Materials, News
“Enlightening” solutions for a sustainable design
The Bioadaptive Lighting Revolution and 'Double Dynamic Lighting' in Workspaces
Lighting plays a key role in working environments, influencing employees’ well-being, productivity and satisfaction. In recent years, LED technology has revolutionised lighting design for offices, offering many benefits over traditional lighting systems. An even more recent and innovative approach is to optimize lighting solutions through a controlled combination of natural and artificial light. All this is an offshoot of the ‘biophilic’ design concept, which allows the environment of everyday life to be combined with natural elements, integrating their principles into spaces and architecture.
An example is Austrian Zumtobel Lighting GmbH, a leading international manufacturer of professional indoor and outdoor lighting solutions. Back in May 2017, this major company commissioned Vera Pichardo, Consultant Marketing & Branding at the Nymphenburg Consult AG Group, to carry out a study on the topic: “How a bioadaptive lighting solution in the working environment improves employees’ wellbeing”. This study, carried out under real working conditions and using a combination of different neuroscientific methods, enabled the measurement of emotional and cognitive responses to a new ‘human-centered’ lighting system specifically designed to support the biorhythms of employees in their office environment. Another significant experience is the 2020 joint project involving partners in the technology and lighting sectors, such as Zumtobel, Fagerhult, iGuzzini and Tridonic, who worked together with Aalborg University on a study entitled: “Double Dynamic Lighting — Bringing Qualities of Natural Light into the Office”. The team, led by Prof. Ellen Katharine Hansen, showed that it is possible to define solutions responding to the dynamics of natural light through a combination of direct and diffuse lighting. The atmosphere provided by Double Dynamic Lighting was perceived more pleasantly by users. The findings of this experiment strongly contributed to the understanding of the qualities of integrating the dynamics of daylight and electric lighting, referring to the human sensation of unpredictability, naturalness, light flow, and light-zone modelling effects.
Another major aspect to take into account in contemporary lighting projects is sustainability, understood in the broadest sense of the term. This is also where the Zumtobel Group proved its forward-looking vision at the Workshop: “Cyrcular Economy in sustainable lighting solution “, held in Venice in October 2022. On this occasion, some key concepts for modern design were defined:
Buildings are not consumption goods, but valuable ecosystems. A building is sustainable not only if it consumes less energy during use, but also if people enjoy their time in it for decades;
- Lighting solutions provide well-built environments that focus on people’s needs. Workers have the facility to access and control light, improving their comfort and well-being.
This has a range of practical applications such as the replacement of fluorescent lamps with special conversion kits; the assessment of energy efficiency in renovations, with dedicated software to help gauge the project specific life-cycle costs of lighting solutions; the reuse and renovation through future-proof, flexible and long-lasting solutions using plug-and-play devices that can be modified according to the space requirements.
Such studies and researches have been put ‘on the ground’ thanks to a series of products in Zumtobel’s catalogue specifically designed for the latest generation of workplaces. An excellent example of this is AMBITUS, where indirect diffuse lighting meets accurate direct lighting, with powerful light that suits different settings and favors social interaction, creates a focused working atmosphere or enhances the brand image. CIELUMA, lastly, is a design solution that makes it possible to create a luminous ceiling by simulating daylight under the open sky according to the Double Dynamic Lighting concept, bringing a stimulating as well as sound-absorbing light effect into the room.
Etoilepeople, News, Non categorizzato
Etoilepeople interviews: Manuela D’Elia
'Every assignment is a challenge and every project a tailor-made suit'
ETOILEPEOPLE INTERVIEWS: MANUELA D’ELIA TELLS US ABOUT THE WORKPLACE TREND IN METROPOLITAN CITIES
Madea is a Campania-based agency with decades of experience in furnishing workspaces.
It offers technical and commercial support to industry dealers, architects and interior designers and in any case where specialist advice is needed for the design and realisation of offices, communities and collectives, corporate food areas or hospitality facilities such as lounge bars.
It was founded by Manuela d’Elia, a psychologist by training and furniture agent by inheritance, who found in Madea the perfect synthesis of research and sales: “Every assignment is a challenge and every project a tailor-made suit, made with care and respect for the client’s needs. A pleasant, sometimes winding journey, always aimed at finding the perfect furnishing solution for that specific client, based on the conviction that the workplace is the structural element that expresses the corporate philosophy and should reflect its organization”.
Madea has been Etoile’s partner and exclusive distributor for the Campania region for many years, sharing the same attention and tailor-made care in the project management, namely a tailor-made process that fits its clients like a glove. Besides offering an extensive catalogue of furniture and seating, it is also specialised in design solutions to maximise interior spaces. After a detailed study of both structural characteristics of spaces and specific liveability requirements, Madea designs the partition-wall systems to remodel the spaces and adapt them to best suit functionality, aesthetic refinement, acoustic comfort and a sense of ambiance well-being.
