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    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

    The interior design for Astounding’s interiors

    Dear Camelia and Kevin, How is the creative idea behind the project born?

    The Creative Director Stephen Ward has spent 30 years travelling the world, experiencing 5 star hotels, restaurants and iconic venues, taking inspiration from everything he sees.

    Examining the why and how these projects were put together and following closely many iconic famous interior designers with this knowledge it brings new creative ideas for his

    How do you prepare for project development?

    Astounding’s interiors are bold statements balanced by functionality, aesthetics, and lifestyle. We focus on sourcing quality furnishings, improving functionality and creating memorable spaces.

    What are the aspects that most affect your choices? The space? The personality of the customer?

    We are known for thinking outside the box, not following trends but creating them, luxurious and exciting spaces that ‘WOW’ the customers and clients, that become talking points and go to venues.

    We research the surroundings and bring a new flavour to the rooms.

    How does the research of suppliers take place? What are the fundamental characteristics they must have?

    We always go through our supplier’s library and choose the best solution for the project based on longevity and budgets.

    What is the lighting role in your project? When do you choose the light?

    We always choose decorative lighting, ambience lighting and main lighting.

    The decorative lighting is the main key to change the feel and atmosphere of the space, its an important part to every project we undertake.

    What kind of relationship do you have with your suppliers? Do you actively involve them in the process? If so, to what extent?

    Yes, we are in contact with them from the beginning. Sometimes asking for suggestions and collaboration on bespoke items, that will fit perfectly in our design schemes.

    If you were to share advice with your colleagues about lighting décor, what would you suggest?

    To find something that compliments the space with the rest of the interior and within the client’s budget.

    If you were to share advice with final customer, what would you suggest to weigh up for their purchases?  

    The clients have to consider that it’s the lighting that brings to life the colours, fabrics, style of the project and its worth spending that bit extra to achieve a lighting scheme that is easily controlled and functional for all times of the day, thus making a statement every time you walk in the room.

    Why did you choose Masiero?

    Because the light chosen, Horo, was quite unique and different. And that how we are known, for creating unique and exclusive designs that make you stop and take note.

    With a style that’s unrestrained yet refined, our team of London’s top home bar designers create unparalleled hospitality and residential spaces. Astounding’s interiors are bold statements balanced by functionality, aesthetics and lifestyle. We focus on sourcing quality furnishings, improving functionality and creating memorable spaces. Renowned for their turnkey integrated lifestyle design, Astounding Interiors expertly manage the entire process from conception through to completion. For 16 years we have been accustomed to working on both residential and commercial projects.

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

    The interior design for Junaid Khan

    Dear Junaid, how is the creative idea behind the project born?

    The idea was born out as with all my projects from a need to resolve the current problems and issues with the current space and its personality. 

    How do you prepare for project development?

    By understanding its current issues, client’s aspirations and what the space needs from an objective point of view, which could be different to the clients vision. 

    What are the aspects that most affect your choices? The space? The personality of the customer? 

    The choices can dictate them selves based on the space you have to deal with and how you see the space as you flow through it addressing the focal points and directing a person visually through it.

    The personality of a customer usually can also affect choices and direction but the hope is the idea is sold well enough for the customer to be onboard. 

    How does the research of suppliers take place? What are the fundamental characteristics they must have?

    My research is based on two methods the first is based on my knowledge of products based on product collections I’ve seen physically and through web or printed material and the other is by methodical selection of ‘brands’ and their design ethos for the right fit for the project and seeing if there is a product of the size and style which works. Sometimes it’s a beautiful marriage and fit, as it was in my case for the Marhaba project.

    What is the lighting role in your project? When do you choose the light?

    The lighting is a key component in any design in any space.

    How the space is lit is very important and where it’s a feature piece or architectural it is the one element that has the power to create drama or tranquillity. 

    There is no right methodology as to when you might select a light, however I generally form a shape or a layout of the space and begin the lighting selection to fit the designs personality. 

    What kind of relationship do you have with your suppliers? Do you actively involve them in the process? If so, to what extent? 

