{"id":97974,"date":"2026-02-28T23:56:02","date_gmt":"2026-02-28T23:56:02","guid":{"rendered":"https:\/\/ccmagazine.es\/?p=97974"},"modified":"2026-02-28T23:56:02","modified_gmt":"2026-02-28T23:56:02","slug":"antoni-arola-the-invisible-architecture-of-light","status":"publish","type":"post","link":"https:\/\/ccmagazine.es\/en\/antoni-arola-the-invisible-architecture-of-light\/","title":{"rendered":"Antoni Arola: the invisible architecture of light"},"content":{"rendered":"

From his studio in Barcelona \u2014 an almost ritual space filled with sculptures, drawings, ancestral references and luminous models \u2014 Antoni Arola<\/em> has consolidated a career that dialogues equally with industry and art. He has collaborated with firms such as Santa & Cole<\/em>, developed urban and exhibition projects in cities across the world, and taken part in festivals such as Llum BCN<\/em>, where he recently presented an intervention that expanded his language into new audiovisual layers.<\/p>\n

But before all this, there was a young man born in Tarragona in 1960 who moved to Barcelona to study at Eina School of Design and Art<\/em>. There he began tracing a path that would become a radically personal exploration of light as immaterial matter.<\/p>\n

His professional journey led him to collaborate with studios such as Alberto Lievore<\/em>and Jorge Pensi<\/em>, and later with Associate Designers<\/em>, a true design factory where he worked on projects as diverse as mopeds, trains and large-scale technology stands. That stage gave him technical rigour and adaptability. The decisive turning point came in 1994, when he founded his own studio at one of the most challenging moments in which to launch a design practice.<\/p>\n

\"\"<\/p>\n

It was then that his most intimate universe began to emerge more clearly: a fascination with ancestral cultures \u2014 African and Japanese \u2014 with earthen architecture and with primordial symbolism. From this perspective came deeply personal projects such as his rug collection for Nani Marquina<\/em> and, later, the iconic Nimba lamp, a ring of light that became a key piece within the catalogue of Santa & Cole<\/em>.<\/p>\n

Yet reducing Antoni Arola<\/em> to a lighting designer would be a mistake. His work doesn’t focus on the lamp as an object, but on light as phenomenon. His artistic research gravitates around an essential and immaterial element: light in its absence and in its presence, natural or artificial. Through the dialogue between light and space, he seeks to activate the viewer\u2019s perception, inviting immersion into an intangible, poetic world open to multiple interpretations.<\/p>\n

His method is play. His maxim, reduction. Beyond light and space, colour is another constant. His search for beauty is intuitive, permeable to chance and inspired by ancestral cultures, digital codes and serendipitous encounters. The result is a practice that oscillates between the technical and the spiritual, between industrial precision and near-mystical contemplation.<\/p>\n

On the occasion of his recent participation in Llum BCN \u2014 whose latest edition has just concluded and where Arola explored new narrative layers by incorporating large-scale video imagery \u2014 we spoke with him about his relationship with light, silence, teaching and the future of his work.<\/u><\/p>\n

How did your relationship with light begin? What attracted you to it as language and creative material?<\/strong><\/p>\n

From my point of view, light is the most sublime, subtle, ethereal, intangible, magical, spiritual \u201cmaterial\u201d\u2026 and much more. Light is the spirit of matter. Light is life.<\/p>\n

I believe it was a mutual recognition. Without intending it, without prior warning, I found in light a perfect ally to express myself: an infinite and magical ally.<\/p>\n

\u201cWithout meaning to, without warning, I found in light a perfect ally to express myself: an infinite and magical ally.\u201d<\/h2>\n

\"\"<\/p>\n

Throughout your career, you\u2019ve worked from the industrial to the most experimental and sensory. How would you define the way you create today?<\/strong><\/p>\n

It\u2019s a question as interesting as it is difficult to answer.<\/p>\n

The way I create, I\u2019d say, has to do with intuition, with associations of ideas and with a kind of contrasting cross-check with what is intimate, which has to do with the universal \u2014 I like to call it \u201carchetypes\u201d. What I do has to connect with these archetypes.<\/p>\n