A talk with Manuela d’Elia
Madea operates in the context of a large metropolitan city like Naples. What are the complexities of this particular market that you face every day?
Unfortunately, Naples is a city growing amidst various setbacks, some cultural, others infrastructural. Certainly, the creativity of the Neapolitans, which is expressed first and foremost in the colour and cheerfulness of its places and people, while providing the setting for a beautiful postcard, creates a background noise that makes it difficult to establish more fluid and perhaps functional modus operandi, such as business innovation, an issue on which the city is lagging behind on average. And this is an example of cultural constraint.
From an infrastructural point of view, there are obstacles that would probably be much easier to remove as they would depend on the decision of a few. I am referring to the cabling of public areas, from the availability of information systems capable of reaching the entire population and connecting citizens, to the existence of public services that promote economy development and environmental protection: co-working, remote-working places, functional and modern business centres… the city is not yet equipped for this, to the detriment of companies, workers and the urban and natural environment.
And specifically, what are the trends and demands of your customers in the segment of office and workspace furniture?
There is a marked distinction between an ‘old school’ modus operandi, where office furniture means a 160×80 office desk with drawer unit on wheels plus an UNIEN 1335 ergonomic chair, and a more up-to-date and rational way of furnishing workspaces.
As an agency, Madea meets the needs of those who understand the company premises more extensively, taking into account the spaces’ functionality for a major business productivity and employee well-being. From this point of view, clients’ requests are increasingly related to the need for a better working environment by providing a company location that respects collective and individual spaces, or that gives the possibility to carry out new activities, such as video conferences.
Corporate organisation is increasingly evolving towards new fast-changing paradigms. That is why, borrowing the concept from Bauman, you like to speak of a ‘liquid company’. Can you explain what this is about?
In Madea’s approach, the liquid company is a complex of production activities aiming at the same goal and common interest, which is the company mission, as conceived by its founder. In these terms, the company embodies all the activities, both physical and virtual places that contribute to its success and thus can by no means be forced into a traditional layout, made up of an executive office, a front desk and operational rooms, possibly (indeed definitely) keeping the vending machine tucked in the closet.
A liquid company is one that changes its shape in order to achieve its goals: activities not confined to a specific room or desk, but achieved in ways that are reinvented on every occasion. Companies are characterised by having different organisational cultures: the working culture has evolved over time and after the pandemic we have seen this more clearly: with twisted layouts where meetings can be virtual and work groups meet in the breakout area.
To me, activity-based offices are a perfect example to bring out the concept of a liquid company. The key words here are flexibility and creativity! It marks the revenge of freedom over corporate hierarchies, the rebirth of temporary activities that change over time, contracts that are less and less binding for both companies and employees, working styles that are more goal-oriented and less about standardised schedules.
We know that your work starts with a thorough briefing carried out by using Organisational Psychology techniques. At the planning stage, how important is this approach to defining business assets in terms of resources, processes and HR?
This preliminary work we carry out is actually the distinguishing feature of Madea consulting: only by fully understanding the specific characteristics of our customers can we be truly helpful in building corporate headquarters which function and reflect the corporate culture and where people work better because they are better off.
Madea boasts a decade-long partnership with Etoile. Can you tell us what is the added value that has created such a solid and performing synergy between your companies?
Definitely the tailor-made approach: it is as much a founding value for me as it is for Etoile, we immediately agreed on that.
From this principle everything else flows, namely team spirit and passion. Each project is fertile land for expressing know-how and for contributing one’s own skills to mark a new milestone.
There are a number of aspects of Etoile’s products that I think are excellent and all share the same matrix, which is the powerful know-how on partition walls.
First of all, their wide product range: I would dare you to find a brand that offers a collection of monolithic partitions that come in so many variants. Having a choice even on a common glazed partition is a winning weapon for the designer and it surely reflects the modus operandi of a company that does not ignore any customer.
Similarly, the finishes palette is to me – as someone who loves working with materials and colours – an unparalleled plus in the world of partition walls. In the home furnishing the variety of materials and finishes is quite common and it’s becoming more and more usual in office furnishing too, but in the partition walls segment (notoriously more technical than aesthetic) this is quite rare.
Being able to think in this level of detail around the design of a contract project is only possible with a company such as Etoile.
What I consider unique about Etoile, however, is the focus on partition performance, which allows me to truly tackle any project with no worries.
All products are certified for acoustic performance, as much as for safety requirements, of course. I have a range of sound proofing levels that allow me to always meet the customer’s requirements, optimising the budget as necessary: Etoile has partition walls of all types (wood, glass, structural and non-structural) ranging from 32 dB sound insulation up to 46 dB.
