Vincenzo De Cotiis’s Material Transformation

The article reviews Tatiana Trouvé's exhibition, "The Strange Life of Things," at the Palazzo Grassi in Venice. Trouvé, an Italian-born artist residing in Paris, is known for transforming everyday objects and overlooked elements of reality into profound works of art. Her exhibition showcases a unique approach to art-making, where detritus and architectural components are recontextualized and re-materialized to challenge perceptions of value and beauty. The core of Trouvé's practice involves starting with aspects of reality typically not considered high in value, beauty, or importance, such as urban debris, discarded items, or mundane architectural elements. She collects these materials, which can include pieces of trash, leftover implements, piles of clothes, pieces of string, and even manhole covers. Instead of conventional artistic interpretations like representation or abstraction, Trouvé transforms these items by altering their site or material. For instance, dirty detritus is recast in bronze, elevating its status to that of sculpture. The original textures and forms of these materials are preserved in the bronze finish, imbuing the finished compositions with a monolithic and monumental quality. Beyond transforming found objects, Trouvé also engages with raw plaster, creating three-dimensional, expressive landscapes from what would typically be a smooth background. Her plaster works monumentalize the ordinary, turning simple surfaces into evocative art pieces through swirls and textures. This technique highlights her ability to flip traditional artistic hierarchies, making the background an active and central element of a composition. This transformative process demonstrates her unique vision in finding expressiveness in unexpected materials. The exhibition extends beyond object transformation to include spatial illusions and deconstructions of the gallery environment. Trouvé manipulates space using elements like angled mirrors and miniature doors. An angled mirror, for example, guides the viewer's eye to a smaller glass plane, creating an optical illusion that distorts perception. A child-sized door, complete with scaled-down hardware, invites contemplation of an artificial and unsettling space, questioning the reality of what lies beyond. These spatial interventions engage the viewer in a direct and experiential way, making them active participants in the artwork. Trouvé also critically engages with the architecture of the Palazzo Grassi itself. She deconstructs the gallery walls by removing their finished top layers, exposing the underlying construction—the slapdash paint or assembly of drywall. This act transforms the hidden, unfinished aspects of the building into intentional artistic compositions. Rather than adding or building up, she incises and reveals what is already present, making the inherent structure of the building a part of her artistic statement. This process highlights the often-overlooked history and materiality of architectural spaces. Another significant aspect of her work involves the poetic manipulation of light and material, such as stretching burlap over windows and walls in the upstairs gallery. This technique reduces light and dark, creating an inner façade that oscillates between scrim and object. By painting the surrounding walls and floor in a similar brown hue, she blurs edges and further integrates the fabric into the space. She also applies broad strokes of white paint to the burlap, enhancing its interplay with light and shadow. In some instances, she deliberately pries apart the fabric, creating a "zipper" effect that adds another layer of intervention. The exhibition's strength lies in its ability to inspire wonder through seemingly simple means and to reveal beauty in the 'abject'—items or elements typically deemed valueless or undesirable. #TatianaTrouve #PalazzoGrassi #ArtExhibitions #InstallationArt #MaterialTransformation #FoundObjects #SpatialIllusion #ArchitecturalDeconstruction #VeniceArt

