{"id":127774,"date":"2026-07-25T10:00:00","date_gmt":"2026-07-25T08:00:00","guid":{"rendered":"https:\/\/www.mohd.it\/?p=127774"},"modified":"2026-07-25T10:00:05","modified_gmt":"2026-07-25T08:00:05","slug":"levante-by-luceplan-when-light-breathes-through-matter","status":"publish","type":"post","link":"https:\/\/www.mohd.it\/en\/magazine\/levante-by-luceplan-when-light-breathes-through-matter\/","title":{"rendered":"Levante by Luceplan: When Light Breathes Through Matter"},"content":{"rendered":"\n

There are some elements which simply add to illuminating a room and then there are some that transform a whole new experience of the room itself. The difference may appear subtle, but it is very important indeed. In case of modern design, lighting has shifted from being a purely technical necessity to becoming an invisible substance which creates ambiance within the space. Similar to music, the importance of this element does not rest in its nature but in its presence in the space.<\/p>\n\n\n\n

Against this backdrop, the chandelier is undergoing a quiet reinvention. Once primarily decorative or functional, it is returning as an architectural presence, an object that sits somewhere between technology, craftsmanship and sculpture. Increasingly, its strength lies not in visual complexity but in its ability to appear almost weightless, allowing light itself to become the true protagonist.<\/p>\n\n\n\n

\"Luceplan<\/figure>\n\n\n\n

It is precisely this quest for balance that forms the concept behind Levante<\/strong>, a new pendant lamp designed by Marco Spatti<\/a><\/strong> for Luceplan<\/a><\/strong>. This product is comprised of three extremely thin fan-shaped sails that seem to glide through space with utmost ease. These sails have been crafted from a unique material, which is normally used in the food industry. It has a very fragile nature, reminiscent of rice paper, yet at the same time allows light to diffuse throughout its entire surface.<\/p>\n\n\n\n

The result is remarkably light, yet underpinned by rigorous technical research. It also perfectly reflects Marco Spatti’s design philosophy. Based in Milan, the product designer has built his practice around the dialogue between innovation, functionality and material experimentation. Every project begins with an investigation into the past, present and future of design, reinterpreting familiar typologies through unexpected materials and production technologies.<\/p>\n\n\n

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Marco, Levante seems to exist somewhere between an industrial product and a sculptural presence. What was the original intuition behind the project, and what kind of emotional response were you hoping to evoke?<\/strong><\/p>\n\n\n\n

The very first inspiration for Levante came from observing Japanese fans. Their shape suggested the perfect structure for a lighting object: a generative core from which light could radiate outwards.
We began imagining these luminous fans floating in a room. This initial exploration gradually developed into a product that could fully convey that sense of lightness and levitation, while also being efficient and sustainable from an industrial perspective.
A closer look at Levante reveals that this seemingly decorative object is, in fact, a highly optimised industrial design, whose final form is generated through the repetition of just two identical elements.<\/p>\n\n\n\n

<\/div>\n\n\n\n

One of the most intriguing aspects of Levante is the use of a material borrowed from the food industry\u2014something rarely associated with lighting design. How did you discover its potential, and what challenges did it present throughout the development process?<\/strong><\/p>\n\n\n\n

Finding the right material for Levante was a demanding process. First and foremost, we wanted a sustainable material that could meet the necessary technical requirements while allowing the light to diffuse softly and evenly. We undertook extensive research, exploring everything from natural and synthetic papers to woven and nonwoven fabrics.
We eventually selected a recycled nonwoven fabric made by a Japanese company. It was primarily used for industrial filtration in the food sector and had never previously been imported into Europe. The material was thermoformable, which was essential for us, easy to clean, and had an extraordinary texture, with fibres reminiscent of traditional rice paper.
The main challenge was giving the petals the necessary structural rigidity, particularly in the version measuring one metre in diameter. It took countless trials, adjustments and refinements to achieve the desired result.<\/p>\n\n\n\n

\"Luceplan<\/figure>\n\n\n\n

The three sails can be read in many different ways: as fans, leaves, sails or even living organisms. How important is ambiguity in your work, and do you intentionally leave room for personal interpretation?<\/strong><\/p>\n\n\n\n

Sometimes, as in this case, forms happen to evoke other things, but this is simply a natural consequence of the aesthetic character of certain objects rather than something intentional. What matters to me is that objects have forms capable of evoking positive and welcoming associations.
In a domestic object, form does not merely follow function: form is itself one of the functions the product must fulfil. A lamp continues to exist in our homes even when it is switched off, and it must work well in that state too.<\/p>\n\n\n\n