To this end, my favourite product is the monolithic partition UNICA SC2: 47x40mm reduced-section aluminium floor profile customisable in all RAL colours and 40db sound reduction on single-glazing. The 51-mm starting element has a superb, soundproof, flush door with a design-driven handle – what more could you ask for?
I could tell you much more, it is a company that never fails to surprise me. The FORA case history (which later gave rise to the FORA STYLE wall) I think is emblematic: Engineering a partition with those characteristics just to satisfy a customer’s need is not at all common! By the way, the outcome has some excellence in terms of both design and performance: a gem!
Materials, News, Non categorizzato
Eco-active ceramics for safe, design-driven workspaces
Aesthetics, functionality, health and environmental well-being with innovative materials
When designing workspaces, the attention to safety and the to the staff’s quality of life have always been important factors, but the COVID-19 pandemic has made the importance of advanced solutions and technologies to ensure a healthy and hygienically secure working environment even more evident.
A careful choice of innovative materials in architectural and interior decoration projects results in healthy and safe places to live in everyday life, without sacrificing design.
This is also perfectly in line with the increasingly widespread trends of Corporate Social Responsibility and welfare, which are also embodied in the creation of spaces to boost well-being in the company and thus benefit productivity, efficiency and workforce motivation.
The topic of ‘organizational wellbeing’, or ‘organizational health’, meant in terms of the physical, psychological and social aspects of human resources at all levels and roles, has long been central and finds its greatest application in the most advanced and enlightened entrepreneurial experiences, such as Benefit companies and B-Corp certified companies.
In this direction, the use of high-performance eco-active ceramic surfaces for floor and wall coverings, for indoor and outdoor areas and, above all, for cladding rooms and furniture, is enjoying considerable success in the creation of workspaces.
Among these, Active Surfaces® represent 100% Italian excellence, which, offering a strong aesthetic value, along with fully satisfying the fore-mentioned needs of well-being and safety.
This is the result of ten years of research and development, carried out in collaboration between the historic IRIS Ceramica Group, a market leader, and the Chemistry Department of the University of Milan.
These internationally patented ceramics, whose distinctive features are certified to ISO standards, use the photocatalytic properties of titanium dioxide and silver to activate a process that eliminates bacteria, viruses, odours and pollutants.
They have also achieved important certifications in the food contact context, attesting that they can be used in direct contact with food, with maximum safety, regardless of food type and formulation.
The action of Active Surfaces® is constant, does not wear off over time and is the only industrial material in the world to perform not only under UV and sunlight, but also under LED lights, maintaining its antibacterial and antiviral effectiveness even in the dark.
We are talking about an eco-active material able to suppress the SARS-CoV-2 virus by up to 94% in just 4 hours of exposure to UV light, both natural and artificial. Furthermore, specific studies have proven its effectiveness against common bacteria, such as Escherichia coli, and antibiotic-resistant bacteria, such as Staphylococcus Aureus MRSA.
The anti-fungal and anti-mould properties are also scientifically validated and certified.
These products are, in fact, effective at degrading odorous organic molecules, eliminating bad odours and guaranteeing comfortable environments free of unpleasant sensory pollution.
In addition to the above-mentioned properties, the use of antibacterial ceramics has many other benefits over other materials commonly used in workspaces.
It is highly resistant to being used, stained and scratched, making it an excellent choice for work surfaces and desks, which often experience a high level of wear and tear.
Thanks to its photocatalytic and super-hydrophilic properties, Active Surfaces® is easy to clean and sanitise, which means that it can be maintained in a hygienic condition without using aggressive or environmentally harmful chemicals.
It can convert volatile molecules of dangerous pollutants such as nitrogen oxides and volatile organic compounds into harmless substances, with great benefits for human health in both outdoor and indoor spaces.
Lastly, antibacterial ceramic is available in a wide range of textures, colours and formats and can be easily combined with other materials such as wood, metal and glass.
All this makes it a particularly versatile, environmentally friendly and sustainable option in the creation of contemporary, pleasant, functional and safe environments, while ensuring maximum aesthetics and health protection.
News
workspace color inspiration
Etoile – development & research
At Etolie, we know the importance of choosing the palettes to be used to achieve comfortable and functional workspaces.
We know how colours affect states of mind, mood and interpersonal interactions.
No colour option has a neutral effect, each combination is able to affect and canalise the perception of reality of those operating within a given location.
Some colours are known to be relaxing, and some to be exciting or energising. Others may alter the state of concentration, be distracting or even disturbing.
Therefore, whatever the effect being pursued, a good design cannot disregard an accurate study of this dimension as well, too often confined to the mere domain of aesthetics.
