We, as the Designer Interviews ("DI") had the distinct pleasure and opportunity to interview award-winning, most creative and innovative Ignacio Martínez Todeschini ("IMT").
Ignacio Martínez Todeschini, industrial designer from Buenos Aires, Argentina, is known for his innovative work integrating art, technology, and sustainability. With a solid background in industrial design, he focuses on creating disruptive yet functional designs using 4.0 technologies and parametric design. Passionate about nature, his work is driven by the combination of manual craftsmanship and technological tools, always centered on the user.
Ignacio Martínez Todeschini Designs
We are pleased to share with you original and innovative design work by Ignacio Martínez Todeschini.
Ignacio Martínez Todeschini Design - Orbita Luminaire
Designer Interview of Ignacio Martínez Todeschini:
DI: Could you please tell us more about your art and design background? What made you become an artist/designer? Have you always wanted to be a designer?
IMT : Since childhood, I showed a strong interest in music, visual arts, and crafts. My parents always encouraged a philosophy of expressing creativity, and I would often return their love by creating drawings and sculptures as gifts. As a child, I became a sort of 'creative machine,' producing artworks especially when they traveled. Over the years, I deepened my artistic, musical, and technical abilities. At the age of eight, I began playing the cello in my school orchestra and performed in prestigious theaters in Buenos Aires. Around the same time, I started building mechanical-electronic prototypes with my father, using wood, metal, and traditional tools. This experience shaped my understanding of how to combine beauty and function. I also became fascinated with science, mathematics, and astronomy, spending hours watching documentaries and reading. At fifteen, I discovered industrial design in high school and immediately felt a calling. The balance between technical and artistic dimensions resonated with me. After completing my technical baccalaureate, I enrolled in the University of Buenos Aires—Argentina’s most prestigious institution—and graduated at 23. That marked the beginning of my professional design career.
DI: Can you tell us more about your company / design studio?
IMT : My brand, BILU, is a collection of signature luminaires based on computational algorithms that mimic natural behavior. Using additive manufacturing and combining it with noble materials such as wood, ceramics, metal, and natural stone, BILU was born during the pandemic, while I was still a design student. Nature was a key inspiration, as I felt the intrinsic need to reflect my passion for the natural world in a collection. Although it took time to define the visual and conceptual language, the identity emerged as a blend of sustainability, technology, and the cultural heritage of Latin America. In just three years, the brand has received significant recognition, including design awards and exhibitions at leading national and international fairs such as Salone del Mobile Milano. In parallel, I began designing for other companies, including IWish, an Argentine lighting brand. Together with its director Ignacio Noel, we developed 'Órbita', a luminaire that gained international prestige and won the Gold A' Design Award, marking a major milestone in my career.
DI: What is "design" for you?
IMT : Design, for me, is a language—a tool for transformation. It’s not an end in itself but a medium through which we can create meaningful value in people's lives, culturally, aesthetically, and functionally. Design holds great power in the commercial world, and as designers, we must learn to use it to benefit both users and the environment. We are cultural agents trained to articulate complex systems within the production chain. It’s our duty to raise our voices and make a positive contribution to society.
DI: What kinds of works do you like designing most?
IMT : I’m especially drawn to projects that require or allow for strong emotional and narrative depth. That’s why I’m particularly attracted to lighting design. In decorative lighting, luminaires serve not only a functional role but also act as sculptural objects. Still, I remain curious to explore new fields, particularly within interior design.
DI: What is your most favorite design, could you please tell more about it?
IMT : If I had to choose one piece that summarizes my path as a designer, it would be the luminaire 'Órbita', which won the Gold A’ Design Award. Its technical and conceptual development is unique—especially in the Argentine context. The piece features high-quality materials, intricate joinery, and an internal rotation system that allows users to customize their lighting experience. It was conceived from the outset for export, blending inventive and artistic complexity into a timeless design. We aspire for Órbita to become an icon of 21st-century design.
