SPECIAL ISSUE/MILAN DESIGN WEEK 2023

The
international
design
magazine
on interiors
and trends
lifestyle
architecture
and art

LIGHT
ON
DESIGN
Year 34 no 4 € 4.50
April 2023
 Hearst Magazines Italia S.p.A.
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Valeria Settembre — vsettembre@hearst.it

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Francesca Benedetto (interiors, lifestyle, travel) — fbenedetto@hearst.it
Tamara Bianchini (styling, decoration, product) — tbianchini@hearst.it
Murielle Bortolotto (styling, decoration, product) — mbortolotto@hearst.it
Paola Carimati (news, design, research) — pcarimati@hearst.it

Graphic designers
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Contributors
Piera Belloni, Porzia Bergamasco, Marta Lavinia Carboni, Tami Christiansen,
Contextus/We Translate Design, Mariapia Coppin
Giulia Deitinger, Germano D’Acquisto, Flavia Giorgi, Eleonora Grigoletto,
Laura Maggi, Paola Maraone, Alessio Rosati

Photographers
Lea Anouchinsky, Federico Cedrone, Celine Clanet/ Living Inside, Andrea Ferrari,
Francesca Ferrari, Kasia Gatkowska, Adrian Gaut, Ricardo Labougle,
Delfino Sisto Legnani, DSL Studio, Nathalie Krag, Fausto Mazza Studio, Richard Powers,
Simona Pesarini, Matthieu Salvaing, Mark Seelen, Michael Stanbury, Max Zambelli

Graphic design concept

Designwork

Digital
Luca Lanzoni (Digital Fashion Director) — llanzoni@hearst.it

elledecor.it
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Editor-in-Chief Livia Peraldo Matton
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320
NEWS + CULTURE
17 Password
Light on design. The issue
explores light from every angle
18 Likes
Places, installations, objects.
This month’s favourites
30 Crossing
Light takes centre stage, not only
at Salone del Mobile
59 Elle Decor Events
‘The Art of Light’, our exhibition
at Palazzo Bovara
n. 4—2023
308
83 Thinking 112 Monitor
Reduce, connect, optimise: Nine Museum curators build
preview of five low-impact visions and promote culture
design projects 147 Green design
130 People Focus on Studio Ossidiana,
Gaetano Pesce. The Maestro winner of the EDIDA ‘Sustainable
tells all to Elle Decor Achievement’ Award
349 Art show 153 Design talent
Milan. April exhibitions, Four Millennials, between
openings and events creativity and engagement
172 Architecture
DESIGN + ARCHITECTURE In Tuscany, to rediscover
a masterpiece by Ettore Sottsass
41 Decor-Scouting 181 Icons
Reissues, new projects Piacenza. Franco Albini on show
and openings at Salone at the Volumnia Gallery
del Mobile
239 Design Preview 2023
Creative ideas and craftsmanship
from all corners of the world
STYLE + DECOR
189 New Hospitality/1
Manhattan. A private club gives
its guests an out of the ordinary
welcome
197 New Hospitality/2
Milan. The Beefbar’s interior
design is inspired by 20th-
century masters
205 Design store
A new flagship store in the heart
of Milan is a temple for design
13 ELLE DECOR

276
215 Future
SDA Bocconi’s campus by
Japanese studio, SANAA
222 EDIDA
The winners of the Elle Deco
International Design Awards
298 Still life
Furnishing with a strong
personality in a space defined
by light
337 Inside-Design
Bespoke kitchen
and bathroom designs,
with attention to detail
14 ELLE DECOR
INTERIORS
73 Workspace
The new venue of Random
Studio in Amsterdam
103 Art&Design
Colour contrasts in an early-
20th-century Milanese home
134 Light&Interiors
Guests of Olivier Renaud-
Clément’s, in his Paris residence
260 In Noto
Rodolfo Dordoni and Gordon
Guillaumier reinvent their
winter home
April
286
130 Cover
276 In Paris
Street artists André Saraiva lives
in the house designed and
occupied by Richard Rogers
286 In Hanoi
Massimiliano Locatelli turns an
ancient Vietnamese dwelling
into a contemporary space
308 In Bari
A cosmopolitan family home by
Luca Zanaroli, between matter
and light
320 In Mexico
A brutalist villa sets among ‘In Noto, our own story’,
feature at p. 260; words
the ruins of a 16th century by Filippo Romeo,
colonial palace photos by Andrea Ferrari.
 PASSWORD

04.23 [Light on design]

A 17th century house in the heart of Paris, renovated and inhabited by

Richard Rogers during the construction of the Beaubourg, in the 1970s, is now the
residence of artist André Saraiva, who chose to preserve the New York-style open
space designed by the famous architect to allow natural light to flood the historic
interior. A unique project in which the perception of environments, people and things
change according to sun’s rays, in a continuous dialogue between space and light
sources. The feature, on page 316, encapsulates the theme of this issue, conceived on
the occasion of the Salone del Mobile as a tribute to Euroluce, which is back on stage
after a four-year hiatus. Poetic and surprising, architectural and decorative, natural and
technological, light illuminates our homes, filters through spaces and caresses the
shapes of objects and furnishings, affecting our mood. We discover it in the articles
devoted to interiors and design columns of the magazine, and we find it in a wide
range of cross-disciplinary fields, from fashion to cinema, from photography to music.
The theme is explored in the following pages but also, in a live version, at Palazzo
Bovara, Milan, which hosts our exhibition ‘The Art of Light’ during Design Week.
A way to celebrate the importance of lighting in home design, through an immersive
experience that reveals the fruitful relationship between light design and interiors.
Improving the quality of life.
17 ELLE DECOR
ELLE DECOR LIKES

OMA’s set design for the Islamic

Arts Biennale in Jeddah
by Eleonora Grigoletto

[1]
Visitors of the Islamic Arts
Biennale at King Abdulaziz
International Airport in
Jeddah, Saudi Arabia.
The visitors’ journey along
the itinerary designed by Rem
Koolhaas’ Dutch studio, OMA,
gradually emerges from the
shadows into the light. On
display until 30/4. oma.com

Until the end of April tourists arriving
at the Western Hajj Terminal in Jeddah (designed
by SOM in 1981), can admire a mix of ancient
artefacts and contemporary artwork, displayed
across an area of 120,000 sqm. The installation
was curated by the Dutch studio OMA, led by Rem
Koolhaas, who divided the space into two zones:
into the light, beginning in a dimly lit room full
of 17th-century astrolabes — used to calculate
the Qibla, the point towards which Muslims turn to
pray — and ending in a place flooded with light
that houses the first Saudi door of the Ka’bah in
Mecca, built during the reign of King Abdul Aziz.
Kaveh Dabiri, partner of OMA, said: “Our project
Photo Marco Cappelletti

a dark one, with a sequence of volumes housing
the galleries; and a bright one outdoors, sheltered
by the pre-existing maxi sails, which recreates the
desert landscape. The artworks on display are thus
gradually revealed on a journey from the shadow
aims to create a space that interacts with the fabric
sails of the Hajj terminal, a world-famous
modern architecture. A structure that, reinvented,
transforms itself into an umbrella sheltering
the Islamic arts”. —

18 ELLE DECOR
ELLE DECOR LIKES
The Gilbert & George Centre
opens at Spitalfields, in London’s East End.
by Piera Belloni
‘Art for all’: true to their philosophy, Gilbert
& George for years have cherished the idea of
opening a foundation to exhibit and preserve their
work, and to promote art, architecture and culture.
Established in 2009, the Centre has finally found a
venue in Spitalfields, which has long been a
refuge for minorities and a home to traditional
handicrafts, now a meeting place for creatives and
intellectuals, just a few steps from the home-studio
of the artists, who have lived here since 1968. The
place, a former brewery renovated by SIRS
Architects under the supervision of the duo, has
been refurbished according to sustainability
principles and retains many of the original
20 ELLE DECOR
[2]
Gilbert & George portrayed
in front of the hand-forged
wrought iron gate they
designed, at the front
of the new centre. The
building, a former 19th-
century brewery, was
renovated by SIRS Architects
who, to respect the original
architecture, preserved
its historical features.
gilbertandgeorgecentre.org
features. For instance, by repurposing materials
from the demolition, which was reduced to a
Photo Prudence Cuming © The Gilbert & George Centre
minimum; and by creating a casing to reduce the
energy consumption for heating and cooling as
much as possible. To maximise the exhibition
space in the building, which occupies a small site,
a basement level was also created. The Centre’s
public launch features the inaugural exhibition,
‘The Paradisical Pictures’; obviously admission is
free because, as Gilbert & George state on their
website, “We invite you to be part of our art”.
Simultaneously, White Cube Mason’s Yard is
showing another of their exhibits: ‘The Corpsing
Pictures’, until 20/5. —
ELLE DECOR LIKES
A work of Land Art by Olafur Eliasson
in the English countryside
by Piera Belloni
Kicking off this summer is ‘Deep Time:
Commissions for the Lake District Coast’,
a public art programme set to transform 60km of
Cumbrian coastline, in north-western England,
into an open-air museum. The project includes six
site-specific artworks (including those by Atelier
Van Lieshout and Ryan Gander), and a major Land
Art piece, ‘Your Daylight Destination’,
created by Olafur Eliasson in collaboration with
writer Robert Macfarlane. The work consists of
elements with symbolic shapes, inspired by the
prehistoric rock carvings typical of the area, and
involves the construction of a 30m-wide steel tank.
22 ELLE DECOR
[3]
A series of rings, mounted
on an observation deck,
allows visitors to properly
view ‘Your daylight
destination’. The piece,
designed by Olafur Eliasson
in collaboration with writer
Robert Macfarlane, is part
of the public art programme,
‘Deep Time’, in Cumbria’s
district of Copeland.
deeptime.uk
Submerged in water twice a day and retaining it
even after the tide recedes, it thus turns into
a kind of mirror that reflects the sky. Additionally,
a ‘sculpture’ with elliptical discs mounted at
different angles will also be created: visitors will
be able to observe the rings aligned into perfect
concentric circles, pictured, from a special
Photo Olafur Eliasson Studio
platform with an anamorphic perspective.
This monumental optical device, as is the case
with many pieces by the Danish artist
of Icelandic descent, enables one to perceive
the earth, the sky and the water differently,
and actively involves the public. —
ELLE DECOR LIKES

A very personal book to illustrate

Matteo Thun’s projects
by Marta Lavinia Carboni

[4]
The gravity-defying legs
on the stairs designed by
Matteo Thun, in the Vigilius
Mountain Resort in South
Tyrol, are those of his two
sons. Constantin and Leopold,
photographed by Walter
Pfeiffer for the book ‘In the
Summer of 2009’ (136
pages, 89 colour illustrations).
scheidegger-spiess.ch

“A journey, an adventure, a rite A long story, as long as a book and 50 projects,

of passage, ‘In the Summer of 2009’ is a travel
diary that celebrates our roots”, says Susanne
Thun, who in 2009 decided to send her two sons,
Constantin and Leopold, on a discovery tour of
Matteo Thun’s projects, tailed by Swiss artist
and photographer, Walter Pfeiffer. “They travelled
from Zurich to Capri via Mendrisio,
Celerina, Milan, Bolzano and Merano,
from architecture to design, from the Radisson
Blu Hotel at the Zurich airport — for which
Thun designed the interiors in 2008 — to the
Thermal Baths in Merano, South Tyrol,
and the Lace rug designed for Nodus. “Constantin
met Pfeiffer while studying at ECAL
in Lausanne and introduced him to me. After
meeting him, I realised I wanted to work on a
Photo Walter Pfeiffer

discovering their father’s work, which had kept him
away from home as children and which they
appreciated as adults. Meanwhile, Walter
captured every moment along the way. Little did
I know the story that would come out of it”.
project with him. That light-heartedness and wit...
We immediately understood one another. The
result is a tribute filled with humour and affection,
which captures the love for my husband
Matteo and our children”. —

24 ELLE DECOR
ELLE DECOR LIKES
In Stockholm, an early 20th century
cinema turns into a flagship of design
by Eleonora Grigoletto
In Stockholm, an early 20th century
cinema has been transformed by preserving the
original stone cladding and inserting new wood
and steel details. On the wall, hanging like
modern tapestries, are the rugs of the Swedish
brand Nordic Knots. The showroom was created
by Giancarlo Valle, an interior designer based in
New York. “Maintaining the space’s grandeur was
essential”, explains the architect who,
for this reason, chose to preserve the green
marble wall coverings in addition to the
spectacular staircase. “To balance the existing
stone and terrazzo surfaces we introduced
26 ELLE DECOR
[5]
A glimpse of Nordic Knots’
new showroom in Stockholm.
On display, three rugs
designed by Giancarlo Valle,
responsible for the renovation
project of the old cinema,
now the shop’s home. Among
the custom-made furnishings,
two walnut and brushed steel
armchairs. nordicknots.com,
giancarlovalle.com
warmer and more tactile materials such as pine,
oak and walnut”, says Valle. Besides the spaces
allocated to display the rugs, the designer
conceived a kind of niche, more intimate and
special, called Sample Bar. Wrapped in luxurious
timber shelving, it’s a place in which customers can
touch the different fabric samples with their own
hands. Here, emphasising the welcoming
Photo Magnus Mårding
atmosphere, the studio added bespoke oak
armchairs. All the furnishings were designed in
relation to the style of the building, like the
custom-made furniture, which reinterprets the
language of the past in a contemporary version. —
CROSSING

Gettyimages

30 ELLE DECOR
Turn the light on
The spotlight is on light itself. Not only at the Salone,
where it steals the show, but also in immersive
exhibitions, pop concerts and photochromic catwalks
by Marta Lavinia Carboni — in collaboration with Eleonora Grigoletto

Hélène Binet. ‘Nature, Time and Architecture’ —

The Swiss photographer investigates the relationship
between light and space in the exhibition curated by
Massimo Curzi, on show at the pavilion of Euroluce
2023, from 18 to 23/4. Pictured, a detail of the
Convent of St. Marie de La Tourette, Le Corbusier,
1960. helenebinet.com Rihanna, Super Bowl Halftime
Show — Opposite page, the star of the Halftime Show
of the American football championship final, Rihanna.
Wearing a fiery red jumpsuit, and pregnant, she sang
‘balancing’ on luminous catwalks hanging above
ground thanks to steel cables. rihannanow.com
CROSSING

[1]

1. Ann Veronica Janssens, Grand Dal — She recounts her 40-year career in a
[2] retrospective at the Pirelli HangarBicocca (until 30/7) curated by Roberta Tenconi. The Belgian
artist alters the sensorial perception of reality by using light to disorientate the spectators,
changing their perceptual mechanisms. Pictured, the installation Blue, Red and Yellow,
Louisiana Museum of Modern Art, Humlebæk, 2020. pirellihangarbicocca.org
2. Anrealage, Collection ‘=’ — In the latest A/W 23-24 Paris fashion show, designer Kunihiko
Morinaga displays garments made of futuristic materials that change colour when exposed to UV
rays: from total white, UV light turns them into multicoloured dresses that revert to their original
shade after three minutes. When photochromic technology meets fashion. anrealage.com
3. 6:AM Glassworks and NM3, Sistema — The lamp line is the result of the collaboration
between Francesco Palù and Edoardo Pandolfo, of 6:AM Glassworks, and the Milanese studio
NM3 of Nicolò Ornaghi, Delfino Sisto Legnani and Francesco Zorzi. Including a floor lamp
and a modular wall and hanging version, it reinterprets the classic ribbed glass by combining it
with chrome-plated steel profiles and integrated LED lights. 6am.glass; nm3.xyz

Photos © Kim Hansen - Koji Hirano - Delfino Sisto Legnani, Piercarlo Quecchia, DSL Studio
[3]

32 ELLE DECOR
CROSSING

The Back Studio, Assemblage n.5

Eugenio Rossi (Turin) and Yaazd
Contractor (Mumbai), alias The Back
Studio, create assemblages comprising
industrial parts and hand-blown neon.
Here they illuminate the gallery Volumnia
in Piacenza. The lamp, a light structure
supporting a tube of fiery red neon,
explores the boundary between waste and
reclaimed materials. the-back-studio.com

34 ELLE DECOR
CROSSING

[1]

1. Marcel Wanders, Skynest — The Dutch designer challenges the archetypal light
bulb by offering a new perspective on woven lampshades. The pendant lamp consists of
24 lightweight tubes, integrated with LED lights and covered with a polyester textile weave,
which are interwoven with 48 coloured transverse rods. Transforming the dome/nest into
an unprecedented light source, between elegance and innovation. flos.com
2. Sam Mendes, ‘Empire of light’ — Focusing on light from its very title, the film recounts
the glamour of the Empire, a majestic cinema in decline, during the 1970s/80s recession in
the English provinces. An Oscar nomination for Best Cinematography by Roger Deakins.
searchlightpictures.com 3. Campo Baeza e Quismondo, Magazzino Italian Art —
The American museum along the riverbanks of the Hudson, devoted to Italian art, is
expanding. The new building will implement the designers’ ability to blend space and
natural light. The project rendering is explored by Alberto Campo Baeza in a chapter of the
interesting book ‘Venini Light. 1921–1985’. skira.net

[3]