It is precisely in this direction that Etoile has prepared a series of highly customisable solutions to create ‘tailor-made’ settings that are perfectly functional for any customer’s needs.
In the ‘inspirational’ pinboard that follows, we offer some free suggestions for the readers’ convenience.
These projects have been delivered in recent years by a London-based partner company specialised in creating premium workplaces, real hubs for business people from all fields.
The common thread running through all these workspaces is a skilful and balanced use of colour combined with the use of our fora style® walls in synergy with our solid metrica®.
These pictures show an elegant old building in Greencoat Place, equipped with contemporary and sustainable design elements.
Straight away, the widespread application of green, the colour most found in nature, is evident, promoting feelings of balance and enhancing the creative performance of people at work.
In the 1930’s former textile warehouse in Wells Mews, warm and bright colours prevail in partitions and furnishings. Yellow is used to stimulate creativity and feelings of optimism. Blue, in its many shades, induces a perception of stability and security.
In this space created at Arnold House, a space naturally flooded with light is well combined with a generous use of white in the partitions, a vitalising and regenerating basic colour. At the same time, the very prominent brown grids counteract the feeling of monotony and convey feelings of solidity, durability and stability.
A minute’s walk from the charming district of Shoreditch, the new Montacute Yards venue finds its natural setting in seven floors of workspaces, located above restaurants, shops, cafés and a characteristic street food market. Large spaces of daylight, amplified by the use of natural blond wood, make furnishings and accessories stand out in vivid colours that stimulate creative thinking and perceptive intelligence.
News
Colours in design
The chromatic influence on human behaviour has been a subject of study for hundreds of years
Our ongoing search for the best well-being solutions in workspaces certainly cannot ignore such an important factor as the choice of colours, especially the way they are able to affect the comfort of interiors and the mood of people.
Without resorting to chromotherapy or other alternative medicine practices, we know that the influence of colours in determining human moods and behaviour has long been known.
The first scientific approach to the study of colour was that of the Englishman Isaac Newton (1642-1727). It was one of his articles, which later became famous, that publicised the results of experiments conducted with the refraction of light through glass prisms, by which he managed to define the seven primary colours: red, orange, yellow, green, blue, violet and indigo. He theorised that luminous bodies emitted immaterial corpuscles, a sort of ‘light atoms’ that, travelling in a straight line and at hyperbolic speed, produced the rays. For Newton, the ‘white light’ was a mixture of as many species of corpuscles as there were different colours. The so-called corpuscular theory has dominated physics for almost a century.
It was Johann Wolfgang von Goethe, who in besides being a great man of letters was also a painter and a scientist, who in his essay ‘Zur Farbenlehre’ dated 1810, emphasised the complexity of the chromatic phenomenon and the non-negligible interference that the organ of sight has in light perception and its transliteration into colour. He was first to advance an aesthetic and artistic vision, contrasting it with Newton’s strictly scientific one: “It has been well proven that each colour produces a particular impression on the human being, manifesting its nature to both eyes and soul. This means that colour can be used for specific sensitive, moral and aesthetic purposes”. For Goethe, colours are indeed something living and human, and find their complete phenomenological justification in that physical machine that is the human eye and in the mechanism of vision, but also and foremost in the spectator’ spirituality and soul”.
In a similar spirit, while investigating intimate and profound dimensions, Vasily Kandinsky (1866-1944) established a very close connection between the work of art and the spiritual dimension, stating that they influence each other.
In his philosophical work ‘The Spiritual in Art’ (1909) he wrote: “In general, colour is a means to directly influence one’s soul. The colour is the key. The eye is the gavel. The soul is a piano with multiple strings. The artist is the hand that, by touching this or that key, makes the soul vibrate. It is clear that the harmony of colours is based on just one principle: the powerful contact with the soul. This foundation can be called the principle of inner necessity”.
For Kandinsky, red is, for example, a warm and pervasive colour that acts in the inside in a very vital, lively, restless way. It shows immense, almost conscious energy.
It generates turmoil and introverted fervour. Red is corporeal, reminiscent of the cello. Light Warm Red (Saturn) triggers feelings of strength, energy, determination, tension, joy, triumph. It echoes the sound of fanfares and tuba. Medium red (cinnabar) has the stability of a deep feeling, it is like a passion that burns without shaking, a confident force that can only be extinguished in blue. It sounds like a tuba or a loud drum roll. Gray has a totally different impact, that he describes as “desolate immobility”. It is neither coloured, nor light, nor dark. Grey is the nothingness of everything, its peculiarity is complete neutrality. Blue, Kandinsky suggests, is the element of stillness and the deeper it is the more strongly it will draw the individual towards the infinite. These are just some of the Russian artist suggestions associated with colours, whose path was ideally taken up in the early decades of the 20th century by Max Lüscher, a Swiss psychotherapist, sociologist and philosopher.
