Inside Materia 2.0, Milan's new material library and the ultimate designer’s mood board

Milan Design Week transforms the city into a global design hub, attracting attendees to both Salone del Mobile and Fuorisalone. This year's event showcases a diverse range of installations, highlighting innovative approaches to design, lighting, and materiality. Atelier Biagetti, a recurring favorite at Fuorisalone, presents "The King," an exploration of obsessions inspired by Elvis Presley. Their installation reimagines a fantastical living room featuring "The King Sofa," a modular piece accompanied by guitar cases cleverly reinterpreted as tables with intricate Ravenna mosaics. This piece exemplifies their propensity for the impossible and their unique artistic vision. Ross Gardam, an Australian lighting designer, offers "Transcendence," an exhibit focused on the allure of illuminated glass. Gardam, known for creating meditative moods with his fixtures, demonstrates his broad talents and deep fascination with glass's ability to transcend physical boundaries. The installation promises a dynamic curation of luminaires, showcasing the material's unparalleled qualities. Giopato & Coombes, Treviso-based lighting masters, unveil "18 Pockets" after six years of dedicated research. This exhibit provides a glimpse into their creative process, highlighting the magical qualities of the immaterial. Their previous fixtures are transformed into 18 unique luminaires through a complex system of weight and balance, creating charming and poetic combinations. Galerie Philia's "Desacralized" exhibition takes place in a deconsecrated 11th-century Milanese church, fittingly exploring the theme of desacralization. Over 20 artists from the gallery's roster contribute to this unique setting. Notable pieces include Studiopepe's octagonal marble side table, inspired by Italian baptisteries, Kar Studio’s chair, drawing inspiration from ancient Chinese Shang Dynasty script, and a monumental chandelier by Morghen Studio, designed to offer a transformative experience of light within the historic space. SolidNature returns with "Beyond the Surface," an OMA-designed installation that metaphorically connects quarrying stone with the act of dreaming across seven distinct rooms. A highlight is Sabine Marcelis’s lustrous table, an ombré glass coffee table anchored by impressive stone blocks, demonstrating her experimental approach to materials. Objects of Common Interest, composed of Eleni Petaloti and Leonidas Trampoukis, presents "Poikilos." Inspired by ancient Greek references to iridescence and insights from Romanian artisan Ovidiu Colea, their ethereal objects and tables with opalescent finishes and sinuous curves inject energy into the Nilufar Depot. Loewe Chairs, under Jonathan Anderson's direction, reinterprets chairs into distinctive totems through an emphasis on texture, personality, color, and weaving. The display integrates materials close to Loewe’s brand identity, such as leather and raffia, with unexpected techniques like incorporating thermal blankets, elevating the humble stick chair into a canvas for elaborate woven decoration. Suchi Reddy, founder of Reddymade Architecture and Design, collaborates with Lexus on "Shaped by Air," an installation focused on carbon neutrality. Visitors navigate a forest of Matisse-like forms to discover a life-sized interpretation of the Lexus Electrified Sport, designed to evoke the sensation of being shaped by air. Lastly, "Bar Flora" is a collaboration between Sophie Lou Jacobsen, Nick Ozemba, and Felicia Hung of In Common With. Building on their Flora Collection, which employs Venetian glassmaking techniques to mimic natural forms, this installation transforms Palinurobar into a floral oasis. It introduces two new additions, including a sandblasted amber colorway, further enhancing their partnership. Byredo, known for its unconventional approach to fragrance, showcases "Bal D’Afrique by Dozie Kanu." Founder Ben Gorham teamed with Portugal-based artist Dozie Kanu to capture the essence of the beloved fragrance through a showcase that merges Kanu's unique objects with photographic negatives from Adjoa Armah’s _saman archive_, creating a multi-sensory experience that extends beyond traditional perfumery. #MilanDesignWeek #DesignInstallations #Fuorisalone #LightingDesign #FurnitureDesign #MaterialInnovation #CollectibleDesign #ArtAndDesign

Milan Design Week 2022 showcased a variety of temporary installations designed to captivate the design community. These installations frequently leveraged unique settings, ranging from abandoned nunneries and military hospitals to former sports venues and historic villas, to create impactful experiences. The event featured nine notable installations that demonstrated innovative approaches to design and material use. One featured installation was “A Statement of Form” by Gaggenau, a kitchen manufacturer, which was located in the Villa Necchi Campiglio, a historic Italian villa known from the film “House of Gucci.” This installation, a collaboration with architecture firm 1zu33, marble expert Salvatori, and ceramic specialist Kaufmann, presented a sleek kitchen design within a luxurious setting. Another highlight was "Monumental Wonders" by SolidNature, exhibited at Alcova’s Lavanderia building. This installation showcased the versatility of natural and semi-precious stones, featuring nine types of onyx in a dramatic entry portal. OMA designed a stone-wrapped doorway and marble-and-onyx furniture pieces, including a rotating cabinet and a bed with hidden storage. Sabine Marcelis contributed a pink onyx bathroom sculpture, demonstrating the material’s aesthetic and functional potential. “Silentscape” by Isabella Del Grandi for Slalom, also at Alcova, focused on acoustics. This colorful sound studio installation integrated soft surfacing materials and suspended upholstered spheres to create a calming, sound-absorbing environment, highlighting acoustic system solutions. Hermès presented "Houses" by Charlotte Macaux Perelman, a luminous installation of ash wood and translucent colored paper structures at La Palota. Inspired by water towers, these glowing geometric forms displayed new cashmere fabric designs for the home. Flos’s “See the Stars Again” exhibition, curated by Calvi Brambilla at the Fabbrica Orobia, introduced 14 new lighting products. A key feature was the anniversary edition of the Arco lamp, Arco K, which showcased its lead-free crystal base. The exhibition also included sculptural displays and indoor gardens. Lee Broom’s “Divine Inspiration” presented six new lighting collections and 30 products in a gallery setting. Drawing inspiration from religious architecture, the exhibition featured unique moods in each room and included limited-edition hand-sculpted pieces, such as a broken pendant light in the Requiem collection. Amine El Gotaibi’s 300-pound ceiling-mounted weaving for Beni Rugs, titled Spoken Lines, was unveiled at Alcova. This site-specific artwork, made from 80 feet of natural wool, set the stage for a collection of 10 rugs and was crafted by a cooperative of female weavers in Morocco. Caffè Populaire, a collaboration between Lambert & Fils and DWA Design Studio, offered an _aperitivo_ garden at Alcova. The installation combined sculptural lighting from Lambert & Fils with flowered wallpaper by Superflower and various plantings. It featured an elevated interior garden and a water sculpture, contrasting Brutalist lighting forms with hyperrealistic floral imagery. Finally, "Holotype" by Refractory, a newly launched furniture brand, was presented at Alcova’s E/Space building. The installation created a unique sensory experience with the scent and visual presence of turmeric, used to tint concrete walls and piled on the ground. This backdrop framed Refractory’s artisanal furniture and lighting pieces, crafted from materials like cast bronze and solid black walnut, and incorporated paleontological specimens and imagery of America’s West. #MilanDesignWeek #InstallationArt #ProductDesign #InteriorDecor #FurnitureDesign #LightingDesign #TextileArt #MaterialInnovation #ExperientialDesign

