Light and material: what is the study process behind these two elements in order to ensure consistency within a project?

It is a matter of contamination. To understand it, we must first comprehend that light is not banally something that allows us to see. It is rather an element that allows to look deeply. Light can introduce a new ergonomics, which is not that of physical design – as in the case of a chair or sofa ­­– but rather an ergonomics of the mission, which permits you to perceive the space differently through light. The light-material relationship is not minimally subtracted from this discourse. In fact, material can refract, absorb, and even negate light, allowing a certain view of the surrounding space.

A few years ago, for instance, Iris Ceramica had invested in the production of ceramic slabs called “Brilliant” that were supposed to react to artificial light thanks to some internal components. Failing to solve this, a very careful study was conducted, revealing an issue with the incidence of light. Indeed, what needed to be investigated was the light itself, as it allows us to understand the essence of the material. Upon completion of the study, the ceramic material lived by its own light. This case illustrates how material and light coexist. Light, made up of photons, that are invisible particles, can become a material of architecture just like concrete. Exactly how physical materials construct space, light can give the sensation that a space is larger, smaller, or narrower. Perception, in other words, changes physically.

What are the most important research areas in architecture today? Which areas are not sufficiently explored in your opinion? 

I believe the focus of today’s architecture research should be on creating new languages. This is addressed excellently by Jean Nouvel’s works, such as the museum project for the Louvre in Abu Dhabi, conceived as an all-white Medina crowned by an artificial sky. The eight-layer design of the dome above allows light to penetrate, creating the cinematic effect of a rain of light. Hence, it is a perceptual architecture that does not solely concern the structural part, but also penetrates the walls, the ceilings, and the floors. As here remarked, the new frontiers lie in an architecture that is not just experienced, but with which one can interact.

Another frontier is the one linked to new technologies, artificial intelligence in particular. Even if this latter does not possess the skills to give life to creative projects – these still belong to humans – it can be used for research in the field of energy resources, or to provide more natural environments within artificial spaces. The increasing emphasis on technology has somehow led to the abandonment of some important values linked to the natural cycle, the reuse and recycle of materials. Instead of continuously designing new materials, saturating an already crowded market, there should be more exploration of recycling possibilities and extending the lifespan of products, even against the consumerist logic of the market. And this could be facilitated by AI tools. 

Speaking of your work, you often mention "unforseen scenarios and new sensory experiences" resulting from the relationship between light and material. What projects could you cite as examples?

To broaden the question, we should first ask ourselves: “What is the role of a designer?” My answer would be: “That creature with long antennae capable of sensing the changing of times”. Hence, change is what we strive to introduce into our projects. As an example, I could mention the lighting design project for Stefano Zecchi’s exhibition at the Muse Museum in Trento, titled “The Marvellous Voyage between Science and Philosophy”. It was a journey through eight thousand years of history condensed into a thirty-five minute visit itinerary, which also earned a Compasso d’Oro nomination. One more example is the Bright project, for the courtyard of the University of Milan on the occasion of the last Design Week, consisting of a large cloud made of reflective metal fabric. The uniqueness of the project was that people could interact with something suspended in the air, in a levitating space, open to a reflection on the environment. The cloud is, in fact, a metaphor for an agricultural landscape bathed in red and blue light, where the blue light enhances the photosynthetic process of plants, while the red light helps regulate the flowering process. Both the projects mentioned have a narrative substrate, a story that affects. However, it is not a cinematographic projection we have in front of us, but rather a space enveloping with its light and material, calling us to interact and become part of that narration.

At what point is the experimentation with innovative materials? What are the new frontiers in this field?

The latest technologies are proposing increasingly imitative materials, that are artificial materials that simulate the natural one, less and less accessible today. The field I refer to is that of bionics, which consists in looking at nature as an intelligent model. It is a research area I am particularly close to and that promotes the creation of high-performance imitative materials. Moving beyond the narrow field of architecture and interior design, an example related to the light-material domain, or rather, to light becoming material, is that of plant growth. It is demonstrated that certain colours favour photosynthesis and fruit growth, thus suited to be used in substitution of chemical herbicides and other harmful products.

Regarding the more specific field of interior design, several companies are focusing on three-dimensionality as light that sculpts material. For instance, a surface made of three-dimensional ceramic slabs provides a more spectacular impression compared to a flat surface. This is why companies that used to work with monochromatic and two-dimensional surfaces have been introducing three-dimensionality for some years now. Similarly, in the realm of stoneware and porcelain used as cladding materials, slabs are increasingly characterized by a certain thickness, precisely to enhance three-dimensionality.

Overall, it is a very interesting time when it comes to materials. The perception of innovation is positively influenced by the world of fashion, which is rich in possibilities in this regard. Materials are, in fact, a cross-cutting substance, full of contaminations. A key word for all this? Direction. This means, in essence, connecting different worlds to bring out peculiar elements, to be connected in a common narrative, just like a director would do.

What are the first words that come to your mind when mentioning the future of design? What trends do you expect for 2024 and why?

One first tendency concerns the use of spaces. In high-end residential areas, people have understood that what is outside the house does not belong to external entities, and thus we are witnessing a form of reappropriation of outdoor spaces. For example, we are currently collaborating with Coima Image for the development of the outdoor areas of a large building where to design activities that are normally carried out indoors. These will be places for socializing, relaxing, but also for work. The idea that everyone needs to be tied to a fixed workstation is increasingly fading away. Companies that previously had large offices are therefore reducing their spaces in favor of other work modalities with their collaborators, often carried out remotely, while outdoor spaces are expanding more and more.

Another theme is that of greenery, which was previously considered as a complement to space, and  now is being integrated into the architecture itself. Plants, in short, take on the function of materials, as part of the design language. In other cases, they contribute to giving a more natural aesthetic to the project. Here, the theme of technological development applied to the creation of artificial materials that mimic natural ones also returns. Generally speaking, there is also a tendency to use less vivid and saturated colours in favour of earthy nuances or those linked to elements of the earth. Ultimately, I believe that all these trends are contributing to a single overarching macro trend, namely that of naturalness, in opposition to the artificial.