A path in which the distinction between science, art and spirit is very subtle and has given rise to ever-changing trends according to different historical periods. Aesthetic preferences and sensibilities are mutable factors over time and follow changing and contingent inspirations. What remains constant in every visual architecture is the search for a chromatic perception that can arouse well-defined feelings and emotions. Which in the case of interior design applied to workspaces, takes on a particularly articulated value. The latter has the task of communicating values, identity and authority, just as a corporate logo and payoff would do; at the same time, it must be reassuring and functional to the psychophysical well-being of those who work in the offices on a daily basis. It is now widely agreed that a smart and harmonious choice of colours can decrease work discomfort and reduce the risk of accidents. Furthermore, the rational use of certain shades or colour combinations has been proven to stimulate creativity and productivity. It is therefore clear how much the choice of colours contributes to the successful design of a comfortable and functional workspace, as well as other important factors such as sound absorption, air-to-light ratios and the materials to be used.
News, Uncategorized
Colours in design
The chromatic influence on human behaviour has been a subject of study for hundreds of years
Our ongoing search for the best well-being solutions in workspaces certainly cannot ignore such an important factor as the choice of colours, especially the way they are able to affect the comfort of interiors and the mood of people.
Without resorting to chromotherapy or other alternative medicine practices, we know that the influence of colours in determining human moods and behaviour has long been known.
The first scientific approach to the study of colour was that of the Englishman Isaac Newton (1642-1727). It was one of his articles, which later became famous, that publicised the results of experiments conducted with the refraction of light through glass prisms, by which he managed to define the seven primary colours: red, orange, yellow, green, blue, violet and indigo. He theorised that luminous bodies emitted immaterial corpuscles, a sort of ‘light atoms’ that, travelling in a straight line and at hyperbolic speed, produced the rays. For Newton, the ‘white light’ was a mixture of as many species of corpuscles as there were different colours. The so-called corpuscular theory has dominated physics for almost a century.
It was Johann Wolfgang von Goethe, who in besides being a great man of letters was also a painter and a scientist, who in his essay ‘Zur Farbenlehre’ dated 1810, emphasised the complexity of the chromatic phenomenon and the non-negligible interference that the organ of sight has in light perception and its transliteration into colour. He was first to advance an aesthetic and artistic vision, contrasting it with Newton’s strictly scientific one: “It has been well proven that each colour produces a particular impression on the human being, manifesting its nature to both eyes and soul. This means that colour can be used for specific sensitive, moral and aesthetic purposes”. For Goethe, colours are indeed something living and human, and find their complete phenomenological justification in that physical machine that is the human eye and in the mechanism of vision, but also and foremost in the spectator’ spirituality and soul”.
In a similar spirit, while investigating intimate and profound dimensions, Vasily Kandinsky (1866-1944) established a very close connection between the work of art and the spiritual dimension, stating that they influence each other.
In his philosophical work ‘The Spiritual in Art’ (1909) he wrote: “In general, colour is a means to directly influence one’s soul. The colour is the key. The eye is the gavel. The soul is a piano with multiple strings. The artist is the hand that, by touching this or that key, makes the soul vibrate. It is clear that the harmony of colours is based on just one principle: the powerful contact with the soul. This foundation can be called the principle of inner necessity”.
For Kandinsky, red is, for example, a warm and pervasive colour that acts in the inside in a very vital, lively, restless way. It shows immense, almost conscious energy.
It generates turmoil and introverted fervour. Red is corporeal, reminiscent of the cello. Light Warm Red (Saturn) triggers feelings of strength, energy, determination, tension, joy, triumph. It echoes the sound of fanfares and tuba. Medium red (cinnabar) has the stability of a deep feeling, it is like a passion that burns without shaking, a confident force that can only be extinguished in blue. It sounds like a tuba or a loud drum roll. Gray has a totally different impact, that he describes as “desolate immobility”. It is neither coloured, nor light, nor dark. Grey is the nothingness of everything, its peculiarity is complete neutrality. Blue, Kandinsky suggests, is the element of stillness and the deeper it is the more strongly it will draw the individual towards the infinite. These are just some of the Russian artist suggestions associated with colours, whose path was ideally taken up in the early decades of the 20th century by Max Lüscher, a Swiss psychotherapist, sociologist and philosopher.