Milan Design Week annually transforms the city's historic streets with a multitude of installations, performances, and interventions, captivating visitors with creative displays in shop windows and hidden courtyards. In recent years, fashion brands have increasingly participated, extending their design expertise to furniture, interiors, and architectural spaces. This integration showcases a growing trend of interdisciplinary collaboration between fashion and design industries. Among the highlights of Milan Design Week 2019, Marni's 'Moon Walk' installation draws inspiration from celestial themes, merging 'primitive fascinations with the imagination of the future.' This project features a collection of brightly colored chairs, loungers, stools, and tables crafted from innovative materials by Colombian artisans, with whom Marni has a long-standing collaboration. The designs reflect an exploration of unexplored forms and textures, bringing a unique artisanal touch to the event. Jil Sander's 'Adjacent Field' installation, a collaboration between creative directors Lucie and Luke Meier and artist Linda Tegg, emphasizes sustainability and spontaneity. The Jil Sander headquarters in Milan houses a botanical display comprising mosses, succulents, weeds, herbs, and flowers, illuminated by a sophisticated lighting design by Nic Burnham. This installation transforms the space into a natural oasis, highlighting the beauty and importance of biophilia in urban environments. COS, an early adopter of Milan Design Week participation since 2012, partnered with architect Arthur Mamou-Mani for 'Conifera.' This futuristic bower, constructed from 3D printed wood and bioplastic conical bricks, occupied the courtyard of the historic Palazzo Isimbardi. The project exemplifies the brand's commitment to innovative design and sustainable practices through the use of advanced manufacturing techniques and eco-friendly materials. Tod's No_Code Shelter, a joint effort between Tod's and architect Andrea Caputo, created a multi-room exhibition within a cavernous space adjacent to the National Museum of Science and Technology. Surrounded by reconstructions of Leonardo da Vinci's inventions, the installation delved into themes of shelter, sustainability, and safety in contemporary society, prompting reflection on modern living challenges and solutions. Miu Miu presented 'M/Matching Colourstool,' a playful collaboration with creative agency M/M Paris. This design features a perforated linden wood stool that allows for customization with over 300 colored 'matchsticks,' offering owners a personalized decorative experience. The stool debuted at Milan's Teatro Gerolamo, underscoring Miu Miu's vibrant aesthetic and engagement with artistic expression. Issey Miyake, on its third appearance at Milan Design Week, collaborated with architect Jólan van der Wiel for 'The Strange Attraction of Water.' The piece, 'Journey of a Raindrop,' integrates water and design to simulate a raindrop's journey through various elements, showcasing an understanding of the natural world and its influence on creative expression. This installation offers an immersive experience, blending natural phenomena with artistic interpretation. Finally, Raf Simons and Kvadrat continued their collaboration with 'No Man's Land,' an installation at Garage 21 that explores the 'microarchitecture of yarn.' The exhibit featured apocalyptically styled soft furnishings, a prefab house by Jean Prouvé, and catering from London's Rochelle Canteen. This project highlights the innovative use of textiles and examines the intersection of fashion, architecture, and interior design in creating conceptual spaces. #MilanDesignWeek #FashionInstallations #InteriorDesign #ArchitecturalSpaces #SustainableDesign #ArtisanCraftsmanship #Biophilia #3DPrinting #TextileInnovation #CustomizableFurniture

The interior design landscape for 2025 is marked by a bold shift towards expressive and personalized spaces, moving beyond the neutral palettes that have dominated recent years. Presentations at Milan Design Week 2025 and Paris’s PAD 2025 revealed a strong embrace of color, pattern, and experimental forms. While the influence of maximalism persists, there's also a subtle integration of 'quiet luxury' principles, emphasizing comfort, relaxation, and monochromatic schemes. However, the overarching theme is a departure from subdued tones, with designers championing vibrant colors, often inspired by natural elements. Clients are increasingly seeking interiors that not only offer a sense of sanctuary but also distinctly reflect their individual personalities, driving a willingness to experiment with diverse materials, textures, and furnishings. Designer Anne Dereaux notes that a space's uniqueness now stems from a mix of classic and sculptural pieces, handmade objects, or even found items with a narrative, contributing to a holistic sense of well-being. A significant trend emerging is "material drenching," a concept introduced by designer Jake Arnold. This involves decorating an entire room with a single material like wood, stone, plaster, or fabric, moving beyond the color-drenching trend of previous years. This approach adds dimension and an elevated aesthetic, drawing inspiration from historical paneled or plaster-clad rooms but with a brighter, lighter contemporary interpretation. Reflective materials, such as high-gloss paints and strategically placed mirrors, are also gaining traction to add energy and manipulate perception without making spaces feel confined. Furthermore, there is a growing demand for evocative and enveloping spaces where comfort and well-being are paramount. This translates into moodier interiors featuring dark wood cabinetry, plush textiles, and layered drapery, often incorporating bold colors and patterns reminiscent of 20th-century design luminaries like Sister Parish and Mario Buatta. Installations at Milan Design Week, such as Pierre-Yves Rochon's Villa Héritage and Dimoremilano's "La Prima Notte di Quiete" with Loro Piana, exemplify this trend with rich hues, luxurious materials, and inviting elements like conversation pits. Craft-focused furnishings are also experiencing a significant revival, driven by increased consumer interest in quality, uniqueness, and sustainability, especially since the pandemic. The global market for arts and crafts is projected to reach $74.3 billion by 2033. Designers like Laura Lubin highlight the value of handcrafted pieces for their detail, timeless appeal, and ability to tell a story, reflecting a broader movement towards supporting artisans and embracing slow design. Examples include bronze furnishings at PAD Paris and Studio Lugo's work at Alcova Milano, which utilizes traditional Turkish techniques and materials. This emphasis on handmade items also caters to the desire for personalized spaces, with retailers increasingly featuring artisanal craftsmanship and connecting consumers to the makers behind the pieces. Color palettes for 2025 are expanding beyond earthy hues to embrace a full spectrum of nature-inspired greens and blues. Reports from the National Kitchen & Bath Association indicate a preference for colorful kitchens and bathrooms over traditional all-white designs, with designers observing a growing client interest in extending these shades throughout the home. This trend is linked to a desire to strengthen the connection between indoor spaces and the outdoors, providing a calming ambiance. Kathleen Walsh, a New York City-based designer, notes that project palettes are deeply rooted in the surrounding landscape, using softer foundation hues punctuated with vibrant accents. The integration of statement colors with natural materials is seen as a sophisticated approach. Sustainability and durability are central to interior design in 2025, with homeowners increasingly prioritizing natural, long-lasting materials for well-being. Clients are more conscious of material origins, seeking to avoid plastic-based products and opting for furniture designed to endure. Milan Design Week showcased a strong focus on sustainable materials, from cork used in Rockwell Group's "Casa Cork" exhibition to textiles made from mycelium and lighting from waste oyster shells. This trend also involves an appreciation for existing structures, with designers noting a shift towards working with and enhancing current conditions rather than always starting anew, partly influenced by rising construction costs. Finally, sumptuous textures are making a comeback, reflecting a return to romanticism in interiors. While contemporary designs use less chintz, there's a clear appetite for soft, billowing drapery, plush furniture, Venetian plaster, and Moroccan tadelakt, creating luxurious yet inviting spaces that offer tactile comfort and reflect homeowners' personalities and the history of their homes. #InteriorDesignTrends #MilanDesignWeek #MaterialDrenching #Craftsmanship #SustainableDesign #NatureInspiredColors #LuxuryInteriors #HomeDecor #TexturalDesign