I\u2019d say my way of creating hasn\u2019t changed much in essence; it has changed in form. Over the years I\u2019ve acquired a faster connection with my intuitions \u2014 I reach synthesis sooner; perhaps it\u2019s an advantage of age, hahaha\u2026<\/p>\n

What importance do silence, time and observation have in your creative process?<\/strong><\/p>\n

A lot \u2014 everything. Perhaps I\u2019d order them differently: surely the origin is observation; it\u2019s the seed. Then time: seeds have to develop, mature.<\/p>\n

For that maturation, silence is fundamental; maturation with noise becomes distorted and forgets the seed. It sounds like we\u2019re talking about wine!<\/p>\n

In your work, light seems not only to illuminate, but also to invoke: atmospheres, emotions, memories. What do you seek to provoke in those who experience your pieces?<\/strong><\/p>\n

I\u2019m liking the questions more and more\u2026!<\/p>\n

I seek different things: on the one hand, rather than provoke, that they accompany us; on the other, that observers can identify themselves in it (like someone reading a good book); and finally, that it makes their souls feel comfortable: if a soul is comfortable, it is simply happy \u2014 it is closer to its consciousness.<\/p>\n

\u201cMy way of creating, I\u2019d say, has to do with intuition, with associations of ideas and with a kind of contrasting cross-check with what is intimate.\u201d<\/h2>\n

You took part this year in a new edition of the Llum BCN Festival. What did that context represent for you and what did your intervention contribute?<\/strong><\/p>\n

I really enjoy working with the urban scale; it\u2019s very, very different from interiors. Perhaps there isn\u2019t as much control of light \u2014 there are many more factors \u2014 and it\u2019s another way of working: it has more to do with moving through than with staying.<\/p>\n

In this year\u2019s Llum BCN<\/em> I introduced a new game. It isn\u2019t only light itself that I work with; here some (giant) video images appear that address the viewer \u2014 it\u2019s another layer of creation. Very interesting. I hope it opens up a different way of doing things that I\u2019d wanted to emerge for some time.<\/p>\n

\"\"<\/p>\n

How do you find the balance between the technical and the poetic, between design functionality and its artistic dimension?<\/strong><\/p>\n

Everything is \u201cartistic\u201d; everything has to be poetic\u2026 simply, in design there is one more layer: it has to be minimally functional; although in my case most of my designs are more atmospheric and spiritual than \u201cfunctional\u201d.<\/p>\n

\"\"<\/p>\n

You have developed a constant teaching role in institutions such as UPC, UOC or ESDAPC. What place does teaching occupy in your professional life? What do you learn from contact with new generations?<\/strong><\/p>\n

Teaching is difficult and very intense. I\u2019m reducing this work as we understand it. My real school is my studio; people are trained here \u2014 it\u2019s years of work!<\/p>\n

Now I\u2019m considering a new way to share my experiences; I\u2019m going to try to do it in the studio. In fact, there is already master\u2019s programme that takes place in the studio.<\/p>\n

What are your main sources of inspiration today? Are there themes, disciplines or places that are especially present in your current imagination?<\/strong><\/p>\n

My imagination has no age and no time; it\u2019s round. Yes, of course there are closer disciplines, but in general, everything that has to do with creativity and its ways of expressing itself interests me.<\/p>\n

Here, in addition to the \u201ctraditional\u201d arts, we could include other disciplines such as scientific, philosophical or psychological ones, among many other interests. And also travel.<\/p>\n

\"\"<\/p>\n

\u201cMy imagination has no age and no time; it\u2019s round.\u201d<\/h2>\n

Over the years you\u2019ve been recognised with awards such as the National Design Award, the T Design Award or the Iplus, among others. What role do these recognitions play for you?<\/strong><\/p>\n

Awards are important when you\u2019re young; they help you trust yourself more.<\/p>\n

I think awarding veterans, besides being obvious, is a bit absurd\u2026 veterans should, in any case, be listened to, accompanied, kept present.<\/p>\n

What are you exploring or questioning at the moment in your work? What projects are you involved in right now?<\/strong><\/p>\n

There are always new things hovering around, but there\u2019s a new chapter that\u2019s becoming very interesting: playing with natural light \u2014 sunlight!<\/p>\n

\"\"<\/p>\n

Is there any collaboration or future project that excites you especially and that you can share?<\/strong><\/p>\n