A path in which the distinction between science, art and spirit is very subtle and has given rise to ever-changing trends according to different historical periods. Aesthetic preferences and sensibilities are mutable factors over time and follow changing and contingent inspirations. What remains constant in every visual architecture is the search for a chromatic perception that can arouse well-defined feelings and emotions. Which in the case of interior design applied to workspaces, takes on a particularly articulated value. The latter has the task of communicating values, identity and authority, just as a corporate logo and payoff would do; at the same time, it must be reassuring and functional to the psychophysical well-being of those who work in the offices on a daily basis. It is now widely agreed that a smart and harmonious choice of colours can decrease work discomfort and reduce the risk of accidents. Furthermore, the rational use of certain shades or colour combinations has been proven to stimulate creativity and productivity. It is therefore clear how much the choice of colours contributes to the successful design of a comfortable and functional workspace, as well as other important factors such as sound absorption, air-to-light ratios and the materials to be used.
News
The image beyond experience. the story of an evolution
Open day dedicated to Etoile’s new communication with company stakeholders
Etoile’s open day ‘The image beyond the experience’ was held on November the 25th, retracing in a passionate and lively narrative, the history of the company at the presence of all the stakeholders of this important and successful reality. Thanks to the protagonists’ reports, the event marked the stages of an evolution full of events for this company, today representing a reference point, both nationally and internationally, for office partitions and fittings. It was also an opportunity to bring together for the first time in many years, agents, dealers and the professionals who gravitate around this reality, from all over Italy and abroad. The aim of the meeting, in which the interventions of numerous speakers were offered, was to analyse Etoile’s positioning in the market, its reputation, and the quality and competitiveness that it can counter against its direct competitors. A thorough investigation, conducted with the experiential contribution of the professionals attending the meeting, allowed for an effective synthesis of the current situation. In the light of all this, the new corporate image was presented to the audience, synthesizing and updating the style that has always distinguished the company. Not a merely formal operation, but a communicative action that is embodied in the new Portrait as a summary document of style, experience, competence and reliability. Through this tool, image becomes an important added value allowing to share with stakeholders the great experience gained, which can finally be communicated to the outside world thanks to a renewed awareness of its skills and potential.
The meeting was introduced by Art director, Architect Paolo Pampanoni, who defined the day’s rules of engagement, and then gave the floor to Fabio Santoni, CEO & Founder of the company. The latter, after greeting the attendees, expressed his gratitude to the internal staff, agents and business partners, and all those who have believed Etoile’s value so far and contributed to bringing it to the excellent production and commercial level it can boast today.
Santoni then extended a warm welcome to Armenio Estima, the owner of the Portuguese company Divilux, which is a reliable partner since more than 25 years, and thanks to the transfer of know-how has enabled Etoile’s products to be more widely distributed abroad.
In his next speech, Director Alessio Santoni outlined the economic, productive and business development results achieved to date, and set out the future goals to be achieved in line with the company mission, which can be summarized in the three key words: Flexibility, Efficiency and Quality.
The financial advisor Gianluca Canuti, on the other hand, was tasked with a careful reading and analysis of the company’s parameters to be set against the current market situation and Etoile’s competitors.
Sales Director Corrado Caimmi then outlined the identikit of a dynamic and reliable company, also in the light of the numerous certifications it can boast, such as ISO 9001 on quality process effectiveness, Leed Mapping on building sustainability (highly regarded in the US) and FSC Certification for responsible forest management. After describing the company’s DNA, which is strongly oriented towards product quality, staff expertise, technological innovation and ‘tailor-made’ customization, he outlined the company’s business strategy and planned the targets for the nearby future.
Matteo Massi, Head of Purchasing at Etoile, reviewed the market trends of recent years with regard to raw material costs which, from the excellent situation in 2019 turned to fear and uncertainty caused by the pandemic in 2020, to supply shortages in 2021, all the way to 2022 with the cost of energy out of control.
After the Coffee Break, Angelica Giannoni explained the creative and communicative aspects of the new corporate image, which focuses on the rigorous features as an identifying element in continuity with the company’s style. The restyled logo itself is the contemporary evolution of the company’s first historical trademark.
At this point, Art director Paolo Pampanoni presented the new Portrait, which
will henceforth be the main tool for spreading Etoile’s image, conveying its style, experience, expertise and above all giving great prominence to its people and staff.
Traditional, costly and obsolete paper catalogues will be replaced by agile product monographs rich in photographic and technical content, exclusively in digital format, accompanied by a continuously updated Company Profile. After the Portrait presentation, Architect Pampanoni conducted a benchmarking analysis, comparing and contrasting Etoile’s prices with those of its main competitors’ products to highlight the company’s positioning in specific market segments such as partition walls and doors of different sizes.
And lastly, through graphic renderings he anticipated some future projects to be developed, along with Divilux, of silent rooms and office phone boots.