The article details a collaborative design-build project undertaken by siblings Maria De Cotiis, an interior designer, and Marco De Cotiis, a homebuilder, in East Vancouver. The project involved transforming a duplex into a 1,850-square-foot, four-bedroom home that seamlessly blends Old World charm with modern design elements, creating a neoclassical aesthetic. This unique fusion was specifically tailored to Marco's desire for a home that deviated from his typical Craftsman-style builds, leaning instead towards a "modern blend, like Norwegian style, but adding a touch of the neoclassical." The design process, undertaken in the aftermath of Marco's divorce, aimed to create a fresh start for him and his three daughters. The collaboration capitalized on the siblings' long-standing professional relationship, allowing for a deep understanding of Marco's vision. Maria incorporated clever design solutions, such as integrating millwork into roof slopes to optimize storage, contributing to the home's perception as a "mini mansion" due to its practical layout and efficient use of space. The main floor features herringbone floors, decorative molding, and ceiling flourishes reminiscent of fin-de-siècle Parisian apartments, which are juxtaposed with contemporary elements like flat-profile cabinet doors. The kitchen, being the central focus of the main floor, was designed to be highly functional yet not visually overwhelming. Maria achieved this by extending millwork across the entire back wall, painting it to match the decorative molding, creating a soft, monochromatic feel. A reeded panel was used to discreetly conceal the hood fan, with a Calacatta marble enclave housing the range. Sculptural counter stools with spherical elements serve as a focal point while maintaining a neutral palette, emphasizing a calming ambiance. In the living room, a curved sofa and chair continue the neutral theme, accented by black elements that define the space. A Samsung Frame TV, disguised as a painting, is positioned above a custom black marble mantle. The primary bathroom was designed to reflect a deep, moody vision, incorporating layered black marble in various formats and textures, complemented by art deco-inspired mirrors and sconces, evoking a luxury hotel aesthetic with a traditionally masculine feel. Conversely, the secondary bathroom, shared by Marco's daughters, adopted a feminine yet enduring design, featuring dove grey and lavender tones with layered marble tiles in different shapes and sizes, and a mix of polished nickel and gold fixtures. A small powder room on the main floor, strategically located, was transformed into a dramatic focal point with deep-red paint, bold mosaic floor tile, a floating corner vanity, a whimsical bird-topped mirror, and a glass-rod chandelier. The overarching goal for the home's design was to create a timeless space that would endure by harmoniously blending modern and traditional elements. #InteriorDesign #DuplexDesign #NeoclassicalStyle #ModernTraditionalBlend #MariaDeCotiis #HomeRenovation #VancouverHomes #CustomMillwork #MarbleFinishes

The article explores the concepts of "design thinking" and "design feeling" in the context of everyday objects and their impact on human experience. While design thinking focuses on optimizing user experience and functionality, "design feeling" emphasizes the ability to align objects with broader socio-cultural contexts, thereby enriching the perceived quality of design. This concept becomes particularly relevant in an era marked by digital inconsistency and economic uncertainty, where people seek tangible reassurance and comfort through their surroundings. The article highlights that many everyday objects are often poorly designed, leading to incoherent routines. Design thinking attempts to streamline these routines, but it is insufficient to address the deeper meaning and emotional connection individuals form with objects. "Design feeling" aims to bridge this gap by considering the intangible aspects of design that resonate with contemporary societal shifts. Several contemporary design pieces are presented as examples of "neo-transitional objects." These objects are characterized by their mild appearance, cozy feel, soft bends, and light-porous colors. They offer a sense of comfort and stability in a world increasingly dominated by digital abstraction and economic precarity. The term "neo-transitional objects" is derived from psychologist Donald Winnicott's concept of "transitional objects," which are items like teddy bears or blankets that help children navigate the transition from dependence to individuality. Specific examples of such designs include the "Up" lamp by Mattias Ståhlbom for Muuto, "Apps" by Richard Hutten for Artifort, and the "Basset" armchair by Iskos-Berlin for Versus. These designs are described as embodying the transition from a more tangible past to a digitally defined future, providing comfort rather than unease. The "Mega" series by Chris Martin for Massproductions and the "Haiku" sofa by GamFratesi for Fredericia are also cited as exemplifying this trend, balancing Italian expressiveness with Nordic strictness to create beautiful, reassuring pieces. Luca Nichetto's work, such as the "Stewie" lamp for Foscarini and the "N=N" collection with Oki Sato (Nendo), demonstrates weightless lines and cozy colors that sublimate the objects. Similarly, Karim Rashid's "Float" sofa for Sancal showcases a softening of tones, contributing to the overall sense of cognitive kindness. These designs aim to provide a sense of belonging and familiarity, helping individuals cope with the uncertain reliability of a digitally-influenced reality. The article concludes by emphasizing the importance of designing objects with layered aesthetic meaning to foster a sense of being "at home" amidst increasing intangible complexity. #DesignFeeling #NeoTransitionalObjects #ProductDesign #InteriorDesign #ContemporaryFurniture #PsychologyOfDesign #LucaNichetto #RichardHutten #GamFratesi

