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Highlights from Design Shangai Week 2023

Nappe design by Marco Zito
Horo design by Pierre Gonalons
Sound design by Giovanni Battista Gianola
Honicè design by Oriano Favaretto
Horo design by Pierre Gonalons

The interior design for Valerio Cometti

Valerio, where did inspiration come from in the creation of this collection? Where did his name come from?

Tee was born from the meeting of my personal values as a designer together with those of the Masiero Company.
As my habit, I wanted an elegant and long-lasting designer because I don’t like “fads” and I think good design should be able to age without any hurry. I also wanted the clean and simple shapes that I love to contain a degree of expressiveness and emotion that I recognize in Masiero DNA and that I thought should be offered to his customers.

From the point of view of the composition of the project, I wanted to pursue extremely clean geometries, using primitives such as cylinders and spheres joined by revolutionary solids. On this formal basis I built a very careful and patient dialogue of proportions and then I wanted the light to make the spheres that contain it vibrate: sinuous ripples engraved on the lampshade are lit when crossed by light and create a measured decoration, but I find it very attractive. In the lighting sector I believe that light must always be the true protagonist and for this reason I wanted it was the light that made the project unique.

Another element that guided the development of the project was the desire to be able to build in an almost modular way a very complete family of lighting fixtures. Almost every architectural space can find a suitable TEE lamp. The name of the collection is perhaps a way of not taking yourself too seriously, with a fun wink to the shape of the TEE used in the game of golf, from the shape so similar to the union of fitting and lampshade in this family of lamps.

Which was the project journey? Have there been changes during the project development?

From my point of view, the project had a particularly smooth and pleasant process, without any trauma or shock. Initially we had developed three different families and the one that later became the TEE family immediately caught the interest of the Company.
Starting from the first approval, has been a succession of interaction between designer and company to grow the collection and bring it to become that large range for indoor and outdoor that today TEE is.
My study is particularly inclined to follow the manufacturing and technical sides of the projects we design and therefore also the dialogue with the Technical Department of the Company, accomplices competence and willingness to dialogue of its members, was particularly pleasant and stimulating.

Could you describe how have you chosen materials, colors and finishes?

The choice of materials was particularly linear and linked to the function they had to express, exactly the process most pleasing to us.
The use of rotational moulding was proposed for the lampshade of the outdoor collection, aware that the undulations placed on the outside of the surface would pose a manufacturing challenge. We immediately optimized the geometry to facilitate printability and the rest was done by the capacity of the Masiero Technical department and their supplier.

For the interior collection we have chosen glass lampshades, for the greatest preciousness and enhancement of light. The frames, in the many configurations available since launch, are made of metal, but also in this case we must thank the Company because thanks to the great technical ability in the finishes allowed us to express a valuable palette, satisfying, but also very contemporary.

How, from your point of view, does Tee represent an evolution in the Masiero offer? What are its commercial strengths?

I hope that our contribution will be a welcome enrichment to the Masiero design alphabet. Surely our approach based on simple ideas, but very strong and executed with extreme care is appreciated by the many companies with which we collaborate, so I hope it can also be appreciated by Masiero customers. From a commercial point of view, I think it is not easy to find a family so articulated, but even more I hope that the TEE family can demonstrate its extreme versatility in being able to furnish both minimal and modern spaces, as well as classic and decorated, passing through the exterior, creating also in the garden a careful and satisfying lighting.

If you have to suggest Tee to architects and interior designers, what are the environments for which this collection is best suited?

I have taken a lot of time to answer this question, but in complete and sincere honesty, looking at the TEE collection for a long time, I really have a hard time imagining environments in which they can’t fit. The mix of clean shapes, almost “timeless”, but very personal, warm and contemporary finishes, graceful decoration in the light, but never become cloying, I think can seduce a refined audience, but very wide.

From the point of view of the geometries the Tee range is extraordinarily rich, so a prescriber can have fun with some small points of light on the wall, or go wild with imposing chandeliers, passing through hanging installations worthy of a hotel lobby. TEE is really an elegant alphabet at the service of architects and interior designers.

How could you describe your design?

There are some characteristic elements of our way of doing design.