Etoile’s open day was closed by consultant Cristina Miseo who, after analyzing the main social tools currently available, in view of the potential target market, outlined the communication actions planned for the coming months, hoping for maximum engagement and action by the entire sales network
She also explained how communication has shifted over the years from one dedicated specifically to the product to one that is no longer unidirectional, strongly linked to the relationship with the public, its needs and demands for solutions. What needs to be conveyed outside in order to intercept the intended target group, is passion, professionalism, know-how and problem-solving skills. In a nutshell, the people and the team. Hence the official launch of the hashtag #etoilepeople, which from now on will sign all the company’s posts.
News
The image beyond experience. the story of an evolution
Open day dedicated to Etoile’s new communication with company stakeholders
Etoile’s open day ‘The image beyond the experience’ was held on November the 25th, retracing in a passionate and lively narrative, the history of the company at the presence of all the stakeholders of this important and successful reality. Thanks to the protagonists’ reports, the event marked the stages of an evolution full of events for this company, today representing a reference point, both nationally and internationally, for office partitions and fittings. It was also an opportunity to bring together for the first time in many years, agents, dealers and the professionals who gravitate around this reality, from all over Italy and abroad. The aim of the meeting, in which the interventions of numerous speakers were offered, was to analyse Etoile’s positioning in the market, its reputation, and the quality and competitiveness that it can counter against its direct competitors. A thorough investigation, conducted with the experiential contribution of the professionals attending the meeting, allowed for an effective synthesis of the current situation. In the light of all this, the new corporate image was presented to the audience, synthesizing and updating the style that has always distinguished the company. Not a merely formal operation, but a communicative action that is embodied in the new Portrait as a summary document of style, experience, competence and reliability. Through this tool, image becomes an important added value allowing to share with stakeholders the great experience gained, which can finally be communicated to the outside world thanks to a renewed awareness of its skills and potential.
The meeting was introduced by Art director, Architect Paolo Pampanoni, who defined the day’s rules of engagement, and then gave the floor to Fabio Santoni, CEO & Founder of the company. The latter, after greeting the attendees, expressed his gratitude to the internal staff, agents and business partners, and all those who have believed Etoile’s value so far and contributed to bringing it to the excellent production and commercial level it can boast today.
Santoni then extended a warm welcome to Armenio Estima, the owner of the Portuguese company Divilux, which is a reliable partner since more than 25 years, and thanks to the transfer of know-how has enabled Etoile’s products to be more widely distributed abroad.
In his next speech, Director Alessio Santoni outlined the economic, productive and business development results achieved to date, and set out the future goals to be achieved in line with the company mission, which can be summarized in the three key words: Flexibility, Efficiency and Quality.
The financial advisor Gianluca Canuti, on the other hand, was tasked with a careful reading and analysis of the company’s parameters to be set against the current market situation and Etoile’s competitors.
Sales Director Corrado Caimmi then outlined the identikit of a dynamic and reliable company, also in the light of the numerous certifications it can boast, such as ISO 9001 on quality process effectiveness, Leed Mapping on building sustainability (highly regarded in the US) and FSC Certification for responsible forest management. After describing the company’s DNA, which is strongly oriented towards product quality, staff expertise, technological innovation and ‘tailor-made’ customization, he outlined the company’s business strategy and planned the targets for the nearby future.
Matteo Massi, Head of Purchasing at Etoile, reviewed the market trends of recent years with regard to raw material costs which, from the excellent situation in 2019 turned to fear and uncertainty caused by the pandemic in 2020, to supply shortages in 2021, all the way to 2022 with the cost of energy out of control.
After the Coffee Break, Angelica Giannoni explained the creative and communicative aspects of the new corporate image, which focuses on the rigorous features as an identifying element in continuity with the company’s style. The restyled logo itself is the contemporary evolution of the company’s first historical trademark.
At this point, Art director Paolo Pampanoni presented the new Portrait, which will henceforth be the main tool for spreading Etoile’s image, conveying its style, experience, expertise and above all giving great prominence to its people and staff.
Traditional, costly and obsolete paper catalogues will be replaced by agile product monographs rich in photographic and technical content, exclusively in digital format, accompanied by a continuously updated Company Profile. After the Portrait presentation, Architect Pampanoni conducted a benchmarking analysis, comparing and contrasting Etoile’s prices with those of its main competitors’ products to highlight the company’s positioning in specific market segments such as partition walls and doors of different sizes.
And lastly, through graphic renderings he anticipated some future projects to be developed, along with Divilux, of silent rooms and office phone boots.
Etoile’s open day was closed by consultant Cristina Miseo who, after analyzing the main social tools currently available, in view of the potential target market, outlined the communication actions planned for the coming months, hoping for maximum engagement and action by the entire sales network
She also explained how communication has shifted over the years from one dedicated specifically to the product to one that is no longer unidirectional, strongly linked to the relationship with the public, its needs and demands for solutions. What needs to be conveyed outside in order to intercept the intended target group, is passion, professionalism, know-how and problem-solving skills. In a nutshell, the people and the team. Hence the official launch of the hashtag #etoilepeople, which from now on will sign all the company’s posts.