The article profiles Brazilian artist and designer Danilo Reis, highlighting his unique approach to design that merges visual arts with craftsmanship. Reis's journey into design began at age 12 as a carpenter's assistant, fostering an early, intimate connection with materials and manual creation. He later pursued architecture but rediscovered his passion for woodworking, which he believes was crucial in developing his distinctive style. His work today is characterized by handmade wooden pieces that evoke memory and ancestry. The article focuses on Reis's new series, 'Ascensão,' which debuted at Vienna Design Week 2025. This marks a significant milestone as Reis is the first Black Brazilian designer to participate in the event. 'Ascensão,' meaning 'rise,' serves as a conceptual framework for materializing ideas, drawing inspiration from nature, architectural forms, and the ritualistic dimensions of everyday life. Reis was born in Penha, São Paulo, and comes from migrant families from Minas Gerais and Bahia, experiences that inform his designs, bridging ancestry with contemporary creation. He also founded AYO Escola de Marcenaria (AYO School of Carpentry). The 'Ascensão' collection features altars crafted from salvaged materials such as wood, stone, and ceramics. Reis imbues these pieces with 'spiritual power' and a 'decolonial discourse,' emphasizing spirituality as a source of strength for the African diaspora in the Americas. His creative process unfolds in three distinct stages. It begins with the meticulous research and selection of salvaged materials, including wood and tool fragments, which he views as fundamental elements of society's material base. His intention is to create altars that celebrate this heritage, effectively re-inscribing the presence and power of the energy offered to these materials. The second stage involves the application of his carpentry skills to construct the altars, which take the form of cabinets. The final and most intriguing stage involves ritualistic performances conducted by Reis to spiritually charge each piece. He describes this as the moment when an object transcends its physical form to become a 'vivified altar,' a consecrated item suggesting specific use. Reis’s work emphasizes the importance of personal energy and connection in his pieces, likening this energetic charge to that found in cherished family photographs or religious artifacts. He aims for users to form deep, personal connections with his creations, appreciating the materials, the evident signs of their making, and the spiritual performances embedded within them, thereby fostering new ways of interacting with design beyond its utilitarian function. #DaniloReis #BrazilianDesign #ViennaDesignWeek #SalvagedMaterials #AncestryInDesign #SpiritualArt #Carpentry #CulturalIdentity

French design duo Olivier Garcé and Clio Dimofski have transformed their 2,300-square-foot apartment in Lisbon, Portugal, into a living gallery that showcases their multidisciplinary practice. Both designers honed their skills at Paris’s École Carmondo and École d’Architecture de Paris-La Villette, followed by a year in Beijing, where they explored the impact of cultural interplay on contemporary design. Their professional journey continued with stints at renowned firms like Shigeru Ban Architects and Hamonic + Masson & Associés in Paris, and a significant role in establishing Pierre Yovanovitch Architecture d’Interieur’s New York office. In 2021, they returned to Europe, specifically Lisbon, to launch their own studio, drawn by Garcé’s Portuguese heritage and the city's vibrant artisan community. The apartment, located on the second floor of a late 19th-century Pombaline-style building, features a distinctive solid-color exterior tilework. Inside, the duo meticulously preserved the elaborate plasterwork and moldings during renovation, aiming to maintain the historical essence of the space. This approach allowed them to seamlessly integrate modern design elements with the building’s original character. The interior is furnished with a thoughtful blend of new and vintage pieces, contemporary