, creating lamps that become true sculptures of light. The “Copenhagen” series, for example, offers light that glides gently into the environment, transforming it and adding a touch of class without compromising functionality.

The brand stands out for its innovative approach, which combines advanced technology and visually striking solutions, with a strong focus on sustainability and energy saving.

Bocci: where light merges with contemporary art

Founded in Toronto but with a strong connection to Italy, Bocci is one of the most established lighting companies on the international scene. His creations are true artistic installations, in which light blends perfectly with architectural design, transforming every environment into a unique visual experience.

Bocci lamps are famous for their fascinating aesthetics and their ability to tell stories. The “Bocci 14” model, which is a series of blown glass suspensions, perfectly represents the brand’s philosophy: creating lamps that, in addition to providing light, are also works of art that enchant andthey tumble.

Bocci has made lighting a form of artistic expression, creating unique pieces that enrich any environment with a soft and intense light.

The Italian light that conquers the world: the best brands of lighting products

Italian lighting design is a globally recognized excellence. Italian companies continue to be leaders in the sector, not only for the quality of their products, but also for their ability to blend tradition, innovation and sustainability. Every lamp, every suspension, every wall light is the result of a perfect fusion between design, craftsmanship and functionality.

Whether you are looking for a unique piece to enrich your space or a solution that combines technology and design, Italian lighting brands, such as Artemide, Flos, Catellani & Smith, Karman, Viabizzuno, NEMO Lighting and Bocci are always the ideal choice. With their commitment to innovation and art, these companies continue to bring light to the world in a way that only Made in Italy can.

L'articolo The best Italian lighting brands: Made in Italy that brings light to the world proviene da Archi & Interiors.