[2] Photos Alessadnro Olivia - rendering JC Bragado & J. Mingorance

36 ELLE DECOR
CROSSING
Design, architecture, art, cinema — From the set design
of pop concerts to urban regeneration, light is the star
Light takes centre stage, not only in this Salone del Mobile,
thanks to the return of Euroluce after a four-year absence due to
the pandemic, but also in the contemporary design scene.
From theatre to cinema, from fashion to design, everything is
vibrant and brighter than ever. Light is in fact fundamental for
observing the world we live in: reflecting or penetrating surfaces
allows us to see objects and transparencies, understand distances
and dimensions, distinguish north from south. The favourite
subject of Ann Veronica Janssens, one of the leading figures in
the international art scene, light is used in many of her
installations to investigate the perceptive and psychological limits
of human beings. The Belgian artist, celebrated in her solo
exhibition ‘Gand Bal’, curated by Roberta Tenconi and on show
at Pirelli HangarBicocca until 30/7, creates site-specific projects
fluctuating between art and science. The use of ad hoc designed
lights, mirrors and colour, artificial fog and opalescent materials
invites the spectator to experience a ‘different’ reality,
discovering unexpected space-time perceptions. Light is also the
hallmark of Hélène Binet, one of the most important contemporary
photographers who, in the exhibit ‘Natura, tempo e architettura’
(Nature, Time and Architecture), curated by Massimo Curzi
and on show at the Euroluce stands of the Rho Fair, presents a
selection of images that tells about the relationship between
natural light and architecture, between nature and time. The result
is a visual narrative that celebrates the unique charm of some of
the works by masters of design. Psychedelic, glimmering plays of
38 ELLE DECOR
Objects of Common Interest,
Lights On — Inaugurated earlier this
year by the Greek designers in
Piazza Libertà, Bergamo, the
temporary installation interprets the
theme ‘La città illuminata’
(‘The Illuminated City’) of Bergamo
Brescia Italian Capital of Culture.
With its soft and evanescent lines,
the spectacular light sculpture creates
a new connection between the
architecture of the Casa Littoria and
the adjacent square. To be seen at
dusk. objectsofcommoninterest.com
light are pure rhythm and power for pop star Rihanna.
During her performance at the Halftime Show of the last Super
Bowl, after a seven-year absence from the stage, she reappeared
swathed in a fiery red jumpsuit, and pregnant, performing
non-stop on hanging platforms along with an army of side
dancers. Under each of the chrome-plated steel platforms,
which raised ‘Riri’ and her team between 4 and 18 metres above
the ground, maxi light boxes ‘danced’ to the beat of the
Barbados-born singer’s hits, becoming brighter or darker
accordingly. The idea came from Bruce Rodgers, the event’s
production designer for sixteen years, while the choreography
was by designer Willo Perron, choreographer Parris Goebel and
production manager Joseph Lloyd. ‘Lights on’ is instead the
installation by the Greek group Objects of Common Interest,
designed ad hoc for Piazza della Libertà in Bergamo and
inaugurated in time for the opening of the celebrations for
Bergamo Brescia Capital of Culture. The spectacular sculpture,
comprising sinuous, seemingly flexible light tubes powered by
solar panels, was created to harmonise the architecture of the
Casa Littoria with the adjacent square. The installation is
completed by a raised floor made of recycled tyres and a series
of seats made of reclaimed polychrome marble and resin, to see
the fountain in front of it and the surrounding area from a new
perspective. All its components were conceived to be recycled
and reused. Poetic and meaningful, light can be truly illuminating,
FT Foto
as it urges us to build a more sustainable future. —
 DECORSCOUTING
Photographic exhibitions, reissues, new openings and unmissable
events. Milan Design Week kicks off
by Murielle Bortolotto

From 18 to 30/04
the Flexform space in via
Moscova, Milan, stages
‘Portraying Design,
Celebrating Tradition &
Innovation’. From the 1980s
up to today, the exhibition
showcases the most famous
shots of the design brand’s
advertising campaigns,
by the masters of Italian
photography. Pictured, black
and white photo by Gabriele
Basilico featuring the Max
sofa, which this year comes
back with new proportions
and turns into Supermax.
flexform.it
Photo Gabriele Basilico

41 ELLE DECOR
DECORSCOUTING

90 springs for the legendary Stool 60

designed by Alvar Aalto for Artek. Despite
the age, the charm of this iconic piece,
massively copied, remains unchanged.
Made in Finland, it takes part in the event
with three limited editions: Kontrasti and
Loimu, by the brand’s design team, and
Villi, a reinterpretation by Formafantasma,
which uses birch wood (more resistant than
other timbers), to once again raise public
awareness about climate change. artek.fi

To be more charismatic and

mysterious, at the Fuorisalone it’s best
to wear a pair of Zebra glasses from the
Heritage collection by Etnia Barcelona.
The picture by Mous Lamrabat captures
the Kahlo model. While the colours
and patterns are a nod to Africa.
Photos Mous Lamrabat

etniabarcelona.com

42 ELLE DECOR
DECORSCOUTING

P.P.P. aka The Portaluppi Pattern

Project. Nicolò Castellini Baldissera,
architect and grandson of the famous
designer, continues to collaborate with
Pictalab (interior design studio). Together,
they introduce a reinterpretation of the
floors of the magnificent Casa degli Atellani,
in Milan. Pictured, the geometric pattern
of the Gerialde tiles. casatosca.com

Graphic, with a thin stem

that perfectly blends into the
cylindrical base, the AJ Oxford
lamp created by Arne Jacobsen
for the English, St Catherine
Collage, was designed by the
Master of Design in 1963. The
Danish brand Louis Poulsen has
finally added it to its catalogue
and, like the original, offers
it in black monochrome finish,
with an opaline glass diffusor.
louispoulsen.com

In the Milanese living room par excellence, the Galleria Vittorio

Emanuele II, Tod’s has inaugurated a space. Two levels, two shop windows
and a large travertine staircase welcome visitors into the Maison’s world,
which houses men’s and women’s collections, as well as the brand’s cult pieces.
The iconic moccasin and the Di Bag, so beloved by fashionistas. tods.com

44 ELLE DECOR
DECORSCOUTING

Designer Marco Guazzini

implements Marwoolus® (a material
he created, consisting of Carrara
marble-powder and wool fibres)
into soft carpet. A concept made possible
thanks to the photographic support
and expertise of Besana Carpet Lab,
which launched a textile collection
in three colour combinations.
besanamoquette.com

Photo Mattia Parodi

46 ELLE DECOR
DECORSCOUTING

Striking. Elo is a lamp designed by

Filippo Mambretti as his first collaboration
with lighting brand, Brokis. For which he
has designed a light with three articulated
arches that can be ‘locked’ into different
positions. The lighting unit is defined by
decorated glass that, when lit, casts original
patterns in rooms. brokis.cz

High-end cabinetmaking
The Nin table, in multiple
colours and shades of brushed
oak, is an example of its
creator Christophe Delcourt’s
love for timber. Rectangular or
round, it features an eye-
catching architectural base.
The collection also includes a
cabinet and two coffee tables.
christophedelcourt.com

The Lord of Fashion During

Milan Design Week, Giorgio
Armani opens the doors of
Palazzo Orsini, the brand’s
historic headquarters in via
Borgonuovo 11, at the heart of
Brera. The Alta Moda collection’s
atelier gives way to the designs of
Photos G. Alexandre – Martin Chum

the Casa line, where in the name

of continuity, the focus is on the
products’ materials and quality
of craftmanship. giorgioarmani.it

48 ELLE DECOR
DECORSCOUTING

11 new Objets Nomades

at the Fuorisalone. In the historic
Palazzo Serbelloni, in Corso Venezia
16, Louis Vuitton presents furniture and
objects created by six internationally
renowned designers. Part of the team
is the duo Raw Edges responsible for
Binda, an armchair and sofa with
defined lines, enhanced by the leather
backrests, the contrasting stitching and
the cosy velvet seats. Pictured, in the
shade coral. louisvuitton.com

Viva Magenta
is a wallpaper with vibrant
and saturated hues by
Debonademeo for Wall&Deco,
part of the Contemporary
collection. Available in two
colours and with four backings,
for a Technicolor touch.
wallanddeco.com

Art, fashion and design in the ‘Ritratti’

project, created by Carolina Castiglioni
Photos Philippe Lacombe

for her brand, Plan C. On display

at the Galleria il Vicolo in Milan, from 17
to 23 April, limited edition sculptures,
rugs, sweaters, shirts and totes that
encapsulate the creative’s ironic and
sophisticated spirit. plan-c.com

50 ELLE DECOR
DECORSCOUTING

“May some unknown deity protect us”,

Ettore Sottsass said in 2008 about the
Dioniso mirror collection designed for Glas
Italia. Modern guardians of the hearth gods,
which now turn 15, they are distinguished by
polychrome frames, comprising mirror
Photo Santi Caleca

elements and coloured, laminated glass. To

be viewed again at the Fiera, in Rho, during
the Salone del Mobile. glasitalia.com

52 ELLE DECOR
DECORSCOUTING

Originally designed
in 1944, the VLA61 Monarch
Chair by Vilhelm Lauritzen comes
back reinterpreted by Carl Hansen
& Søn. Made of certified oak or
mahogany, with curved armrests,
generous padding, fabric or
leather upholstery and shiny brass
feet, it stands out as an elegant,
timeless piece of furniture.
carlhansen.com

The Loewe Chairs project,

designed by the fashion brand,
showcases the weaving techniques
during the Fuorisalone, in the
courtyard of Palazzo Isimbardi.
The link between craftsmanship
and materials, which turns into
the inspiration for creating
unexpected works, is visible in
the Lloyd Loom chair. loewe.com

54 ELLE DECOR
 ELLE DECOR EVENTS

The Art of Light

From 17 to 23 April at Palazzo Bovara (Milan), the
Elle Decor exhibition by Giuliano dell’Uva with Metis
Lighting and Antonio Perazzi showcases the intense,
poetic connection between light and domestic spaces.
With the help of design and contemporary art
words by Paola Maraone

‘The Art of Light’ gallery recalls a large

Southern Italian home flooded with light;
large windows are simulated by Folio light
panels which, thanks to temperature and
colours that vary in intensity, show off the
Rendering by Studio dell’Uva

different moments of the day. Cloverleaf

Sofa by Verner Panton for VerPan,
Green-A lamps by Ferruccio Laviani
for Kartell. Curtains with Amarillis and
Aramena fabrics by Christian Fischbacher.
On the floor, Ceramica Francesco de Maio.
ELLE DECOR EVENTS
Above, left, the members of Studio
dell’Uva: Pasquale Capasso,
Fiorenza Mauro, Giuliano Andrea
dell’Uva, Francesca Ariola, Mauro
Lessoni and Rosa De Rosa. Right,
the Metis Lighting staff: Zoi
Katsarou, Marinella Patetta, Luca
Carapezzi and Claudio Valent.
The two studios worked side by side
on the project ‘The Art of Light’.
The yearly event hosted by Elle Decor Italia in the historic
Palazzo Bovara returns on the occasion of the Salone del
Mobile, from 17 to 23 April. This year, its title is ‘The Art of Light’.
The result is an original exhibition-installation, but also a
comprehensive interior design project that saw the collaboration
of two studios: Giuliano Dell’Uva Architetti and Metis Lighting.
“The aim of ‘The Art of Light’ is to recount the key role
played by light within the home: it illuminates the rooms and
reflects the chromatic variations of materials, surfaces and objects
throughout the day”, says Livia Peraldo Matton, editor-in-chief of
Elle Decor Italia. “Thanks to an emotional language and an
immersive experience, its set-up expresses the value of a project
that stems from the fruitful relationship between light design and
interiors. Improving our quality of life”. Room by room,
we discover an endless series of connections between
Portraits by Lea Anouchinsky and Nathalie Krag
contemporary works and the décor of the period building. “Our
design features three key elements: the decision to use glass,
which filters and reflects light through screens and partitions; the
use of colour, especially considering the effects of illumination on
surfaces of different colours and materials (one of the studio’s
hallmarks); and the selection of the artworks”, explains Giuliano
dell’Uva, curator of the project along with his team.
“The interiors house site-specific installations wherein light is an
integral part of the work”. As for the light effects, a key role was
played by Metis Lighting, whose co-founder, architect
Marinella Patetta, tells us: “For this project, we didn’t think
ELLE DECOR EVENTS

The house’s private disco club is

defined by vibrant colours, both in
the Dresswall architectural ceiling
and wall lights, and in the
furnishings. Lesbo lamps by
Mangiarotti and Discovery light
panels by Gismondi, both
Rendering by Studio dell’Uva

Artemide. Sofo armchairs and T02

coffee tables by Superstudio for
Poltronova. On the floor, ceramic
tiles by Marazzi and carpeting by
Radici. K-Array sound system.
ELLE DECOR EVENTS

Veranda (above) and living room

(right) are, along with the kitchen,
two of the three spaces that
showcase how architectural light
can vary due to colour
temperature, simulating (with the
aid of motorised blinds) how
natural light changes throughout
the day. The set design, made up of
glass elements and furnishings in
soft colours, embraces and
magnifies these variations: the
veranda is dominated by the
OmniDecor glass wall behind the
table (MM8 for Desalto),
surrounded by 905 chairs by
Magistretti, Cassina. The curtains
feature fabrics by Christian
Fischbacher and rails by Resstende.
Flooring by Gerflor. In the living
room, Terrazza Sofa DS-1025
couches by Ubald Klug for de
Sede, carpet by cc-tapis, Nesting
coffee tables by Bourollec for Glas
Italia. On the wall, with Sikkens
painting, Eitie lighting by Tobia
Scarpa for Cassina. Right, Coupé
lamp by Joe Colombo for Oluce.
Rendering by Studio dell’Uva
ELLE DECOR EVENTS
In the bedroom, thanks to the
domotic system by Lutron
Electronics, the light scenario can
change depending on use:
decorative lamps, indirect light on
the ceiling, adjustable spotlights
and furniture with integrated
lighting. Poltrona Doron Hotel by
Charlotte Perriand for Cassina,
Hästens 2000T bed by Hästens
Beds with Draga & Aurel
headboard designed by Studio
dell’Uva. In the background,
freestanding Ottavia bathtub by
Ceramica Cielo, with taps and
fittings by Cristina Rubinetterie. On
the wall, Sikkens painting; on the
floor, Marazzi ceramic tiles and
carpeting by Radici.
of light as static (as one usually does). Instead, we wanted to
emphasise its dynamic aspects, spreading and underscoring
features like colour intensity and temperature, so as to verify the
interaction between illumination and its containers — that is,
the rooms of the building”. A connection that permeates and
defines the entire exhibition itinerary, intercepting and
accompanying visitors in a place that experiments with a new
way of living. Starting from the courtyard at the entrance with its
dual flooring: the original one of Palazzo Bovara, as well as a
raised platform with Vietri ceramic tiles decorated with leaves,
that “symbolically try to invade the outdoor space”, comments
Giuliano dell’Uva. Upstairs, a house which, in its entirety, is also
a work of light, where a reception area in shades of dark green
opens onto a light-filled gallery, with curtains made of technical
fabric offering a glimpse of the large windows behind,
reminiscent of a Southern Italian home flooded with daylight.
Between designer furnishings (mainly referencing 1970s and
1980s pieces) and light with varying intensity, this dynamic
staging leads to a large living space divided into three areas.
A contemporary, glass-enclosed kitchen, a living room and a
Rendering by Studio dell’Uva
dining room whose distinctive feature is offering visitors a feeling
for how light varies throughout the day, “rapidly restoring the
changes in our perception of space in a 24-h period”,
explains Marinella Patetta. The rooms in the house include a
private disco club with descending ceiling lights that create
graphical light effects. One room, flooded with red light,
ELLE DECOR EVENTS

The courtyard houses a project

of fluid greenery, created by
landscape designer Antonio
Perazzi and featuring several
meeting places. The outdoor
lighting by Platek creates soft,
discreet ambiences, while the walls
of the building are enhanced by an
architectural lighting system with
outdoor spotlights and LEDs by
Griven. The lounge chairs, coffee
tables and sofas are all by Roda;
the ceramic tiles covering part of
the original flooring are by
Ceramica Francesco de Maio.
Vases by Cottomanetti, greenery
by Piante Faro.