art, and the designers’ own handcrafted furniture and products, all reflecting their unique aesthetic and philosophy. A central theme in their design is the emphasis on materiality, with a particular focus on natural elements such as marble, stone, wood, and ceramics. Ceramics, in particular, play a prominent role, appearing in various forms throughout the apartment. Examples include the sculptural legs of the Mimi coffee table and the wall tiles in the kitchen, which feature a painterly glaze developed in collaboration with artist-potter Lígia Guedes. Similar large-format tiles are also used as baseboards in the dining room, creating a cohesive and tactile experience. The designers prioritize local sourcing, utilizing clay from the region and chestnut wood for pieces like the coffee table top, the chunky Hélios sofa, and the study’s wall paneling. Their collection extends to other local and international talent, featuring a Studio Haos aluminum dining table and several paintings by Pedro Batista. Korean American designer Minjae Kim, a frequent collaborator, contributes characterful chairs, tables, and lighting, which exemplify the apartment-gallery’s eclectic and creative spirit. The main bedroom includes a bamboo pendant by Studio Haos and a vintage Italian bench, leading to a bathroom adorned with ceramic tile-clad custom tub and a Rosa Estremoz marble dado. The living room showcases the original plasterwork, a Batista canvas, Garcé & Dimofski’s chestnut-and-ceramic Mimi coffee table, and Colin King’s handwoven Taglio rug for Beni Rugs. Each element contributes to a space that is both a functional home and a dynamic showcase of design and craftsmanship, deeply rooted in both local traditions and global influences. #LisbonDesign #CeramicArt #InteriorDesign #OlivierGarce #ClioDimofski #PortugueseCraftsmanship #MultidisciplinaryDesign #ApartmentGallery #MaterialityInDesign

Cosentino has launched its new Dekton Kraftizen line, drawing inspiration from traditional Venetian stucco. This innovative product was recognized with the Best of Show award at the 2021 Best of KBIS Awards, highlighting its significant advancements in material design and durability. The Dekton Kraftizen line is notable for being the first large-format material that authentically replicates the aesthetic of stucco, while offering enhanced performance characteristics due to its composition. The material itself is crafted from Dekton, a robust composite that combines quartz, porcelain, and glass. This blend results in a product known for its exceptional durability, making it suitable for a wide range of applications in both residential and commercial settings. The manufacturing process of Dekton ensures high resistance to UV rays, scratches, stains, and thermal shock, contributing to its longevity and low maintenance requirements. The integration of such resilient materials underscores Cosentino's commitment to delivering products that are not only aesthetically pleasing but also highly functional and long-lasting. The Kraftizen line features a distinctive, rich troweled-plaster texture across all its offerings, faithfully mimicking the artisanal finish of traditional stucco. This textured surface adds a tactile dimension to spaces, providing depth and character. The line is available in five distinct colors, each carefully chosen to evoke specific natural and architectural elements. Nacre, for instance, presents a subtle, pale golden beige with a silky finish, offering a sophisticated and understated elegance. Micron is a deep charcoal hue, designed to provide significant visual depth and serve as a versatile element within diverse color palettes. Albarium comes in a soft white, reminiscent of fine marble dust, which brings a luminous and serene quality to interiors. For those seeking warmer tones, Umber offers a timeless terra-cotta red, injecting a classic and earthy warmth into any design scheme. Completing the palette is Argentium, a silver-gray tone that takes inspiration from the moon, closely resembling traditional lime stucco and providing a contemporary yet classic feel. These color options, combined with the unique texture, allow designers to create varied atmospheres, from rustic and traditional to modern and minimalist. A representative from Cosentino emphasized that the development of the Dekton Kraftizen line emerged from a period of challenge, transforming adversity into an opportunity for creative innovation. This perspective highlights the company's adaptive approach to product development, responding to market needs and pushing material boundaries. The line's introduction signifies a blend of traditional craftsmanship with modern technology, providing a solution that marries aesthetic beauty with practical resilience for contemporary design projects. #Cosentino #DektonKraftizen #VenetianStucco #InteriorDesign #MaterialInnovation #SurfaceDesign #AwardWinningProduct #HomeMaterials #DurableSurfaces