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The roots of a sustainable future
Etoile – research & development
Etoile’s signature business cycle involves the utmost care and total respect for the environment
Etoile is a 30-year history of passion, drawing sap from deep roots and cherishing its original soul in the vision of a future of opportunity and development, firmly tied to its founding values
Even prior to being a primary industrial reality at the national level, it is a project open to a globalized world but traced on imperative principles of respect for people, cultures and territories.
At Etoile, the concept of sustainability is combined in every action with the conception of the environment as an asset and as a wealth to be preserved and enhanced.
It is belonging to a community of reference, to a humus from which drawing nourishment to grow and expand in markets.
This is the key to our philosophy, going through the preservation of the local dimension, intended not only as the environment, but above all as development that can create value in the area.
Our spotlight has always been on creating wealth to protect our community with a growing focus on enhancing endogenous resources as matrices of well-being and development for the local economy.
From this perspective, our made in Italy takes on a value that far exceeds mere production or the choice of raw materials.
This is why we have selected our suppliers ally on a “Km0” basis, as they are all located within a 50-kilometer radius away from our company.
The eco-sustainable solutions we have introduced into our business cycles are aimed at saving the planet’s resources: from saving energy, reducing production waste through recycling, rationalizing packaging to reduce its unnecessary components, and optimizing logistics in a sustainable way.
For years, our maximum commitment has been focused on the maximum use of energy production from certified renewable sources and the economy of reuse, through qualified collaborations with partners capable of reintroducing into the production process elements resulting from the transformation of material recovered from in-house processing such as metal and wood.
It is also a reflection of the great attention our company is devoting to obtaining FSC, an international, independent, third-party certification of forestry and products, both wood and non-wood, derived from properly managed and properly used forests and plantations.
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The future in ecodesign
Product quality, reduction of environmental impact and saving of resources, at the basis of a new “eco-sustainable” way of designing
According to the US think tank Global Footprint Network, which every year calculates the consumption by the population and estimates the biocapacity of the planet, we are all living as if we had little more than one and a half Earths available.
This overexploitation is primarily due to the increased ecological footprint and deforestation.
In 2022, compared to last year, a 6.6% increase in the carbon footprint and a 0.5% decrease in global forest biocapacity was calculated.
It is in this perspective of collective responsibility that the concept of eco-design or sustainable design was born and has been popular for some years now.
Ecodesign is a virtuous model inspired by the circular economy, which is based on the efficient use of resources and materials, reducing the environmental impact associated with production and helping to reduce the amount of waste and garbage generated.
In fact, this practice is not limited to creating products with sustainable materials, but applies to the entire life cycle of a product, from its design, to manufacture, to its use and disposal.
It is a modus operandi that not only reverberates on the environmental and climatic sphere, but also directly affects the social and economic one, proposing a new cultural paradigm.
Eco-design is conventionally based on six fundamental principles:
- use of sustainable materials, made using renewable energy;
- production processes that promote energy savings;
- product quality and durability;
- reduction of waste generated during the production and use of the product;
- simplification of disassembly, recycling and reuse of the materials that make up the product;
- Use of renewable resources, possibly local and sustainably managed resources that are compostable once use is over.
Sustainable design was strongly inspired by the Bill of Rights for the Planet, the nine Hannover principles relating to eco-design, developed during the 2000 Expo. This bill of rights is based on concepts such as the elimination of waste, constantly pursing improvement, recognizing the interdependence between humans and nature, and understanding the limits of design.
In Europe Ecodesign is regulated by directive 2009/125 / EC, by directive 2018/851 on the subject of circular economy and by ISO 14006, 14040 and 14044 standards. The latter, in particular, thanks to the LCA (Life Cycle Assessment) process, allows to evaluate the whole life cycle of products and their interaction with the environment, regulating the management of the supply chain, upstream and downstream of the production process, with a view to saving and recovering energy and materials.
In this light, it is also important to evaluate the additives that are incorporated into materials, since the presence of some chemicals can limit or prevent the recycling and reuse of products that reach end-of-life.
In conclusion, we can rightly affirm that sustainable design represents the new frontier of design that finds application in all productive fields, on a path towards the ecological transition that will lead to a new generation of products and materials designed to be more durable, upgradeable, repairable and replaceable, acting only on the part subject to technical-aesthetic-functional wear.
All this involves the spread of new “collaborative” business models, which shift from the product concept to that of “service to the product”, for which life-cycle extension and use-phase optimization strategies will be central.
This will be a highly rewarding element for companies with strong ethical and qualitative connotations, as opposed to others that still work from the consumerist and quantitative perspective of planned obsolescence.