DI: What was the first thing you designed for a company?
IMT : The first major project I designed for a company was the Órbita luminaire for IWish Deco. It was an intense year-long process of exploration, prototyping, and refinement. The result was a conceptually and technically rich product aimed at the international market—one that still awaits full-scale industrial production but is already celebrated for its inventiveness and uniqueness.
DI: What is your favorite material / platform / technology?
IMT : I have extensive experience working with biopolymers, which allow for complex forms through 3D printing while maintaining a sustainable focus. I also appreciate natural materials like wood and textiles for the warmth and authenticity they bring. Tools like Grasshopper enable previously unthinkable generative design processes. Recently, I’ve been experimenting with ceramics and translucent natural stone. I’m always eager to immerse myself in new materials and processes that align with my creative language and worldview.
DI: When do you feel the most creative?
IMT : Primarily when I travel and explore natural environments. I enjoy hiking and immersing myself in wild, overgrown places—settings not everyone would dare to enter. This connection with nature clears my mind and sparks new ideas. Additionally, encountering unfamiliar cultural expressions and forms of art stimulates fresh perspectives. These two forces—nature and culture—continuously feed one another in my creative process.
DI: Which aspects of a design do you focus more during designing?
IMT : I focus on morphology, narrative, material selection, and the sensory interaction between object and user. Equally important is the commercial viability of a design. I strive to ensure that each piece aligns with a sound business strategy—one I actively help shape.
DI: What kind of emotions do you feel when you design?
IMT : What I feel most intensely happens before I even begin designing—an inner urge to materialize a concept. Sometimes the process starts with a piece of writing or a conceptual thread that captures my attention; other times it begins with a sketch or an intuitive form. The journey evokes a mix of excitement and introspection, as I experiment with materials and techniques. Ultimately, watching a concept become a tangible object that touches people’s lives is deeply fulfilling.
DI: What kind of emotions do you feel when your designs are realized?
IMT : Generally speaking, if I have done things correctly, it is met with admiration. The sensation of having created something new, of having introduced something original into a world inundated with choices and information, fills me with immense pleasure. Moreover, if this is positively received by the public, the gratification is doubled.
DI: What makes a design successful?
IMT : A successful design should be able, within its particular ecosystem, to satisfy all parties in the best possible way. In other words, it must ensure a proud designer, a company recouping its investment, a customer pleased with their purchase, a user with one less problem in their life, workers or artisans employed under dignified conditions, and nature enduring the least possible negative impact.
DI: When judging a design as good or bad, which aspects do you consider first?
IMT : Emotional connection should always be inherent in good design. There are other professions equipped to create products that satisfy needs; however, what distinguishes design from these fields is its exceptional added value in terms of usability and aesthetics. Establishing a connection with the user or viewer is fundamental.
DI: From your point of view, what are the responsibilities of a designer for society and environment?
IMT : There are infinite responsibilities—far too many to fully contemplate, one might say. Yet, I believe that foremost there is a responsibility to the industry, through respecting those who work within it and keep it afloat, as well as our fellow designers. Next, it is imperative to design with conscious intent so that the users of my products experience genuine happiness, receiving true value in their lives rather than merely ephemeral pleasure. Moreover, within the broader framework of society lies the environment, our only home, which will remain so for many generations to come. It is not only about meeting today’s needs but also about considering—and not compromising—the needs of tomorrow. Still, I recognize that for designers to bear this responsibility alone is unfeasible; the task, to be successful, requires the cooperation of several parties: institutions, companies, designers, and consumers.
DI: How do you think the "design field" is evolving? What is the future of design?
IMT : The focus on the human element, emotionality, and the hybridization with technology are aspects of design that resonate profoundly today. Collaborative design endeavors, in which different actors—sometimes of divergent natures—converge to create high-value projects, further highlight this shift. Moreover, personalization and unique design break away from traditional industrial methods, carving out a renewed space for craftsmanship and inviting it to reinvent itself and contribute once again.