We\u2019re starting a collaboration with the restaurant Disfrutar\u2026 we want to light up the \u201cbest\u201d table in the world!!!<\/p>\n

\u201cThere is a new chapter that\u2019s becoming very interesting: playing with natural light, sunlight!\u201d<\/h2>\n

Finally, if you had to condense the meaning of your work into a single phrase or idea, what would it be?<\/strong><\/p>\n

Reveal the light!<\/p>\n

Beyond the lamp: an ethics of light<\/h6>\n

The conversation with Antoni Arola<\/em> reveals something deeper than a creative method. It reveals an ethics. A way of understanding design as an exercise in consciousness. For him, light is not a scenographic resource nor a simple technical instrument: it is a vehicle for connecting with what is essential.<\/p>\n

His interest in ancestral cultures is not anecdotal. In them he finds a symbolic synthesis that today seems lost: the ability to reduce the world to primary signs \u2014 the circle, the ring, the shadow \u2014 that contain universal meanings. The Nimba<\/em> lamp, for example, is not only a complex technological development based on the Agabekov<\/em> system; it is also an archetypal gesture: a suspended ring, a halo that refers both to medieval chandeliers and to sacred symbols.<\/p>\n

In a context where lighting tends towards spectacle or an excess of stimuli, Arola<\/em>\u2019s work proposes another path: that of atmosphere. His pieces do not impose; they accompany. They don’t saturate; they suggest. They generate a state.<\/p>\n

His recent intervention at Llum BCN<\/em> confirmed this evolution. By incorporating large-scale video, he opened a new narrative layer in his work, expanding the dialogue between light and image without renouncing its essence. It was a significant step in a trajectory that remains in constant transformation.<\/p>\n

\u201cMost of my designs are more atmospheric and spiritual than functional.\u201d<\/h2>\n

\"\"<\/p>\n

Today, Antoni Arola<\/em> is exploring natural light \u2014 sunlight \u2014 as a new chapter in his research. A shift that is not a rupture, but a logical continuity: returning to the origin, to the primary source, to that intangible matter that has defined his practice from the beginning.<\/p>\n

At a time when design seems to be torn between hyper-production and planned obsolescence, Arola<\/em> reminds us that what is truly contemporary is what is essential. That innovation does not always consist of adding layers, but of removing them. That light \u2014 when understood \u2014 does not only illuminate spaces, but consciences.<\/p>\n

To reveal light is, ultimately, to reveal the gaze. And in that gesture, Antoni Arola<\/em> continues to be one of the clearest and most necessary voices in contemporary design and art.<\/p>\n

We recommend following his projects via Instagram.<\/a><\/em><\/p>\n

(*)<\/strong> Cover photo by Eva Carasol; horizontal fixed photo 1 and slider photo 1: Jara Varela; horizontal fixed photo 2: Josep Vila Capdevila; slider photo 2: H\u00e9ctor Milla; slider photo 3: Leo Garc\u00eda Mendez; slider photo 4: Iris Humm; slider photo 5: Pol Aregall; vertical photo 3: Masaaki Inoue; vertical photos 4 and 5: Antoni Arola Studio; vertical photo 2: Carlos Peric\u00e1s; vertical photo 1 and vertical photo 7: Enric Badrinas; vertical photo 6: G Perret.<\/p>\n","protected":false},"excerpt":{"rendered":"

From his studio in Barcelona \u2014 an almost ritual space filled with sculptures, drawings, ancestral references and luminous models \u2014 Antoni Arola has consolidated a career that dialogues equally with industry and art. He has collaborated with firms such as Santa & Cole, developed urban and exhibition projects in cities across the world, and taken […]<\/p>\n","protected":false},"author":4,"featured_media":97809,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[5957,5918,5917,5916,5902,5901,5900],"tags":[],"class_list":["post-97974","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-design-en","category-inspiration-en-2","category-interviews","category-inspiration-en","category-exhibitions","category-artists","category-art-en"],"acf":[],"yoast_head":"\nAntoni Arola: the invisible architecture of light<\/title>\n<meta name=\"description\" content=\"An in-depth conversation with Antoni Arola on light as phenomenon, intuition, silence and teaching, and why revealing light is an ethics.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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