  • We strongly believe in the “form enhances function”, which is a way of linking shape to function, but without ever forgetting a certain poetic, a certain polite sensuality, which gives even more emotional value to the function that is expressed.
  • We love smooth and simple shapes and obsessively care about the proportions that bind and connect them.
  • We try to use the materials with a lot of authenticity, avoiding to imitate them with textures and decorations: every material has some peculiarities and we try to respect and enhance them project by project.
  • Having the opportunity to work in dozens of different sectors, with very heterogeneous companies, we believe in the power of contamination and let our design be enriched by these seemingly distant connections.

All these values are manifestations of the intense desire to create innovative, but above all extremely long-lasting objects.

In your opinion, which are the basic characters needed for a new product?

Despite the extreme variety of sectors and types of projects on which we work there are some essential cornerstones for the success of a new product.

  • Having a strong idea in mind: weak ideas hardly improve during project development.
  • Have a lot of respect for the customer type of the customer.
  • Be very familiar with the materials and technologies used for the birth of a given product: only in this way you are able to accompany the project from intuition to rendering to industrial product.
  • Create an intense dialogue with the client.

It is not easy to design a lighting concept that works well both indoors and outdoors. What were the key points of this development?

It’s true, it’s a rather unusual result that I hope rewards the project.
I have the feeling that we have found the right balance between formal cleanliness and decorative expressiveness, making TEE lamps really suitable for a multitude of uses, moods, spaces and environments.
We have pursued a correct and balanced luminous behaviour and also this aspect will prove to be a winner both inside and outside. I must confess that I really like the idea of being inside a living space, admiring an illuminating body a few steps from me and seeing one belonging to the same family located in the garden, outside: the thought alone gives me the feeling of an architectural project in which inside and outside are in balance, in continuity and the use of lamps belonging to the same family, like a parure, could only strengthen this feeling.

How does the indoor version differ from the outdoor version?

Deliberately there are no differences in shape, precisely because I wanted to reinforce a unique and coherent message between the interior and the exterior of a living space. The differences are mainly in the materials, polymer in the diffusers for the exterior and precious glass for the interior and then in the palette of finishes, declined to better enhance the dialogue with the context.

Author of the article
Alessia D’Alesio
Global Marketing & Communication Manager

The interior design for Favaretto/Partners

Francesco, where did inspiration come from in the creation of this collection? Where did his name come from?

Cordea was born from the desire to reinterpret the classic industrial lamp with lamellar head in aluminum, in a contemporary key under the aesthetic and material point of view, looking for that extra quid “up to date” given by the tape called, in Venetian dialect, Cordea.

Which was the project journey?

Cordea marks my first collaboration with Masiero and in fact, from the presentation of the project to the realization, the collection has not had major formal aesthetic changes.

Could you describe how have you chosen materials, colours and finishes?

We love to make several materials dialogue in a single product.
In Cordea there are 3 materials: metal for the body, injection plastic for glulam head, and rubber or leather for bands.

How, from your point of view, does Cordea represent an evolution in the Masiero offer? What are its commercial strengths?

Cordea is a collection designed for both indoor and outdoor, thanks to the use of different finishes and materials between the two versions. Flexible, transversal and ductile, Cordea creates a link between indoor and outdoor.

If you have to suggest Cordea to architects and interior designers, what are the environments for which this collection is best suited?

Cordea has been born from my desire to make a collection “total look” that could cover as many spaces as possible creating a dialogue between indoor and outdoor as they are a single space. There is no better fitter environment than another.

How could you describe your design?

Our approach to design is certainly industrial, that’s why I like to call myself an industrial designer. We like to combine creativity with the technical side.


In your opinion, which are the basic characters needed for a new product?

Surely for the development of a product the four-handed work “designer/ company” is that extra quid that makes a good idea turn into a great product. For us, if this synergy is missing, it is not profitable to start a new collaboration, and with Masiero we immediately felt in tune.

It is not easy to design a lighting concept that works well both indoors and outdoors. What were the key points of this development?

It is not easy because the outdoor rules are very strictly! We started by trying to design the most beautiful lighting outdoor collection and then go inside! I am really satisfied from the result, I hope you too!


How does the indoor version differ from the outdoor version?

Aesthetically nothing and the challenge was just that! We wanted to give different finishes for the interior and change the material of the Cordea to satisfy even the most demanding customers and the most precious contexts.

