Gold Lighting Products and Fixtures Design · 2025
Orbita Luminaire
by Ignacio M. Todeschini and Ignacio Noel
- A' Design Award 2025 Gold Winner in Lighting Products and Fixtures Design
- Awarded April 15, 2025
- CLIENT: IWish
- Estimated Number of Design Views: 76,030
- Verification code 15FD8B712A · Verify this award
About Orbita Luminaire
Orbita reimagines light as a dynamic, ever-evolving presence, where celestial cycles meet cutting-edge technology. With its patented ultra-matte material and infinite rotation system, it invites tactile interaction and personalization, adapting seamlessly to different moments and spaces. Minimalist yet expressive, it transforms illumination into an experience, forging a timeless connection between innovation, design, and human perception. Designed in Argentina, crafted with Italian materials and precision engineering.
Ignacio Martínez Todeschini's Orbita Luminaire emerges from a rich lineage of sculptural lighting design that traces its philosophical roots to the mid-twentieth century synthesis of artistic expression and functional illumination, yet advances this tradition through distinctly contemporary formal innovation. The fixture demonstrates exceptional compositional intelligence in its marriage of orthogonal and curvilinear geometries, the sweeping horizontal plane intersected by a vertical ring element creating a dynamic spatial relationship that activates the surrounding environment with geometric tension and resolution. The designer's chromatic choices reveal sophisticated understanding of how warm metallic edge treatments can transform a predominantly dark form into something luminous and precious, the bronze and champagne highlights along the fixture's edges suggesting alchemical transformation of base material into something approaching the celestial. Technically, the work evidences masterful command of contemporary fabrication methods, the impossibly fine edge terminations and precise ring intersection demonstrating the potential of advanced manufacturing to achieve forms that would have been unattainable in earlier eras. The central illuminated ring functions as both practical light source and symbolic focal point, its warm glow suggesting a captured sun or planetary body around which the wing-like planes orbit, thus lending conceptual depth to the fixture's name. Thematic resonances extend beyond mere illumination into territories of flight, freedom, and the reconciliation of earthbound materials with aspirations toward weightlessness and elevation. The work participates in ongoing design discourse regarding biomimicry, abstraction, and the capacity of functional objects to transcend their utilitarian purpose and achieve genuine aesthetic significance. One might observe how the fixture transforms any interior space into something approaching a sanctuary, the warm contemplative light and graceful form inviting pause and reflection. What might it mean to live beneath such a form, to have daily experience shaped by this synthesis of precision and poetry, of engineering and art?
Press Kit
- Unique Properties
- Orbita merges a patented ultra-matte material with infinite rotation. It redefines light through minimalism, tactile interaction, and personalization: orbiting innovation and timeless design. The core of the project was to allow the user to be part of the transformation of light. Incorporating an innovative infinite rotation system that allows for light customization at different times of the day and across various usage scenarios. Argentine design, with materials and machinery made in Italy.
- Dimensions & Packaging
- Each component is designed and manufactured in Argentina using 95% patented Italian anti-glare material, featuring heat-activated scratch self-regeneration, fingerprint resistance, and an ultra-soft touch. This material is composed of 70% paper, advanced acrylic resins, and proprietary technologies, treated with electron beam curing for enhanced color stability and durability.
Dimensions
Diameter: 250 mm
Length: 1250 mm
Screen thickness: 1.8 mm
Central ring thickness: 20 mm - Tags
- Orbita, industrial design, lighting, timeless, Ignacio Noel, circadian lighting, minimalism, tactile interaction, innovation, Ignacio Martinez Todeschini, Argentine manufacturing, international market.
- Production Technology
- CNC machining using made-in-Italy equipment for the central ring and screen contour. The central pieces are made entirely from production leftovers of kitchen countertops. The indirect light screen undergoes steam bending and a pressure system utilizing a specially developed mold for this product. Laser cutting is used for the aluminum infinite rail, along with a rotating contact piece that moves along it. Laser cutting is also applied to opal acrylic for the anti-glare diffuser. Both the screen bending and the assembly process are done manually, ensuring perfect material integration and optimal connectivity between parts. More than 25 distinct components, specifically designed and manufactured for this lamp, are used in its construction.