The Monticello House, located in the Emilian countryside of Italy, has undergone a significant modernist transformation by Di Gregorio Associati. The project involved cloaking an existing rural house in a floating concrete pergola, creating a unique interplay between the old and the new. While the house itself received a complete modernist makeover, many design elements were inspired by its original simple barn architecture. Volumes were expanded, openings were widened and glazed, and existing bricks were meticulously restored and rebuilt. The defining feature of this renovation is the new concrete frame, which provides the house with a distinct identity. This bold structure is designed to respond to the scale of the house but intentionally never physically touches it. Francesco Di Gregorio, the lead architect and son of the practice's founder, highlights the symbolic importance of the space between the ancient brickwork and the new concrete frame. This interstitial void is intended to represent the intimate connection between the past, present, and future, with the house subtly integrated into its landscape. Plans are in place for plants to grow within these spaces, softening the square concrete columns and cascading over the edges of the platform, fulfilling Di Gregorio's vision for a harmonious blend of nature and architecture. Each new exterior cube of the concrete frame corresponds to an interior space, effectively doubling its perceived size through reflection. This illusion is further enhanced by the architects' strategic use of glass walls and exposed concrete finishes on the ceilings. Inside, the design emphasizes smooth lines and clean volumes, creating a minimalist environment for living. European oak volumes discreetly conceal facilities and built-in storage. The original interior brick walls have been thoughtfully upholstered with German fabrics, Italian ceramics, and quartzite sourced from the nearby Val Taro river, adding texture and local character to the modern interiors. The architect's background in film production, serving as an associate producer at Paris-based ZID Films, offers insight into the "cinematic vision" of the house. The design incorporates unfolding frames, echoing exterior and interior landscapes, and seamlessly weaves together natural elements with concrete structures. Furthermore, Di Gregorio, born in 1985, studied architecture under Mario Botta in Mendrisio, a renowned architect known for his ability to bridge concrete geometry with organic forms. This academic influence is evident in the Monticello House, where the architectural design meticulously balances robust materials with natural integration. The project underscores a thoughtful approach to renovation, preserving the essence of the original structure while introducing contemporary elements that redefine its presence within the landscape. The Monticello House stands as a testament to the potential for old and new architectural forms to coexist and enhance each other, creating a living space that is both functional and artful. #Architecture #ResidentialDesign #ItalianCountryside #ConcretePergola #ModernistRenovation #DiGregorioAssociati #ArchitecturalDesign #SustainableArchitecture

Jorge Diego Etienne, an industrial designer born in Tampico, Mexico, is dedicated to elevating Mexican design from a 'Made in Mexico' to a 'Designed in Mexico' culture. He established JDE Design Driven Consultancy in 2012, focusing on furniture, product, and public area design. His approach integrates cultural and social impact, offering flexible and scalable solutions that cater to both large manufacturers and individual craftspersons. Etienne's early education at Tec de Monterrey and subsequent studies at institutions like St. Martin’s in London, Domus Academy in Milan, Parsons in New York, and Boisbuchet in France, along with an internship at Feiz Design Studio in Amsterdam, provided him with a global perspective on design. He identified a unique design landscape in Mexico, which led him to pursue a master's in strategic design and management at Parsons, allowing him to approach design not merely as aesthetic creation but as a business tool to help companies achieve growth. His design philosophy emphasizes timelessness, emotional connection, and responsibility in material and process choices, aiming to create 'life enhancers' that blend seamlessly into people's lives without overpowering an environment. Etienne's work includes innovative projects such as