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

Milan Design Week 2023, the first to return to its regular April schedule since 2019, showcased significant shifts and emerging trends in interior design. Attendees observed a strong emphasis on comfort and inviting silhouettes, with “Squish Is the New Blob” emerging as a dominant theme. Oversized, plump seating, such as Gal Gaon’s Macaron chairs at Nilufar Gallery and Cassina’s Moncloud sofa by Patricia Urquiola, highlighted a preference for soft, curvaceous forms designed for relaxation. Fendi Casa also embraced this trend with its Blow Up modular sofa, indicating that comfort remains a top priority in contemporary design. Outdoor living spaces are undergoing a technicolor transformation, moving away from traditional neutrals to incorporate vibrant hues and pastels. Joana Vasconcelos’s new indoor/outdoor BomBom chairs for Roche Bobois exemplify this trend, inspired by Portuguese sunsets and transforming showrooms into kaleidoscopic displays. Flexform and Dedon also introduced colorful outdoor furniture, with Dedon developing a unique color-shifting fiber for its seating, underscoring a desire for playful and expressive outdoor environments. Nature-inspired design, specifically “Moss-Core,” is another prominent trend, moving beyond subtle nods to nature to an immersive integration. Buccellati’s exhibit, featuring accessories nestled among carnivorous plants curated by Lily Kwong, and Forma Rosa’s ceramics paired with real flora and fauna at Alcova, illustrate this approach. Rinck’s designs incorporating undulating vine motifs further highlight the trend of intertwining design with natural elements, expected to influence textiles, rugs, and soft furnishings. Lighting is becoming more portable and versatile, reflecting a move towards indoor-outdoor living. Euroluce, the biennial lighting fair, featured portable lamps that can be easily moved, exemplified by Ginori 1735’s perfume bottle-inspired lights designed by Luca Nichetto, and Tom Dixon’s miniature versions of popular silhouettes. Italian design house Porada also contributed with the Ekero Move, a small, portable wood lamp, showcasing the growing demand for flexible and functional lighting solutions. Murano glasswork is experiencing a contemporary resurgence, with new designers breaking into the traditional space. Barbini Specchi Veneziani’s exhibit at Alcova showcased traditional Venetian glass alongside modern interpretations by emerging artists like Lucia Massari, whose confectionary Toppings chandeliers were displayed at Nilufar Depot. Dolce & Gabbana’s collaboration with Bradley Bowers on the chrysalis-like Fiosa vase, and Sofia Zevi Gallery featuring Akira Hara’s intricate vessels, demonstrate a fresh approach to this heritage craft. Aluminum is gaining traction as a preferred material, appreciated for its lightness and versatility. At Alcova, Arthur Vandergucht presented industrial tables and stools made of aluminum, emphasizing minimalist design and functional adornments. Kiki Goti’s debut collection also featured aluminum components in sconces, candlesticks, and mirrors, showcasing its playful potential. Ledongil Workshop from Korea presented functional objects with stainless steel bases and aluminum plates coated in glass fiber, creating a light, plastic-like appearance. Trompe-l’œil effects are adding a chic, deceptive element to design. Rinck, the French cabinetmaker, presented furnishings with subtly marbled surfaces that, upon closer inspection, were revealed to be lightweight composites. The Touch Wood duo developed a unique terrazzo using wood chips, challenging traditional material perceptions. Additionally, N/A, a design partnership between Natalia Triantafylli and Andrew Scott, utilized 3D printing to create clay mirrors and vessels based on scanned objects, blending traditional craft with digital aesthetics. Finally, textile design is focusing on sustainability and innovative production methods. Goran Sidjimovski’s BOI collection featured home textiles knitted from dead-stock yarns, organic cotton, and recycled polyester, with a production process that minimizes waste. Atelier LUMA presented a wool tent with a working felt machine and floor pillows woven from palm leaves, highlighting alternate uses for underloved textiles. Demeter Fogarasi’s “Frozen Textile” chair, made from a heat-pressed jute-based biocomposite, showcased how innovation can create inviting and comfortable forms from unexpected materials. #MilanDesignWeek #InteriorDesignTrends #FurnitureDesign #SustainableDesign #LightingDesign #MaterialInnovation #OutdoorLiving #TextileArt #DesignExhibitions