- Design Challenge
- Achieving Orbita in Argentina was the most challenging part of this design project. FENIX, a material very new in the country, has few suppliers with the expertise to work with it. Additionally, the national market is not inclined to invest in high-end products, making Orbita a strong commitment to the international market. Adapting this innovative material, primarily developed for other applications, to a lighting product was a huge but exciting challenge.
- Project Duration
- The project began in December 2023 in Buenos Aires, Argentina, and was completed in February 2025 in the same city, prior to being exhibited at SaloneSatellite, Salone del Mobile Milano, and various locations during Milan Design Week.
- Operation Flow
- The object is designed for manual adjustment, allowing the user to interact with and direct the light as desired. One hand grips the central ring to stabilize the fixture, while the other adjusts the shade, creating rotation. The primary lighting effect is indirect illumination.
- Research
- For Orbita's development, exploratory research was conducted, analyzing astronomy, orbital movements, and light-form interaction. Advanced materials were studied, focusing on ultra-matte surfaces and circadian lighting technologies.
Through descriptive research, material properties and manufacturing processes were assessed, determining that CNC machining and steam bending would ensure precision and fluidity. This approach allowed integrating technological innovation with a minimalist and tactile aesthetic. - Inspiration
- Inspired by celestial cycles, orbital movements, and the sun's circadian rhythm. An opportunity to enhance the user's quality of life was identified by allowing them to customize their lighting according to different times of the day and specific uses. The high-tech material, with its unique technical properties, presented both a challenge and a strong source of inspiration. The pursuit of highlighting the material's attributes became an intrinsic part of the design process.
- Image Credits
- Photographer: Anabella Castro
Illustrations: Ignacio Martinez Todeschini
Video rendering: Federico Chama
Video: Anabella Castro
Industrial designer: Ignacio Martinez Todeschini
Design director: Ignacio Noel - Patents
- Trademark No. 4455247. INPI. 2025. Argentina. Ignacio Martin Noel 100%
Colors of Orbita Luminaire
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G0E3 ShopDesign Interview about Orbita Luminaire
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.
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.
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.
The entire design process took approximately one year, from the initial sketches to the exhibition-ready prototype shown at SaloneSatellite 2025 in Milan
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.
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.
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.
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.
The ideal customer is a design-conscious individual or institution—collectors, architects, and interior designers—looking for sculptural lighting that transcends the ordinary
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.
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.
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.
Its most unique feature is the interaction. The user can physically rotate the light direction, creating a dialogue between movement, form, and ambiance.
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.
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.
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.
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.
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.
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.
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.
Grand Interview about Orbita Luminaire
When we began developing Orbita, our primary goal—together with the design team—was to allow users to personalize the lighting throughout the day, in sync with the sun’s circadian rhythm. This idea became the conceptual foundation for the luminaire, and every design decision followed from it.The notion of the cycle and the circle led us to envision a screen that orbits around a center, enabling directional lighting based on different uses. The morphological relationship between the elliptical screen and the circular core resulted in a visual system subtly evoking the orbital motion of celestial bodies.
Bringing Fenix NTM into the world of lighting design was a significant challenge from the start. One of the material’s key features is its ultra-matte, anti-glare finish—qualities that seem at odds with how luminaires typically work through light reflection.However, we saw this as an opportunity. We harnessed the material’s unique properties to create a soft, indirect glow. Additionally, its surface allows for direct user interaction without leaving fingerprints—something nearly impossible with other materials. This synergy of technical innovation and user experience led to a completely new approach in the lighting field.
Traditionally, interaction with a luminaire is limited to switching it on or off, dimming the light, or using smart apps to adjust tone and color. With Orbita, we wanted to go beyond digital control.Its infinite rotation system invites physical and tactile interaction—users can manually orient the light for direct or indirect effects. Whether illuminating a ceiling softly or focusing on a dining table, the user shapes the atmosphere with a simple gesture.What truly sets Orbita apart is this tactile relationship—melding technology with human touch. It’s not just about managing light from a phone, but forming a more intuitive and personal connection with the fixture.