Setto, an office partition system for Línea Italia. Unlike traditional systems, Setto is modular, uses acoustic materials, and integrates modern functionalities like built-in power and storage, addressing the contemporary need for both collaboration and privacy in workspaces. The system significantly reduces the number of components from 60 to 12, improving manufacturing efficiency and introducing color options beyond the conventional black, gray, and white. Another notable project is the René furniture collection for Los Patrones, a steel furniture manufacturer. Inspired by the flexibility of sports equipment, René is a soft, roundish, and stackable collection adaptable to various settings, featuring customizable textile, wooden, or steel seats. He also collaborated with Cacao, a furniture brand, to create Grama, a lounge chair designed for reading corners, characterized by a hard shell and soft cushions, with an accompanying ottoman and lamp. Grama incorporates sustainable materials like cactus leather, showcasing Etienne's commitment to responsible design. Beyond product design, Etienne champions the broader Mexican design community. He initiated Designaholic, which evolved from a blog into the most popular Spanish-speaking design podcast in Latin America, making international design accessible in Mexico. He also developed a unique playground for the Brillamont Institute in San Pedro Garza García, which prioritizes critical thinking, curiosity, and adventure while maintaining safety, using organic and bold geometric elements to stimulate children's development. Etienne has also worked on projects like Galeana, which documents and revitalizes traditional alabaster craftsmanship in Nuevo León by collaborating with artisans to create contemporary pieces, thereby increasing their market value and preserving an endangered craft. Furthermore, he co-curates Emergente, a platform that showcases emerging Mexican design talent at ZONA MACO DISEÑO, providing opportunities for young designers to exhibit their conceptual and narrative work, spanning various materials and product categories like furniture, lighting, and jewelry, and fostering their integration into the wider design industry. #JorgeDiegoEtienne #MexicanDesign #IndustrialDesign #DesignConsultancy #ProductDesign #FurnitureDesign #StrategicDesign #EmergingTalent #Craftsmanship

Mark Mitchell's 'Sunbeam Side Table' is a conceptual piece of furniture designed to replicate the visual phenomenon of sunbeams radiating through clouds, despite the parallel nature of actual sunlight. This design draws inspiration from the optical illusion that makes distant sun rays appear to converge from a single point in the sky. The product, crafted from Botticino marble in collaboration with Serafini, is intended to evoke the sense of mystery and wonder associated with this natural occurrence. The side table features intricate carvings that allow its spruce wood surface to interlock with the marble base without the need for adhesives, demonstrating a blend of aesthetic appeal and thoughtful construction. The design's functionality is highlighted by its ability to split light from an overhead spotlight through its wooden fins, projecting a sunbeam pattern onto the angled marble surface below. This interaction of light and material is central to the table's purpose, creating a dynamic visual experience for the user. Mitchell emphasizes that the design goes beyond mere aesthetics, aiming to tell a story and enhance user experience through its narrative qualities. The 'Sunbeam Side Table' is described as a totemic product, reflecting the designer's intent to capture and share moments of natural beauty within a functional object. The choice of Botticino marble for its fabrication underscores the product's luxurious and refined character, while the detailed craftsmanship by Serafini artisans ensures its high quality. The design process is deeply influenced by Mitchell's characteristic approach, which integrates poetry, wanderlust, and romance into his creations, whether they are products, spaces, or experiences. This side table is a testament to his ability to translate abstract natural phenomena into tangible, artful furniture. The piece serves not only as a functional item but also as a conversation starter, inviting contemplation on the interplay between nature, perception, and design. #FurnitureDesign #ConceptDesign #InnovationDesign #InteriorDesign #MarkMitchell #BotticinoMarble #Serafini #LightInteraction #EtherealMoments

