{"id":11504,"date":"2026-02-24T09:39:59","date_gmt":"2026-02-24T08:39:59","guid":{"rendered":"https:\/\/www.archieinteriors.com\/35-contemporary-italian-lighting-designers-to-keep-an-eye-on-in-2026-light-as-the-protagonist-of-the-project\/"},"modified":"2026-02-24T09:39:59","modified_gmt":"2026-02-24T08:39:59","slug":"35-contemporary-italian-lighting-designers-to-keep-an-eye-on-in-2026-light-as-the-protagonist-of-the-project","status":"publish","type":"post","link":"https:\/\/www.archieinteriors.com\/en\/35-contemporary-italian-lighting-designers-to-keep-an-eye-on-in-2026-light-as-the-protagonist-of-the-project\/","title":{"rendered":"35 contemporary Italian lighting designers to keep an eye on in 2026: light as the protagonist of the project"},"content":{"rendered":"

A lighting designer <\/strong> is the director of perception: he designs light as one designs a material. It builds legibility, hierarchies, rhythm and comfort <\/strong>, 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. <\/p>\n

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 <\/strong> 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. <\/p>\n

For this reason we have selected 35 profiles <\/strong> \u0097 among Italian (or Italian-based) studios and designers \u0097 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 <\/strong> 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). <\/p>\n

Following them means reading trends in the right way: not as aesthetics to be replicated, but as design choices <\/strong> that anticipate where the project is going \u0097 when light truly becomes the protagonist again. <\/p>\n

How we chose them for this selection: <\/strong> <\/h3>\n
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    Published and documentable projects <\/strong>: completed works, not “concept” renderings. <\/p>\n<\/li>\n

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    Consistency of language <\/strong>: a research recognizable over time, not a fluke. <\/p>\n<\/li>\n

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    Complete design ability <\/strong>: interior\/exterior, architectural light, detail, relationship with materials and installation. <\/p>\n<\/li>\n

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    Credibility in the sector <\/strong>: collaborations, commissions, awards\/mentions or presence in professional contexts. <\/p>\n<\/li>\n

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    Contemporaneity <\/strong>: active today, with a living and evolving path. <\/p>\n<\/li>\n<\/ul>\n

    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. <\/p>\n

    35 contemporary Italian lighting designers to keep an eye on <\/h2>\n

    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. <\/p>\n

    The common thread is the same for all: project that becomes constructed light <\/strong> \u0097 concept, luminaires, control, commissioning \u0097 between indoor and outdoor, hospitality and retail, heritage and public spaces. Here are the 30 profiles <\/strong> selected. <\/p>\n

    1) D’Alesio & Santoro (study) <\/strong> <\/h3>\n

    \"30 <\/p>\n

    Among the studies that make clear how lighting design is culture + technology <\/strong>, 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 <\/strong>, 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 <\/strong> (Milan, Paris, NYC and various international boutiques), Watches & Wonders <\/strong> in Geneva, cultural projects with Triennale di Milano <\/strong> , and exhibition productions with Balich Wonder Studio <\/strong> for Buccellati <\/strong> .
    Since 2018 they have also started MEG <\/strong> , a spin-off in applied photobiology <\/strong> , and are involved in several affiliations\/patents <\/strong> linked to light systems (also with 3M). <\/p>\n

    2) Carlo D’Alesio <\/h3>\n

    \"30 <\/p>\n

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

    3) Piero Santoro <\/h3>\n

    \"30 <\/p>\n

    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 <\/strong> . He is co-founder of D’Alesio&Santoro <\/strong> (Milan) and, in parallel, key figure in the spin-off MEG <\/strong> dedicated to applied photobiology <\/strong> \u0097 an area in which light stops being just “atmosphere” and becomes a measurable system <\/strong> (spectra, photometries, performances, cycles). <\/p>\n

    His design style can be recognized precisely here: less scenic gesture, more control <\/strong> and technical responsibility <\/strong>, 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 <\/strong> (Casa Panerai and Watches & Wonders), Balich Wonder Studio for Buccellati <\/strong>, and interventions with Triennale di Milano. <\/strong> <\/p>\n

    4) LOOMIT Studio (Bologna \/ Milan) <\/h3>\n

    \"30 <\/p>\n

    LOOMIT works on architectural and urban light <\/strong> 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. <\/p>\n

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

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

    5) Susanna Antico <\/h3>\n

    \"30 <\/p>\n

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

    His profile is also strengthened by belonging to international professional networks \u0097 APIL, IALD, Concepteurs Lumi\u00e8re Sans Fronti\u00e8res <\/strong> \u0097 and by research that intertwines practice and teaching <\/strong>, with an approach that does not separate perceptual quality from technical solidity. <\/p>\n