Rendering by Studio dell’Uva

ELLE DECOR EVENTS
houses Liam Gillick’s site-specific installation that connects two
different parts of the exhibit via a large glass wall that offers a
glimpse of the visitors passing through. Plus, artworks by Jacopo
Benassi, David Tremlett and Alfredo Jaar with his neon work,
‘M’illumino d’immenso’. In the room called ‘Colour Experience’,
“when the room is illuminated by monochromatic light alone,
visitors cannot distinguish the colour of each object; then,
special projectors gradually intervene to restore their ‘real’
colours”, architect Patetta tells us. A key role is also played
by the greenery, which hails from the Piante Faro nurseries in
Catania and was designed by landscape artist Antonio Perazzi.
“The sunlight glimmering through the leaves, the endless
shades of green that can turn emerald, silver and sage green,
not to mention a deep connection with shade — of vital
importance in the summer months. In my work, I praise the
Mediterranean garden in all its features”, he tells us.
‘The Art of Light’ involved over 50 companies that supported this
project by Elle Decor Italia, which once again pursues the
objective of promoting the culture of design. —
The restaurant was designed by
Giuliano dell’Uva as a tribute to the
interiors of Piero Portaluppi’s Milan
home. The perimeter is marked by
custom benches with Ceramica
Francesco de Maio backs. Multiplo
coffee tables by Antonio Citterio
and Audrey chairs by Piero Lissoni,
all Kartell. Capri fabric upholstery
by Studio dell’Uva for Christian
Fischbacher. Castore floor lamps
by Michele De Lucchi for Artemide.
Mise en place by KnIndustrie.
ELLE DECOR THE ART OF LIGHT
Based on an idea by Elle Decor Italia
Interior Design: Giuliano Andrea dell’Uva
Lighting Design: Marinella Patetta and Claudio Valent – Metis Lighting
Landscape Design: Antonio Perazzi
Exhibition Design Coordination: Marina Cinciripini
Organizational Team: Irene Arescaldino
Styling: Micol Cerani
Graphic Design: Designwork
Premium partner: Belmond
Exclusive partners: Ceramica Cielo, Hästens Beds
Partners: Agapecasa, Cassina, Ceramica Francesco de Maio, Cristina
Rubinetterie, de Sede, Desalto, Faemina, Frigo2000 Gallotti&Radice,
Glas Italia, Kartell, KnIndustrie, Marazzi, OmniDecor, Poltronova,
Porro, Roda, SchönhuberFranchi, V-Zug, Woak
Lighting Control System & Automated Shades: Lutron Electronics
Architectural Lighting partners: Folio, formalighting, Griven,
Reggiani Illuminazione
Lighting partners: Artemide, Barovier&Toso, Panzeri, Platek
Institutional partner: ICEX
Textile partner: Christian Fischbacher
Design Shopping Experience: Mohd
Fragrance partner: Calè Fragranze d’Autore
Eyewear partner: MODO
Fashion partner: Uniqlo
Wine partner: Santa Margherita
Greenery: Piante Faro
Technical partners: Alimonti, Binova, Dresswall,
FLI Formula Luci Italia, Gerflor, K-Array, Louis Poulsen,
Rendering by Studio dell’Uva
Manetti Gusmano & Figli — Cottomanetti, Montana Furniture,
Radici, Resstende, Scognamiglio, Sikkens, Tecnika
Mediapartner: Archiproducts
Special thanks to: Franzosini, Giovanardi S.p.A., Krea allestimenti Cantù
Thanks to: cc-tapis, Draga & Aurel, Luceplan, Martinelli Luce, Oluce, Verpan
With the participation of the following Art Galleries:
Alfonso Artiaco Napoli, Francesca Minini, Lia Rumma
 WORKSPACE

Light design

In Amsterdam, we’re guests of Random Studio, where

creatives pursue the harmony between the real and
the digital dimensions. In a space sensitive to the sun’s rays
words by Alessio Rosati — photos by Kasia Gatkowska

A video panel on the floor emits a digital light. This is one of the projects
of high technical value conceived by the Dutch creatives of Random
Studio. Pictured, the ‘theatre’, a space that hosts seminars and
presentations by the collective. The widespread use of timber cladding
provides a natural backdrop for the most advanced technology.

73 ELLE DECOR
WORKSPACE
Natural materials, greenery and light. These are the elements that
characterise the project designed by the Dutch x+l
Light, greenery, timber and metal make up
the colour palette of the interior design
project by x+l architects. Neutral colours
have been used to stimulate the creatives’
well-being and concentration at work.
74 ELLE DECOR
Random Studio is an independent business, with offices in
Paris and Amsterdam, consisting of a team of visual artists and
engineers who work at the limits of art, design and technology.
Creating sophisticated digital installations commissioned by
major fashion and luxury brands worldwide. “For us, the new
headquarters in the Dutch capital represents a new frontier in
experimentation. A way to explore the concept of interactive
space by paying specific attention to the sustainability of the
project”, explains one of the team members. “It’s an immersive,
multi-sensory place, capable of interacting with us and our visitors
in real time. Technology is the beating heart of this vision,
integrated with the rhythms and elements of the natural world”.
Such as the natural light filtering through the circular and
longitudinal skylights that ‘cut’ the ceiling, to facilitate access to
sunlight. The brief provided to the Dutch architects Xander
Vervoort and Leon van Boxtel, from x+l studio, demanded they
design a space that fostered interaction between physical and
digital environments, interiors and context. The result is a
welcoming, dynamic and open workspace in which to hold
meetings; but also divisible by curtains, adapting to the different
needs of individual users. The basic requirement to take full
advantage of the benefits of light, to improve well-being and
creativity in its users, was also achieved with site-specific projects.
Among them, that of Rotterdam lighting artist Arnout Meijer is a
luminous work that interacts with the climatic changes outside the
office. Sensitive to variations in the sun’s rays and the passage of
WORKSPACE

The work of lighting artist Arnout Meijer interacts with the

external environment: responding to variations in sunlight as
clouds pass, it projects ever-changing degrees of light onto
the ceiling and interior walls. Highlighting, in indoor spaces,
small atmospheric changes.

76 ELLE DECOR
WORKSPACE

A detail of the kitchenette that features three different

types of lighting. The sun’s rays penetrate from the
circular skylight, while the wall sconce and the Chinese
lantern emanate two different types of LED light.
The walls are made of recycled newspaper, the density
of which improves the large open space’s acoustics,
minimising disturbances.

78 ELLE DECOR
WORKSPACE
Individual workstations, shared spaces and informal areas.
Each environment is designed to instil a positive mood and productivity
A raised wooden platform traverses the
workspace longitudinally, defining the
different spaces’ functionalities. Zenithal
light and lush greenery make being in the
studio even more enjoyable.
80 ELLE DECOR
clouds, it projects an ever-changing degree of light onto the
ceiling and interior walls. Emphasising, even in indoor spaces,
the atmospheric changes occurring outside. The Amsterdam
office is structured as a workshop in which one can experiment
with new technology and present it to colleagues and clients,
including at themed sensory dinners organised ad hoc
in the large open space kitchenette. Additionally, there’s an
auditorium, an exhibition space where one can present the
teams’ work or invite other creatives. With its 750sqm,
the studio is large enough to provide shared workstations to
further facilitate discussions and exchanges of ideas between
different professional sectors. Thanks to the attentive selection of
materials — from the neutral tones of wood to the minimalism of
concrete and metal — all the spaces are distinguished by a
flexible layout and a strong aesthetic. Additionally, the
sophisticated technological infrastructure allows one to
simultaneously control light, temperature, audio system,
and light works by reacting to the movements of people. Rather
than simply making the workplace efficient, the system is
conceived as an entity that operates autonomously, responding
to the needs of its occupiers and the changing external climate.
A synergy that positively affects the mood of the team,
encouraging concentration, interaction and productivity.
And demonstrating what path to follow to achieve a virtuous
relationship between the natural and digital dimensions
in the workplaces of tomorrow. —
 THINKING

A Very Industrial Process

From the joint as a connecting system, to a module
as an essential unit that is replicable ad infinitum. Reduce,
connect, optimise: low-impact projects are the real VIPs
by Paola Carimati
Photo Einar Aslaksen

83 ELLE DECOR
THINKING

Steel and laminated timber in a bench with architectural ambitions.

A project as minimalist as a graphic symbol

Ypsilon by Daniel Rybakken for Vestre — Stable, strong and lightweight,

thanks to a concept that radically reinterprets its structure, this outdoor bench is an example
of good design. “All up, I utilised two laser-cut laminated timber beams and two galvanised
steel joists”, explains the Norwegian designer who has made balance his hallmark. More
than a seat, this is a microarchitecture refined to the millimetre: “From whichever angle
it’s observed, the perceived image is clean and minimal. Almost graphic”. Without
compromising on comfort: “The beams’ tilted positioning is designed to accommodate the
body’s curves, while the gap between them facilitates the outflow of water”, intuition,
sustainability and attention to detail. “Circular as in the opening image, or straight, Ypsilon
is green: each element is standardised, produced in large numbers and with zero waste”.

Photos Einar Aslaksen

84 ELLE DECOR
THINKING

A project that transforms decorative detail into a form of inclusion.

And the art of weaving into a revolutionary act

Andrea Trimarchi and Simone

Farresin are Formafantasma;
seated among scraps of carpet from
cc-tapis: these pieces, defined as the
‘negatives’ of weaving, are intimate
‘pages’ of the production process.

© Simon171

86 ELLE DECOR
THINKING

Knotted wool and a colour palette ranging from pink to green in an

example of co-creation that gives voice to Nepalese artisans

Telegram — ‘Message in a rug’: this could be the name of Andrea Trimarchi

and Simone Farresin’s latest project for cc-tapis. The new collection, in fact, revolves around
the hand knotted words on the rugs by Nepalese craftspeople. As always attentive to the
process, Formafantasma consider the repurposing of artisanal waste a useful practice to
draw on, including on an industrial scale. “The collaboration started during the pandemic”,
say the designers, “observing the production images, we realised that in the rug’s negative
space, meaning the part to be removed based on the creative’s design, the master weavers
embroider their thoughts”. A detail that didn’t go unnoticed, and which they’ve interpreted
authentically: “Those handfuls of letters are featured in our rectangular rugs,
and they float on the soft surfaces of green, gold and pink wool”. An effective example
of co-creation “that gives voice to Nepal”.

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THINKING

A veneered wooden tube is an essential unit enabling solid

and lightweight structures to rise and elongate in space

Wrap by Jorge Penadés for the American Hardwood Export Council —

Launched at the Matadero, on the occasion of the Madrid Design Festival 2023,
the project, commissioned to the Spanish designer by the main international association
of American hardwood producers, had a precise mission: to explore the potential
applications of the material. Everything revolves around two construction elements: a
spherical joint and a simple tube, like the cardboard one. “Instead of creating a
conventional piece of furniture, with two sheets of 0.7mm cherry veneer glued and
laminated in opposite directions, we built an essential unit: a resistant, lightweight
and versatile tubular structure”. The concept is complemented by a solid timber foot and
a countertop. “It’s a construction system that enables the development of horizontal
and vertical microarchitectures”, Penades concludes.

Photos Asier Rua

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THINKING

A system of ropes, counterweights and electrified cables enable

to anchor tiny luminous bodies, as poetic as fireflies

Liiu for Luceplan, by Esther Jongsma

and Sam van Gurp, a.k.a. Vantot,
it’s much more than a modular
lighting system; displayed in a room,
it sets off all the elegance of a
spectacular backdrop.

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THINKING

High technology and cosiness, construction techniques and natural landscapes,

the design of light is a challenge blurring the product’s boundaries

Liiu di Vantot for Luceplan — They are Esther Jongsma and Sam van Gurp,
a couple in life and work and, in 2015, founders of Vantot in Breda, the Netherlands.
The root of their practice can be traced straight back to the choice of name for their studio:
‘vantot’, which in Dutch means ‘from to’ and references a movement to a figurative place
that, in their way of designing, leads from the use of a specific technique to defining a
product. Trained at the Design Academy in Eindhoven, where they both graduated, the
creative combo defines a poetic, luminous landscape. But don’t let the image deceive
you: “Lightweight and flexible, Liiu is a technologically advanced system of hanging
lights”, the designers explain. “The basic structure comprises electrified metal cables
anchored to the ceiling and kept under constant tension”, they explain. “Thanks to two
very thin arms, the lighting bodies attach to the cables and spread a soft glow”,
like fireflies in nature.

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THINKING

To make a (new) table, you need an MDF top and a convex polyurethane
cylinder. Modularity is a play of solids and hollows

Bol by Zaven for Zanotta — “In our design language we love to use elementary
geometric shapes and volumes that interact and match to create complex forms”, explain
Enrica Cavarzan and Marco Zavagno. “The table is an example of this research, which
results in a product with a precise and monumental shape”. Starting from the design of the
model with a central pedestal, the designers focus on the concept of modularity to define
two variations, with circular and oval MDF tabletops. “The focus of the project is the
structural base”, they explain, “conceived as an essential unit to be used individually or in
multiples, its task is to convey an asymmetric image”. Originally, there’s a whole cylinder
that, lessened by a small portion of the perimeter, permits one to play with the
asymmetrical shape without loss of functionality. Complementing the project are the
colour choices: talc, caramel and seaweed green.

Photos Simone Barberis, portrait Mattia Balsamini

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THINKING
In 1976, the great semiologist Roland Barthes wrote:
“The essence of an object is something that has to do with the way
it turns into garbage”, a highbrow reminder that design is ‘good’
when it considers its own disposal. The quote — which introduces
the fourth chapter of ‘Design as an attitude’ by English historian
and critic Alice Rawsthorn, and which concern objects’
obsolescence — is interesting because half a century later it’s still
relevant. Not only because it reminds us of the environmental
emergency, but above all because it recalls, also for the product,
a quasi-Darwinian process of natural selection: that which
withstands time and the mainstream is strong and what is truly
innovative is textbook. The stories told in these pages are ‘VIP’
because they set out a way of designing that starts from the
analysis of the production process to define the form: the starting
point is the study of the fittings, the standardisation of the elements
and their modularity. Always interacting with industry, these
examples are good practices that reduce the waste of materials
and energy, while managing reuse. Daniel Rybakken’s Ypsilon
bench is quite representative. With a master’s degree in fine arts
from Oslo and Gothenburg, the Norwegian designer, who is
accustomed to surprising the world with his ‘luminous mechanics’,
has presented his idea of outdoor furniture at Stockholm Design
Week. The concept, conceived in 2005, results from considering
the potential of mass-produced materials: two laser-cut laminated
timber beams and two galvanised steel joists folded by hand that
98 ELLE DECOR
Argyle by Luca Nichetto for
Rakumba — Borosilicate glass, anodised
aluminium and metal: these are the materials
that the Italian designer has chosen for his
family of floor, table and pendant lights.
“A cone, an hourglass and two trunks: the
modular system consists of only three
interlocking pieces that fit into one another
to expand in space”, explains Nichetto,
recalling the example of Russian dolls.
turn into a stable and comfortable microarchitecture. The added
value lies in the construction details: “Joined at an angle, they
welcome the body and allow water to drain”. Precision in all
stages of production, from cutting to folding, and the material
quality of Nordic pine from sustainable forests, are all details that
contribute to imbue the collection with a decidedly graphic
aesthetic. In praise of minimalism, Rybakken’s work is always
sustainable and proceeds by formal and compositional
subtraction: doing more with less is possible. The important thing is
to maintain a personal, authorial coherence and seek an original
and authentic dimension. A bit like Formafantasma, whose
contemplation of offcuts from cc-tapis recalls the urgency to recycle
at a serial level. Alberto Meda, father of the discipline in the most
industrial sense, is a professional who’s been able to dip his
engineering degree into the world of domestic living: from the
Berenice and Titania lamps for Luceplan, to the Frame seat for
Alias, his evergreen pieces traverse time and space. “One doesn’t
invent from scratch, one needs to keep an eye on the past”,
he recently said in an interview with Domus. “Taking into account
what is currently available helps take a step forward, which is
innovation: a good designer adds the missing piece to a
conversation that continues even without him”, and as in Zaven’s
work as well, “the search for simplicity is not banality, but a
solution to complexity”. In October, Triennale Milano will dedicate
a solo exhibition to the Milanese master, curated by Marco
Sammicheli with a set-up by Riccardo Blummer. “The installation
will narrate his relationship with technology and materials”,
forecasts the director of the Museo del Design Italiano, “with the
aim of passing down a method, an approach, a curiosity that holds
the secret of the future to the new generations”. His vision has
gained a following and young, engaged people know that it’s
worth a ‘listen’: “They have a strong sense of responsibility and
really rack their brains thinking of useful, beautiful and articulate
objects”, Meda pointed out. A bit like the work of Esther Jongsma
and Sam van Gurp, the Dutch designers for the first time at
Euroluce with Luceplan. The couple founded the Vantot studio in
Breda, the Netherlands, in 2015. At Milan Design Week, they
introduced Liiu, a system of small luminous bodies anchored to a
dense network of electrified cables. In addition to using a LED light
source, the choice of modularity in the compositional elements
enables to control the energy consumption: the number of bodies is
designed to create a warm and natural atmosphere. Equally soft is
the tessellated glass by Luca Nichetto for the Australian Rakumba,
inspired by Russian dolls: Argyle is a Pyrex totem that hangs
discreetly and salutes Darwin. —
 ART&DESIGN

Designer contrasts
A pair of Milanese creatives
bring together soft colours and
anthracite hues. In their home, art and
design coexist
by Giulia Deitinger — photos by Nathalie Krag

In the living room, on the Saharan Mat

by Altai, Standard sofa by Francesco
Binfaré for Edra. Next to it, ‘L’aria di
Daria’, sculpture by Mario Ceroli. At
the back, Bellhop lamp by
Barber&Osgerby for Flos. Ile coffee
table by Piero Lissoni for Living Divani.
‘Strong Billow 1’, sculpture by Zsolt
Jozsef Simon for Officine Saffi.