Achille Castiglioni, a prominent figure in global industrial design, demonstrated an extraordinary ability to transform ordinary materials into masterpieces, contributing significantly to Italian design after World War II. His work, often created in collaboration with his brother Pier Giacomo, is celebrated in leading museums and educational resources worldwide. This article highlights ten of his most iconic designs, showcasing his creative philosophy of achieving maximum results with minimum means. One notable creation is the Luminator floor lamp (1954, FLOS), co-invented with Pier Giacomo. This lamp exemplifies simplicity and functionality, comprising a galvanized metal tripod, an iron rod, and a lampshade-less bulb. Its minimalist design reflects the Castiglioni brothers' core principle of efficiency in design. Another iconic piece is the Mezzadro stool (1957, ZANOTTA), which ingeniously reuses an old tractor seat, a bent iron bar, and a wooden stand. Originally produced by Isa and later by ZANOTTA, this stool is a testament to their innovative approach to repurposing everyday objects into functional and aesthetically pleasing furniture. Similarly, the Sella stool (1957, ZANOTTA) utilizes a bicycle saddle, a steel pole, and an iron base, allowing for a unique combination of sitting and movement, reflecting Achille Castiglioni's desire for adaptable furniture. The Sanluca chair (1960, POLTRONA FRAU) offered a contemporary take on classic armchairs. Its ergonomic design and the modular production process, where components like the seat, backrest, and headrest were made separately and then assembled, were revolutionary. After being produced by several companies, Poltrona Frau continues its production today, often paired with the Luca pouf. In the 1960s, Achille and Pier Giacomo collaborated with FLOS to introduce the innovative Cocoon technology for lighting. This technique involved spraying synthetic resin onto a metal frame to create a unique "cocoon" effect. Their designs, such as the Taraxacum, Viscontea, and Gatto lamps, quickly gained popularity for their distinctive appearance. The Brionvega RR126 stereo radio (1965, RADIOLA) made a significant impact in both design and technology. Its modular design allowed it to fold into a compact square, and its handcrafted wooden case ensured each unit was unique. Equipped with wheels, it offered mobility within a space. For the La Casa Abitata exhibition in Florence, Achille and Pier Giacomo designed the Firenze wall clock (1965, ALESSI). Though initially a prototype, Alessi later produced it in 1996, retaining its original design while introducing new color variations. After Pier Giacomo's passing, Achille Castiglioni continued to innovate. The Paro inverted glasses (1983, DANESE) showcase his simple yet ingenious concept: an inverted glass with a stem that doubles as a shot glass. The Joy modular shelving unit (1989, ZANOTTA) is another original work, allowing users to create various spatial compositions by twisting wooden consoles strung on a steel rod. In his later years, Achille Castiglioni also engaged in teaching, influencing future generations of designers. The 40/80 chair (1999, Moroso), co-created with Ferruccio Laviani, is an example of his collaborative spirit with young talent. The enduring appeal and museum presence of Castiglioni's works underscore his lasting legacy in industrial design, which continues to inspire and impress with its blend of functionality, innovation, and artistic vision. #AchilleCastiglioni #IndustrialDesign #ItalianDesign #FurnitureDesign #LightingDesign #ProductDesign #DesignIcons #MinimalistDesign #DesignHistory

Cosentino, a global leader in innovative and sustainable surfaces, has launched its new Dekton® Ukiyo collection, developed in collaboration with high-end interior and product designer Claudia Afshar. This collection introduces a unique textured, linear fluting that adds tactile quality, depth, and dimension to both residential and commercial spaces. Afshar emphasized the timeless appeal of texture in design, drawing inspiration from natural materials to create comfortable, warm, and authentic environments. She describes Ukiyo as calming yet simplistic, with colorways and fluting that balance romantic and contemporary aesthetics. The Dekton® Ukiyo collection draws inspiration from Japanese and contemporary design philosophies, particularly the concept of "Ukiyo," which signifies living in the moment. The collection aims to engage the senses and foster a sense of wellness and tranquility within a space. Its geometric, smooth structure is designed to create harmonious environments, suitable for both interior and exterior applications. The collection is available in five distinct colorways, offered as durable, ready-to-install fluted tiles, a novel offering in the industry. The five color options include Bromo, a dark gray inspired by slate, featuring subtle faded graphics