A sturdy luminous ring, originally conceived for the 1992 Barcelona Olympic stadium, its concept predecessor is found in the ironwork luminaries used to hold up candles, the traditional depiction of mediaeval chandeliers in palaces and cathedrals.
A tubular structure forms the frame of the ring, the inner and outer shades of which are made from glass block sections that disperse the light by means of vertical light and shade streaks. The Estadio collection, with various pendant diameters, is complemented by the Línea Estadio (with a straight structure, which can be linked one after the other) and the Estadio wall lamp.
A member of the generation of industrial design pioneers in Spain who has seen some of his furniture and lamps become real contemporary classics.
Miguel Milá was born in a Catalan aristocratic family with strong links with the artistic world (his ancestors assigned the Milá House, also known as La Pedrera, to Gaudí), and started working as an interior designer in the architecture studio of his brother Alfonso Milá and Federico Correa. It was the end of the 50s, a time of crisis when Spain hardly knew what industrial design was. There was practically no industry, everything was generally handmade. This framework marked the way Miguel Milá understood design, being sensitive to the pleasure of touching and closer to traditional techniques.