DI: When was your last exhibition and where was it? And when do you want to hold your next exhibition?
IMT : My two most recent exhibitions took place at Salone Satellite, part of Salone del Mobile Milano—a prestigious venue in the design world that showcases emerging and avant-garde design by sub-35 designers, within the most celebrated design exhibition and the foremost design week. Being selected for this showcase granted me the privilege of participating on three occasions. Consequently, my projection for next year is to return to Milan and, whether at Satellite or Fuorisalone, once again present a glimpse of what I have been diligently working on throughout the year.
DI: Where does the design inspiration for your works come from? How do you feed your creativity? What are your sources of inspirations?
IMT : The careful observation of everyday life, art in all its manifestations, the people in my sorroundings, scientific advances, and the inexplicable beauty present in nature.
DI: How would you describe your design style? What made you explore more this style and what are the main characteristics of your style? What's your approach to design?
IMT : Although my style is in constant evolution, I can assert that its guiding principle lies in the integration of the latest technologies with artisanal craftsmanship. This fusion gives rise to an aesthetic that engages in a dialogue between both worlds—between machinery and the artisan. The natural environment, serving as an inexhaustible source of inspiration, compels me to realize organic forms that depart somewhat from the customary industrial aesthetic. It also inspires the use of neutral, visually pleasing colors that harmoniously blend with their surroundings rather than overwhelm them. Moreover, 4.0 technologies have enabled me to materialize ideas that would be impossible to manufacture using traditional industrial methods—ideas that resonate on an emotional level with people and meet contemporary needs.
DI: Where do you live? Do you feel the cultural heritage of your country affects your designs? What are the pros and cons during designing as a result of living in your country?
IMT : I reside in Argentina—the country where I was born and where I have spent the majority of my life. I also travel frequently to Uruguay, my second home across the widest river in the world, the Rio de la Plata, where I have the other half of my family. The cultural heritage in my region is truly impressive; in Buenos Aires, in particular, there exists a remarkable synergy between artisanal craftsmanship and industry, with both working together harmoniously for many years. Trades and industry mutually complement one another. In an economy as unstable as ours, there is an established know-how that enables us to solve nearly any problem using minimal resources. There is no challenge too great for us Argentines to dare to resolve, and for that reason, we are in high demand professionally around the world.
DI: How do you work with companies?
IMT : First, I invest considerable time in thoroughly understanding what the client or company explicitly expresses as a need. Then, building on the insights gathered, I endeavor to identify additional challenges that the client may not have yet recognized. There is what I refer to as commercial creativity—a skill I have developed over the years through my brand—which arguably exceeds the typical capabilities of a designer. This exceptional creativity is a distinctive value that I am committed to bringing to the company from the very outset. My aim is not solely to deliver value through design but to provide something more. That "something more," along with my personal vision of the world, constitutes my unique signature and distinguishes me from other designers. I firmly believe in collaborating with the company—not just working for it—by incorporating them into the design process and utilizing my tools and resources to empower them to create as well. When such a collaborative commitment exists, the results achieved are truly remarkable
DI: What are your suggestions to companies for working with a designer? How can companies select a good designer?
IMT : For a company, a designer is akin to a partner—one whose relationship may last for a few months or many years, but who must be chosen with great care. There is a proper timing that must be observed, where both parties feel that they have “found the one.” When this sentiment is mutual, success is assured. I also understand that there are cases in which, particularly with very large companies, this ideal match becomes somewhat more complex to achieve. Ultimately, however, it is a relationship between organizations—a connection between human beings that should flow as naturally as water. If numerous obstacles arise from the outset, then it is likely that this is not the right path to follow. There is an ideal designer for every company, and a company for every designer.
DI: Can you talk a little about your design process?