Gencork is redefining the application of cork in design through its integration of high-tech computational design with cork's natural and sustainable attributes. This approach rejuvenates cork's aesthetic and expands its utility, moving beyond traditional uses to contemporary applications in surfaces and interior elements. Cork, known for its hydrophobic, compostable, recyclable, lightweight, elastic, thermal, and acoustic insulation properties, as well as fire resistance, is being presented in a new light. At the core of Gencork's innovation is the collaboration between Sofalca, a Portuguese cork processor established in 1966, and DIGITALAB, an innovative studio specializing in generative design and digital fabrication. Sofalca, situated near Portugal's cork oak forests, emphasizes environmentally and socially conscious production, utilizing a closed-loop system where biomass from harvesting fuels its manufacturing process, achieving 95% energy self-sufficiency. DIGITALAB, led by Ana Fonseca and Brimet Silva, applies digital technologies across various design disciplines, previously creating cork threads for lighting and furniture. Toni Grilo, an acclaimed designer and art director for Sofalca’s Blackcork brand, also contributes significantly to Gencork’s pattern designs. The manufacturing process begins with cork harvested from oak branches, leaving the trees intact. Sofalca processes these branches into pellets, which are then baked in an autoclave. Water vapor injected during this stage causes the pellets to expand and agglomerate into solid blocks, bound solely by cork’s natural resins without added chemicals. These blocks are subsequently cut into panels and precisely milled using CNC technology, guided by computational design principles. Algorithmic scripts enable the creation of a diverse range of shapes and scales, allowing for tailored applications. The 2020 Corkllection showcases these advancements, featuring cork tiles, modular cork bricks for wall coverings, a cork table light, and customizable generative wall panels. The autoclaving process imparts a distinctive dark, rich, chocolatey color to the cork. Gencork's designs draw inspiration from nature, mathematics, geometry, and biomimetics, resulting in patterns that range from fluid ripples and swirls to abstract geometric forms reminiscent of origami. The granular texture of the cork maintains a warm, organic feel, even with precise milling, and the 3D panels exhibit a characteristic lined texture. These dynamic patterns allow for the creation of undulating or complex geometric wall surfaces. Corkbricks, available in square or triangular modules, facilitate regular or uniquely irregular 3D installations. Two-dimensional designs include a progressive hexagonal pattern inspired by M.C. Escher, magnetic wave motifs, and op-art grids. Tessellating cork tile designs like Corkunit and Corkarc create complex topographic surfaces, while Corkboard offers a minimal diamond tile with optional shelves for display. The generative designs are functional, enhancing cork’s inherent thermal and acoustic properties. They transform cork from a utilitarian, often concealed material into a prominent feature in contemporary design. Gencork’s approach adds significant value and broadens cork's appeal for both commercial and residential projects, elevating cork wall tiles beyond their traditional perception into an attractive and disruptive design element. #MaterialsAndSurfaces #InnovationDesign #InnovativeMaterials #SustainableDesign #CorkDesign #GenerativeDesign #DigitalFabrication #InteriorDesign #ComputationalDesign

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

This article highlights various innovative design pieces from global makers, showcasing a blend of traditional craftsmanship and contemporary materials. The featured designers and studios, hailing from locations such as Brooklyn, Copenhagen, and Ukraine, emphasize unique artistic visions and sustainable practices in their creations. Each piece is a testament to meticulous design and material exploration, ranging from intricate glass sculptures to furniture made from reclaimed materials. The article begins by introducing Reevein Studios, specifically Sara Rosa Oppermann and Alice Soro Cilliara, who create mouth-blown glass sculptures. Their 'Spora' sculpture, available in amber and electric blue, demonstrates the artistic manipulation of glass into fluid forms. Following this, Djivan Schapira's 'Divergent' foyer and low tables are presented, characterized by resin inlaid with bronze wire, offering a modern aesthetic with intricate detailing. Kateryna Sokolova's 'Flock' chair for Noom, featuring an upholstered injection-molded soft-foam body and stained-ash feet, illustrates a combination of comfort and sculptural form. Faina's Victoria Yakusha contributes the 'Sontsehryv' sculpture, which stands out for its sustainable composition. This piece is crafted from Ztista, a proprietary blend of cellulose, clay, flax fiber, wood chips, and biopolymer, reflecting a commitment to eco-conscious design. Streicher Goods, led by Ethan Streicher, showcases a collection of lamps—Archie, Ping Pong, and Drum—fabricated using various stoneware clays, underglazes, mid-range glazes, and sometimes blown glass or 3D-printing processes. These lamps explore diverse material combinations and manufacturing techniques. Mansi Shah of Manu Nanu presents an interlocking vase made of hand-blown borosilicate glass in amber and cobalt-blue, demonstrating a sophisticated approach to color and form in glasswork. Nathan Litera's side table combines natural rope and grand antique marble, offering a textural and material contrast that evokes both rustic and luxurious sensibilities. Astraeus Clarke, by Chelsie and Jacob Starley, features the 'Lenox Small' three-globe light, available in wall sconce and chandelier formats, constructed from powder-coated steel, brass, and glass, indicating a versatile lighting solution. Eduardo Rivas of ERM Studio contributes the 'Materia Digital' cast-aluminum coffee table with a glass top, showcasing a blend of industrial materials with a refined finish. Kiki Goti's 'Belted and Buttoned Up' wall lights, made from aluminum, polished nickel, and steel, exemplify a contemporary and structured lighting design. Feyza Kemahlioglu of Feyz Studio, through Wexler Gallery, introduces the 'Glowing Sentiments' lighting collection, which incorporates hand-blown Murrine glass, brass chain, and Meerschaum, a hand-carved clay mineral, highlighting intricate details and unique material sourcing. Ciara Jade Dockery’s 'Creature Comforts' collection includes a Flokati wool pouf, a Mohair bench crafted from vintage rugs, and a Ply occasional table made of FSC-certified plywood. These pieces emphasize comfort, sustainability, and the repurposing of materials. Matt McKay presents the 'Jib' shearling and lacquer stool, the 'Ahoo' cashmere-upholstered lounge chair, and the 'Cap' resin and lacquer coffee table, all demonstrating a focus on tactile luxury and modern forms. Finally, Michelle McLaughlin of Calyer Ceramics features the 'Sprig' floor lamp, which features a ceramic stoneware base with a handmade glaze and a linen shade, showcasing a handcrafted approach to lighting. #MaterialInnovation #ProductDesign #SustainableDesign #Handcrafted #Ceramics #GlassArt #FurnitureDesign #LightingDesign #InteriorDecor

