Bianca Tresoldi - അഭിമുഖങ്ങൾ

I’m a lighting designer for more than 30 years. Since 1995 I’m a member of APIL Association of Lighting Professionals and the AIDI Italian Lighting Association. I’d collaboration with many important company like Calvin Klein, Versace, San Pellegrino,…

I believe that light is the punctuation of a fundamental part of the vocabulary of architecture, one of the key factors to interpret the world.

At the age of 14 I chose an artistic education, the passion for sign, shape, architecture, design, art has grown along my life, and I cannot live without it. The composition of shapes and colors, created by human beings and in nature, are something magical that I observe with obsessive insistence. The details a very important for reorganizing the set of signs in harmony.

After the preliminary phase, which is typically conceptual, the project is normally developed through a final phase, to identify the types of lighting appliances to be used, the light sources, the optics and everything that has to be established for the feasibility of the design.

The “lighting tests” are fundamental. With the aim of checking the formal relations between lighting and the architecture of the place and the sensations that the light creates, these are visual emotions which are essential to convey to the client the final effect to be obtained.

The last phase is typically that of execution, in which all the details are defined, through graphic scale diagrams, drawings of technical details, technical product information, evaluative metric calculations… and everything the installer needs for the electrical circuit and installation of the lighting appliances.

Sometimes when face to face with a project the need emerges to make a detailed study to create a “special” made-to-measure product for the client; from the simplest modification of a support for an existing appliance to more substantial modifications such as variations of optical groups and sources, to the complete design of a new lighting system with characteristics and performances meeting the needs of the design.

At the age of 14 I chose an artistic education, the passion for sign, shape, architecture, design, art has grown along my life, and I cannot live without it. The composition of shapes and colors, created by human beings and in nature, are something magical that I observe with obsessive insistence. The details a very important for reorganizing the set of signs in harmony. In our Italian cities we are invaded by mixture of forms that are not in harmony with the surrounding environment, an evident visual disorder that is constantly under our eyes. Walking through villages I am annoyed by the presence of many vertical poles supporting lamps, traffic lights, road signs, waste bins... randomly placed.

At night the image of the villages is messy due to too much light scattered everywhere on the houses, hotels, factories, church… facades without an organic design. Even seeing a badly set table annoys me. Mine is a small form of madness composition consolidated over the years.

My office deals with light projects for public and private spaces. To be a lighting designer, it’s a very interesting activity because artificial light is everywhere.

Working in architectural and environmental contexts in a different aesthetics style.

My task is to listen the soul of the work and translate it into a lighting project integrated with the architect’s philosophy.

Sometimes I design new products to fulfill specific needs

Design is a technical, scientific, humanistic, and sociological discipline, a link between invention, style, technique, research, production, market. Design tries to solve problems in all areas where it is applied. Making design means having a careful look at the world that revolves around the idea, from production to distribution by interfacing with industry, economy, marketing, and psychology. The definition of “design” is difficult to define, there are too many, but it is strength and the ability to act that design represents a fundamental field for the transformation of society.

I really like designing furnishing, mainly for my homes. I always start from a design requirement and market analysis, to start designing what is needed at that moment. Jack is a corten wardrobe for the guest room. It is the silhouette of Jack who keeps company in the bedroom, containing clothes without having the heaviness of a pieces of furniture. Or “Riflesso” is an alternative to be applied to windows instead of curtains, a sculpture in glass, with primary form, suspended where it is needed on the window. It allows you to hide part of the room, allowing light to enter and at the same time dilate the space.

I don’t have a favorite design, I’m a versatile person, instinctive and not inclined to follow trends.

During my career I have designed many lighting fixtures for my projects. I remember a project for a church, a large chandelier, 3,5 mt diameter with 35 luminaries inside.

The collaboration with the manufacture of the chandelier was very interesting a grate experience

Metals, iron, corten, steel, copper, brass,.. I am very seduce by their surface changes over time, if treated in a natural way. Light is my favorite material. It is a material without texture with a strong character, it fills places even if it has no specific weight. Light is a magical material.

Whenever there is an issue to be solve, my creativity is more motivated to find new solutions

Planning requires a lot of concentration, if you neglect a planning phase, the castle collapses on the subsequent steps. The initial part of the project, the concept, is certainly the most beautiful and creative, thoughts fly, and the restrictions are fewer.