IMT : My design process begins with an in-depth research and observation phase, during which I identify needs and opportunities. I analyze relevant references and familiarize myself with every detail of the ecosystem in which the design element will operate. Next, I conduct a brainstorming session, segmented by aesthetics, functionality, technology, usability, and sustainability—using online collaborative platforms that enable the exploration of the diverse issues surrounding the project. Once I have a comprehensive understanding of the overall landscape, I start addressing questions with the aim of solving problems through innovative solutions. This leads into the sketching phase, where I employ not only hand-drawn sketches but also digital drafts, three-dimensional models, and fast renderings powered by artificial intelligence. I propose multiple approaches to select at least two viable paths, generating various proposals that are ultimately chosen by either myself or the client, often supplemented by focus group tools and validation with real users. Finally, the prototyping stage is fundamental to detect necessary adjustments and refine the proposal technologically, ensuring that it not only meets quality standards but also remains cost-effective and fulfills sustainability requirements.
DI: Could you please share some pearls of wisdom for young designers? What are your suggestions to young, up and coming designers?
IMT : Find your own voice, practice keen observation, and be patient. Identify where your true strengths lie and where you can contribute something uniquely different from what others can. Work diligently, understanding that while shortcuts may exist, none can replace the value of hard work. It is essential to grasp, deep within, the extent to which one is willing to risk or sacrifice to achieve desired results, and to be honest about that commitment without comparing oneself to others. Recognize that the professional journey is long, and consistency is of paramount importance. Establish clear, well-defined objectives in the short, medium, and long term, and commit to steady progress throughout the process. As the saying goes, “It’s a long way to the top,” reminding us that while motivation may not always be present, perseverance remains crucial. Yet, despite these challenges, finding pleasure in the journey and enjoying the process is equally important, for without it, the pursuit loses its meaning.
DI: From your perspective, what would you say are some positives and negatives of being a designer?
IMT : Creative freedom, the opportunity to introduce new contributions to the world, to add value to society, and to serve as a transformative art in the history of humanity. The downside, perhaps, is the considerable intellectual time it demands and the challenge of ever being able to still the mind.
DI: What is your "golden rule" in design?
IMT : To deliver value to the world without neglecting one's own core values.
DI: What skills are most important for a designer?
IMT : Knowing how to work collaboratively and delegate tasks is essential. Embracing challenges and managing risks effectively are equally important. Furthermore, one must understand when it is truly worthwhile to invest effort in a particular endeavor and when it is not. It is also important to acknowledge that designers often suffer from an affliction known as perfectionism, which typically works to our detriment.
DI: Which tools do you use during design? What is inside your toolbox? Such as software, application, hardware, books, sources of inspiration etc.?
IMT : Drawing notebooks, markers for rendering, and occasionally watercolors. The computer stands as the quintessential tool, enabling a myriad of actions to achieve exemplary design. Online collaborative platforms facilitate effective teamwork, while various artificial intelligence software applications are employed to process data and rapidly generate fresh ideas. I utilize Rhinoceros 3D for three-dimensional modeling, Grasshopper for creating complex parametric surfaces, SolidWorks for crafting parts or assemblies with specific technical requirements, Keyshot for renderings, and both Illustrator and Photoshop for developing presentations. Additionally, 3D printers and specialized tools and machinery for processing wood or metal are integral to the prototyping phase.
DI: Designing can sometimes be a really time consuming task, how do you manage your time?
IMT : Working diligently makes it possible to complete nearly any design task. However, effective time management is essential to ensure that such hard work does not encroach upon one's personal life. My greatest challenge is balancing my work and personal commitments—a goal I aspire to achieve one day. Currently, going the extra mile has become a constant in my routine. Moreover, knowing how to delegate tasks that others may perform better or that I have little interest in undertaking is crucial for managing time effectively.
DI: How long does it take to design an object from beginning to end?
IMT : It depends heavily on the project. The first collection presented at BILU took approximately six months to develop from the moment I defined my objective—essentially, designing for myself as my own client. Later, for example, in designing the Orbita light fixture, the design process spanned a full year. The final outcome is a prototype, which still requires some final technical adjustments before a formal industrial production can be launched. I would say that a good project within a small yet competent organization naturally takes between one and two years.