and a natural, crafted texture. Kreta, reminiscent of cement, offers an even and controlled aesthetic that can influence the lightness or darkness of a space based on its pattern density. Umber is a terracotta hue, providing a warm, textured surface with a natural reddish pigment that adds character. Nacre is a versatile cream shade with fine micro-concrete and lime plastering details. Lastly, Rem presents an intricate design with brown and gray veining accented by hints of gold, reflecting the traditional and linear patterns of Calacatta Lincoln. Dekton® material is notable for being the only cradle-to-grave carbon-neutral solid surface available on the market. Its production process is sustainable, utilizing 99 percent recycled and reused water, 100 percent renewable electric energy, and incorporating recycled materials into its composition. Claudia Afshar expressed her gratitude to the Cosentino team for bringing this collection to market, highlighting her continuous effort to create unique and special designs for each project. The Dekton® Ukiyo collection is presented as a testament to innovative design, tactile aesthetics, and environmental responsibility. #Cosentino #DektonUkiyo #FlutedTexture #SurfaceDesign #ClaudiaAfshar #InteriorDesign #SustainableMaterials #TactileSurfaces #ModernDesign #JapaneseInspired

Antolini MilanoDuomo Stoneroom hosted the “I WANT IT WOW” installation by Pietro Terzini during Milan Design Week 2023, showcasing a blend of street art's dynamic energy and the enduring beauty of natural stones. This interdisciplinary project centered on natural stone as a medium, featuring Terzini’s conceptual phrases brought to life through LED lights, inlays, and artworks, captivating visitors and stimulating their imagination. The installation involved Antolini’s advanced technology to meticulously carve Terzini’s phrases into the surfaces of various natural stones from the Antolini Exclusive Collection. Stones like Brèche Fantastique, Dalmata, and Calcite Azul were precisely cut using a high-pressure water jet, while Bianco Lasa|Covelano Vena Oro, Amazonite, and Noirblanc were shaped to form the lettering, creating ink-like elements. Three specific claims— “Good things take more or less 190 million years,” “Made by earth designed with heart,” and “Nothing is written in stone”—were translated into inlays titled “MOMENT,” “NO MISTAKES,” and “CHANGE” on the inner surfaces of double-sided exhibits. Antolini’s commitment to research, innovation, and technological progress, combined with their expertise in the ancient art of inlay, enabled them to transform natural stones into smooth canvases for Terzini’s phrases. This fusion of traditional techniques and modern artistry resulted in a unique poetic experience. The deliberate combination of different stones in the inlay process, each possessing distinct geological formations, colors, and mineral compositions, produced striking chromatic and textural contrasts. This visual impact, intended to evoke a profound sense of awe, directly inspired the installation's title, “WOW.” Alberto Antolini, CEO of Antolini Italy, highlighted that “I WANT IT WOW” aimed to inspire new possibilities in combining art, design, and innovation, with natural stone at its core. He emphasized that the harmonious integration of these elements demonstrated the extensive processing capabilities of stone through technology. He further explained that inlay technology was essential for translating Terzini’s creative vision, followed by a meticulous craftsmanship phase involving the manual assembly of hollow and solid stone pieces. The process concluded with stone polishing to enhance perspective effects and highlight the intricate inlays. Another part of the exhibition, titled “AFFAIR,” featured a luminous invitation—“Do you want to take a bath with me?”—displayed on a Lumix Crystal bathtub, encouraging viewers to embrace uninhibited experiences. The Perception Wall within the Antolini MilanoDuomo Stoneroom, also featuring Terzini’s input, conveyed the message, “Nothing is as it seems,” encouraging self-exploration. Pietro Terzini expressed his pride in the collaboration, noting that the artworks combined Italian craftsmanship with his ironic style, resulting in distinctive pieces. The collaboration reinforces the identity of Antolini MilanoDuomo Stoneroom as a vital hub in Milan. Since its opening two years prior, it has served as a laboratory and meeting point for architects, designers, and enthusiasts globally, focusing on the diverse applications and captivating nature of natural stone. #MilanDesignWeek #NaturalStone #PietroTerzini #Antolini #ArtInstallation #MaterialInnovation #InteriorDesign #Craftsmanship #DesignExhibition