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 “I resolved to call my studio ‘Eligo’, from the Latin word
‘eligere’, to select with care. That is, being sensitive enough to choose
meaningful archetypes to develop new projects”
Alberto Nespoli

Above, a portrait of the by Le Corbusier and Perriand for

homeowners, Alberto Nespoli and
Alessia Bossi. In the corridor,
‘Veneri-Helène-Phryne-Cléopatre’
by Mario Tozzi. Opposite page,
the early 1900s fireplace in the
living room contrasts the lime-
based polished stucco walls by
Giorgio Graesan. LC1 armchairs
Cassina, and leather-bound
cabinets by Eligo Studio. Below, a
glimpse of the dining area with a
kitchen island designed by
Giacomo Moor. Over the Zanotta
table surrounded by Impero
chairs by Eligo Studio, 1920s
pendant lamp.

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 ART&DESIGN

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ART&DESIGN
A glimpse of the dining area as
seen from the living room, with ash
and oak original floor. Next to the
scorched-iron doorway, Tigullina
armchair and, on the wall,
‘Estroflessione’ by Agostino
Bonalumi. On the kitchen wall,
‘Creamy Dalston Stuff’ by Lorenzo
Vitturi. Surrounding the Reale CM
table by Zanotta, Impero chairs by
Eligo Studio. 1920s chandelier by
Muselli Officine Luce. Vintage wall
lamp by Jorge Pensi for B-Lux.
106 ELLE DECOR
Milan, Porta Venezia. A flat in a building that in the early
20th century belonged to a family engaged in ironwork, is now
home to Alessia Bossi and Alberto Nespoli, respectively co-
founders of the creative agency We Are Lovers and the design
atelier Eligo Studio. The space, on the main floor of the building,
is bright with wonderful period finishes. “We immediately fell in
love with its charm, because we love working with the
contraposition of past and present; we value history, but at the
same time we create modern contrasts. The renovation has been
highly conservative, we wanted to keep the original layout as
much as possible. We therefore decided to move the kitchen by
connecting it to the dining room, to experience the home in a
convivial way. We chose vibrant colours, without shades: light
walls and ceilings against dark, anthracite doorways. Feminine
finishes such as Venetian plaster and gesso friezes contrast the
hardness of iron and mirrored items. On this basic principle, we
then played with spectacular elements and custom interior
designs”, explain the homeowners. The corridor, made with
anthracite resin, provides access to the different rooms; a clear,
bold element linking the old and the contemporary. A
demarcation line between the different spaces, softened by the
restored, original timber doorways that have been replaced with
modern elements. Even the spacious bathroom, with a free-
standing tub with classic lines, plays with the contrast of lime-
coloured surfaces and the resin floor. The ceiling of the guest
room, now occupied by little Ennio, was stripped of the 1970s
paint and left bare, bringing into view the layered traces of time.
ART&DESIGN

In the bathroom, vintage 1960

hanging lamp. The painted wood
cabinet with wooden outlines is a
project designed by Eligo Studio,
created by Giacomo Moor
woodworking. Etoile Console
mirror, Savoy sconces and
Gatsby wall mirror, all from
Devon&Devon.

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ART&DESIGN
The bathroom ceiling was stripped
of the 1970s paint and left bare.
Celine Petite bathtub by
Devon&Devon, Intrigo stool by
Duccio Maria Gambi, anthracite-
coloured floor by Rezina.
Wardrobes clad in chrome-plated
steel designed by Eligo Studio.
In the bedroom, artwork by
Giuseppe Capogrossi. Mirror,
wardrobe and Tigullina armchair,
all by Eligo Studio. Bed linen
by Society Limonta.
110 ELLE DECOR
The living room walls, where the dominant colour is white, are
finished in lime-based polished stucco that makes the environment
softer. The fireplace, originating from an early 20th century villa,
is the focal point around which the living room was decorated.
Here, art and design coexist in a balanced way, in an ongoing
game of combining new elements with icons of the past.
From the Le Corbusier armchairs, to Mario Ceroli’s wooden
sculpture, and the custom furniture designed by Eligo Studio. The
deep doorway connecting the living and dining rooms, finished in
anthracite-coloured iron, is an eye-catching element that stands
out between the two areas, framing an artwork by contemporary
artist Lorenzo Vitturi. “The painting, ‘Creamy Dalston Stuff’, is a
photograph of one of his sculptures, created by assembling
objects from mainly Ghana and China salvaged from a Ridley
Road local market in the suburb of Dalston”, explains
Alberto Nespoli. “With Lorenzo, we also worked on a major
display on show during Milan Design Week”. Eligo Studio will
co-star in the project ‘Campo Base’, curated by Federica Sala,
together with five other Italian designers. “For the occasion we
created an updated version of the parlour of Palazzo Odescalchi
in Rome, designed by Mongiardino in 1969”. —
A homage to the archival photo
‘Designer all’Arengario’ by
Massimo Lustri taken on the
staircase in 1984; the portrait is
by Delfino Sisto Legnani, the
subjects outside the Museo del
Novecento are nine iconic
curators in contemporary
international design. From right,
clockwise: Bianca Felicori,
Alberto Cavalli and Angela Rui.
Seated, Caterina Taurelli
Salimbeni and, at the top,
Valentina Ciuffi. To her right:
Rabii Brahim, Maria Cristina
Didero and Joseph Grima.
Seated, Marco Sammicheli.

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 MONITOR

MILAN
METAPHOR FOR DESIGN

Nine internationally renowned curators pose

on the staircase of the Arengario, symbolising the
capital of design. Together they cultivate conversations,
build visions and promote culture
by Paola Carimati — portraits by Delfino Sisto Legnani, DSL Studio

113 ELLE DECOR

 MONITOR

the vision
When taking culture
to the suburbs is no longer utopic
From the Giambellino to the former Macello (abattoir)
in Porta Vittoria: Rabii Brahim, founder of the cultural space
MM Milano Mediterranea, the Base’s centre for participatory
art with which he’s undertaking a new cycle of artist
residencies, together with Valentina Ciuffi and Joseph Grima,
creators of the event Fuorisalone Alcova, trial the feasibility of
the 15-minute city model. The urgency for establishment
and community-building raises a demand for attracting activists
and intellectuals to the city’s most dire neighbourhoods.
“As a performer of colour, I can’t find a space that represents
me”, says the Tunisian musician now based in the city.
“A feeling shared by many creative African offspring of the
diaspora”. Driven by the need to be able to express himself
freely, without a dominant Western narrative, together with his
project and life partner, the Italian theatre director and
researcher Anna Serlenga, in 2020 he launched MM Milano
Mediterraneo. “Our goal is to nurture the Giambellino so it
becomes central to art and the economy”. A mission also
shared by the couple, Ciuffi-Grima, who with five editions of
the Alcova format, a space for contemporary design, have
regenerated architectures of industrial archaeology and
vacant and disused spaces in NoLo and Baggio, and now land
in Viale Molise 62: hosting 70 projects and a new space
devoted to design addicts. “This year, we’re also presenting
‘Alcova Project Space’, the touring workshop curated by us
both, to promote new expressions”, forecasts Valentina.
“Three currents are identified to describe the evolution of the
international new age: the committed, hyper-decorative
‘Digital Ornamentalism’; the excellent sustainable ‘Augmented
Nature’; and the post-apocalyptic mood of ‘Afterparty’”. Map
in hand, let’s discover the design projects that save the Planet. —

From left: Tunisian musician

and performer, Rabii Brahim,
founder of Milano Mediterranea,
together with Valentina Ciuffi
and Joseph Grima, founders of
the Alcova format.

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MONITOR

Design projects that change the world, from diversity and hyper-decoration
to climate emergency, broccoli and entertainment

[1]

[2]

[3]

1. At the former municipal Macello

in Porta Vittoria, Valentina Ciuffi with
Studio Vedet, and Joseph Grima with
Space Caviar open the fifth and latest
edition of Alcova at number 62 in
Viale Molise. An urban wasteland
of 15 hectares, available to
contemporary design. 2. Clustered,
by Polish designer Agnieszka
Cieszanowska, is an interactive fabric,
a manifesto of investigating ‘intermediate
spaces’: places in which to rebuild
relationships. At Base Milano.
3. Ricino is a natural castor-oil resin
[4] [5] [6]
lamp made by the Brazilian Estudio Rain.
The collection promotes the ‘Augmented
Nature’ trend of the exhibit at Alcova
Project Space. 4. Broccoli Bar by
Matilde Brizzi is an entertainment corner
inviting people to take part in
conversations about pressing issues and
social phenomena, the effects of which
Photos MX1 by Studio B.Helle

we all endure. At Base Milano. 5. MX1

by Aurélien Veyrat is a sculpture that
amplifies the three-dimensional effect of
the individual ceramic elements.
At Alcova. 6. Stool by Isabel Rower,
is an effective example of ‘Digital
Ornamentalism’, the trend by Ciuffi -
Grima at the Alcova Project Space.

116 ELLE DECOR


Angela Rui, curator and lecturer
at the Design Academy of
Eindhoven, with her Dachshund,
Agata. Bianca Felicori, PhD,
creator of the ‘Forgotten
Architecture’ movement and
founder of ‘Space?’.
MONITOR
the research
Participation,
critical approach
and radical
freedom: design
according to the
under 35s
The career paths of Angela Rui and Bianca Felicori
follow the common ground of design and architecture,
both being attracted by the project’s most radical expressions.
Angela teaches ‘Pedagogies of the Sea’ at the Geo-Design
Master of the Eindhoven Design Academy, and Bianca has
recently published ‘Forgotten Architecture’, which is not just a
book, but a collective experience. Emerging on social media
to reclaim projects by obscure architects and works left in the
shadows with their masters, she quickly built a community
of enthusiasts. And it’s precisely the pressing need for
community building that drives the individual projects at Milan
Design Week. Rui curated ‘Italy: A New Collective
Landscape’, the exhibition, devoted to under-35s, produced by
Adi Design Museum with a fit-out by Parasite 2.0 studio. Fifty
years after ‘Italy: The New Domestic Landscape’, by Emilio
Ambasz at New York’s MoMA (1972), and almost twenty
since ‘The New Italian Design’, by Andrea Branzi at Triennale
Milano (2006), the Italian teacher’s contribution intends to
chart the problems faced by this global moment, and the
ongoing environmental and social transformations are a
starting point for young Italian designers’ work. At the other
end of the city, Felicori and the collective ‘After?’,
a former workshop transformed into a creative and
collaborative space in the south-eastern district of Corvetto,
aims to reflect on the link between the design scene and
Milanese progressive architecture. But there is more. ‘A Slow
Design Week?’, the overarching theme of the cultural centre’s
programme shouldn’t be understood as just a common theme
in the exhibits, but as a way in which the group intends to
tackle the week. “Our idea is to create a place in which
to establish relationships and discuss key issues, to rediscover
exchange and empathy”. —
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MONITOR

At Adi and at ‘Space?’, many varied public programmes

devoted to conversations about the future of Italian design

[1]
[2]

[3] [4]

1. Prophecies of dust subtitled: ‘Bricks in the

Digital Era’, by Gianmaria Della Ratta and
Giorgio Gasco from Studio Groovido, is a collection
of shelves, benches and stools resulting from the
exploration of role-playing games (RPGs). On show
at ‘Italy: A New Collective Landscape’, at the Adi
Design Museum. 2. A Quest into Colour,
by Giorgia Bandiera, investigates the ecological
and creative applications of organic pigments in the
[5]
image-creating process. At the Adi Design Museum.
3. A Moving Border is a Transparent Pathway,
by Studio Watershore, examines how Earth is
constantly shaped by external forces.
At ‘Inhabitable Worlds’, the exhibit devoted to
Photos Mathijs Labadie; Federico Floriani

foreign designers in Holland. At ‘Space?’.

4. and 5. Tellurico: the Italian designer’s sculptures
are bodies emerging from matter: strong or
malleable, the materials are the soil that allows him
to cross the boundaries between art and craft.
On show at ‘Italy: At New Collective Landscape’,
at the Adi Design Museum, and ‘Fuori Contesto’
at ‘Dopo?’. 6. Sirena, Stefania Ruggiero’s table
for Camp Design Gallery, displayed at
[6] ‘Fuori Contesto’, the exhibition devoted to Italian
collectable design. With 5Vie, at ‘Dopo?’.

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Maria Cristina Didero, author
and independent curator, directed
the latest edition of Design Miami.
Marco Sammicheli, professor
and curator, is the director
of Museo del Design Italiano.
MONITOR
history
Celebrating
the past to
imagine the
future and
understand
the present
During the shoot for Elle Decor Italia, Maria Cristina
Didero and Marco Sammicheli decided to wear blue and
yellow: the colours of Ukraine’s flag. A manifesto-look in
support of the sovereign nation invaded by Russia, and a
metaphor for design: creativity is a powerful agitator of
minds, and their outfit has all the hallmarks of the redemptive
message of design and its political role. Attentive observers of
the present and eager connoisseurs of the past,
at Milan Design Week they take the city’s hybrid places
and inside cultural institutions by storm. At the Casello Ovest
in Porta Venezia, which will host the Mad offices (ed. Museo
dell‘Arte Digitale), the independent curator and first Italian
director of Design Miami, together with Tony Chambers,
launch ‘Future Impact’, the exhibit devoted to six particularly
innovative Singapore-based studios, and at the ‘Casa del
Diavolo’, the historic location in Via Cesare Correnti,
‘A Future for the Past’ a reflection on the unrestrained
extraction of marble in the quarries on the island of Tinos,
Greece (5Vie production). Welcoming us at the Palazzo
dell’Arte is ‘Droog30’, a tribute by Didero and Richard Hutten
to 30 years of an epic collective experience and to the Museo
Italiano del Design’s new edition. Curated by director
Marco Sammicheli, the exhibition celebrates Triennale Milano’s
100 years. From 1923 to 2023: a sequence of seven interiors
invites the visitor to think about what inhabits our homes: the
objects resulting from a design concept should be carefully
pondered. Completing the journey is ‘Text’, designed
by Paolo Giacomazzi: an immersion into the relationship
between text and image, text and fabric. —
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MONITOR

From Italian home interiors to Greek marble quarries: design

is memory. Witnessing traditions worth preserving
[1]

[2]

[3]

[4]

1. A Future for the Past is a

project by ‘On entropy’ curated by
Maria Cristina Didero for 5Vie, in Via
Cesare Correnti. Through the efforts of
designers Zoe & Niki Moskofoglou, the
exhibit recounts the legacy of marble on
the Greek island of Tinos. 2. Oca by

Photos Yiorgos Kordakis; photo by Amendolagine Barracchia © Triennale Milano – Archives

Arthur Arbesser is one of 10
interpretations of the Beetle seat,
designed 10 years ago by GamFratesi
for Gubi. In ‘TEN: Beyond the Beetle’,
curated by Marco Sammicheli at the
[5]
Bagni Misteriosi. 3. and 4. Museo del
Design Italiano, curated by Marco
Sammicheli and set-up by Paolo
[6]
Giacomazzi, the new edition celebrates
the Triennale Milano’s centenary,
opening a new section devoted to
domestic interiors. Among the pieces on
display, the Orbital lamp by Ferruccio
Laviani (Foscarini, 1992). 5. Shell by
Viewport, one of the six studios
representing the Singaporean scene,
selected by Maria Cristina Didero and
Tony Chambers for ‘Future Impact’, at
Casello Ovest in Porta Venezia.
6. Chest of drawers by Tejo Remy,
among the pieces chosen by Maria
Cristina Didero and Richard Hutton
for the exhibit ‘Droog30: Design or
Non-design?’, at Triennale Milano.

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 MONITOR

news
Events and patronage: design
is contemporary history
Tradition and experimentation in the events for which
Caterina Taurelli Salimbeni and Alberto Cavalli are
spokespeople. Both are involved in disciplinary areas placed
at the extremes of creativity: with ‘Ill at Ease’, the young
independent curator, together with Luisa Ausenda, recovers
the enthusiasm of the events in a 4.0 key. From 18 to 22 April
the women arrive with an unprecedented format of the
‘touring living room’ in some of the city’s iconic locations.
We’ll encounter them in Piazza Tomasi di Lampedusa, in the
5Vie circuit, in the Action Agency Villa in Piazza Piemonte, at
Spring Studios in the Tortona circuit, at the Fondazione Ica in
Via Orobia and at HangarBicocca. Their ‘living room’ is a
convivial place, replete with designer furniture and digital art
conceived to entice patrons to interact with the physical and
virtual creations by Ron Arad, the French Hermine Bourdin,
the Lebanese Khaled El Mays, the Cuban Diango Hernández
and the Argentine Six N. Five. Open to all, ‘Ill at Ease’ is a
political symbol reversing the relationship between public and
private space. On the other hand, with ‘Art & Craft & Design’,
the general director of the Fondazione Cologni dei Mestieri
d’Arte once again enhances the monumental spaces of
Palazzo Litta with pieces of high craftsmanship. The dense
schedule of exhibitions is devoted to the dialogue between
know-how and design concept: for the spaces of the Richini
courtyard, master Gianluca Pacchioni conceived a site-
specific sculpture on the theme of Time, while in the rooms
adjacent to the gallery on the first floor, Bonacina 1889
presents furnishings and accessories made of woven natural
fibres in collaboration with Francis Sultana, London-based
designer and decorator. In Sala Esedra, the multi-talented
Sara Ricciardi designs ‘La Grande Bellezza’, a patronage
project for Starhotels. —

Alberto Cavalli, director

of the Fondazione Cologni
dei Mestieri d‘Arte, portrayed
with Caterina Taurelli Salimbeni,
an independent curator with
a recent past at Florence’s NAM.