DI: What is the most frequently asked question to you, as a designer?
IMT : I am often asked how I managed to accomplish so much in such a short time. Truthfully, I’m not entirely sure, but I believe it is, as I mentioned before, by working diligently—even to the point of exhaustion—often without receiving direct results or immediate rewards. I have learned to cultivate patience and to understand that every action undertaken with sincere intention and positive energy will eventually bear fruit. By connecting with the right people and very consciously choosing the projects in which I engage, I always honor my decisions and give nothing less than the best of myself.
DI: What was your most important job experience?
IMT : Professionally, I have achieved several significant milestones that have led me to where I am today. First, there was the process of creating my brand from scratch. Designing, developing, and launching a collection of signature products into the market—without having the necessary contacts and with virtually no knowledge of the field—is no easy task. It was a colossal challenge, filled with many ups and downs, from which I learned immensely, not only as a designer but also as an entrepreneur and small business owner. The second milestone was participating in the Feria Puro Diseño for two consecutive years, a platform with 25 years of history dedicated to showcasing emerging Argentine talent and design. Through this experience, I successfully connected my brand, BILU, with major companies, met potential clients, distributors, and media outlets. Following that, I was honored with the Sello Buen Diseño Argentino for the “Ombo” collection, the first and most representative of my brand. This recognition not only enhanced my market positioning and validated my work, but it also opened significant institutional opportunities. Lastly, being selected by SaloneSatellite at Salone del Mobile.Milano was perhaps the final major milestone that ultimately catapulted my professional career. Initially, it seemed impossible, and it truly required an enormous amount of work for an emerging designer from Argentina to reach Milan. After participating for two consecutive years, I managed to establish a strong presence in the local scene and open doors on the global stage. In the 2025 edition, we presented Orbita—a project on which we worked diligently throughout the year and from which I gained a wealth of knowledge.
DI: Who are some of your clients?
IMT : Overall, I work with small to medium-sized companies that are willing to invest in design to extend their reach—not only commercially but also in their advertising efforts. These organizations believe in the transformative power of design and view it as a long-term strategy that will yield results well beyond the immediate future.
DI: What type of design work do you enjoy the most and why?
IMT : Conceptual design—the intangible—shapes and gives purpose to design. It is arguably the most artistic and creative realm, a domain that no one can approach in exactly the same way. I am not drawn to working in areas of design that, at their core, any other designer could address in a similar manner.
DI: What are your future plans? What is next for you?
IMT : I have a strong desire to pursue international design experiences, traveling extensively, engaging with new organizations, and immersing myself in diverse cultures. I long to meet and learn from new people, to feel like an internationally recognized designer with a well-deserved title, all while never forgetting my roots and showcasing them proudly to the world.
DI: Do you work as a team, or do you develop your designs yourself?
IMT : I believe in a hybrid approach to work. Certain phases are inherently individual while others require collaboration. Even so, teamwork remains indispensable. The diversity of ideas, opinions, experiences, and efforts is always beneficial, and it is extremely difficult—if not impossible—to achieve great results by working alone.
DI: Do you have any works-in-progress being designed that you would like to talk about?
IMT : I am currently designing a collection of natural stone luminaires in collaboration with a renowned stone distribution company in Argentina, using a Brazilian stone with translucent properties and unparalleled beauty. Although the original idea was to showcase them in Milan, time constraints made that impossible. I now aim to have the collection ready by next year, offering the world a glimpse of indigenous materials and craftsmanship.
DI: How can people contact you?
IMT : Email: ignaciomtodeschini@gmail.com Instagram: https://www.instagram.com/imtodeschini/ Website: https://imtodeschini.com.ar/ LinkedIN: https://www.linkedin.com/in/ignaciomartineztodeschini/