Commissioned by Shenzhen Design Week, we conceived a pavilion that would function not merely as an exhibition stand, but as a spatial illusion—an environment capable of magnetizing visitors from afar. The installation was designed to present our OMINO lamp within a visual field that destabilizes the viewer’s perception of ground and depth.

At the time, my son Leonardo was deeply fascinated by optical illusions. Inspired by his curiosity, we developed a graphic intervention that simulated cavernous voids plunging into the earth—yet entirely rendered through two-dimensional printed surfaces. The entire pavilion, spanning approximately 150 square meters, was wrapped in a continuous checkered pattern. At its centre, two illusory cavities appeared to collapse inward, suggesting infinite depth despite being perfectly flat.

The effect was disorienting and playful. As visitors stepped into the space, the floor seemed to dissolve beneath their feet. When observed through smartphone cameras—particularly from oblique angles—the illusion intensified, producing an almost anti-gravitational sensation.

Working within a notably restrained budget, the pavilion relied on the intelligence of graphic manipulation rather than costly materials. Yet this economy proved to be its strength. The optical landscape became an irresistible attractor, drawing crowds who arrived out of curiosity and remained to discover our lighting collection.

In the end, the installation transformed a modest stand into a perceptual playground—where the OMINO lamps hovered above a ground that no longer appeared entirely real.