    Usually the relationships with suppliers are kept close and helps to meet the representatives to see new collections. In terms of actively involving suppliers this engagement is usually initiated when there is a selection made and requires more information or if product can be modified for the project i.e. if a light fitting can be made larger or smaller.

    If you were to share advice with your colleagues about lighting décor, what would you suggest?

    To collate brands that create unique lighting pieces which would help in forming its design language. To be well informed of current collections and ahead of the curve and brands that work towards that idea.

    If you were to share advice with final customer, what would you suggest to weigh up for their purchases?

    In all instances my work relys on focus points within the interiors and feature lights are weighted equally to some of the main features of the space as your eye is always drawn to the brighter objects. 

    Why did you choose Masiero?

    Masiero has a beautiful collection of unique lighting products that create detailed finishes and simple shapes, which have immediate visual impact. 

    After Two years of art school Junaid Khan studied a degree in Furniture design at the ‘London College of Furniture’ and a Masters in Manufacturing Engineering before working in digital and 3d design. In 2009 he founded and created ‘Bibi Interiors’ designing interiors with bespoke furniture elements in his work, nominated for 6 design wards and international design awards from SBID and Northern design awards. 

    The interior design for Sanjyt Syngh

    Dear Sanjyt , How is the creative idea behind the project born?

    I believe in writing stories based on client briefs. I don’t repeat concepts and details. Once a space has been designed, there isn’t another one which will have the same elements.
    I don’t label myself a designer. I am more of an interpreter. I always try and put people who own the space in the environment and think how they would feel. A space should always reflect the style of the inhabitants.

    How do you prepare for project development?

    We aim to detail every millimeter before the project goes on the floor. It creates a solid base work for the project and also lessens the chances of unnecessary surprises showing up later.

    What are the aspects that most affect your choices? The space? The personality of the customer?

    We’ve heard a lot about androgyny in fashion but not as much in interiors. That’s one rule I follow while designing a space. A space shouldn’t be gender specific unless it has specific needs. Design to me is very personal. It’s an expression of your taste. And if it doesn’t create conversations, it’s not design. That doesn’t necessarily mean it should be avant-garde. It must have a story. A lot of design is story-telling. But the story also needs to be practical. Beauty lies in details. It’s always that extra mile that gives me satisfaction.

    I believe in two cardinal rules:

    Go Big or Go Home.

    Oh wait! Aren’t we already home? So, let’s just go big.
    I’ve always felt that your home should be an extension of your space or your style. If you love Glam, go for Glam. Embrace grandeur. It is something I have always believed even before Covid-19. And as we settle into the new normal it has become increasingly important. 

    Art is necessary.
    What is a space without art? Art is story-telling. It doesn’t necessarily have to harmonize with the surroundings.
    I say, take risks, mix eras. Not only does art bring life to a room but it also adds colour and inspiration. It builds a confident living environment.

    How does the research of suppliers take place? What are the fundamental characteristics they must have?

    This is very project centric. We choose our suppliers based on the design language of the project.

    What is the lighting role in your project? When do you choose the light?

    Without doubt lighting is one of the key elements in every space I design. Infact, It is the hero. I choose lighting very early on in the design process.

    What kind of relationship do you have with your suppliers? Do you actively involve them in the process? If so, to what extent?

    I suggest the suppliers should answer the first part of this question. Lol! On a serious note it is important to maintain a healthy relationship with the suppliers. They are an important part of any and every project. It is extremely important to involve them in the process. They know their products better than anyone. I feel it is important to trust them. We share a design brief and floor plans with our suppliers and wait for them to revert with the right products. I am known to make them work hard till I don’t find the right product.

    If you were to share advice with your colleagues about lighting décor, what would you suggest?

    Decorative lighting is an integral part of any space and in most cases, it is an afterthought. I would suggest to choose your lighting while designing the space. Not only it helps you in budgeting the space but also helps you balance design.

    If you were to share advice with final customer, what would you suggest to weigh up for their purchases?

    I insist on finalising budgets before we start the project. It helps us to distribute it evenly doing justice to the design of the space. I insist on keeping sufficient budget for lighting and art.

    Why did you choose Masiero?

