Project
How does light fit into your design process? When
do you think about light and how do you model or
experiment with it in your design process?
The interesting part of the unique approach I employ
is an acknowledgment that at the very moment I
am designing, I am also creating light. It’s a very
different awareness from thinking about creating a
project and then calling someone in to light it. It’s
a completely different process, which allows me to
fully understand the reasons why certain volumes of
light have been created. I have researched, defined
and modelled them for a reason. I have created
them to avoid certain problems or to cover up
others. Therefore, I know that these volumes exist,
how to manage them from every point of view, and
how to take advantage of the characteristics of the
materials that I know will be used in the project.
And so, for instance, I can achieve the right line in
anticipation of lighting that specific material from
the proper angle. I always avoid comparisons with
those involved in lighting design because that’s not
quite right as I create and provide light. I design and
light anything. It’s a different, much more creative
approach.
So do you conceive the spatial aspect of your
projects through light? When you imagine it, is there
already some type of light?
Yes, this is a fundamental rule. When an idea
comes, light is usually one of the strongest elements
in the design as when you create something, you
know how you will light it, you know how it will be
lit in daylight, and you know how you can make it
different at night using artificial light. It’s something
you’ll know straight away, not later on. So, yes, when
I create, I have a certain type of light in mind. It
doesn’t always happen like this, but usually this is
how I like to conceive light.
How do you define what type of light to include in
your projects? Warm light, diffused light, clear light
or cold, neutral or artificial light. How deep do you
go into the design process? Do you contact possible
suppliers to define this aspect?
After so many years now, this has become an
instinct, an automatic impulse. I mean, it’s often
to do with the mass, volume or material itself being
created that will suggest the way it should be lit.
A gradient effect or points of light to emphasise a
certain feature - the right light is actually the right
use of shadow. This is the light. If you respect this
basic rule, then you know when to use diffuse light,
when to use spotlight because you want or don’t
want a particular shadow play.
If there is a very strong element, there won’t be a
great contrast with lighting because it is already
strong in itself - bright, very shiny and attractive.
Lighting expectations will be lowered because
this element will emerge by itself. It’s a kind of
automatic balance. Maybe for someone that’s a big
problem, but for me it’s something really natural, a
feeling that guides me in my choices. It’s something
that just comes together. No, I don’t usually go to
suppliers to discuss this.
Nikos, do you usually make models of your
architecture, or do you only work with 3-D computer
and photographic simulations?
No, no... I don’t work with 3D models.
Let’s talk about the project we are collaborating on,
the Villa in Athens. How did you conceive the type
of light for that project?
It’s a detached house, an old house that has been
completely renovated and we can say that this was
a project that came up at the right time because
I’d just visited your showroom and came across
the IP System®. At the exact moment I saw it, I
imagined I would be able to use it to provide a kind
of connection and continuity between the villa’s
interior and exterior. I usually work on summer villa
projects, and in this type of work the connection
between the interior and exterior is generally very
important for the success of the project and the
proper functionality of the house. This connection
is always necessary and the IP System® helps to
achieve this. I will use these continuous lines of
yours, creating something new, which I will make by
myself. I’m going to use it, I’ll use the external rail,
but I’ll embed it in the wooden ceiling. This will be
a kind of hybrid installation between you and me.
I’m very confident about the success of this project.
I’m working on continuous lines between the interior
and exterior, thus giving the client the opportunity to
add a spot wherever they want. The ability I have to
control, to have the right amount of light, to create
spots anywhere I want is exactly what I need from
this specific project. Furthermore, I usually use the
ceiling as a reflecting surface, and the IP System®
has suggested the perfect solution for me in this
case. I have my solution and you’ll have a nice
project. We’ll all be happy.
The nature of any project means that you have to
deal with certain challenges and problems. The
IP System® is proving to be a truly flexible system
that is growing, evolving and able to respond to any
unexpected demands.
Yes, you can see that! I am also curious and happy
to say that this is the first time I’ve used it, and
I’m using it on a large scale, that is, as the main
element, which is taking up an entire area, so I’m
also very curious to see the results.
You are passionate about music? If the light were
music what kind of music would it be?
What question?! Well, you know, it should flow. It
wouldn’t be stagnant like a lake, it would be rather
like a river. A river from flowing slow or fast, depends
on the curves and how high it starts, but can range
from classical music to classical jazz, hip-hop,
anything else... I have a wide variety of inspirations,
a large amount of music that I love, so it’s not always
the same that gets me involved or comes to mind.
But the sure thing is that it will flow, it will not
remain quiet. My light is a flowing music.
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Pantheon Estate
Mykonos, Greece, 2020
AAA Rock Villa
Mykonos, Greece, 2021
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