Design duo Draga Obradovic and Aurel Basedow, known collectively as Draga & Aurel, are set to showcase their ‘Transparency Matters’ collection at Salone del Mobile. This presentation marks their first solo exhibition in a decade and prominently features resin as its primary material. The collection, which involved nearly a year of experimentation with resin and glass, aims to explore the interaction of light with various colours and opacities, reflecting the designers' meticulous attention to detail and sensitivity. Draga & Aurel's journey into design began after both studied art in Florence, with Obradovic specializing in textiles and Basedow in carpentry. After relocating to Como, their initial careers in fabric design and art/music education, respectively, gave way to a period of creative stagnation for Obradovic. This personal crisis ultimately led her to produce a small collection of hand-finished soft furnishings, which evolved into upholstering and reworking vintage furniture sourced from local thrift shops. Basedow's carpentry skills became integral to this endeavor, and their innovative approach quickly gained recognition, attracting collaborations with notable manufacturers like Baxter and Wall & Decò. For the ‘Transparency Matters’ collection, the designers have expanded beyond their earlier focus on vintage furniture and textiles. Resin was chosen for its versatility in achieving a wide spectrum of colours and opacities. The collection includes cast-bronze tables with resin tops in mineral shades like jade, amber, and amethyst, inspired by wildflowers. Tall cast-glass wall lights, created by melting together three tinted glass shades and inserting coloured resin over the light source, further manipulate hue and light. Cast-resin screens, with their unevenly saturated shading achieved through a week-long, three-stage process, will define the exhibition space. Additionally, deep-seated ‘Gaia’ chairs, originally designed by Carlo Bartoli, have been given a matte, soft-touch velvet-like finish. The exhibition will also feature outdoor furniture, writing desks, bookshelves, and additional lighting projects, all available for order. The duo draws inspiration from minimalist artists such as Dan Flavin and Donald Judd, not solely for their formal qualities but for their investigative approach to materials and craftsmanship. Basedow complements the furniture collection with large-scale paintings crafted from resin and found imagery. Despite a challenging path to their current success, the designers emphasize that all their past experiences are channeled into their work, contributing to their unique perspective. The ‘Transparency Matters’ exhibition will be on view from April 9-14 at H+ in Milan, with their ‘Heritage’ collection also featured at Baxter Cinema during the same period. #SaloneDelMobile #ResinArt #InteriorDesign #ContemporaryFurniture #MaterialExperimentation #MilanDesignWeek #DragaAndAurel #LightingDesign #ArtAndDesign

Mardi Doherty, founder of Melbourne-based Studio Doherty, established her firm in 2014, quickly gaining recognition for her distinctive interior designs. Her work is characterized by a unique and original application of colour, texture, and materials, creating spaces that are both full of character and highly liveable. Clients have often described Doherty as possessing an "X-ray vision," capable of envisioning the full potential of a space by creatively reimagining its structure and introducing striking new volumes. This innate talent for design has been cultivated since her early years. Doherty’s upbringing, where her parents frequently bought and sold motels, exposed her to constant renovations, significantly influencing her passion for design. She pursued her education in interiors at RMIT University in Melbourne and briefly embarked on an architecture degree. Although she later became a successful painter, her dedication to engaging in compelling design collaborations remained steadfast. Her early career included designing the Great Eastern Dining Room in Shoreditch, a project that led her to spend two years in the UK. During this time, she worked with esteemed firms such as Conran Design Group and David Collins Studio, contributing to significant projects, including the interiors of Madonna's Belgravia home. Studio Doherty’s contemporary aesthetic draws inspiration from 1970s and 80s styles, as well as from artists like the Australian stained-glass master Leonard French and the Dutch creative Sabine Marcelis, known for her colourful, sculptural works. Doherty also cites modernist architects, such as John Lautner, whose bold geometric forms inform many of her spatial design decisions. Recent projects by Studio Doherty exemplify this vision. The Gloss House, a new-build in Melbourne, was designed in collaboration with Enth Degree Architects for a client who desired a generous and quirky home reminiscent of mid-century Palm Springs style. Instead of direct imitation, the studio aimed to capture the era's essence through warm timbers, human-scaled spaces, and playful elements, utilizing materials in unconventional ways. This project features an electric-blue spiral staircase, an orange conversation pit, and an open-plan kitchen, dining, and living area unified by a sweeping timber-clad ceiling and a curved tile system that reflects light. Another notable project is Gable House, a restored heritage home in Melbourne designed with Folk Architects. The interior is characterized by its joyful and confident approach, incorporating bold yet refined colour choices, such as a lipstick-pink pantry and a fire-engine-red fireplace. These vibrant elements are harmoniously juxtaposed with layered stone, Murano-glass chandeliers, and vintage pieces, showcasing a successful blend of heritage and contemporary invention. Currently, Doherty is engaged in two distinct projects: the renovation of a Georgian Revival mansion in Toorak, Melbourne, largely untouched since its 1936 construction, and a creative home for a toymaker in the city's bayside area. The latter project is a more restrained endeavour, with the design direction heavily influenced by the owner's extensive collection of new and vintage toys and clocks. The studio’s Elonera House project highlights their innovative use of tiling, with muddy-yellow zellige contrasting with skinny, blush-pink tiles on the kitchen island. Studio Doherty’s design philosophy prioritizes creating spaces that are both expressive and deeply personal, tailored to the unique narratives of each client. When it comes to expert advice, Studio Doherty emphasizes thinking beyond traditional applications for tiles, suggesting their use in living spaces, entrances, or even as furniture surfaces. They also highlight the transformative potential of curved tile systems and rounded edges in altering a space’s mood, softening geometry, and adding a playful touch. The importance of grout is also stressed, as its colour and thickness can significantly impact a tile's appearance, either enhancing contrast, echoing other tones, or creating a seamless finish. The studio advocates for confident, anchored use of bold colours, noting that an electric-blue staircase might be surrounded by neutrals, while an orange conversation pit is designed to dominate and breathe within its space. Finally, wood remains a fundamental material for its versatility, used for cladding ceilings to add warmth and architectural identity, or for tongue-and-groove panelling to introduce rhythm and softness to walls. #InteriorDesign #ColourInnovation #Materiality #MelbourneDesign #StudioDoherty #ResidentialArchitecture #HeritageRenovation #TileDesign #ContemporaryInteriors

