{"id":50362,"date":"2026-10-08T13:13:14","date_gmt":"2026-10-08T13:13:14","guid":{"rendered":"https:\/\/worldlight.es\/portfolio-items\/bellahora-by-minimal-studio\/"},"modified":"2026-10-08T13:13:14","modified_gmt":"2026-10-08T13:13:14","slug":"bellahora-by-minimal-studio","status":"publish","type":"avada_portfolio","link":"https:\/\/worldlight.es\/en\/portfolio-items\/bellahora-by-minimal-studio\/","title":{"rendered":"Bellahora by Minimal Studio"},"content":{"rendered":"

Bellahora<\/a> by Minimalstudio<\/h1>\n

Industrial Warehouse Lighting: The Lighting Design of Bellahora<\/h2>\n

At Bellahora, the Minimal Studio<\/a> project where Worldlight created the lighting design, the challenge was to turn a warehouse of imposing scale into a wellness space where the body activates and the mind calms down.<\/p>\n

An architecture that curves inside a rigid container<\/h3>\n

Minimal Studio did not hide the warehouse. They put it under tension with an organic language. Surfaces curve and the route works as a continuous sequence, not as separate rooms. Beneath the roof, a branching structure also changes how the height is perceived.<\/p>\n

For anyone designing light, this conditions everything. A curve does not allow a grid of downlights. If the architecture is continuous, the light has to be continuous too, and that is decided from the very first plan.<\/p>\n

Light as a material<\/h3>\n

At Bellahora, light is not placed on top of the architecture. It is integrated into it. It models the curves, softens the edges and stabilizes the atmosphere.<\/p>\n

Indirect light to sustain continuity<\/h4>\n

Indirect lighting illuminates a surface so that the surface itself returns the light to the space. The source disappears and the gradient across the curve explains the volume. There is a craft detail here: if the LED sits too close to the surface, the gradient breaks into bright spots, and that cannot be fixed once the work is finished. The receiving surface must also be matte and light in color.<\/p>\n

Less contrast, more calm<\/h4>\n

In a training space, the usual approach is to light with intensity and contrast. Here we did the opposite. The eye constantly adapts to jumps in luminance, and that effort builds up. With soft transitions, the space keeps a steady calm even when the physical activity is intense.<\/p>\n

Sand, ivory, wood and brass<\/h3>\n

The palette is restrained: sand and ivory tones, continuous surfaces, natural wood and brushed brass. With so few materials, light decides how they look. In a palette like this, a warm color temperature (around 2,700 or 3,000 K) and a CRI of 90 or higher work best, so the wood does not look flat and the ivories do not turn grayish. Brushed brass reflects diffusely, so it tolerates nearby light better than polished brass.<\/p>\n

How to apply it to your project<\/h3>\n

These criteria work just as well in a home with high ceilings, in offices or in a retail space:<\/p>\n