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The stars, the rain blurring the bodies, the movement

of the sun keeping time: nature is a strongly evocative [2]
element for designers and digital artists

[1]

[3]

[4]

[5]

1. Zodiac at Palazzo Litta, the Richemont group’s design

school, Creative Academy, under the curatorship of Eligo
Studio and with the collaboration of 20 students coached by
the Lodi ceramist, Tonino Negri, proposes a tribute to the
constellations. Magic. 2. The Circle, one of the digital artists Six
Photos Diango Hernández — Courtesy Wizard Gallery

N. Five’s most iconic works on display in the touring living

room ‘Ill at Ease’: the sphere is a simple shape that evokes
care, calm, dreaming. 3. La Grande Bellezza Sara Ricciardi’s
collection of decorative glass and diffusers for Starhotels is an
example of patronage promoted by the Fondazione Cologni,
with the Osservatorio dei Mestieri d’Arte. At the Esedra hall at [6]
Palazzo Litta. 4. Everything, the installation by the Turkish
studio Nohlab, at the Meet Digital Culture Center in the Porta
Venezia circuit, focuses on the subject of digital art. 5. Dancing
Underwater, a still frame from the video by Diango Hernandez:
a self-portrait capturing the image of the Cuban artist through
a wet glass. At ‘Ill at Ease’. 6. Francis Sultana x Bonacina,
a collection made of natural woven fibres in collaboration with
the London-based decorator. At Palazzo Litta.

128 ELLE DECOR

A portrait of the Maestro in his
studio in SoHo, New York: the shot
is part of the archive of Elle Decor
Italia, which met him in 2012.
At the Milan Design Week, Gaetano
Pesce will host ‘Understanding
the Future’, the talk-show at
SaloneSatellite, in FieraMilano.

Gaetano Pesce
The most radical of the
designers lands in Milan to shake
young creatives’ belief: “Be curious,
sensitive and disobedient”
by Paola Carimati — portrait by Ricardo Labougle
A large ribbon window overlooking the East River lets
the colours of New York spring through. Sitting at his desk in the
city where he has lived and worked since 1983, Gaetano Pesce,
framed by the camera, backlit, asks me with a biting tone:
“Can you see me?” “No, Maestro, I can barely see you. But I
hear you well”, I reply cautiously. He is renowned for his direct
and dry manner. Marva Griffin, founder and curator of the
SaloneSatellite, and a friend of his for over fifty years, warned
me: “Never push him. I am always afraid of his answers”.
So, this is how our interview begins, with the reputation that
precedes him, and his profile emerging from an impalpable
backdrop, as shiny as the polyurethane resins he has been
experimenting with since 1995.
Gaetano Pesce — designer, artist and architect — is the
most radical figure in the Italian and international design
scene, on which he has had and continues to have a huge
impact. “Milan is not the Big Apple, but the last time I was there
I found it very lively, with interesting people”, he says,
rattling off two of his most recent engagements: the inauguration,
last November, of his ‘Pelli Industriali’ (Industrial skins) exhibition
at the gallery of another lifelong friend, Luisa Delle Piane,
and, a few months earlier, the Bottega Veneta runway show at
the Fashion Week. “For them, I created the set design with — ed.
ça va sans dire — a cast resin floor and 400 unique chairs”.
Then they flew to Miami with Kate Moss. Each one bears the
towering inscription ‘Come Stai? (How are you?): it is a personal
question addressed to an imaginary interlocutor, a clear
reference to individuality and his personal tribute to diversity.
A subject very dear to him, if we think of the Up armchair for B&B
(formerly C&B), conceived in 1969 as a symbol of the ‘woman
prisoner of herself’, therefore ‘with the ball and chain’.
For his collaboration with both brands (and Bottega Ghianda
too), in April he will return to the capital of Made in Italy to
present new products and shake things up a little bit.
What is political in his design? He answers with his trademark
candour: everything.
“The moment my works leave the studio and go out into
the world, they speak for my ideas. One out of all? The world
is made of diversity”, a value to be respected because it is
synonymous with evolution. “And of intelligence, of those who
understand and accept that we are not all the same: to confront
someone who always thinks exactly like you, who never
PEOPLE
contradicts you and whose answers to the questions you ask him
you already know is extremely boring”. When in 1972 Pesce
suggested reflecting on the concept of industrial production
to pave the way for the originality of the mass-produced piece, he
meant exactly this: “Objects must be as different as people are
from each other. It is time for uniqueness”. But be careful not to
fall into the ambiguity of art-design: “I am not referring
to limited editions, but to a very authorial seriality”, defined
by form and function, and by a strong political and religious
content. In the face of the social tensions that democracies are
going through, that of the Maestro seems to be a timeless
principle: “It would be useful to dust off Pier Paolo Pasolini’s
words, when he wrote that ‘governments have problems
because they do not listen to creators’. Because creators, being
able to design the future, foresee possible contradictions”,
and redeem society. Fantasy in power.
“‘Understanding the future’, this is what I will talk about,
invited by Marva, to the SaloneSatellite students: I show
nothing, only who I am. Examples generate copies and if we
want differences to germinate, we have to let everyone learn
to express themselves in their own language”. Setting some
boundaries: “When I was teaching at the École nationale
supérieure d’architecture in Strasbourg, a group of students
showed up to present a dissertation on a certain type of adult
male sheep”, the architect rages on. “‘Are you crazy?’ I shouted
at them. Never confuse biology with design”. And he adds,
referring to the shared organisation of creativity: “Much
better the song of the solitary nightingale, than the buzzing of the
forest. Cooperative work has given disastrous answers from so
many points of view. An English proverb encapsulates this
concept: ‘a camel is a horse designed by a committee’.
Because when you work in a team, you always come to a
compromise. And compromise does not push the story forward”,
but above all, we are not going to take it anymore. “Designers
are individuals who act alone and according to their sensibilities.
It is useless to seek help, only curiosity can lead them out of the
present and into the future”.
“Free of oneself and free to change one’s mind.
Cultivating inconsistency and disregarding the rules is important:
respecting them means living in the past, the worst thing that can
happen to someone who is intelligent”. The watchword, then,
is disobedience, but without breaking the law. “I have never
obeyed anyone except what time told me to do. The latest theme I
am working on? Unrecognizability. In the past, when people did
not like a work, they used to say: ‘it is not consistent’. Today, it
sounds like a compliment”, Gaetano Pesce concludes with
amusement. It was nice: make it different. —
131 ELLE DECOR
LIGHT&INTERIORS

134 ELLE DECOR

Maison Lumière
Paris. A flat in the city centre is
the ideal setting for an amazing lamp
collection. Selected by the owner
to blend natural and designer light
words by Paola Maraone
photos by Celine Clanet/Living Inside

The living room in Olivier Renaud-Clément’s

flat is a space flooded with natural light.
On the left, two projects by Joe Colombo,
the Coupé floor lamp for Oluce and a coffee
table for Zanotta. On the tabletop, Gae
Aulenti’s Re Sole lamp stands out; produced
in 1967 by Kartell, it was conceived for
Olivetti’s Buenos Aires showroom. In the
foreground, Soriana armchairs by Afra and
Tobia Scarpa for Cassina. A thin line of
architectural light emphasises the cornice on
the stucco ceiling.
LIGHT&INTERIORS

In the living room, 1968 dining table

by Joe Colombo for Zanotta. Next to it,
on top of the 1970s Cubotto rosewood
bar by Cini Boeri for Arflex, Pierre
Cardin lamp from the same period
and snow globe by Not Vital. On the
wall, left, a light work by French
artist Philippe Parreno.

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LIGHT&INTERIORS

After two fruitful decades in New York — where he continues

to carry out most of his work — he returned to live in Paris. Olivier
Renaud-Clément, 58, a native Frenchman, collector and
exhibition producer for the Hauser & Wirth gallery, left the Big
Apple’s lofts to move into a flat close to the Eiffel Tower. The
traditional rooms, defined by French-style stuccos and parquetry,
were all too common so, to make them his own, Olivier selected
art, furnishings, objects and lamps that seem created specifically
for this place. Looking cosmopolitan with a welcoming attitude,
he opened the doors to his domestic paradise distinguished by
the arched windows of the living area, which provide ample
views over the Parisian sky. “Although I have a soft spot for the
lights of New York and its low, intense, unsettling horizon, in
other ways Europe is presently the ideal place to live and work,
for me”, he confesses. Like many young creatives of the time, the Above, left, the Elda armchair
owner recalls living in Manhattan for a long time, focusing on the is the centrepiece of the living room;
world of art galleries and photography. Although he has worked manufactured in 1963 by Comfort,
now by Longhi, it’s one of Joe Colombo’s
and thought much about light as a theme, “I never imagined that first projects: leather lining, plastic and
one day lamps would play a central role in my life, just like art”. fiberglass body, 360° swivel base.
Then came the renting of a loft in Tribeca, owned by director Resting on the plastic coffee table,
Robert Wilson, a collector passionate about chairs, from Perriand Quattro Gatti by Mario Bellini for C&B
to Philippe Starck. “Living there I realised that there’s no Italia, Aton lamp by Joe Colombo for
Oluce. Above, right, the homeowner
difference between visual arts and design”, he explains. seated at the dining table.

138 ELLE DECOR

LIGHT&INTERIORS

Right at the entrance of the flat, with a

white chintz curtain as a background,
visitors are surprised by the chrome-
plated metal Angolo floor lamp,
designed by Angelo Cortesi and Sergio
Chiappa-Cattò in 1968 for Forme e
Superfici. From here, the view opens onto
the dining room adjacent to the large
living room, and on the wall, Philippe
Parreno’s luminous piece.

140 ELLE DECOR

LIGHT&INTERIORS

Above, in the dining room, the reflective

glass surface of the 1970s work by the
kinetic artist Adolf Luther amplifies the
brightness of the room. On top of the
sideboard by Horst Brüning for Kill
International, from left, Elmo lamp by Joe
Colombo for Forma & Funzione; a set of
jugs by Sergio Asti for Arnolfo di Cambio;
Perle lamp by Jean-Michel Othoniel and
a 1990s sculpture by Marcel Wanders.

142 ELLE DECOR

LIGHT&INTERIORS
In one of the bedrooms, next to the bed,
bedside table Triangulare Container
System by Joe Colombo for Elco-Bellato,
1969. Asta lamp by Ingrid Hsalmarson
for New Lamp, and chair by Ico Parisi
for Longhi. Right, in the bathroom,
the copper plates embedded in the tiles
are a 1993 work by Gretchen Faust.
Below, right, one can glimpse Colombo’s
Flash lamp for Oluce.
144 ELLE DECOR
“Then, also, came the dazzling discovery of Joe Colombo’
style”. Bold contours, colourful functionality, innovative materials,
safety and freshness: “He was so Italian, so wild. He embraced
Modernism, perfectly expressing that era of dissent”.
In the following years, Renaud-Clément learnt to understand
and appreciate him; turning into a major enthusiast and collector,
specifically of lamps in the pale shades of white and cream,
which are rarer than brightly coloured pieces. A collection
of carefully chosen and acquired lights that today follow each
other through the Paris’ apartment rooms, tastefully coordinated
with other masterpieces. “The ones I’m most fond of?
The Re Sole by Gae Aulenti; the Angolo by Angelo Cortesi and
Sergio Chiappa-Cattò; and a rare lamp by Ezio Didone”, he
smiles as if speaking of his loved ones. Today, they’re here,
interacting with the furnishings, including a pair of white leather
armchairs in the living room, Soriana by the Scarpas and a dove
grey Elda chair. In an ongoing game of cross-references,
they surround the Colombo coffee table which, in turn, is a nod to
a larger table in the adjacent dining room, “made to order
by the designer”. Every nook holds a surprise, yet every item
seems like it’s exactly where it should be, in this flat
where designer lights have a strong bond with those of the city.
And with the sunlight profusely bursting in at almost every
hour of the day. —
 GREEN DESIGN

Special projects
Winner of the EDIDA ‘Sustainable Achievement’ Award,
Studio Ossidiana proves that coexistence
between humans and animals is a necessary value
by Paola Carimati

Aspen, The Italian Manifesto — Inside

Magazzini Raccordati’s Tunnel 142 at Milan’s
Stazione Centrale, which sees the return of Dropcity
(Convention 2023), one of the most anticipated
events of Milan Design Week, Studio Ossidiana
created an installation inspired by the 1989
International Design Conference in Aspen (IDCA).
Host of the talk, on 16 April, is Francesca Picchi.

147 ELLE DECOR

GREEN DESIGN

Making architecture in a time of climate crisis means adding an emotional

dimension to the political one. And thinking about the scale of desires
[1]

[2]

[3]

1. Pigeon Tower — Installed in the Giardino delle Vergini during the Venice Biennale of Architecture,
curated in 2021 by Hashim Sarkis, is Studio Ossidiana’s aviary-manifesto on architecture. The tower is
comprised of metal feathers, a tribute to Venetian bell towers, designed to house the first domesticated bird
species: the pigeon. 2. The Birds’ Palace — Is a floating garden that arrived in 2020 at one of the
Vondelpark’s ponds, Amsterdam’s green lung. The platform is designed to promote encounters between all
living species. 3. Furniture for Human and Parrot — Created as a diversion during the lockdowns,
furniture for human and parrot migrates from the Rotterdam studio to Milan Design Week: claw-size wooden
seating and accessories are among the pieces Angela Rui selected for her exhibition at the Adi Museum,
‘Italy: A New Collective Landscape’. 4. Wandering Fields — A close-up of the installation made with
Federica Sala for Assab One, and conceived as a sequence of fields arranged on a gigantic drawing table.
It’s a tribute to the landscape where Alessandra and Giovanni live: the North Italian Plain where they grew
up, and the Low Lands of Holland, where they now live and work. 5. The Design of the Encounter — The
title of Giovanni’s dissertation for MIT in Boston, an anthem about coexistence shared with Alessandra.

[4] [5]

Photos by Riccardo de Vecchi

148 ELLE DECOR

GREEN DESIGN
They are Alessandra Covini and Giovanni Bellotti and,
in 2018, in Rotterdam, they founded Studio Ossidiana.
Ambassadors for the coexistence of humans and animals, they
rate among the most anticipated figures both at Milan Design
Week and in Venice, having been summoned by Fosbury
Architecture, curators of the Biennale of Architecture’s Italian
Pavilion, to narrate their careers. “We’re not the first, nor alone in
talking about interspecific inclusion”, they clarify to remove any
doubts: Andrea Branzi’s vision as father of the Radical
movement, which placed ‘non-humans’ at the centre of the urban
project, has served as the model. What’s certain is that today,
due to the pandemic experience, they are the youngest and most
authoritative representatives of new design, attentive to open and
generous coexistence. “We’re responding to the emergency that
forcefully manifested itself in 2016, the year Donald Trump
became the president of the US”, they say recalling the dissent of
activists erupting in defence of the origin (nativeness) and identity
(wilderness) of nature. “To the strong political implication
of those words, we added our more sentimental point of view”.
Focus as an antidote to fear, is their way of lessening the
consequences triggered by eco-anxiety linked to the planet’s
environmental fate. A kind of pathology that affects many young
Millennials. She graduated from the Politecnico di Milano; he
from Venice’s IUAV university, each pursuing their own career
path: “Rugs for her, swamps for me”, Giovanni says amusedly,
alluding to each other’s obsessions. Alessandra cultivates a
unique interest in the mineralisation capacity of materials: “I like
to observe the transformation process of substances that over time
change from organic to inorganic”. While Giovanni, since the
days of his master’s degree at Boston’s MIT, is fascinated by
‘floating spaces’. “Neutral places where present and past meet.
And they are saved”, as occurs in ‘The Design of the Encounter’,
the dissertation defended in the US, in which he argued and still
maintains that cages, zoos and reserves “are perimeters of
‘placement’ in a state of crisis. The kind of relationship that is
established and nurtured here between humans, animals and
objects, expresses an idea of empty proximity. Which is not
conducive to empathy”. ‘Rugs and swamps’ are truly the
keywords around which Studio Ossidiana articulates its design
language: “Our practice doesn’t set goals, but desires. And the
first of those is to define a new, truly inclusive spatial dimension”.
Theirs are surreal places where matter turns into food for all
150 ELLE DECOR
Art Pavilion M. — In Almere, in the province
of Flevoland, the portion of Holland reclaimed from the
marshes, a floating museum has arrived. Conceived as
a sequence of three rings, it embodies all the features
of an architecture in balance with nature: boat
moorings, a promenade on the water and a small
stage trodden by men and animals. Below, a portrait of
Alessandra Covini and Giovanni Bellotti.
species, and shapes amplify the functions of encounter, play and
connection between the different creatures inhabiting that world.
‘Furniture for Human and Parrot’, for example, the series of
furnishings for humans and birds, selected by Angela Rui for the
exhibit ‘Italy: A New Collective Landscape’ at Adi Museum
during Milan Design Week, has become an emblematic
collection for interspecific harmony. Conceived as a distraction
during the lockdowns, it’s designed to satisfy the habits of Coco
the parrot, and Cornelius the crow. Backrests, surfaces and
supports are safe anchors for human hands and bird feet. The
poetics aren’t diminished by a change in scale: the Art Pavilion
M, the museum’s floating pavilion in Almere, an area of the
Netherlands resulting from reclaimed land, is a graphic symbol of
environmental awareness. Comprising a promenade, a terrace
and a cylindrical volume, the structure is made of wood,
polycarbonate and shells. “A kind of natural mix that allows
rainwater to be filtered and makes excellent birdfeed”, explain
the architects, also noting: “Nutritious food, shells are what’s left
of the frenetic extraction of sand, lifeless, precious and
endangered. We use them often”. In fact, they reappear in
‘Wandering Fields’, in the Milanese gallery Assab One, and in
‘Have we met?’ the Dutch pavilion of the 23rd Triennale Milano.
“Thinking about the soil for us also means to take care of the
monsters we have created”, taking responsibility for them.
Much more than sustainable, their actions are loving. —
Photos by Riccardo de Vecchi
 Fab Four