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

    6) Metis Lighting (Milan) <\/h3>\n

    \"Metis <\/p>\n

    Metis is a “solid” studio for those who want to understand where the sector is going when light becomes process <\/strong> , 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. <\/p>\n

    Founded in Milan in 1990 <\/strong> by Marinella Patetta <\/strong> and Claudio Valent <\/strong> \u0097 both trained in the practice of Piero Castiglioni <\/strong> \u0097 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. <\/p>\n

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

    7) Marinella Patetta <\/h3>\n

    \"Metis <\/p>\n

    Patetta is the “holding” part of Metis: in the firm’s profile she is described as the figure who accompanies the projects until completion <\/strong>, with a concrete presence on site and widespread attention to detail\u0097 the one that makes the difference between a successful light idea and a truly functioning, coherent, stable light over time. <\/p>\n

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

    8) Claudio Valent <\/h3>\n

    \"Metis <\/p>\n

    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 <\/strong> 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. <\/p>\n

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

    9) Studio Piero Castiglioni (Milan) <\/h3>\n

    \"PIERO <\/p>\n

    Here the point is not just the “signature”: it is a way of understanding light as the material of architecture <\/strong>. 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. <\/p>\n

    In recent and recurring work, frame projects appear that make it a reference: on the homepage are cited MUSE \u0096 Science Museum <\/strong> , Expo 2015 <\/strong> , Fondazione Luigi Rovati <\/strong> . These are cases in which light cannot be accessory: it must support a story and real complexity. <\/p>\n

    In terms of declared collaborations, the studio lists a very broad network with architects and companies \u0097 including Renzo Piano Building Workshop <\/strong> , David Chipperfield Architects <\/strong> , BIG <\/strong> \u0097 and companies in the sector such as iGuzzini <\/strong> and FontanaArte <\/strong> . 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. <\/p>\n

    10) Sergio Boccia (Light Me Design) <\/h3>\n

    \"Sergio <\/p>\n

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    Boccia has a truly interesting profile as a lighting designer because he works on light as a service <\/strong> before as a “signature”: he starts from the concept and reaches up to commissioning and opening <\/strong>, 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) <\/strong> and is a lecturer in Integrative Design Management <\/strong> at CEIBS <\/strong> (Zurich), who tells us his vision: not just atmosphere, but project and systems management. He founded Light Me Design in Milan in 2016 <\/strong> and over the years boasts collaborations with large international studios \u0097 including David Chipperfield Architects, Gensler, Rockwell Group, Renzo Piano Building Workshop and UNStudio <\/strong> \u0097 as well as recognitions such as inclusion in the 40under40 <\/strong> list of Lighting magazine and several IES Award of Merit <\/strong> . <\/p>\n

    11) Andrea Carson (Luminum) <\/span> <\/h3>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/article><\/div>\n
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    \"Andrea <\/p>\n

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

    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. <\/p>\n

    A fact that consolidates the credibility of the path is the recognition at the Premio Italia Giovane 2023 <\/strong> for Art and Culture <\/strong> . <\/p>\n

    12) Francesca Storaro <\/h3>\n

    \"Francesca <\/p>\n

    <\/article>\n
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    Storaro is a name to keep an eye on because it brings lighting design back within a cultured and architectural <\/strong> 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. <\/p>\n

    In his website and in his curriculum there appear real and verifiable projects <\/strong> , even on delicate topics such as archeology and heritage <\/strong> \u0097 for example interventions linked to Peltuinum <\/strong> and the archaeological area of Cassino <\/strong> \u0097 where light must be at once respect, legibility and measure. <\/p>\n

    To make the profile even more solid there is a clear technical fact: the CLD (Certified Lighting Designer) <\/strong> certification, which signals a structured professional approach, not just an aesthetic sensitivity. <\/p>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/article><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/article><\/div>\n

    13) Marco Petrucci <\/h3>\n

    \"marco <\/p>\n

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    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 <\/strong>: interior and exterior lighting development, calculations, system integration and control of the final effect without losing design coherence. <\/p>\n

    High responsibility contexts appear in the portfolio \u0097 hotel, headquarters, historic buildings \u0097 where light must be at the same time directorial <\/strong> (atmosphere, hierarchies, perception) and performance <\/strong> (visual comfort, regulations, reliability). Among the<\/p>\n","protected":false},"excerpt":{"rendered":"

    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. 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