With the growing demand for well-lit and functionally comfortable environments, the role of light in architecture and design has become increasingly central. To understand how to turn lighting into a tool that combines technique, well-being, and aesthetics, idealista/news spoke with architect and lighting designer Raquel Gutiérrez, founder of Polight, a lighting studio based in Madrid, Spain.
With more than 16 years of international experience in architectural lighting consultancy across the residential, retail, and hospitality segments, the specialist shares her journey from her earliest memories among light bulbs and lamp holders to the creation of her own studio in the Spanish capital, alongside her teaching career. All this and much more in an interview in which Raquel Gutiérrez also reveals how to design spaces where light accompanies without imposing itself, and shares her views on luxury, sustainability, modular systems, and new residential trends.
Polight Studio
idealista/news
What motivated you to found Polight with Ignacio? When did you decide to turn your experience into your own studio?
The truth is that my relationship with lighting began very early on, even before I imagined I would end up dedicating myself to it. My grandfather had a glass factory and also produced lamp components, and when I was little, I spent many afternoons in my grandparents’ shop watching how lamp holders, cables, and lampshades were assembled. I loved handling everything and understanding how, simply by changing a lampshade, the entire atmosphere could be transformed.
Later, at the very beginning of architecture school, I started working on a luminaire assembly line to earn some money, assembling pieces one by one, exactly as I had seen done when I was a child. It’s curious, because today some of the collaborators with whom we assemble the luminaires we design were, at that time, my assembly supervisors, the ones who timed each piece.
From there I made the leap as an intern to Viabizzuno, where I went from assembling pieces to actually being able to “feel” lighting in top-level projects. I peeked at everything I could and saw how huge projects were developed with architects such as Peter Zumthor or David Chipperfield, even though I was basically the girl doing errands [laughs]. From that point on, a very long journey within the firm began: I continued training, growing, and taking on responsibilities, until I became Projects Director of Viabizzuno for Spain, after 16 years of intense learning at every level.
It was precisely at that moment that Polight was born. After everything I had learned, it made sense to create a studio where lighting would truly be the protagonist, with a more open, free approach fully connected to the real needs of each project. And it was then that, together with Nacho, we took the decisive step and launched the studio.
How would you describe your vision of lighting design beyond the decorative object?
Polight Studio
idealista/news
We always start from architecture: from that “box” that can be a home, an educational space, or a shop. Our goal is to integrate light in such a way that it goes unnoticed, yet is able to generate sensations and emotions, while also fulfilling a practical function. Light should not impose itself; it should accompany.
How do you combine the artistic dimension of light with energy efficiency and technical requirements?
We only work with manufacturers who respect the entire production chain. We do not define ourselves as a 100% sustainable company — the word is too broad — but we design so that our projects are. We optimize the amount of material used, take care with materials and their recycling potential, and work with energy certifications that ensure the proper use of each luminaire.
How does the technical system you work with function?
Many of our projects are based on modular systems. It’s complex to explain without seeing them, which is why we have our own light laboratory. But to give you an idea: just as the E27 base used to exist, today we work with bases that allow us to “customize” the luminaire according to the amount of light, beam spread, or aesthetic required. It’s almost like a camera’s bayonet system: the same base can become a technical piece or a decorative element, depending on the project.
What stages does your creative process follow from receiving a brief to the final installation?
The ideal process begins at the preliminary design stage, when we are still working on paper. As architects, we understand the moodboard, the uses, and the sensations you want to convey very well. We have a form that helps define atmospheres: warm or cool, color and function. Then we sketch ideas, create plans, move on to the executive project, and finally to implementation. We offer full installation and turnkey solutions.
It’s important to understand that each room has multiple uses. A clear example is the kitchen, which nowadays is the center of the home. In this space you need one type of light in the morning, another for cooking, another for cleaning, another for relaxing or moving around at night — and we always think about those rhythms.
You collaborate with Viabizzuno, a highly reputable Italian manufacturer. What role does that relationship play in your studio’s identity?
For me, Viabizzuno is the soul that brought me here. They taught me how an object can be designed for architecture. I remember an example that stayed with me: at the Therme Vals by Peter Zumthor, the luminaires have the thickness of the floor, and the light well creates the desired sensation. Their philosophy shaped us — the product is born from the project, not the other way around.
You have worked on exclusive projects such as the Loewe boutique in the Golden Mile in Marbella. What is the biggest challenge in a luxury retail space?
Working with international brands means adapting to the lighting standards of each country. For example, in Japan we had to increase light levels using the same equipment to maintain consistency. In retail, I always say that a shop cannot be a showroom of light bulbs; discretion is essential. These projects force you to master the intensity, quantity, and distribution of light, without compromising aesthetics.
What recent project has marked you the most?
Hells Kitchen Ibiza
Hells Kitchen Ibiza, Gordon Ramsay
The lighting for Hell's Kitchen Ibiza, by Gordon Ramsay. The concept was “heaven and hell,” and the light had to accompany the space without feeling like a nightclub or becoming cliché. It was necessary to create very distinct atmospheres, with subtlety. In addition, the deadline was very short. It was a complex, enriching challenge with great international visibility.
Another project that gave us immense satisfaction was an exhibition we held in our showroom together with Francisco Javier Sáenz de Oiza. We created a journey of light through all the models of the project by Jorge Oteiza, and in truth, it was something very special for us.
Above all because, in addition, the Oiza family were mentors for both Nacho and me. Being able to illuminate sculptures and models by two such masters is not something that happens every day, and for us it had enormous emotional and professional value.
What trends do you observe in residential lighting and where is the sector heading?
The great revolution was LED. It increased the offer, but it also brought confusion. The current trend is “less is more.” We see fewer and fewer ceilings full of spotlights. Indirect light appears in new and more conscious ways. Lighting through paintings, for example, can be more interesting than a spotlight that dazzles you on the sofa.
If we talk about iconic lamps, which three should not be missing from a home?
It is always good to have some classic that is not overly contemporary:
Some piece by Miguel Milá is a must for any designer;
The Snoopy lamp by Flos, a beautiful and emotional object;
And a whim: Coppibartali by Viabizzuno, inspired by the cyclists Coppi and Bartali. It is like a bicycle chain that you can shape, suspend, or place on the wall. Iconic and versatile.
How can good lighting influence well-being?
Polight Studio
idealista/news
Light is fundamental to regulating your rhythms and feeling well. It’s not only about artificial light: natural light also matters. For those who do not follow an ideal daytime cycle, home lighting should almost be a well-being standard.
It is proven that certain wavelengths help the secretion of hormones that facilitate rest. There are already systems applied in hospitals or care homes where, for example, we program red light at specific times. My doctoral thesis addresses exactly this: natural and artificial light in hospital recovery processes.
Looking to the future, what are Polight’s ambitions?
We want to consolidate our international presence and contribute to creating a “light awareness” accessible to architects and to anyone who wants quality lighting at home. We also want to contribute to the design of institutions and public spaces, making them more welcoming for everyone.
Polight Studio
idealista/news
Hells Kitchen Ibiza
Hells Kitchen Ibiza, Gordon Ramsay
Polight Studio