Spanish, Italian, Swedish, English: the four

millennials selected in these pages are all
designers working in and for the world. They play
with colours and imagine new surfaces, inventing
materials and brandishing decoration as their
weapon. Young, creative and deeply engaged
by Paola Carimati

153 ELLE DECOR

 DESIGN TALENT

CONNECTION — When design regains

the strength of tradition, it once again gives people the
chance to meet and talk. Witnessing life that goes on,
Photo Ampi Aristu

the Patio bench is a true manifesto

155 ELLE DECOR

DESIGN TALENT

“Time is a key variable in the creative

MARTA AYALA HERRERA
Info: born in 1986, she graduated
from the Universidad Nebrija
in Madrid. She lives and works
in Barcelona. Language:
she explores the connection between
individual and vital space.
process: designs need to rest in order
to take shape”
“From my perspective, the hardest exercise for
a designer is tackling simple, genuine objects. The ones that fill
our daily lives”, says Marta Ayala Herrera, a Madrid-born
designer based in Barcelona. From petrol cans to pressure
cookers: the world runs thanks also to the creative intuition of
several little-known faces. It is to these useful, durable and
aesthetically pleasing products that Alberto Bassi devoted his
2007 book ‘Design anonimo in Italia. Oggetti comuni e progetto
incognito’ (Anonymous design in Italy. Everyday items and
unknown project). “To achieve this goal, we must resort to a
sober and exceptionally sensitive intelligence”, muses the
designer. Like ‘Libros Mutantes’, the system of furnishings devised
for the fair of the same name held at the cultural centre La Casa
Encendida in Madrid. “Created in collaboration with Estudi
Miret, the collection draws inspiration from the hidden beauty of
standardised components”, for example its terracotta tiles,
“and lets elements that never take centre stage speak up, so that
values like matter authenticity and expressive force can surface”.
Assembled together, wood, ceramics and silicone sections
appear to migrate from the construction site to inhabited spaces.
“Decontextualized, they find a new balance to define, together,
a novel idea of sustainability”. Design connects people and the
frameworks within which they live. “This reflection led to the
‘Patio’ bench: the courtyards of Córdoba, a type of Andalusian
vernacular architecture defined by a seating system that defines
common areas as a place to welcome guests”. A meeting
favoured by industrial production and craftsmanship alike. —

Photos by Pol Miret

Setup designed for the ‘Libros Mutantes’ fair in Madrid: benches and tables are made of construction-site
materials, wooden planks and terracotta tiles. Easy to assemble and to dispose of.

156 ELLE DECOR

 DESIGN TALENT

PERCEPTION — Objects are not shapes, but surfaces

to be modelled with colour. The Wrong Mirror
is a game of dis-proportions that transforms mistakes
into a new harmony of lights and thrills

159 ELLE DECOR

DESIGN TALENT

‘In Transition’ is not made up of mere

pieces of furniture, but of ‘characters’
which move in space to break the monotony
“I love colour, in general. The way this shapeless element
materialises to define environments and emotions fascinates me.
Knowing how to use them is a serious game that blends materials,
shapes and shafts of light”, explains Lisa Brustolin. The young
Italian designer from Cittadella (Padova), who moved to
Rotterdam three years ago, graduated from the Università Iuav in
Venice before specialising in Creative Direction at Central Saint
Martins in London. A world citizen, she’s familiar with the history
of Italian design: “I’m grateful to Ettore Sottsass and the Memphis
Group for their use of geometric shapes and for having shared
their way of thinking outside the box”. And her studies on colour
interaction link her to the poetics of German artist Josef Albers.
‘In Transition’, her first collection (made up of a wardrobe, a
bookshelf and a mirror) is the result of an in-depth reflection on
the ability of mass-coloured matter to react to light. It’s a question
of textures and craftsmanship techniques: “I selected workers LISA BRUSTOLIN
both in Italy and in the Netherlands for their specific skills in
amplifying the three-dimensional effect of the volumes”. The Info: born in 1995, she settled in
Rotterdam following a degree at
pieces, made of acrylic and epoxy resin, were presented during the Università Iuav in Venice and a
Object Rotterdam before migrating to the Mint Gallery for period at Atelier Biagetti. Language:
London Design Festival 2022: “Opticabinet, Differ Shelf she works on the interaction of the
and Wrong Mirror are dynamic characters who enhance any colour spectrum and matter.
space they glide through”. The goal is to break the monotony
with special effects. “If viewed from a distance, the surfaces
appear to vanish, as if they’ve been captured by hypnotic optical
illusions”. Instant magic. —

Portrait by Marieke Verdenius

Wrong Mirror on the opening page, Differ Shelf and Opticabinet are the pieces included in the Italian designer’s
first series: a vibrant journey among synthetic materials caressed by light.

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 DESIGN TALENT

CIRCULARITY — From product to process: design

represents the chance to denounce the impact of climate
crisis on the planet. And Granland, the collection of
printed deal furnishings, the best way of inhabiting it

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DESIGN TALENT

The furniture created by the Swedish designer features lightweight, sculptural volumes based on printed deal. Chaise
longue, table and bookshelf attest to a new circularity that migrates lightly through space.

The tunnels hollowed out by beetles in

tree bark as an inspiration, and damaged
wood as a material: design is...
“Granland is a collection of sculptural objects that
transcend the traditional meaning of ‘functionality’”, explains
Simon Mattisson at our meeting at the Greenhouse, the
international platform for emerging designers at the Stockholm
Furniture Fair. “My goal is to create living objects that interact
and communicate with the people who choose them. And to blur
the boundaries between art, sculpture and design”. And though
his furnishings act like tables, chairs and containers, they are, in
fact, hybrid creatures inhabiting space thanks to the three-
dimensional technology used to produce them. “It’s not only a
question of technique, but also of matter”, Simon tells us, getting
to the heart of his project. “I developed a wood-based paste from
tree trunks damaged by auger beetles”, the tiny beetles we find in
red fir forests. Completely natural and recyclable, this material
proves both lightweight and pliable. “The decidedly sculptural
aspect of the volumes draws inspiration from the tunnels hollowed
out by these insects in tree bark, restoring the endless possibilities
of 3D printing”. Connecting interdisciplinary methods like the
physical and digital, the natural and artificial, technology and
history: “My practice centres on the process rather than on the
product. It’s not about what you design, but why you do it”. This is SIMON MATTISSON
why environmental, political and social implications — to mention
Photos by Erik Djurklou

only the most urgent and topical — are so important to millennials. Info: born in Uppsala (Sweden) in
1998, he graduated from Beckmans
“They are key players in improving our living conditions: I want to College of Design in Stockholm, where
use all the know-how available to me to define objects and he still lives and works. Language:
spaces that will help make our planet a happier place”. — he explores the varying expressive
potential of shape and form.

164 ELLE DECOR

 DESIGN TALENT

ORNAMENTALISM — Going back to one’s roots

to build a new aesthetic language: the ‘chinoiserie’ style
revisited by the digital culture makes for hyper-decorative
objects that change scale. True collectibles

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DESIGN TALENT

‘Sniff vases’ are magical creatures

HANNAH LIM
Info: born in 1998, she specialised
at the University of Oxford’s Ruskin
School of Art. Language: she uses
hyper-decoration as a weapon
in the feminist struggle.
that redeem the feminist struggle
with decoration. While freeing us
from preconceived notions
“I use design to explore the different parts of my cultural
identity”, says Hannah Lim. Blending Singaporean and British
heritage, she draws on her multi-ethnic background both as a
woman and as a professional. “I observe contamination
processes starting from what happened in the history of furniture”,
which became a real trend in the 18th century. “I’m fascinated by
‘chinoiserie’ — small objects and furnishings where elements of
Chinese design are recreated according to European taste and
aesthetics. In my work, I try to take this practice and transform it
into a conscious aesthetic exploration, almost a reassertion of
identity”. At Milan Design Week, Hannah Lim will be one of the
leading figures of Alcova Project Space, the travelling creative
hub curated by Valentina Ciuffi and Joseph Grima in the spaces
of the former Milanese slaughterhouse, to promote talented
young designers. The ‘Digital Ornamentalism’ section of this new
exhibition concept houses a selection of ‘sniff vases’ — exquisite
small ceramic containers used in Asia to sniff tobacco: “More
than vase miniatures, they’re anthropomorphic sculptures that
surface from the past to live in the present”, enchanted creatures
and mythical objects that appear to have stepped out of the
pages of ancient Chinese literary texts. “Along with this journey,
I started studying Anne Anlin Cheng’s feminist theory, associating
it in my mind with the ‘decorative’ theme. This led to a personal
theory of ‘ornamentalism’, and I chose the hyper-sign as the tool
to oppose gender and race conformism. And to promote
a freedom of expression capable of overturning the populist
rhetoric of the present time”. —

A selection of ceramic works, eclectic and exquisite both in form and content. Attesting to the feminist struggle,
they recall ancient Asian culture: in the past they were ‘sniff vases’, or tobacco snuff boxes.

168 ELLE DECOR

ARCHITECTURE

Iconic House
Seemingly basic volumes, vibrant colours and pastel hues
stand out among the trees of the Tuscan countryside. Rediscovering
an architectural masterpiece by Ettore Sottsass
by Giulia Deitinger — photos by Nathalie Krag

172 ELLE DECOR

The full-height interior with
the yellow staircase leading
to the upper floors. Light freely
filters through the panelled
windows of the ‘loggia’ under the
large red roof. Next page,
the essential forms of Casa Cei,
designed by Ettore Sottsass with
Marco Zanini and Mike Ryan
stand out amongst the trees of the
Tuscan countryside. The red roof
and the square window,
defined by its pastel-coloured
frame, catch the eye.
ARCHITECTURE

174 ELLE DECOR

 Every detail speaks of Ettore Sottsass,
forming a sort of ABC of the master’s
hallmarks. From the eclectic, playful, patterned
furniture to the free use of colour
From above, clockwise,
the entrance door covered in
turquoise mosaic. A view of the
large window overlooking the
living room. A detail of the yellow
staircase, arranged diagonally,
leading from the first floor
to the terrace. Opposite page,
clockwise, the full-height entrance
characterised by the arched door
and the spectacular staircase.
Eccentric, cubist, eclectic, in pure
Memphis style, the custom-made
furniture is an interplay of
overlapping volumes. On the
shelves, vases designed by
Sottsass and Aldo Londi for
Bitossi. A detail of the drawers
covered in Alpi wood veneer,
a hallmark of many of Sottsass’s
designer pieces. One of the
square windows, ‘attached’ to the
perimeter walls of the house. The
three-dimensional pastel-coloured
frame stands out against the wall,
clad in Istrian stone.
175 ELLE DECOR
The stairs leading to the arched
entrance door ‘attached’ to the
Istrian stone wall. Opposite page,
the bedroom is a comprehensive
project by Ettore Sottsass. Furniture
upholstered with Alpi wood and an
armchair, all custom-designed.
On the bespoke bed, a blanket by
Nathalie du Pasquier and George
Sowden for Zig Zag Zurich. On the
wall, a print by Giacomo Balla.
On the Liquid coffee table by Baxter
(by Borgioli Arredamento),
custom-made lamp by Venini.

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ARCHITECTURE

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ARCHITECTURE
“We always kept our eyes open, ready to be amazed by
beautiful things”. Excited, Bruno Cei tells us that it is thanks to his
great curiosity and constant search for beauty that it was possible
to build this house. His wife Genny Bitossi, daughter of one of the
founders of the famous company of the same name, met Ettore
Sottsass in the 1960s. “He would often come to Montelupo to
develop his ceramic design projects. I remember him with long
hair, dressed like a hippie. Later, a unique bond was formed, thus
we decided to entrust him with the design of our house, on a small
piece of land in the countryside between Empoli and Florence”.
They asked him to build a modern house, in line with the local
tradition, even though they knew it would be unconventional.
The day the project was presented, Genny, Bruno and their son
Filippo, who was studying Architecture at the time, were
welcomed into Sottsass’s studio in Milan. “Ettore said: ‘This is a
revamped farmhouse’. It was breath-taking: when he raised the
red roof of the model, we discovered the interior, which looked
like a magic box with a stunning yellow staircase. If a master like
Ettore is commissioned to design your house, you must trust him.
We immediately said yes”, Genny continues. The classic idea of
a home is deconstructed: it consists, in fact, of a play of volumes
blending architectural archetypes emphasised by saturated or
pastel colours, according to the Memphis Group style. The
fire-red gable roof seems to be floating in the air, the windows
178 ELLE DECOR
In the living room, on the Paysage rug by Cristina Celestino for
Maison Matisse, cc-tapis, are the Chester sofa, cushions by du
Pasquier and Sowden for Zig Zag Zurich, and CH07 armchair by
Carl Hansen (from Borgioli Arredamento). On the Hyatt coffee
table, Colorado teapot by Marco Zanini, all Memphis. Callimaco
lamp by Sottsass for Artemide. Vases from the Rovine series
for Design Gallery Milano.
are defined by thick coloured frames and the sky-blue entrance
door invites guests to explore an unusual space. The spectacular
full-height staircase leading to the upper floors cuts diagonally
through the interior space, evoking an ancient ‘tiratoio’, the place
where clothes were hung in farmhouses. The living room, flooded
with light, is illuminated by the large window opening onto the
surrounding greenery. To create the custom-made furniture
designed by Sottsass, of course the owners chose to collaborate
with Abet Laminati. Furthermore, a Chester sofa, two armchairs,
paintings of classical landscapes and a marvellous enamel
porcelain work by Aldo Londi were added on the master’s
recommendation. People looked upon this extravagant house first
with distrust, and then with enthusiasm. “The construction of the
roof was very striking, especially when the red painted panels
were installed. It made us feel observed”, says Bruno. “The light
reflected on the freshly painted surfaces created a strange effect,
like water reflections. So, these curious people thought we had a
swimming pool on the roof”. During the works, the friendship
between Sottsass and the homeowners grew stronger and
stronger, helped by the pasta lunches featuring the ‘penne
strascicate’, the master’s favourite dish. “Ettore was a bit shy,
he didn’t express his emotions openly”, confesses Genny.
“But talking to him about everything, from art to the simplest,
trivial things, was a unique experience”. —
 ICONS

Method and poetry

The Volumnia gallery in Piacenza celebrates Franco Albini’s modern
eclecticism with an exhibition, curated by Stefano Andrea Poli,
showcasing rare pieces. Until 18/6, for collectors and design enthusiasts
words by Porzia Bergamasco — photos by Fausto Mazza Studio

An elegantly dressed
Franco Albini (1905–1977),
portrayed by Bertrand
Rindoff Petroff, poses in the
Galerie Du Passage in Paris.
Getty Images

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ICONS

832 Luisa armchairs. Designed

between 1949 and 1955, based
on an aerial design solution that edits
anything superfluous. It took
15 years to achieve the final version.
It won the ADI Compasso d’Oro
Award in 1955.

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ICONS

Clockwise from left, Margherita

armchairs, designed in 1950
and manufactured by Vittorio
Bonacina in 1951, Gold Medal at
the 9th Triennale Milano.
Rocking lounger, first wooden
version (1939–42) with original
upholstery. LB7 Infinito library,
designed in 1956, manufactured
by Poggi Pavia. Albini writing
desk, designed in 1958 for
Knoll International.

