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Orbita Luminaire by Ignacio Martínez Todeschini |
Home > Winners > Design #171343 >Interview |
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FS: What is the main principle, idea and inspiration behind your design?
IM: The main principle behind Órbita is the reinterpretation of celestial motion through an interactive lighting piece. Inspired by the rhythm and precision of planetary orbits, the design invites users to engage with the luminaire, altering its position and intensity to reflect personal atmospheres.
FS: What has been your main focus in designing this work? Especially what did you want to achieve?
IM: My focus was to create a high-end lighting piece that balances aesthetics and interaction. I aimed to design an object that not only illuminates but also evokes a contemplative experience—an object that is timeless, poetic, and technically precise.
FS: What are your future plans for this award winning design?
IM: We are refining the technical details to begin industrial production. The goal is to place Órbita in international showrooms and design galleries, while also exploring limited editions for collectors and architectural projects.
FS: How long did it take you to design this particular concept?
IM: The entire design process took approximately one year, from the initial sketches to the exhibition-ready prototype shown at SaloneSatellite 2025 in Milan
FS: Why did you design this particular concept? Was this design commissioned or did you decide to pursuit an inspiration?
IM: Órbita was born as a design commission from Ignacio Noel. Part of the brief was to use Fenix material to create a lamp and showcase it in Milan. For me, it was a personal challenge that pushed my abilities as a designer to the limit. Ultimately, what began as a commissioned project led to a strong partnership with Ignacio—we worked together throughout the entire design process and ended up representing Argentina as a team, with a bold and striking piece at Salone del Mobile Milano.
FS: Is your design being produced or used by another company, or do you plan to sell or lease the production rights or do you intent to produce your work yourself?
IM: The rights and development of the product are managed with IWish Deco. Our plan is to scale up production and explore international distribution while maintaining artistic control over the design and its identity.
FS: What made you design this particular type of work?
IM: I’ve always been fascinated by lighting objects as emotional and sculptural entities. Órbita allowed me to integrate poetic inspiration with precision mechanics, resulting in a design that resonates both visually and conceptually.
FS: Where there any other designs and/or designers that helped the influence the design of your work?
IM: While not directly referenced, I draw inspiration from a wide range of disciplines—from Latin American craftsmanship to minimalistic European design, as well as the poetic technicality of Francisco Gómez Paz and the material philosophy of Tapio Wirkkala.
FS: Who is the target customer for his design?
IM: The ideal customer is a design-conscious individual or institution—collectors, architects, and interior designers—looking for sculptural lighting that transcends the ordinary
FS: What sets this design apart from other similar or resembling concepts?
IM: Órbita stands out due to its rotational mechanism, its tactility, and the abstract representation of planetary motion. It also combines rare materials like Fenix NTM® and fine metal detailing to create a luxurious and timeless presence.
FS: How did you come up with the name for this design? What does it mean?
IM: The name 'Órbita' directly references its inspiration: orbital movement. It evokes a sense of continuity, rhythm, and elegance—all present in the design’s geometry and function.
FS: Which design tools did you use when you were working on this project?
IM: I used Rhinoceros 3D for modeling, Grasshopper for parametric exploration, KeyShot for renderings, and Adobe Suite for communication and presentation. Manual sketching was also fundamental in the early stages.
FS: What is the most unique aspect of your design?
IM: Its most unique feature is the interaction. The user can physically rotate the light direction, creating a dialogue between movement, form, and ambiance.
FS: Who did you collaborate with for this design? Did you work with people with technical / specialized skills?
IM: I worked closely with Ignacio Noel, who brought deep insight into production feasibility and brand positioning. Technical aspects and prototype production were supported by engineers and suppliers from Catavorello, an Argentine company that exclusively distributes SCM machinery to the entire industry. FENIX NTM materials were provided by Carpi Argentina, the company with exclusive distribution rights for the material throughout the country.
FS: What is the role of technology in this particular design?
IM: Technology was essential, particularly in the design of the complex rotation system and the use of a patented material for touch-friendly interaction and a particular reflection of light on the ultra-matte surface. The advanced machinery used for CNC prototyping also let us manufacture precision and complex aspects of the design. Digital tools also helped us visualize and prototype effectively.
FS: Is your design influenced by data or analytical research in any way? What kind of research did you conduct for making this design?
IM: The research was mostly observational and experimental—analyzing celestial mechanics, deeply studying material properties, and reviewing user interactions with light. It was more qualitative than quantitative.
FS: What are some of the challenges you faced during the design/realization of your concept?
IM: Balancing form with function was a challenge, especially ensuring the rotation mechanism worked seamlessly. Another key challenge was sourcing high-quality materials and processes in Argentina for an internationally competitive piece.
FS: How did you decide to submit your design to an international design competition?
IM: After presenting Órbita at SaloneSatellite, in Milano, and receiving great feedback from the audience, I felt it had the maturity and distinctiveness to be recognized on a global stage. The A’ Design Award felt like the right platform to celebrate and share this achievement.
FS: What did you learn or how did you improve yourself during the designing of this work?
IM: This project pushed my ability to merge poetic intention with technical precision. I learned to manage timelines, collaborate effectively, and articulate design decisions both visually and conceptually. I also learned that working with a good and visionary team is just as important as having a great idea.
FS: Any other things you would like to cover that have not been covered in these questions?
IM: Órbita is not just a product—it’s a statement about how we can humanize technology and celebrate emotion through design. It embodies my values as a designer and reflects the voice of contemporary Latin American creativity.
FS: Thank you for providing us with this opportunity to interview you.
A' Design Award and Competitions grants rights to press members and bloggers to use parts of this interview. This interview is provided as it is; DesignPRWire and A' Design Award and Competitions cannot be held responsible for the answers given by participating designers.
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