Manufacturing Orbita in Argentina was one of the project’s greatest challenges. While the local industry is highly versatile, it wasn’t fully equipped for the level of precision and technological complexity this luminaire demanded.We partnered with Catavorello, the official SCM CNC distributor in Argentina, whose deep commitment enabled extensive testing and prototyping to reach the perfect balance between form and function.Beyond CNC machining, the production included laser-cut aluminum, steam bending, and precise manual assembly—all within a minimal internal space, hiding wires, joints, and mechanical elements.Orbita contains small components, springs, and electrical contacts, far beyond what’s typical in lighting design. Yet, we were determined to show that Argentine industry can meet world-class standards.
Sustainable design is central to every project I take on. As designers, we carry a huge responsibility—we have the power to shape how products are conceived and manufactured.In Orbita’s case, we reused offcuts of Fenix NTM, which are typically discarded because they’re too small for kitchen countertops. These became the luminaire’s 25 cm central discs, giving the material a second life in a high-value context.This approach greatly reduced waste and now gains even more relevance as Orbita begins large-scale production in China. It’s our way of demonstrating that responsible design principles can be preserved—even on a global industrial scale.
Argentina has a niche market for high-end lighting, but it’s not large enough to justify a project like Orbita. From the beginning, it was conceived for international presentation—specifically in Milan—and for global production and distribution.This vision informed every design and material choice. We selected Fenix NTM, a high-performance Italian material, to match the elevated design standard we were striving for. In our view, good design must be aesthetically strong and technically backed by materials of equal quality.We also conducted thorough research to avoid repetition and ensure Orbita would feel timeless—something that could’ve been designed 50 years ago and still relevant a century from now. With its international design language, we’re proud to have created a product rooted in universality.
We wanted users to direct the light freely, without constraints. The first challenge was enabling full 360-degree movement—not just partial rotation.Through our research into orbital cycles, we noticed that these motions are continuous, without a defined beginning or end. Inspired by that, we aimed to replicate this in Orbita: allowing users to rotate the fixture infinitely without interruption or loss of light.This sense of fluidity was essential to the design’s essence, but achieving it required one of the project’s most complex technical solutions: a system that could handle infinite rotation while preserving electrical contact and product integrity. That endless motion is a defining feature of Orbita.
Unexpectedly, crafting the light screen became one of the most technically difficult parts of the project. We initially thought it would be simple—but it nearly kept us from showcasing the piece in Milan.Fenix NTM wasn’t designed for tight-radius bending. Every pressure attempt caused cracking or breakage. But we discovered that heat and steam made the material more pliable.We then created a custom mold and counter-mold system. By applying controlled temperature and humidity, we gently formed the screen without compromising the material.This process involved placing the molds in an oven for 24 hours of slow cooling to preserve the desired shape. It was a fusion of technology, patience, and craftsmanship adapted to an industrial material.
Argentine designers are uniquely skilled at achieving remarkable outcomes with limited resources and time. That resilience, combined with a deeply ingrained artistic culture, gives us a distinct edge.Our heritage spans from indigenous crafts to colonial influences and celebrated 20th-century designers. Regardless of whether their styles align with international trends, they all inspire us.Our immense native nature is another profound source. Personally, it’s been central to every project I’ve undertaken.Meanwhile, Italian design culture—its aesthetic refinement, technical rigor, and love for detail—greatly influenced us. Using Fenix NTM in Orbita embodies that influence.This fusion of Argentine sensitivity and Italian excellence proved to be a powerful combination. It shaped our entire process and reflects our view of design today: a global language rooted in local identities.
I believe Orbita is part of a new movement in lighting—a response to our tech-saturated lives. As we become constantly connected to screens and devices, we’re also seeking ways to reconnect with physical objects and reality.Although Orbita is technologically advanced, it demands human interaction. That tactile quality feels increasingly essential in our digital age.This reconnection through touch and movement is a powerful foundation for new lighting designs. It’s also the starting point for the Orbita collection, which we’re now developing in collaboration with a Spanish company licensed to manufacture and distribute it worldwide.