Di Ponti Touch Light by Hoi P’loy | 3D Printed Brass Lighting Design

In a design landscape often defined by extremes – between nostalgia and constant reinvention – Hoi P’loy approaches the balance with measured clarity. The Di Ponti Touch Light reflects this position: a piece that draws from history while engaging directly with contemporary methods and materials.

At its foundation is a reference that feels both familiar and intentional. Inspired by the silhouette of the Moka pot, refined by Luigi Di Ponti, the form is reinterpreted through a faceted cylindrical structure. The geometry recalls its origin, while aligning with Hoi P’loy’s own design language, creating an object that sits comfortably between past and present.

Materiality plays a central role in this evolution. Earlier explorations into 3D printing focused on accessibility and decentralised production; with the Di Ponti Touch Light, the approach becomes more resolved. Additive manufacturing is integrated into a refined process, paired with a precision-engineered brass framework that provides both structure and conductivity. This combination of printed form and metal detailing establishes a clear dialogue between traditional craftsmanship and contemporary fabrication.

Interaction is equally considered. A minimal brass finial activates the light through touch, using the user’s own static energy to engage the mechanism. The response is immediate yet understated, introducing a tactile dimension that extends beyond function. It is a simple gesture, but one that reinforces the relationship between object and user.

Produced in Cape Town, the piece reflects a broader perspective on design – one that is not defined by geography, but by intent and execution. Constraints are approached as opportunities, allowing for a process rooted in precision and adaptability.

The Di Ponti Touch Light ultimately sits within a wider conversation about design today. It brings together analogue and digital processes, heritage references and new technologies, without positioning them in opposition. Instead, it presents a more integrated approach, one where materials, form, and interaction are resolved into a single, cohesive expression.