Author of the article
Alessia D’Alesio
Global Marketing & Communication Manager

Dimore Catalogue 2022

Each product has its own history, its origins. A long process, made up of times of reflection, of comparisons, of experimentation. Everything comes from a creative twist that is molded to take shape.

This year we have decided to present two new collections to the market, the result of the collaboration with two designers with well-known experience in the world of lighting design.

Sara Moroni, new entry in the parterre of designers who collaborate with Masiero

and Oriano Favaretto, a partnership already tested thanks to Honicè and Ribbon, signed by the designer for Masiero.

The two collections are presented in the Dimore catalogue, completely renewed in look, designed by Artemio Croatto and his staff from the Designwork studio.

The creative direction of the shots was entrusted to NOOII Agency, the print to the professionalism of Grafiche Antiga.

Our new catalogue is the result of the collaboration of professional people inside and outside the company, who have worked with passion and dedication and that is why we are thrilled to present it!

Catalogo Dimore 2022

Ogni prodotto ha la sua storia, le sue origini. Un processo lungo, fatto di tempi di riflessione, di confronti, di sperimentazioni. Tutto nasce da un guizzo creativo che viene plasmato fino a prendere forma.

Quest’anno abbiamo deciso di presentare al mercato due nuove collezioni, frutto della collaborazione con due designer dalla conclamata esperienza nel mondo della luce.

Sara Moroni, new entry nel parterre dei designer che collaborano con Masiero

e Oriano Favaretto, partnership già collaudata grazie a Honicè e Ribbon, firmati dal designer per Masiero.

Le due collezioni sono presentate all’interno del catalogo Dimore, completamente rinnovato nel look, ideato da Artemio Croatto e il suo staff dello studio Designwork.

La direzione creativa degli scatti è stata affidata a NOOII Agency, la stampa alla professionalità di Grafiche Antiga.

Il nostro nuovo catalogo è il risultato della collaborazione di professionisti interni ed esterni all’azienda, che hanno lavorato con passione e dedizione ed è per questo che siamo entusiasti di presentarlo!

Ancient Greece as a source of inspiration for Olympya

Good taste and balance are the hallmark of the new Olympya chandelier, inspired from ancient Greece – the cradle of beauty and cultur. Its simplicity of form is counterbalanced by the excellence of the materials and by its craftmanship.

The central structure of Olympya resonates of a Greek temple; the metal frame is tinted in a refined galvanic finish and covered in transparent glass. Metal and glass are the hallmarks of the arms, which branch out from the central structure and punctuate the space around them with geometric patterns.

Each arm is rendered unique by very special oval pendants in “Crek” style glass, a typical hand-made process which allows the incorporation of small air bubbles, making each drop a unique piece.

Minimalism and contemporaneity are the keywords of Ribbon

2021 sees the Dimore catalogue enriched by a collection whose key words are contemporary lightness of its lines, purity of materials and minimalism of colour.

Ribbon welds together the metal elements and combines them with light in a unique way. The metal frame, which is given hues of opaque black, gathers together transparent glass lozenges which are lit up by LED strips placed on a special section within the frame.

The glass lozenges light up with unexpected reflections which confer extreme purity and crispness to the light.

Raqam, the star in Riyadh

Thanks to the fruitful collaboration between Masiero Lab, the multidisciplinary R&D team inside the company, and the Interior designer Racha Kayali, founder of RK Interior Architecture Studio, Saudi Arabia, a stunning project was completed in a private villa in Riyadh.

Luxury, modern lines and elegance are the stars of the Raqam installation which consists of a chandelier composition, complete with wall lamps designed specifically for this project!

Horo lights up the Rupture Cafè in Paris

Two shop fronts at 11 Rue du Vertbois, in the upper Marais, for the new Rupture store and creative record label founded by Alexander Sap.

The project was given over to the interior designer Pierre Gonalons, who adhered to the genuine spirit and history of the locale, true to the memories of the legendary Drugstore Saint Germain, which in the Paris of the sixties was a bar, restaurant, tobacconist and emporium.

The space is totally lit up by the Horo collection, designed by Pierre Gonalons for Masiero in 2020.

There are three single suspensions, one triple-unit suspension, two wall lamps and one table lamp, all in pink glass perfectly in synch with the mood of the place!

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