Sofia
Sofia
A clear white form in an open structure
Sofia gives glass enough substance to be noticed without surrounding it with a dense frame. The white cones widen towards their lower edges, held by narrower brass arms and rods. Their repeated pale surfaces can stand out among timber, stone and painted walls; the open metalwork leaves the room visible between them.
Ghidini 1849 develops Sofia through different constructions linked by brass and white glass. Some forms stretch across furniture; others turn around a central stem or bring an individual shade towards a wall.
A line above the table
Sofia’s balance-style and linear frames distribute white cones along a table or counter, while radial chandeliers gather them around a centre. A single pendant isolates one cone on its own rod, whose height is set during installation. These different structures let a suspended fitting follow the furniture’s length or occupy a more concentrated place above it.
A fixed curve or an adjustable connection
Sofia’s wall lights range from a continuous curved arm to articulated designs and a compact model whose shade meets the mounting plate through a joint. The fixed curve draws a settled outline on the wall; joints allow the position or orientation to change. This offers a useful choice near a bed, desk or cabinet, where the shade’s relation to the furniture matters as well as its shape.
The desk and floor lamps add adjustment of height and inclination along the upright structure, together with movement at the upper joint. Their white glass can therefore be positioned around the working or seating area, with the base remaining at its chosen place. The ceiling version uses a joint closer to the overhead attachment. Movement belongs to the particular support, not to the glass cone alone. Within our indoor lighting, Sofia combines that practical variety with the calm contrast of white glass and fine brass.