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The light source remains completely hidden inside the central core, allowing the material itself to become luminous. Do you think designing lighting today is increasingly about creating experiences rather than simply producing light?<\/strong><\/p>\n\n\n\n

I do not believe that light can be separated from the atmosphere it inherently creates. Every lamp automatically carries with it the atmosphere it generates. The work of a good designer lies in identifying the right atmosphere for the type of product being designed, and in selecting the forms, materials and technologies that contribute to achieving that result.<\/p>\n\n\n\n

\"Luceplan<\/figure>\n\n\n\n

Your work consistently balances functionality with experimentation. In Levante, how did you navigate the relationship between technical innovation, manufacturing constraints and expressive form?<\/strong><\/p>\n\n\n\n

With Levante, what happened was very similar to what happens in almost all our projects. From the very beginning, we had a clear understanding of the result we were looking for. We didn\u2019t have in mind the final object but we had in mind the atmosphere created by its light and the softness we wanted it to convey.
We envisioned a particular effect and, once we had identified the formal solution, we worked with the company to investigate the technical solutions that could enable us to achieve it. From that point onwards, the company\u2019s technical development work became fundamental. A designer alone is not enough to create innovation. On the other side, there must also be an enlightened and forward-thinking company. I was fortunate enough to find one.<\/p>\n\n\n\n

<\/div>\n\n\n\n

Our homes are increasingly expected to support wellbeing, calm and emotional comfort. How do you think this broader cultural shift is influencing the language of contemporary lighting design?<\/strong><\/p>\n\n\n\n

People\u2019s awareness of the quality of light and its impact on the quality of life within a space is constantly growing.
This awareness inevitably influences the choice of lighting products, which, in order to meet these expectations, must be designed with increasing attention to the quality of their light emission. Placing the product within the context in which it is intended to exist is essential in order to understand what its appropriate characteristics should be.
Attention to these aspects, combined with the opportunities offered by continuous technological innovation\u2014from LEDs and lenses to light-diffusing materials\u2014is shaping the new languages of lighting design.<\/p>\n\n\n

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\n Luceplan<\/span> Levante Floor Lamp<\/span>\n <\/div>\n
\n Buy<\/a>\n \t\t <\/div>\n <\/div>\n <\/div>\n
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\n Luceplan<\/span> Levante \u00d8102 Suspension Lamp<\/span>\n <\/div>\n
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Your design process often involves looking at the past in order to imagine new possibilities. Were there any historical references, typologies or cultural influences that subtly informed the development of Levante?<\/strong><\/p>\n\n\n\n

As I mentioned earlier, Levante is closely connected to the East in several ways. This connection begins with its forms, which evoke fans, and extends to the material itself, which not only comes from Japan but also clearly recalls the rice paper traditionally used for Eastern lanterns.
The name \u201cLevante\u201d itself, in addition to suggesting the idea of something suspended or levitating in Italian, directly evokes Japan, traditionally known as the Land of the Rising Sun.<\/p>\n\n\n\n

<\/div>\n\n\n\n

Looking ahead, which materials, technologies or emerging approaches do you believe will have the greatest impact on the future of lighting design? And what role should designers play in driving that transformation?<\/strong><\/p>\n\n\n\n

I believe that lighting design, like every other field, must increasingly focus on the use of recycled and recyclable materials.
As for the role of designers, I believe that the only meaningful reason to create new objects today\u2014regardless of the type of object\u2014is for them to embody a certain degree of innovation or some form of design intelligence.
Otherwise, we probably do not need them.<\/p>\n","protected":false},"excerpt":{"rendered":"

Marco Spatti discusses material experimentation, emotional lighting and why the future of design lies in making technology disappear.<\/p>\n","protected":false},"author":18,"featured_media":127731,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[30,31],"tags":[],"class_list":["post-127774","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-designer-star"],"yoast_head":"\nLevante by Luceplan: When Light Breathes Through Matter - Mohd<\/title>\n<meta name=\"description\" content=\"Marco Spatti discusses about Levante, material experimentation, emotional lighting and why the future of design lies in making technology disappear.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.mohd.it\/en\/magazine\/levante-by-luceplan-when-light-breathes-through-matter\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Levante by Luceplan: When Light Breathes Through Matter - 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