The realization of the project or the prototyping of the product, requires an important commitment. Possible unforeseen events may arise, and you must solve them immediately for the success of the project.

Happiness at professional assignment, during the planning stage it is a continues up and down of moods that vanish during the realization phase to transform into a joy when the work is finished.

Grate satisfaction. Project are the result of a lot of personal commitment, they are part of a journey in your life, they occupy your thoughts. It is like having a storm in your head that accompanies you in all your activities until the project is solved.

When you see your ideas realized is a great joy.

Cooperating with other professionals working on the project is an essential part of success. Collaborate with the workers, a good project does not stop on paper. Another important role for a successful project is the client, he must always interface with the designer, explain his needs and objectives. The designer must have a very clear framework within which to move, in order to preserve his original contribution of creativity by responding to the client’s expectations

It is difficult to judge a project if you don’t know the inputs, the objectives, and the complications. A bad design is when, it does not perform any function.

Designers have many responsibilities. We are the forerunners for future generations and for the future world. The object are functional but aesthetically impose themselves in the space, they dialogue with human beings, they send messages to consumers. They are symbols that communicate through their use, they can often change the culture of entire generations.

Lighting

Lighting fixture

Sofas and armchairs

Jars-containers

Being curious, discovering new technologies, studying, exchanging information not only through social networks. When we meet in person the emotions we feel are essential for working and living

“Less is More”

The first tool is to connect the brain and the pencil; I’m an old school designer, I always use paper and pencil to fix my first ideas. The technicians take the sketches and put them into the computer, transforming it into a three-dimensional model. In this way you understand the critical issues of the object designed on paper.

I manage time very badly. I normally spend a lot of time designing even if I can’t get always what I want. Often having little time helps me find good solutions, thanks to the adrenaline.

Every project is different, for example the 2D lantern has been design in 2013.The first prototype as been design in 2019 and in 2023 is ready in the market.

The idea for the 2D Lantern Urban Fixture emerged from a very real technical challenge I faced years ago. I was tasked with illuminating an 18th-century architectural complex, a place defined by generous inner courtyards and a demanding lighting rhythm. To achieve the required light levels, countless lanterns would have been needed—yet the thought of scattering traditional fixtures across those historic façades felt almost sacrilegious. Their presence would have weighed too heavily on an architecture that survives on lightness, proportion, and quiet dignity.I remember the exact moment of revelation. As I leafed through catalogues in search of the “right” lantern, it became clear that every existing solution was too massive, too insistent—objects that imposed themselves rather than serving their context. And then a question arose, almost provocatively: Why must we accept the full bulk of a lantern? What do I truly need in order to create light?The answer was disarmingly simple: I needed the optical core, nothing more. The traditional lantern form—iconic, yes, but burdened with centuries of inherited volume—had drifted into pure ornament. So I began to strip it away, piece by piece, removing everything that did not belong to the essence of illumination.From this act of subtraction, the 2D urban lantern was born: a fixture distilled to its purest silhouette, capable of delivering the necessary lighting performance while retaining an almost ethereal presence. Depending on where one stands, it can vanish into the architecture or reveal itself as a delicate graphic stroke—quietly weaving a more respectful, intimate dialogue with the historical façades.

The most challenging aspect of the project was, without a doubt, the technical one. Crafting a fixture so compact, yet capable of true performance, would have been unthinkable without the advent of LEDs. The miniaturization of light sources now available, combined with the latest generations of high-performance optical lenses, made possible what, only a few years ago, would have seemed unattainable.Being supported by a highly skilled company, one committed to technological innovation and research, was fundamental—this is where the “magic” began to take form. My goal was never to create a lantern that was merely decorative or symbolic; I sought a fixture that could truly perform, illuminating urban spaces with precision and quality, respecting their geometry and scale.Today, the 2D Lantern Urban Fixture is offered with four distinct optic configurations: one symmetric, two asymmetric, and one rotosymmetric. This variety allows it to meet the diverse needs of contemporary public spaces with elegance and efficiency. Credit must also go to the manufacturer, who skillfully bridged my aesthetic vision with the most advanced lighting technologies available today, transforming an idea into reality.

