Cover photo: Tiffany Wonder Exhibition, Client: Tiffany, Architect: OMA. Ph. Courtesy Tiffany
In Ancient Greece, metis referred to an unconventional or superior form of intelligence, which Homer defined as the ability to read reality. «For us lighting designers, reading reality means having a critical and broad perspective on gestures, architectural meaning, and possessing the tools and skills to understand its intentions and desires, designing light with awareness, care, and precision.» – Metis Lighting.
Founded in 1990 by Marinella Patetta and Claudio Valent, Metis Lighting today counts over 30 designers from various fields, all specializing in lighting. With a diverse portfolio covering projects across different building types, some of its most prestigious works include four Bulgari Hotels, the Qatar Airways Lounges at Doha’s Hamad International Airport, flagship stores for long-time clients Dior and Hermès, as well as Bocconi University, the Ermenegildo Zegna headquarters, and the Pinacoteca di Brera—significant landmarks of the studio’s presence in Milan. All projects adhere to sustainability principles, efficiency, tailored solutions, visual comfort, and architectural value.
The international studio has also worked extensively in art, illuminating major museums, exhibitions, and temporary and permanent installations. We explored this theme with Metis Lighting, delving into some of their most significant recent projects.
Metis Lighting has worked across multiple sectors, including the art world. What is your approach to such projects? How does lighting design add value to museums, exhibitions, and installations?
«Our approach remains fundamentally the same for every project and is adapted to different interventions following consistent principles and criteria—the museum sector is no exception. We approach projects with dedication and attention, fully aware of a lighting designer’s crucial role in a comprehensive and integrated process where each contributor shapes a unified vision. The effectiveness of our contribution significantly increases when we are involved from the earliest concept phases: collaborating with all stakeholders from the outset enables highly refined and sophisticated results. Integrating lighting concepts at the beginning of the spatial design process and interpreting architectural intent allows solutions that seamlessly blend into the environment, where light becomes an architectural element, a soundtrack, and an atmosphere.
In the recent Tiffany Wonder Exhibition, lighting was the defining feature of the space».
How did this idea come about, and what solutions did you implement?
«The lighting concept for Tiffany Wonder was developed from OMA’s preliminary sketches, where initial design ideas were hastily traced with yellow markers and pencils—we had very little time. The exhibition aimed to celebrate the decades-long connection between Maison Tiffany and Japan through multiple narratives: each space was meticulously designed and curated, ensuring uniqueness for every theme while respecting its specific characteristics.
Metis Lighting sought to interpret the architects’ and clients’ visions to create an immersive, multi-layered experience. The lighting was conceived as a guiding element, much like a musical score, enriching the visitor’s journey without overpowering the narrative elements. The complexity of such projects lies primarily in the ability to coordinate diverse expertise while operating on multiple scales simultaneously, from atmospheric scenic lighting to the precise illumination of intricate high jewelry details. These projects pose significant challenges for us, where technical and poetic aspects must balance perfectly».
Lighting transforms space and time, as seen in The Art of Light (2023) for Elle Decor. Can you tell us more about this project?
«The Art of Light was an installation conceived with Giuliano Andrea dell’Uva Architetti, designed to recreate the home of an art collector within an 18th-century neoclassical building, Palazzo Bovara, making light the absolute protagonist through an interplay of natural and artificial scenarios.
From the core concept shaping the entire visitor experience to the individual details and objects composing the setting, the dialogue between light elements remained constant: each space received lighting that shifted in color, temperature, intensity, direction, and tone. Natural light interacted with interiors, finishes, and objects, creating a continuously evolving scene. The Art of Light was essentially a play of light that appeared simple and natural to visitors, though in reality, it resulted from extensive research and meticulous behind-the-scenes work. The event took place during Fuorisalone 2023, made possible by the invaluable contributions of sponsors and professionals, marking a key milestone in our journey toward raising awareness of light in all its forms».
What has been one of the most challenging museum-related projects you have tackled?
A few years ago, we were commissioned to design the lighting for Galleria Massimo De Carlo in Milan, located at Viale Lombardia 17, within a historically protected building designed by Piero Portaluppi for the Corbellini-Wassermann family between 1934 and 1936. Studio Binocle completely renovated the apartment under the supervision of architect Antonio Citterio.
Given the historical significance of the building, the only permissible installation points for any system or fixture were on the walls, preserving the integrity of the original ceilings and architectural details of great value and importance. This constraint made the lighting design particularly complex: we had to ensure adequate illumination for the constantly rotating artworks and enhance the space itself, requiring a highly flexible and adaptable lighting system.
After various studies and proposals, we devised and implemented a custom solution: a self-supporting luminous structure resembling a structural beam. This structure incorporated both diffuse lighting and, within its section, an electrified track for adjustable projectors dedicated to accent lighting.
This sleek and technically refined luminous beam required the development of tailored solutions for its construction, wiring, housing of remote power units, and maintenance, all integrated within the structure itself. Additionally, its transportation and installation posed highly delicate and complex challenges».
Through this selection of case studies, which exemplify Metis Lighting’s approach in the art sector, it is evident that the studio brings a critical and conscious perspective to lighting design. From projects that demand bold creativity to those requiring intricate technical precision, Metis Lighting demonstrates how light can become a fundamental strength, an instrument capable of interpreting reality and enhancing a project’s meaning.