Italian door brand Lualdi has announced a new focus in its design process for 2023, aiming to create products through experimental combinations of textures and materials. This shift in design philosophy is geared towards developing new door aesthetics by creatively utilizing and integrating traditional materials such as wood, fabric, glass, and aluminum. The brand states that many of its latest products and collections are specifically engineered to interact with light from various angles, thereby expanding a broad spectrum of "creative possibilities." These possibilities range from innovative surface treatments and overlapping patterns to the thoughtful combination of diverse materials. A key example of this new approach is Lualdi's L7 door collection, which was unveiled at the Salone del Mobile furniture fair during Milan Design Week 2023. This collection, developed in collaboration with architect Piero Lissoni, thoroughly explores the interplay between glass and aluminum. The brand highlights that this exploration is evident not only in the patterns created with these materials but also in how they are integrated. For instance, the L7 Edit, a component of the L7 door collection, features glass panels accentuated with aluminum stripes. These stripes are intended to introduce a "rhythmic feel" to the product and give the design a fence-like silhouette, demonstrating a novel application of materials for aesthetic and functional purposes. Beyond glass and aluminum, Lualdi is also actively pursuing the "quest to discover wood's untapped potential." The strategic mixing of materials is designed to "inject furniture systems with energy," effectively transforming individual pieces into adaptable, state-of-the-art architectural elements that possess significant decorative impact. An illustration of this is the Koan sliding system, conceived for Lualdi by Kokaistudios, which incorporates wooden strips to enhance its design and material composition. Similarly, the brand's cladding solutions, such as Tai Boiserie, exemplify this material-focused design. Tai Boiserie features a symmetrical arrangement of wooden geometric patterns that extend across walls and doorways. This design aims to infuse interior spaces with a sense of warmth and coherence. The graphic interplay of shadows and lines produced by these designs is specifically crafted to "breathe fresh life into wood's inherent solidity," challenging conventional perceptions of wood's application in interiors. Furthermore, Lualdi is intensifying its engagement with fabrics and leathers, materials that are increasingly seen as facilitating a "reconciliation, a fusion almost, between the product and the world of furniture." The brand employs these materials to present increasingly adaptable solutions capable of defining the visual character of the spaces they connect. Lualdi, an Italian design company established in 1859, specializes in interior doors and maintains showrooms in prominent cities including Milan, Miami, Los Angeles, and New York. The brand's commitment to exploring material combinations and textures signifies a forward-thinking approach to interior design elements, aiming to offer sophisticated and versatile solutions for modern spaces. #Lualdi #DesignProcess #MaterialInnovation #InteriorDoors #PieroLissoni #MilanDesignWeek #ArchitecturalElements #HomeDecor #ProductDesign

Tarkett, a prominent global provider of recyclable flooring solutions, has officially opened its new UK and Ireland showroom, Tarkett Atelier, situated in the vibrant creative district of Clerkenwell, London. This innovative space, located at 47-53 St John Street, was designed in collaboration with Stockholm-based Note Design Studio and contractor Area Square, opening its doors on July 6th. The showroom aims to offer architects, designers, and end-users a comprehensive experience, showcasing the latest sustainable and design-led interior finishes and demonstrating how various materials can be creatively re-envisioned. The design ethos of Tarkett Atelier draws inspiration from Britain's industrial city heritage, adopting a 'soft industrial' aesthetic. A core principle of the design is sustainability and adaptability, evident in every curated aspect of the interior. The entire space utilizes materials from circular collections and is composed of 100% recyclable components. The showroom redefines the conventional showroom experience by seamlessly integrating technology with digital features, including interactive displays and virtual reality elements. This approach allows for a deeper engagement with the products and design possibilities. A distinctive feature of the showroom's interior is the thoughtful selection of contrasting materials and textures by Note Design Studio. These materials were chosen for their tactile qualities, durability, and striking industrial aesthetics. The design team employed an unconventional approach to traditional materials, particularly hard and soft flooring. These materials are imaginatively transformed into various functional elements, such as linoleum counter bases, work surfaces, vinyl tabletops, structural pillar cladding, and even lighting fixtures, highlighting their versatility beyond typical applications. The showroom prominently features several of Tarkett's key collections, including Desso Fields, Retrace, Linowall, iQ Granit, Natural, and Parade Excellent. A dedicated gallery area serves as a platform to exhibit Tarkett's flagship products and materials, providing visitors with an understanding of each product's benefits within a well-structured and purposefully designed environment that extends beyond simple samples. Furthermore, the space is designed to host bespoke art installations crafted from Tarkett flooring, showcasing artistic applications of their products. An open product lab is integral to the Atelier, fostering co-creation and experimentation. This lab enables visitors to develop their project ideas by selecting from Tarkett's extensive range of carefully curated materials and products. The multi-functional nature of Tarkett Atelier is further enhanced by incorporating areas for various activities, including socializing, hosting events, dedicated meeting rooms, quiet phone booths, and collaborative workspaces. The showroom provides a dynamic and inspiring environment that facilitates creativity, collaboration, and a deeper appreciation for sustainable and innovative interior design solutions. #TarkettAtelier #NoteDesignStudio #FlooringDesign #SustainableInteriors #ShowroomDesign #LondonArchitecture #MaterialInnovation #RecyclableMaterials #InteriorDesign