The exhibition reveals the relationship between method

and poetry, two complementary aspects of Albini’s work

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ICONS
In addition to the historical pieces, the exhibition contains the bibliographic
and documentary research from the Albini Foundation’s archive
Another vintage shot of the designer.
The exhibition commemorates the
bond between Franco Albini,
the city of Piacenza and its region.
He stayed in the Emilian town during
World War II and after the war he
designed the projects for the
Cassa di Risparmio di Piacenza and
the Country Club of Croara.
volumnia.space
186 ELLE DECOR
The deconsecrated church of Sant’Agostino at the centre
of Piacenza, now the Volumnia gallery, until 18 June welcomes
‘Franco Albini. Metodo e Poesia’ (Franco Albini. Method and
Poetry), an exhibit that celebrates an important chapter for the
creative. Architect and designer, among the leading figures of
post-war reconstruction, he was the champion of a minimalist
style that still amazes for its elegance and the artistic leanings of
his constructive research. A hallmark of his buildings and
interiors, as well as of his designer objects and furnishings. In the
words of Gio Ponti: “We feel its forms in us”. And the spatial
values that Albini applied to the ‘criteria of today’s home’ —
demonstrated in 1940 in his installation at the 7th Triennale
Milano — are still relevant today. Inaccessible for years, the
former Renaissance church was reopened to the public in 2018,
transformed by Enrica De Micheli into an impressive 3,000sqm
exhibition space displaying historic Italian design.
“It’s a space devoted to aesthetics that speak to our senses, our
emotions”, explains the gallerist about the choice to dedicate an
exhibition to Albini. “What drives me in this work is passion, the
same I felt when I met him. Over time, I’ve collected many of his
original pieces. I’ve kept them for myself, but now I’ve decided to
present them to the public and to let them go”. The exhibition
curated by Stefano Andrea Poli, as the title underscores, reveals
the relationship between method and poetry, two complementary
aspects of Albini’s work. His projects express solidity and an
unprecedented lightness, they have unexpected proportions and
balance, utilising new materials and revisiting traditional ones.
“I believe there are still unexplored aspects of his work to be
delved into”, confirms Enrica. Among the approximately 50
pieces displayed, we discover a focus on his lighting systems, in
which the idea for a modular project emerges, and a cluster of
rare 1932 pieces. This is the office furniture exhibited at Fiera
Milano that year, in the Masonite pavilion, a company that
produced the material by the same name made with compressed
wood fibres: it demonstrated its potential uses and a new
aesthetic. A language that we also find, twenty years later,
in the line of furnishings commissioned by La Rinascente: among
them, the famous Margherita armchair, which dictated a new
application for Indian rattan and redefined the relationship
between body and seating. These and other stories are included
in the exhibit’s narrative section, which contains the bibliographic
and documentary research from the Albini Foundation’s archive.
Leading the visitor through a unique experience. —
Portrait © Fondazione Franco Albini
 NEW HOSPITALITY/1

Private club
In midtown Manhattan, an exclusive
venue designed by Yabu Pushelberg gives
guests a warm, out of the ordinary welcome.
With artworks and an award-winning chef
words by Germano D’Acquisto — photos by Adrian Gaut

The wine room of the Centurion

Lounge, New York, with a view
of the skyscrapers. Chandelier
made by Lasvit and bespoke
table; 0414 chairs by
Gallotti&Radice; tableware
from Yabu Pushelberg’s Otto
series for Lasvit.

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NEW HOSPITALITY/1

“We’re pleased to have created a place with which

guests can identify. And above all feel at home”
Yabu Pushelberg

In one of Centurion New York’s

informal areas, Ana sofa by
Christophe Delcourt and, on the
right, Vuelta 72 swivel armchairs
by Jaime Hayon for Wittmann. At
the centre, against the window,
‘Everywhere All at Once’, artwork
by Daniel Hutchinson. On the
pedestal, ‘Untitled (DL041)’,
ceramic sculpture by Dorothée
Loriquet. On the floor, bespoke
rug by Yabu Pushelberg.

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NEW HOSPITALITY/1

Above, left, The Studio, an

informal eatery with an à la carte
menu conceived by award-winning
chef, Daniel Boulud. ‘On Our Own
(Together)’, sculptures by Dennis
Lin. Above, a glimpse of The
Gallery, defined by the metal
picture rails for hanging artwork,
designed by Yabu Pushelberg.
Devon armchairs by Rodolfo
Dordoni for Molteni&C. Left,
rhubarb cheesecake with pink
peppercorns and shortcrust pastry.

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NEW HOSPITALITY/1

A home away from home, evoking classic literary salons of
the early 1900s, inspirational places for encounters that gave rise
to novels and the artistic avant-garde. This is the spirit that guided
George Yabu and Glenn Pushelberg, owners of the architecture
and design studio with offices in Toronto and New York, in
creating North America’s first Centurion Lounge. A welcoming
and swanky space located on the 55th floor of One Vanderbilt, a
spectacular 93-storey skyscraper designed by Kohn Pedersen
Fox. Completed a couple of years ago, the building is situated at
the corner of 42nd St. and Vanderbilt Avenue, right across Grand
Central Station, and within walking distance of Bryant Park. We
are in the beating heart of Manhattan, the perfect, quintessential
location to accommodate this new space reserved for lucky Amex
Centurion cardholders. The 3,500sqm are defined by
multipurpose rooms, a lounge area, an events space and two
restaurants — one casual, the other fine dining — managed by
Michelin-awarded chef Daniel Boulud. Additionally, there’s a
well-stocked wine room, a cocktail bar, two kitchens expertly
concealed in the central area, and even a secret room.
The interiors are defined by dark tones (a reference to the ‘Black
Card’) and carbon, which inspired the house cocktail: a black
Martini mixed with squid ink. Among the many feathers in its cap,
is the breath-taking view of some of Manhattan’s most magical
places. On the east is the unmistakable outline of the Chrysler
Building, Central Park is in the north, the Empire State Building in
the south, while the Hudson River flows to the west. “When you
live in New York, you almost take its beautiful sparkle for
granted”, says Glenn Pushelberg. “But from up here everything
becomes clearer and you are literally overwhelmed”. Yabu and
Pushelberg, accustomed to working in the hotel industry (their
portfolio includes names such as the Miami Beach and London
Edition, as well as the Four Seasons New York Downtown),
continue to tackle hospitality with ease. Unlike the other
Centurion lounges situated inside airports around the world, and
conceived as transit areas, the goal here was to make the
customer stay for a longer time. Thus, every detail is synonymous
with refined hospitality. From the furniture to the accessories,
some of which are bespoke, and the artwork — sculptures,
drawings, paintings and photographs — populating the rooms like
in a private gallery. The space of ‘The Salon’ is inspired by New
York’s frenzied 1970s and 1980s, and decorated with pictures
by Diane Arbus, Vivian Maier and Nan Goldin. “The photos and
drawings not only portray the city’s nightlife, but celebrate its
spirit and embracing different cultures”, explains George Yabu.
‘The Studio’ houses work by the Canadian-Taiwanese artist Denis
Lin, while two large prints by Robert Motherwell stand out in the
entrance hall. The entire collection was created in collaboration
with Hanabi Art & Artists, and mixes international stars and
emerging names. “Art inspires interiors and vice versa”, says
Glenn Pushelberg. “We’re pleased to have created a place with
which guests can identify. And above all feel at home”. —

Left, a corner of The Gallery

restaurant. Wall-hanging artwork
by Rubenimichi and Madeline von
Foerster. Surrounding the table,
Devon armchairs by Dordoni for
Molteni&C. Above, a portrait of
the two designers, George Yabu
and Glenn Pushelberg.

194 ELLE DECOR

 NEW HOSPITALITY/2

The interior of Milan’s new Beefbar can be

glimpsed beyond the porthole at the entrance
of the restaurant. The spectacular walnut
panelling is the leitmotif of the project designed
by architects Humbert & Poyet.

Food project
Beefbar, a concept restaurant offering gourmet
dishes, has just opened in Milan. With an interior
design inspired by 20th-century masters
by Francesca Benedetto — photos Mark Seelen — words by Piera Belloni

197 ELLE DECOR

NEW HOSPITALITY/2

Above, at the back of the dining room,

the open kitchen lets one see the chefs and the
fine meat selection to compose one’s own
menu. At the top, on the wall, a cluster of small
artworks, wall lamps designed by Ignazio
Gardella for Azucena in 1959.

198 ELLE DECOR

NEW HOSPITALITY/2

An overview of the restaurant furnished by

Humbert & Poyet with bespoke tables and
sofas creating convivial areas and more
intimate niches. Asterios chandeliers designed
by the architects, and 905 chairs by Vico
Magistretti, Cassina. The terrazzo floor is a
tribute to Luigi Caccia Dominioni.

200 ELLE DECOR

NEW HOSPITALITY/2
Each Beefbar is unique and rooted in local culture
and traditions, while having a cosmopolitan spirit
On the panelling, which defines
a more reserved area of the
restaurant, appliques by
Ignazio Gardella for Azucena,
and an original picture gallery
that creatively mixes vintage
portraits, drawings,
neoclassical plaster figures and
miniatures. The combination
helps create a welcoming and
relaxed atmosphere.
Surrounding the bespoke
marble-top table, 905 chairs by
Vico Magistretti, Cassina.
202 ELLE DECOR
In Milan, always on the move and increasingly enticing to
those seeking new flavours, there is one more epicurean
destination: in the rooms of the former Archbishop’s Seminary,
Beefbar has arrived, adding the launch in the city of Milan to its
already existing 20 restaurants between Paris, London, Monte-
Carlo, Dubai. A concept and a true brand, founded by
entrepreneur Riccardo Giraudi, Italian but Monegasque by
adoption, with the aim to reformulate the canons of meat-based
dining, to be chosen from special and high-quality cuts, in a
sophisticated environment. The location is significant, the central
Piazza del Quadrilatero — within the complex recently
redeveloped by Michele De Lucchi’s AMDL Circle Studio —
where gourmet restaurants, shopping and the boutique hotel
Portrait Milano are located: “It was love at first sight”, explains
Giraudi, who’s been looking for the right location for his
restaurant for at least five years. The interior design was entrusted
to the architectural studio Humbert & Poyet, with offices in Paris
and Monte-Carlo. “Each Beefbar is unique and rooted in local
culture, heritage and traditions, while having an international
DNA and a cosmopolitan spirit”, they explain. “In Milan, we
were inspired by some of the most prominent figures in the city’s
style between the 1940s and 1960s, such as Ignazio Gardella,
Luigi Caccia Dominioni, Vico Magistretti, and the refined
modernity of their projects. Without neglecting the original
architectural details of the place, the chapel of the former
seminary, which remained hidden for 500 years.
The spectacular nave and vaulted ceilings inspired us to create a
dramatic space”. The bar, the restaurant and the open kitchen
are situated in a single aea defined by a terrazzo floor that
combines shades of green, white, black and burgundy into a
wave pattern — a reference to Caccia Dominioni — and by
a dark walnut panelling that recalls the welcoming style of
historic Milanese cafés. For the décor we selected marble-top
tables and chairs by Magistretti, as well as wall lights by
Gardella and large pendant lamps designed by
Humbert & Poyet. “The project evokes the past, the present
and the future, integrating gourmand taste with the relaxed and
casual Italian spirit”, they confirm. Besides offering the best cuts
of meat cooked on the grill, in sauce, on charcoal or steamed,
among others, the menu also includes a series of shared dishes
such as tiradito, ceviche and tartare. Plus tributes to local and
Italian gastronomic traditions, such as the risotto Nikkei
alla Milanese, or pappardelle with Wagyu and veal ragout
and aged Parmesan. A selection of wines from all over the world,
with a focus on Italian labels, closes the circle of an out of the
ordinary epicurean experience. —
 DESIGN STORE

The right place

The new store devoted to the world of interiors,
at the heart of the Fashion Precinct, is called ‘The Place’.
In Milan, a temple for quality craftsmanship and design
words by Eleonora Grigoletto
photos by Simona Pesarini

The special edition of only 12 pieces

of Roberto Lazzeroni’s Mizar table,
with a round Labradorite tabletop and
a cast bronze base, coloured blue, that
picks up the top’s colour reflections.
The numbered pieces will be sold
exclusively at the new Giorgetti store
in Via della Spiga.

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DESIGN STORE

Craftsmanship and industrial

know-how are the skills that, combined,
make it possible to carry out domestic
as well as turnkey projects

Right, a glimpse of the

third-floor terrace furnished with
sofas and coffee tables from the
Aldìa collection, matching the
outdoor Loop armchairs by
Ludovica+Roberto Palomba.
Above, the meeting room
on the first floor is enclosed by
glass walls. Sculptural, Roberto
Lazzeroni’s Amadeus table,
surrounded by Montgomery
armchairs by Dainelli Studio, takes
pride of place. All from Giorgetti.

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DESIGN STORE

In the living room, in front

of the Solemyidae sofa, Rossella
Pugliatti’s Hug armchair stands
out. Clamp coffee tables by
M2atelier and Otto pouf with
pull-out table. Far left, the
stunning staircase comprised of
thin marble segments makes a
striking variegated statement.
Left, a walk-in closet featuring
the Reiwa system introduces
the sleeping area.

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DESIGN STORE
On the occasion of its 125th birthday, the design brand embarks
on a new adventure that will also involve New York
A building with originally four floors, characterised
by the magnificent 19th-century façade overlooking
Via della Spiga. We’re in Milan, at the heart of the Fashion
District where, to celebrate its 125th year of life, Giorgetti just
launched ‘The Place’, the first flagship store designed by art
director Giancarlo Bosio, appealing to professionals and design
enthusiasts. Conceived halfway between a concept store and an
atelier, the place is also as quiet and reserved as a home.
A space that welcomes visitors in a personalised way,
offering them time devoted not only to discovering the company’s
manufacturing know-how, but also immersing them in a domestic
atmosphere enriched by artwork, where attention to detail,
quality of execution and uniqueness are the project’s key words.
“It’s a space in which to experience and research design
in the broadest sense of the term; through the influences of art,
music, food and, more generally, everything that contributes to
spread an experience connected to beauty. This is the best gift
we could give ourselves to celebrate our birthday”.
The four levels are striking due to the fine architectural solutions
that house the furnishings: from the uniquely crafted marble that
covers the stairs, to the wood panelling and the floors, which
combine stone, marble and bespoke parquet, a tribute to the
brand’s woodworking tradition. From the first floor to the last, a
route leads one to discover the collection’s iconic products and
210 ELLE DECOR
The Place’s ground floor
space overlooking Via della
Spiga, at the centre of the
Fashion District, is elevated
from the street. Through the shop
windows one can see the
interiors designed to always
offer new ideas to design
enthusiasts, professionals
and passers-by.
new offerings. Each space is designed to give adequate
weight to individual objects and, thanks to the group’s
manufacturing soul and productive capabilities, the option
of creating tailored spaces for the clients. The grand interior
staircase is made from a combination of different types of marble,
looking like a single, variegated block. Its strong visual impact is
the result of craftsmanship that brings the excellence of
woodwork to the world of stonemasonry. But the tailoring skills
for bespoke projects also emerge from the flagship store’s
parquetry floors on the different levels; with geometric inlays and
contrasting inserts. But also from floors with black Marquina
marble discs embedded in them. ‘The Place’ speaks to — and
allows one to feel — the brand’s design capabilities: from small to
large projects, from domestic scenarios, for which it develops
interior design, kitchens and more intimate spaces like sleeping
areas; all the way to commercial spaces. It’s a first step in a
process that from Milan reaches across borders.
During the NYCxDesign fair in May, Giorgetti is set to launch
its New York flagship store: a penthouse on the seventh floor of
an apartment building on the corner of 34th St. and Fifth
Avenue, overlooking the Empire State Building. —
 FUTURE

A captivating aerial view of the

new SDA Bocconi campus in Milan,
designed by studio SANAA.
The main structure comprises three
buildings clad in an aluminium skin
that wraps around each architecture,
except for the glazed surfaces
on the ground floor.

Cultural campus
A cutting-edge project, designed by the Japanese SANAA,
becomes a privileged location to educate new generations.
In Milan, inside the SDA Bocconi School of Management
words by Paola Maraone — photos by Francesca Ferrari

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FUTURE
Dematerialisation, lightness and the ability to be visionary
without seeming alien. “A university campus where students,
faculty and visitors can be part of academic activities driven by
a great desire for transparency, empathy for nature and a
sense of perspective; besides flexibility and the ability to
connect”. These are the new headquarters of the SDA Bocconi
School of Management as described by designers Kazuyo
Sejima and Ryue Nishizawa, from the Japanese studio SANAA.
Opened in 2019, in the former Centrale del Latte district, in a
continuum with the historic university building designed by
architect Giuseppe Pagano and fully functional since
the past academic year, in many ways it’s a surprising ‘city
within the city’. Its 84,000sqm comprise university housing,
a sports centre and three buildings purely devoted
to academic activities. The simplicity and fluidity of the shapes
is unusual: the curved volumes touch or graze, creating spatial
intersections, courtyards, unexpected views of the surrounding
city in accordance with unconventional architectural
languages. Among the most recognisable features is the
cladding shaping the façades: a flattened aluminium skin
wrapped around each building, including the glass
216 ELLE DECOR
Left, the concave façade of the campus buildings
is reduced to minimal elements, with the glazed
surfaces interrupted only by the string courses/
awnings. Above, students in one of the
classrooms flooded with natural light.
ellipsoid in the area housing the gym and swimming pool.
The overall effect is that of a cloud delicately placed on a
green lot, which at the same time has solid roots.
It’s separated from the ground (and the weight of the role) by
ubiquitous full-height windows, which from the outside
look into the sequence of rooms on the ground floor and the
large conference hall in the basement. The whole is
“integrated, organic, unobtrusive and open — physically and
visually — towards its context”, as stated in the review that in
2012 won SANAA the Bocconi tender. The SDA Bocconi
School of Management is an international business school
more modern than ever, in which managers from all over the
world come together to hone their professional skills, nurture
creative thinking, promote innovation and boost their
professional and personal futures with masters of excellence.
Among them, MAFED, ‘Fashion, Experience and Design
Management’ whose director, Emanuela Prandelli, says:
“Students spend their days on campus, with a crammed
activities schedule. Being in a pleasant and stimulating
environment is essential. And here there are classrooms full of
light and open spaces that are equipped with the most
FUTURE

Simple, light-coloured materials maximise the

light; an organic floor plan and custom-made
furnishings for the large hall on two levels,
dedicated to hosting conferences and events,
which partially rises from the basement.

