Lighting design is an alphabet that Light Plan walks with wisdom, strong in its expertise in designing and producing light-related objects. “Intellectual” collections define some of them, certainly not in pursuit of fleeting modes and trends. Well-known brands are bright sources where innovation is visible from every point of view, between technology and function, between productive capacity and efficient lighting solutions. That’s why Luceplan plays a decisive role in defining the space inhabited. A design approach, but oriented to the needs of people – already evident in the first special projects and consistently pursued in series production, in close collaboration with designers of the likes of Alberto Meda and Paolo Rizzatto – awarded several times with the Compasso d’Oro .
The original design and production model of Luce Plan is distinguished by the unusual ability to “infect” an entire chain, involving suppliers in the process of testing and research, leading them to qualifying variations, which often open unusual market outlets.
So, the password is to experiment. Luceplan’s vision of sustainability is also well-defined: the company designs in terms of easy differentiated recovery and a long service life that is sheltered from fashionable seasonality. Moreover, the assembly is rationalized to reduce packaging volumes, new high-efficiency light sources are used. ” So sustainable products mean Luceplan’s research and innovation, the invariants of its history. It is no coincidence that in the lighting sector, for the first time, it has used materials and technologies in line with ecological issues, and then spread to large scale.
Luceplan, the art of enlightening: Luceplan Constance
Light plan has undoubtedly contributed to the history of lighting design, realizing true light icons that remain in the collective imagination all over the world. A typical example is the Constance model, recently revisited successfully.
Designed in 1986 by Paolo Rizzatto, Luceplan’s first major success, Constance is always an object of desire, produced in more than a million copies. It was the first luminous source to adopt fully innovative formal and technological solutions, such as self-supporting polycarbonate lampshade and infrared sensory dimmer. The first set included a seven-color diffuser combined with a satin or black painted aluminum frame. The new color proposal, recently developed by Paolo Rizzatto along with Studiopepe, is divided into two color families for the diffuser, each consisting of five unreleased shades, and the original white. All new variants enact the qualities of opaque surfaces.