Integrating the 2D Lantern Urban Fixture in historic contexts, such as Gozzano, demanded a meticulous dialogue with heritage. Beyond reducing the lantern to its essential form, I collaborated closely with local preservation authorities, architects, and the community to understand the historical rhythms of the space. We conducted light studies at different times of day and tested prototypes on-site to ensure the lantern’s presence was subtle yet effective. By carefully calibrating angles, intensity, and shadow play, the fixture enhances the historical façades without overpowering them. The result is a design that respects tradition while introducing a contemporary dimension, demonstrating that modern innovation and historical preservation can coexist in a delicate, almost poetic balance.

The principle of “subtracting vision to make visible” guides every stage of my work. It compels me to question what is truly necessary for a space to emerge visually and experientially. In practice, this means designing fixtures that often disappear into their context, only revealing themselves through their light. For example, in a recent urban plaza, the 2D Lantern’s thin silhouette disappears against façades during the day, but at night it subtly highlights architectural lines, pathways, and gathering spaces. This approach also influences material choice, optical precision, and mounting strategies, prioritizing perception over presence. Ultimately, it allows light to be experienced rather than observed, creating urban spaces that are comfortable, legible, and emotionally resonant.

The development of the 2D Lantern Urban Fixture between 2013 and 2020 did not involve major structural changes, but it was crucial for defining its philosophy and future potential. Today, my vision goes further: I imagine a lantern completely independent of the electrical grid, powered solely by solar energy.I envision a historic village illuminated without cables on the façades, with the 2D Lantern activated by energy stored during the day. This would create more sustainable and cost-efficient cities, using a free and clean energy source.This is a challenge I want to realize, but it requires the support of the manufacturer to turn the idea into reality. Light as an experience, technological innovation, and sustainability could finally converge in a concrete project, revitalizing historic spaces without compromising their identity.

The material selection for the 2D Lantern Urban Fixture reflects a combination of durability, optical performance, and sustainability. Cold-galvanized steel provides structural strength while resisting corrosion, crucial for long-term outdoor installations. Aluminum optical components ensure precision in light shaping while remaining lightweight, and silicone lenses allow for refined beam control with minimal optical loss. To arrive at this combination, we tested multiple alternatives under accelerated weathering and mechanical stress, balancing performance with environmental impact. We also considered recyclability and maintenance requirements, ensuring the fixture remains functional and elegant for decades. This process demonstrates that materiality can serve both technical excellence and responsible urban design.

In my vision, cities should not be memorable simply to impress, but to enhance the lives of those who inhabit them. They are not showpieces, but spaces for experience, where people socialize, work, and live in harmony with the environment. Cities must be inclusive, not exclusive.The 2D Lantern, like any urban fixture, does not by itself transform a space into a better place: what truly makes cities livable are conscious and responsible projects developed by teams combining technical, aesthetic, and social expertise to create pleasant, functional, and sustainable environments. Light thus becomes a tool serving experience, not an end in itself.

Visual comfort and glare control were fundamental in the 2D Lantern design. The intense LED source required advanced optics and micro-lens arrangements to shape light precisely, minimizing spill and harsh reflections. We performed iterative simulations and on-site tests, analyzing luminance levels, uniformity, and human perception from multiple viewpoints. In addition, we explored asymmetric and rotosymmetric optics to adapt to complex urban geometries, ensuring that light enhances the environment rather than overwhelming it. This attention to detail allows pedestrians and residents to experience a safe, comfortable space at night, where illumination guides movement and highlights architectural beauty without causing discomfort or visual fatigue.

The Silver A’ Design Award confirmed the innovation of the 2D Lantern and validated my design approach. Receiving international recognition strengthens the belief that aesthetics, functionality, and sustainability can coexist in urban lighting, opening new opportunities for conscious and responsible projects in public spaces.

Today, our cities are often overloaded with superfluous elements and uncoordinated additions: signs, furniture, installations, and miscellaneous objects that make the urban landscape visually chaotic. From the perspective of aesthetic composition, this accumulation tends to “blur” the perception of cities or villages, masking their intrinsic quality and legibility.I believe that tools like the 2D Lantern Urban Fixture remind us of the importance of a subtler approach, where the balance between visible and invisible becomes central. In this sense, lighting is not just about adding light, but about choosing what to highlight and, above all, what to subtract. My message to those managing our public spaces is clear: “less is better than more”. Only by reducing superfluous elements can we finally make cities and villages visible, restoring order and legibility to our urban landscapes.