Environment and design
The term ecosustainability, which is widely used today, has always been an intrinsic part of Luceplan’s DNA.

It is so deeply interiorised that it has not been emphasized, consistently with the company’s natural, instinctive attitude. Luceplan has always kept aloof from new but often empty proclamations. And in the sea of high-flown declarations and statements that abound in the world of design, Luceplan has a clear and precise vision of sustainabilty: “Design also focuses on easy, differentiated waste recovery and on weathering seasonal trends. It rationalises the assembly process to compress packaging volume, and makes use of the ultimate, highly efficient light sources.”

For Luceplan sustainability means research and innovation, the constant factors in its history. It is no mere chance that Luceplan was the first company in the lighting sector to introduce materials and technologies that met ecological requirements, which were widely used later. The same occurred with LEDs that were borrowed from “other” select production sectors – after careful work performed in cooperation with designers to remove all bonds – to achieve a lighting performance that was comparable with traditional light sources, while maintaining the added value of low consumption and high flexibility. Or again for the small photovoltaic cells designed for outdoor devices.

Commitment for the environment has won Luceplan several international acknowledgements, numbering the European award Lights of the Future assigned to the table lamp Mix by Alberto Meda and Paolo Rizzatto, which was also proposed by Legambiente for the prize Innovazione Amica dell’Ambiente, not to mention the presence of its fixtures in “green” buildings throughout the world, like the New York Times Building designed by Renzo Piano. The LED Berenice plays the protagonist on writing desks in its offices.

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