    I remember seeing the Nappe’s at Salone in 2019 and I immediately fell in love with them. I know I wanted to make them the hero of this large project I was working on. I didn’t want to use them independently as I believe in the power of multiples.

    Farm 21 is a farmhouse to serve as vacation home nestled amongst sprawling farms in Rajokri, New Delhi. The site area is 48000 square feet, with a built up area of19000 square feet.

    Sanjyt Syngh  is the founder, owner and creative director of his company. They are a New Delhi based; globally minded design consultancy dedicated to luxury spaces. The Delhi based designer and stylist.
    Besides winning a lot of top Indian awards, Sanjyt has thrice been named as Top 100 Interior Designers in the World in 2016, 2018 and 2020.

     

    The interior design for Racha Kayali

    Dear Racha, How is the creative idea behind the project born?

    The creative idea behind the project might have different sources: It could be the project’s subject, location, surrounding environment, or simply the client’s request. Our role as interior architects is to read all these elements ideally to put them together in harmony.

    How do you prepare for project development?

    Once the client approves the main idea, we start to collect the elements to build the project: from walls & floor treatment to the ceiling, which includes the architectural lighting, and finally, the furniture and the decorative lighting.

    What are the aspects that most affect your choices? The space? The personality of the customer?

    As I mentioned above, both aspects are fundamental in elaborating the main idea of a project. However, the space is the most essential in my opinion. The skill of a talented interior architect is not only to be creative but also to catch a part of the customer’s personality, match it with the space and emphasize it.

    How does the research of suppliers take place? What are the fundamental characteristics they must have?

    First, the style should match with the project’s mood board. Second, the supplier’s ability to adjust or modify the product if there are any constraints in the selection or the installation. Third, the financial budget.

    What is the lighting role in your project? When do you choose the light?

    Light has an essential role in all my projects, whether Architectural lights or Decorative. As you know, at the very beginning of life, God created heaven and the earth. The earth was void and did not have any form; darkness was upon the deep face. Then, God said, “Let there be light”: and there was light.

    What kind of relationship do you have with your suppliers? Do you actively involve them in the process? If so, to what extent?

    Once the material, furniture, and lighting fixtures are selected, the suppliers become part of the work team. They are involved in all aspects of their domain, from coordinating with the contractors to the installation on site.

    If you were to share advice with the final customer, what would you suggest to weigh up for their purchases?

    First, their purchase should match the project’s style. The company’s legacy is another critical point, and its representative cooperation is essential for me.

    Why did you choose Masiero?

    Honestly, it’s Raqam. I fell in love with this majestic chandelier, which ingeniously combines the elegance of classical lines and advanced technology in led lighting.

    In addition, the successful business relationship with Mr. Andrea Borsato, the Masiero Area Manager in charge for Middle East area, makes me discover other lines from Masiero and propose them to my clients.

     RK Interior Architecture is a studio specialized in residential and commercial interior projects. Racha Kayali, the founder, is an Interior Architect who graduated from the ESAM Design School in Paris. She then worked at the Wilmotte & Associates agency in Paris for 3 years. She is now a member of Nidal Group and has signed prestigious projects all around the Middle East including Riyadh, Dubai and Beirut.

    The Design for Oriano Favaretto

    A designer from Treviso who collaborates with a Venetian company: Oriano, what links you to Masiero, in addition to professional collaboration?

    Human contact with this company binds me. Masiero is not only a place of experimentation but also a family. A shared space where many people and ideas are in tune sharing the same goals and the same enthusiasm.

    You have already designed two collections for Masiero, Honicé and Ribbon. What does this third project represent? Have you lived it as a continuity or a chance to experience new things?

    Continuity and experimentation can be complementary concepts, although apparently they seem in antithesis. Often, as nature teaches us, spontaneous things find in evolution their inevitable change.

    I see my collaboration with Masiero as a transformation, the result of a process of growth and evolution, which in design always pushes you to seek new forms.

    What was the starting point for creating Iglù? What were, if any, the design challenges you had to face and solve?