The increasing scrutiny on environmental impact has led designers to innovate, creating solutions that combine creativity with sustainability. This movement is spearheaded by both established and emerging talents who are developing projects ranging from microalgae-powered items to furniture made from paper pulp and fully compostable seating, all while maintaining high aesthetic standards. Fango, founded by Colombian designer Francisco Jaramillo, addresses deforestation by utilizing Yaré, a fast-growing natural fiber, in his 'Ibuju' furniture collection. This project collaborates with local weavers in Colombia, highlighting the relationship between artisans, sustainable materials, and contemporary design through pieces that respect indigenous traditions and environmental needs. Prowl Studio, comprising Baillie Mishler and Lauryn Menard, introduced the 'Peel' chair at Milan Design Week 2023. Developed with M4 Factory, this chair is made from a hemp-based bioplastic derived from industrial hemp waste and biopolymers. The chair's frame composts within six months in an industrial facility, while its hemp foam cushion, upholstered in hemp bio-leather, decomposes as quickly as an orange peel and can be composted at home. Creative director Menard emphasizes a design philosophy that considers the entire lifecycle of materials and products. German designer Stefan Diez, inspired by Japanese bamboo furniture, partnered with Norwegian aluminum manufacturer Hydro to create the 'Boa' table for Hay. This table uses 75% recycled, post-consumer aluminum scrap, employing a unique folding technique reminiscent of traditional bamboo artistry. Its lightweight, flat-packed design and production facility powered by hydropower significantly reduce its carbon footprint. Buyers can customize the tabletop with various finishes or source it locally to fit their style. Alted Materials, founded by Berta Julià Sala, aims to disrupt the building industry by offering architectural products based on circular economy principles. Their 'Alted H01' collection features decorative wall panels made from 'Honext,' a material derived from cellulose waste from the paper industry. These waste-based, plant-based, non-toxic, and recyclable panels come with a take-back scheme, ensuring materials are recycled back into the production loop at the end of their life. Patricia Urquiola, Cassina's art director, designed the 'Moncloud' sofa with a strong focus on sustainability. The sofa features a metal frame wrapped in recycled PET wadding, and the use of polyurethane is minimized by incorporating Circularrefoam, a foam made with recycled polyols. The design allows for complete disassembly, making individual material recycling and recovery easier. Federico Peri collaborated with Bentley to create furniture using Paper Factor, an innovative paper-pulp surface material developed by Riccardo Cavaciocchi. This material, crafted by hand, offers a luxury aesthetic similar to marble, with organic coloring and intricate veining, but with significantly reduced waste and water usage during production. This initiative is part of Bentley's broader sustainability efforts, emphasizing the durability of the material when treated. Chinese designer Fengfan Yang's 'Light on Lives' project explores plant-powered electricity generation using microalgae contained in the lamp's base. While producing minimal power, it is sufficient for a night light, requiring regular water changes. Yang aims to integrate existing technology with everyday products to demonstrate the potential of plant power, highlighting the importance of interdisciplinary collaboration for future applications. Yuma Kano, a Japanese designer, created 'ForestBank' after being inspired by the Hida region's forgotten forest elements. This material combines organic waste such as small branches, leaves, and nuts with resin, showcasing the beauty and unique characteristics of these natural resources. Each design is distinct due to the organic variations and can be applied to various forms like tabletops. Estudio Rain, founded by Mariana Ramos and Ricardo Innecco, developed the 'Rícino' lighting collection from a plant-based castor oil resin. This project, which began in 2018, offers translucent amber fixtures as an ecological alternative to petroleum-based resins. The material is cold-pressed and manufactured without water consumption, indicating a significant step towards sustainable material innovation in design. Honoka Design Lab, a collective of Japanese designers, presented the 'Tatami Refab Project,' a furniture series made from discarded Tatami mats combined with bioplastic to form a green resin-like substance. By transforming Igusa grass mats into striking furniture and lighting with the help of 3D-printing experts ExtraBold Inc, the project seeks to reintroduce the beauty of traditional Tatami to younger Japanese homeowners influenced by Western design trends. #SustainableDesign #EcoMaterials #CircularEconomy #BioplasticFurniture #RecycledMaterials #PlantPoweredDesign #TraditionalCraftsmanship #InnovationInDesign #GreenArchitecture

Milan Design Week and Salone del Mobile 2024 provided a prominent platform for Japanese design, showcasing a diverse range of innovative creations from various brands. The event highlighted traditional craftsmanship integrated with modern aesthetics, spanning furniture, lighting, textiles, and art installations. Several key brands presented new collections and exhibitions across Milan, emphasizing unique materials and design philosophies. Karimoku Case, known for its woodworking and manufacturing precision, exhibited at Salone del Mobile with a theme of 'Natural Contrasts.' The exhibition, curated by architect Keiji Ashizawa, created a serene atmosphere with spaces designed to connect indoor and outdoor elements. A notable feature was the reintroduction of _keyaki_ (zelkova) wood, traditionally used in temples and shrines, into contemporary furniture, aiming to revive its popularity. Designs by Ashizawa, Norm Architects, and Norman Foster were prominently displayed, reflecting a holistic approach to furniture within specific project settings. Three other Karimoku brands also held separate exhibitions. Seyun, a collaboration fusing Zaha Hadid's futuristic designs with Karimoku's wood craftsmanship, unveiled a new side table, tray, and lounge chair, all crafted from single pieces of wood. Mas, creatively directed by Wataru Kumano, debuted in Milan with 'Project Hinoki,' an exploration of Japanese cypress wood, featuring minimal lights by Daniel Rybakken and low triangular tables by Ville Kokkonen. Karimoku New Standard, with David Glättli as creative director, presented its first solo show in five years, showcasing pieces like the Polar sofa by Moritz Schlatter and textiles from a collaboration with Reiko Sudo's nuno, all in an atmospheric artist's studio setting. The textile industry was represented by Hosoo, a centuries-old Kyoto maker, in collaboration with Michele de Lucchi. Their 'Mind Landscape Collection' explored forest aesthetics through four new textiles (Cedar, Red Elm, Red Oak, Afzelia) with motifs derived from macro photographs of wood fibers and satellite imagery, blurring the lines between wood and fabric. Issey Miyake's 'Fold and Crease' installation, created by Dutch collective We Make Carpets, featured 60,000 hand-dyed bamboo skewers forming an undulating abstraction, evoking an underwater landscape within the brand's flagship store. Sugiyama Furniture, specializing in solid iron craftsmanship, presented 'The Beauty of Lines,' showcasing the versatility of iron in minimalist interior products. Collaborations with Japanese creatives yielded pieces like Kazuteru Murasawa's Felice chairs, combining lightweight iron with organic leather details, and Fumie Shibata's Wall Deco series. Ambientec, a Japanese lighting brand, introduced Fotika, a hybrid portable and desk lamp designed by Kensaku Oshiro, inspired by the light filtering through ocean waters and crafted from a single piece of aluminum. Majotae, a Japanese hemp brand, presented Majotae 9490, a new line of bedding made from _tamai-fu_, a super-fine traditional hemp, with textiles displayed in natural dyes. The exhibition also showcased historical hemp artifacts and a live demonstration of traditional weaving. Stellar Works, a Japanese furniture brand based in Shanghai, returned with an expansive showcase inspired by Marco Zanuso, featuring new Neri & Hu products like the Qi collection sofas and the Taiko terrazzo table by Studio Stefan Scholten. Finally, Nagano Interior, making its Salone del Mobile debut, presented solid wood furniture crafted from materials like red oak and Japanese ash, embodying the concept of 'wa' or harmony, with pieces like the DT614 table and Corona chair. Ritzwell, another Fukuoka-based furniture maker, blended Japanese craftsmanship with functional design, showcasing the Constantino Armchair by Shinsaku Miyamoto and the MT Coffee Table, alongside new wood color shades Sohbobku and Gen. #MilanDesignWeek #SaloneDelMobile #JapaneseDesign #FurnitureDesign #TextileInnovation #LightingDesign #Craftsmanship #SustainableMaterials #InteriorDesign

At Milan Design Week 2025, Belgian design house NOËL & MARQUET, in collaboration with Milanese design collective studioutte, unveiled Galerie Rouge. This independent showcase presented an evocative, monochromatic installation that reimagined decorative mouldings as sculptural elements. The exhibition, bathed in a bespoke burgundy hue developed with Sigma Coatings, offered visitors an immersive experience highlighting the expressive potential of wall décor. It blended classical inspiration with contemporary aesthetics, focusing on symmetry, texture, and mood to redefine the role of walls in interior design. The core of the Galerie Rouge experience featured a curated selection of NOËL & MARQUET’s three-dimensional wall panels. These panels were presented not as mere embellishments but as distinct design statements, functioning as sculptural and intentional elements. A notable piece was DORIQUE, which draws inspiration from ancient Greek Doric columns, translating this historical symbol into a contemporary context with its vertical rhythm and structured lines to imbue modern interiors with timeless elegance. Expanding on this concept, DORIQUE FLEX, set to launch in May 2025, introduces fluidity by adapting to curved surfaces such as pillars, counters, and rounded walls, thus providing designers with enhanced freedom in spatial arrangement and movement. Further demonstrating the brand's vision, the CANELÉ S and L panels incorporate gentle, wave-like textures that introduce softness to geometric forms. These panels evoke the serene minimalism found in Scandinavian and mid-century design, subtly altering a room's atmosphere by adding depth and calm without being overwhelming. In contrast, the ARC S and ARC L panels offer a bolder and more playful aesthetic with their sweeping curves and smooth surfaces, reflecting the retro-futurism of the 1970s, an era characterized by optimism, rounded shapes, and tactile qualities in interiors. These panels can be used individually or in combination to inject personality into various settings. Collectively, these wall panels articulate NOËL & MARQUET’s belief that surfaces are not merely to be covered but should be celebrated, shaped, and experienced as integral parts of design. Beyond the wall panels, NOËL & MARQUET exhibited a selection of decorative profiles, emphasizing their role as subtle yet impactful design elements that enhance architecture through meticulous detail, establishing visual rhythm and continuity within an interior. Among these were the IL8 and IL12 lighting profiles, which discreetly integrate LED lighting to cast a warm, ambient glow, transforming ceilings and walls into sources of atmosphere and depth, treating lighting as architectural poetry rather than a mere function. The Z52 cornice made a stronger statement with its sharp, geometric lines, forming a clean, linear connection between wall and ceiling, creating dynamic shadows that add texture and definition to a room without dominance. For designers seeking both structure and subtlety, the Z13 and Z1360 chair rails offer versatility, serving to divide color fields, frame specific areas, or introduce layered visual interest, acting as tools for precision and personalized expression. The collection is completed by the FL2 skirting, which provides a refined connection between the floor and wall, grounding the space with elegance. Studioutte, founded by Guglielmo Giagnotti and Patrizio Gola, applied its signature "warm minimalism" approach to the project, conceptualizing NOËL & MARQUET’s components as artifacts. The exhibit functioned as a modern temple of decorative arts, where light, texture, and silence converged into a sensory experience. Galerie Rouge underscored that walls are not merely backdrops but canvases for emotional and architectural narratives, with NOËL & MARQUET reaffirming its commitment to "Create Unique Living Spaces," where intricate details become foundational design elements and traditional forms are reinterpreted with contemporary expression. #MilanDesignWeek #ArchitecturalInstallation #WallPanels #InteriorDesign #DecorativeMouldings #Studioutte #NOELMARQUET #MonochromaticDesign #ProductLaunch

This article details the process of two "Next Wave" interior designers, Hilary Matt and Lilse McKenna, as they select materials for two distinct family room projects. The designers virtually shop through the Kravet and Lee Jofa/Brunschwig & Fils showrooms, demonstrating how they choose upholstery fabric, wallpapers, trim, and carpets to create specific aesthetics and functionalities for their clients' homes. Hilary Matt's project focuses on designing a family room for a young family, prioritizing durability and stain resistance. She opts for Kravet's performance chenille for a Jazz Sectional and durable gray woven-backed Bilbao armchairs. The chair legs are chosen in blond wood, offering a customizable element. To unify the space, Matt selects a neutral textured rug. For the walls, she introduces a soothing backdrop with Baturi wallpaper, featuring a slate blue watercolor pattern suitable for various family activities. The Adams Cocktail Table, a custom sculptural piece, provides ample surface area for drinks and enhances the room's aesthetic. Lilse McKenna's project centers on incorporating a treasured family-heirloom red paisley fabric into her living room design. She pairs this existing fabric with a printed Arley cotton-linen textile for a Brunschwig & Fils Jacob sofa, an English roll-arm, tight-back design. This choice emphasizes a European feel with a traditional botanical pattern in complementary blue and gray shades. For the table skirt, McKenna seeks a subtly bold finish and samples various contrasting colors of Brunschwig & Fils bullion fringe. Her selection for the rug is a cream Moroccan-style Tarsus with a graphic mossy green print, chosen for its playful texture that contrasts with the more traditional English and French fabrics. McKenna completes her design with a French-inspired Rayure Fleurette medallion and floral stripe by Brunschwig & Fils for side chairs, further enhancing the pattern-mixing theme around the fireplace. The article provides a glimpse into the designers' thought processes and material selections, allowing readers to understand and potentially replicate the looks in their own homes. #InteriorDesign #HomeDecor #DesignInspiration #MaterialSelection #Kravet #LeeJofa #BrunschwigFils #NextWaveDesigners #FamilyRoomDesign