    The most original things are born simple. Simplicity as a complex challenge, but natural, like our passions. In Iglù the sphere is split and becomes half solid and half intertwined

    A jewel suspended with its intimate, inner light, which makes it mystical and introspective in its rise in space.

    My desire to overcome the gravity of materials was expressed through spheres arranged around a ring in a regular scan.

    How, from your point of view, does Iglù complete and represent an evolution of the Masiero range?

    Iglù represents at the same time a stylistic evolution for Masiero, but also the consolidation of its corporate identity linked to metal.

    The desire to create a minimal and contemporary object, but with a sculptural flavor that makes it unique and unique, represents a challenge for the company and for the designer.

    Create an essential object that arouses a strong emotional impact, combining a slightly retro look with modern lighting technologies.

    Metal, an element of the company’s tradition skilfully shaped, becomes the natural seat for the LED light source.

    The Design for Sara Moroni

    Sara, What defines your design?

    From a formal point of view there is no rule and not even a default style: the products I have designed so far have a heterogeneous and unusual character because each one embodies the values and identity of the company for which they were designed.

    What aspects do you consider essential in the development of a new product?

    It’s crucial to identify a strong concept and always keep the focus on the end user. Imagining new visions, capturing tacit needs, evaluating the relationship with space and with the person.

    How, from your point of view, does a woman designer differ from fellow men on the design front?

    The number of women designers is growing strongly and their contribution is increasingly relevant and quality.

    They are moving with knowledge, determination and dexterity, in a technical-industrial field that has always been considered similar to the male universe. The difference in design exists and is a real wealth, but it would be anachronistic to bring it back only to gender factors. I think it should be rather sought in the uniqueness of each individual. Every designer approaches the project with a personal method that leads him to elaborate ideas, find very different technical-formal solutions: this is the beauty!

    In this process, not linear at all, human and personal factors strongly influence the essence of the project. A designer, as a woman, can undoubtedly offer a different point of view.

    What was the starting point to realize Posy?

    Two basic concepts inspired Posy.

    On the one hand, kinetic art: movement and perception. Throughout the collection asymmetry is sought after and prevailing: it creates movement, lightness, expresses compositional freedom and offers the observer always new and unexpected points of view.

    On the other hand bio-inspired design: nature as a source of inspiration. In nature everything seems spontaneous and random, but is absolutely harmonious and perfect. Posy is the formal and structural transposition of gems that develop, irregularly, around a stem and the aesthetic result is both naïve and romantic.

    The natural gems have been idealized and transformed into poetic opal glass bubbles, having different diameters, and the tapered stem has become an elegant organic structure in brass that binds and supports the whole.

    The naming “Posy”, from the English “bouquet of flowers”, refers explicitly to the organic form of the product and is strong on the concept of harmonic composition.

    How, from your point of view, does it complete and represent an evolution of the Masiero range?

    Posy is an elegant and refined collection, but fresh and contemporary in its language.

    I believe it can express all the technical skill and experience of Masiero in the processing of materials and at the same time show a tension towards new formal canons, always decorative, but more minimal and transversal.

    What are the most suitable environments for Posy, if you had to suggest it to architects and interior designers?

    I am lighting, product and interior designer at the same time: this is my strong point.

    In designing Posy I considered the possible applications, evaluated the relationship of the product with the space and imagined the possible lighting scenarios. The result of this design research is a complete and versatile family characterized by a deliberately transversal style that can allow its inclusion in various contexts: hotels, bars, restaurants, offices, domestic spaces both modern and classic.

    As in nature, Posy offers many formal solutions: single, double, cluster or multiple as in inflorescences. I would like the designers to use the various elements that I designed to create their personal bouquet: unique and poetic.

    You have worked with 2 different materials: brass and glass. Was it challenging to make them coexist within the design you have made?

    Blown glass and brass are two noble materials almost in antithesis with each other: light/ fragile/ semi-transparent the first and full-bodied/ ductile/ semi-reflective the second. Wanting to give the right value to both finishes, I thought I’d let them interact with each other through light. The opal sphere, in addition to illuminating the environment, enhances the entire brass structure of the product making it stand out: the color, the materiality and the refined micro-decoration.

    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!

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