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FUTURE
Above, the winding paths of the exterior
continue inside; the light reflects onto the
volumes that appear ethereal and floating.
Right, the evanescent buildings emerge gently,
contrasting the city.
advanced technology; spaces for studying and teamwork
overlooking the perfectly manicured lawn; opportunities to run
into colleagues from all over the world along the corridors
dotted with artworks; as well as a wonderful sports centre with
an extraordinary Olympic-size pool in which to recuperate”.
The industries on which MAFED focusses — fashion,
design and more generally experience-based industries such as
hospitality — all bear a common blueprint, that is, according to
Prandelli, “the culture of beauty and of the well-made. Being in
a place that combines the aesthetic dimension with that of
functionality amplifies and enhances the process of developing
new knowledge”. Andrea Rurale, director of the master’s
degree in ‘Arts Management and Administration’, agrees:
“The MAMA — this is its acronym — is a course aimed at
disseminating the message that the pursuit of beauty and the
spreading of culture are a duty. What is now ‘heritage’,
what we currently consider ‘an objective masterpiece’ such as
Michelangelo’s David, in the past was created through a
precise choice. The importance of surrounding oneself with
beauty is something that human beings have not discovered just
220 ELLE DECOR
recently”. Inhabiting spaces like these as a student,
basically reflects the same criteria and pursues the same
objectives: to enhance an experimental project, whose
every detail speaks to urban regeneration and innovative
solutions, so that it’s also aesthetically pleasing. Gabriella
Lojacono, director of the Executive Master in Luxury
Management, is aware of this and says: “Our students come
from all over the world with much intellectual curiosity and are
deeply receptive to what they see and hear; the location in
which the courses are held is certainly not a negligible factor”.
The master also investigates, according to Lojacono, “the
marriage of art-culture-luxury and its burning issues: one
module, for example, is entirely devoted to new technology
and another to sustainability”. All very relevant to the SANAA
project: on one hand digital and smart, on the other aimed at
bioclimatic architecture, towards zero impact, with the
ambitious goal of energy self-sufficiency on an annual basis.
A very unusual place, a world within a world, silent due to its
distance from the street and the city chaos, halfway between
respecting a glorious past and futuristic views. —
EDIDA

Here are the winners of the 2023 EDIDA Awards, chosen by the 27
editions of Elle Decor’s international network. Projects and designers
are portrayed, in Milan, in an exceptional location: the teaching spaces of
the SDA Bocconi campus, an architecture by SANAA defined by sinuous lines
words by Piera Belloni, Francesca Benedetto, Porzia Bergamasco, Paola Carimati, Filippo Romeo
photos Francesca Ferrari — styling Martina Lucatelli — artwork Massimo Colonna

222 ELLE DECOR

 FURNITURE/

The colours amethyst, light blue

(pictured) and topaz emphasise the
rough surface of the glass panes, only
12mm thick. Assembled in basic
architectural forms, they create a
simple yet sophisticated table that is
borne out of sustainable thinking. In
fact, it is made of recycled glass from
production waste that, thanks to the
grinding of the profile and the contrast
between rough and smooth surfaces, is
pleasing to the eye and touch. The
aesthetics of ‘non-glass’ is the result of
experimentation that makes an ancient
material still malleable to change and
new creativity. glasitalia.com Po.Be.

Simoon by Patricia Urquiola for Glas Italia

EDIDA 2023

KITCHEN/

The careful study of contemporary

living, which is increasingly inclined to
choose spaces of limited dimensions
without neglecting quality, led to the
creation of a new concept: Small Living
Kitchens is a system designed precisely
with this ambition. Enriched with
refined accessories, finishes and
materials, its hallmark are the mini-
islands with steel tops and sides, as
well as wooden, lacquered and
stainless steel fronts (pictured), also
available in marble with internal
walnut drawers; three standard sizes
(120, 150 or 180 cm width).
To be combined with the sideboards,
which accommodate appliances
and internal or open storage
compartments, to create super-sized
wall units. falper.it Pi.Be.

Small Living Kitchens by Andrea Federici for Falper

 Lapse 3 – Tempore
by Duccio Maria Gambi for cc-tapis

FLOOR COVERING/

A rug with a strong character, defined

by contrasting materials, volumes
and colours. The eclectic language,
which plays on naturalistic cues
combined with graphic motifs, is the
result of a creative process by which
the Florentine artist/designer explores
the possibilities of sign and material.
Lapse 3 replicates a drawing made
with oil pastels and ballpoint pens: the
3D rendition of free and imprecise
strokes, intersecting more rigorous
lines, results in a mix of flat textures
and exuberant relief inserts, thus
creating a refined, highly decorative
rug made of hand-woven Himalayan
wool. cc-tapis.com Pi.Be.

226 ELLE DECOR

 EDIDA 2023

LIGHTING/

A lightweight lamp resembling a spiral

in motion. Ethereal like an oriental
lantern, the Serpentine hanging lamp is
characterised by the perfect balance
between form and function. The black
lines defining the spokes and the
profiles of the diffuser cones have the
function of emphasising the dynamism
of the shapes. Made of PES, an
opalescent thermoplastic material, it
diffuses LED light uniformly.
Designers Anna Lindgren and Sofia
Lagerkvist, from the Front studio, have
worked by bending and twisting
translucent surfaces, assembled to
generate an object with a strong
expressionist vibe. moooi.com Pi.Be.

Serpentine by Front for Moooi

INTERIOR DESIGNER OF THE YEAR/
Born in 1980, the young Neapolitan
designer has a rich portfolio of
projects under his belt: from
residences to boutiques and hotels.
His distinctive feature is the ability to
transform neglected spaces into
decidedly contemporary interiors
with a delicate yet recognisable
touch. “Naples and the
Mediterranean inspire my projects:
for their natural and cultural context,
and for that mysterious alchemy
between aristocratic and popular,
between creative minds and master
craftsmen”. The formal solutions are
played on a careful use of colour, on
the transparencies of glass and the
228 ELLE DECOR
quality of materials such as marble
and ceramic cladding: the yellow of
the sun, the turquoise of the sea, the
green of vegetation enliven the
immaculate surfaces. Majolica walls
and floors define a new way of
conceiving décor, a tribute to the
Campania tradition, updated in
surprising ways. Custom-made
furniture, collector’s designs and
works of art become an integral part
of a comprehensive project.
giulianoandreadelluva.it
F.B. and F.R.
Giuliano Andrea dell’Uva
 EDIDA 2023

Rose Garden – Return to Arcadia by Edward Luke Hall for Rubelli

FABRICS/

Classico reloaded, the capsule

collection designed by the eclectic
English artist/designer, reinterprets
Classical images in a creative and
ironic way, with a very personal
pictorial stroke. Ancient Greece,
Roman architecture, floral designs and
geometries are mixed, overlapped
and juxtaposed with delicate harmony
or joyful dissonance. The result is a
collection of 13 fabrics for upholstery
or decoration. Pictured, Rose Garden,
which was created from a handmade
sketch and then digitised, giving the
prints a pleasingly handcrafted look.
rubelli.com Pi.Be.
EDIDA 2023

BEDDING/

Conceived as a micro-architecture,
the bed designed by the Shanghai
studio stands out for its harmony
between solids and voids, between
thin lines and rational volumes. An
interplay of contrasts already
revealed by the collection’s name:
Umu, meaning ‘to be and not to be’.
The minimalist structure consists of a
wooden frame that accommodates
various elements, e.g. the shell with
the mattress, ledges and hanging
shelves. Bringing together the
functions of bed and bedside
table in a single piece, it’s available
in three different configurations.
ariakecollection.com Pi.Be.

Umu by Neri&Hu for Ariake

 TABLEWARE/

A collection of table accessories,

vases and lamps that enhance the
savoir faire of the historic French
manufacturing company.
Pierre Charpin reinterprets traditional
craftsmanship by updating
it and designing transparent crystal
objects for everyday use, defined by
the clash between vertical and
horizontal lines. An interplay of signs
and essential shapes that tell of
different influences, from the
decorativism of the Vienna Secession
to the radicalism of the Memphis
Group. Colour is deliberately absent,
because the natural luminosity
of the crystal is fundamental.
saint-louis.com Pi.Be.

Cadence by Pierre Charpin for Saint-Louis

231 ELLE DECOR

EDIDA 2023

SEATING/

The French designer creates

a lounge chair using the brand’s
signature material, curved beech,
bent to its limits. Loop is characterised
by its arch-shaped armrests,
forming a double curve that
harmonises structure and decoration
in a single designer piece. Also
integral to the project is the refined
choice of colours for the lacquered
wooden parts and the textile
upholstery, defined by sophisticated
and interacting shades.
gebruederthonetvienna.com Pi.Be.

Loop by India Mahdavi for Gebrüder Thonet Vienna

YOUNG TALENT OF THE YEAR/
The designer’s approach can already
be guessed from the name of her
studio, with offices in Antwerp and
Brussels: Destroyers/Builders. To
achieve an essential line, which
characterises her design language, it
is necessary to ‘dissect’, to
deconstruct the form in order to
create something new and highly
topical. Halfway between art and
design, each of her projects has a
conceptual nature and a formal
architectural vocation. Her furnishings
are decidedly sculptural, but on a
Linde Freya Tangelder
human scale. From unique and
limited-edition pieces to interior
design projects, Tangelder has
recently turned to the world of
product design. For Cassina she has
created the Soft Corners collection,
including pouf/seats and side tables
that showcase her signature style.
Respectively upholstered and made
of stainless steel, they make up a
modular and versatile system that
integrates with the living space in
new, surprising ways.
destroyersbuilders.com Po.Be.
233 ELLE DECOR
EDIDA 2023

Fungi Forest by Stella McCartney for Cole&Sons

WALLCOVERING/

A pioneer of sustainable fashion,

the British designer creates a
wallpaper combining ecology
and communication. Decorated like a
contemporary Toile de Jouy —
available in Burgundy, pictured,
and Navy Blue hues — Fungi Forest is
printed on a new eco-friendly
material obtained 79% from
renewable fibres. The production
process is designed to reduce
greenhouse gas emissions by 30%
compared to traditional
manufacturing. What’s more, it is the
visual representation of the
‘conscious’ philosophy of the
designer, who makes garments
with forest-friendly fabrics and
accessories with natural materials:
because mushrooms are the
future of fashion and the Planet.
234 ELLE DECOR cole-and-son.com Pi.Be.
 OUTDOOR/

Fornasetti’s first collection of outdoor

furniture and upholstery confirms the
eclecticism of technical and aesthetic
experimentation of the historic Milanese
atelier. ‘Soli a ventaglio’ is one of the
iconic prints that now also characterise
the textile upholstery of armchairs,
benches and sofas of the outdoor series,
enhanced by the geometric lightness of
the coloured steel structure. A new
material for the brand, used in each
piece of the collection with impeccable
craftsmanship. To define new ways of
living en plein air. fornasetti.com Po.Be.

Il Giardino delle nature possibili by Fornasetti

EDIDA 2023

Zencha by Sebastian Herkner for Duravit

BATHROOM/

Contemplation and relaxation in a

place for oneself: just like a private
‘onsen’. This was the concept that
guided Sebastian Herkner in
designing the Zencha collection,
inspired by traditional Japanese
rituals and craftsmanship. The
freestanding bathtub, reminiscent
of typical tea ceremony bowls, is
characterised by a rounded base and
slightly protruding upper rim. Inside,
the backrests are a bit inclined to
ensure comfort during immersion.
Available in square and rectangular
versions, it is made of DuraSolid®,
a velvety material pleasing to the
touch. duravit.it Pi.Be.
SUSTAINABLE ACHIEVEMENT/

Based in Rotterdam, Alessandra Covini
and Giovanni Bellotti experiment with
interspecies coexistence. As architects
and expert ornithologists, they have been
combining the passion for design with
that for animals since they were students
at the University of Technology in Delft
and at MIT, in the US. Then the turning
point: Hashim Sarkis, curator of the last
Venice Biennale of Architecture, called
them: ‘Furniture for a Human and a
Parrot’ landed at the Arsenale and
‘coexistence’ emerged as a central
theme for the future of the Planet.
“Towers, platforms, collective spaces:
ours are ecosystems for all”,
they explain, “structures based on
expanded clay with different porosity,
transformed by the birds, which feed on
it, into spaces of interaction”, because
humans can also sit there.
The ‘Pigeon Tower’, a pigeon house from
the ‘Variations on a Birdcage’ collection,
commissioned by the Het Nieuwe
Instituut in Rotterdam, is an example of
‘transcultural design’: the manifesto of an
interspecies architecture, for humans and
birds. “In order to find the lost balance
between all the guests of this planet, we
cast ourselves in the role of ‘gardeners of
the world’”. The in-depth article on
Studio Ossidiana continues in the
‘Special Projects’ feature on page 187.
studio-ossidiana.com P.C.

Studio Ossidiana

237 ELLE DECOR

 Design Preview
2023
Lamps, armchairs, sofas, rugs and accessories
on display during Design Week, previewed
on the pages of Elle Decor. Designer furniture
and objects in shades that will become
the heroes of tomorrow’s interiors, in innovative,
recycled and recyclable materials. Also,
noteworthy reissues and anniversaries. Creative
ideas and craftsmanship land in Milan from
all corners of the world
by Murielle Bortolotto — in collaboration with Piera Belloni

239 ELLE DECOR

 DESIGN PREVIEW 2023

Minimalist design and energising colours.

For the table with strong lines and the swivel
armchair with a welcoming shape

Hea by Francesco Rota for Desalto

Romby by GamFratesi for Porro

HEA — A bright, Klein blue, with a surprising hue draws

the eye towards the table of Milanese designer Francesco Rota,
for Desalto. Made from a metal silhouette with a double T-shaped frame,
it comes with a mirrored 12mm glass top, pictured, or a tactile and
sensual finish in cast concrete, 20mm thick. Measuring 400cm. desalto.it
ROMBY — The chair designed by GamFratesi in 2019 for Porro evolves
and turns into a comfortable armchair that retains the original design’s
geometric purity. The padded and enlarged body welcomes the armrests,
the base with four central wooden legs gives the chair lightness.
The updated look is designed to shift the project from traditional dining
areas to new opportunities for comfort, from the home office
to the turnkey projects. porro.com M.B.

241 ELLE DECOR

 DESIGN PREVIEW 2023

Simple geometries and colours decorate

a hand-embroidered rug. And a 1970s chair is reborn
retaining its everlasting, powerful design

Cordélie Arçon by Pierre Charpin for Hermès Dialogo Tobia Scarpa for Tacchini

CORDÈLIE ARCON — Hand-embroidered cotton rug, with simple

geometric patterns and sophisticated colours, by Pierre Charpin. Part of the
Hermès furniture and accessories line on show at La Pelota during Milan
Photos Maxime Tétard – Andrea Ferrari

Design Week, in via Palermo 10. The location that has hosted the brand for
several years stages a graphic setting perfect for showcasing furniture,
lights and wood, leather, fabric, glass and porcelain objects designed
by the Maison. hermes.com DIALOGO — Architect and designer Tobia
Scarpa never ceases to enchant. Some of his pieces, now out of production,
created alongside his wife Afra between the 1960s and 1970s, are reborn
thanks to the know-how of Italian companies. An example is the Dialogo
chair from 1973, which the brand Tacchini has reissued while retaining the
design of the time. With a rectangular frame and joints, bolts and visible
screws that reinforce the double trestle structure, available in ash wood,
dyed walnut or grey. tacchini.it M.B.

243 ELLE DECOR

 DESIGN PREVIEW 2023

Ingo Maurer is back. Modular

projects are freely assembled to create
multiple living solutions

Pic-a-stick by Andreas Walther for Ingo Maurer

Ralik by Ichiro Iwasaki for Arper

INGO MAURER — The irony and craftsmanship of the founder of

the lighting brand by the same name return to Milan. Following his
death, the team headed by Alex Schmid kept going and carried forward
the brand’s original DNA, which introduces itself with new projects. At
the Fuorisalone, at the Caselli 11–12 in Porta Nuova, with an open-air
light installation. At the fair, at Euroluce, with the new light collections
including pic-a-stick: a playful piece to be assembled to one’s liking,
using over 50 wooden sticks from the assembly kit. ingo-maurer.com
RALIK — Chairs, ottomans and benches that can be used individually
Photos Salva Lopez

or combined with each other turn into a modular system with multiple
configurations. The series designed by Iwasaki includes six elements —
all available as two-seater versions as well — characterised
by L-shaped legs made with recycled polypropylene, and a sculptural
aesthetic. arper.com M.B.

245 ELLE DECOR

 DESIGN PREVIEW 2023

Creativity, style and colour for

a collection referencing Pop Art, the 1970s,
Studio 54 and Majorelle blue

SO GOOD — An oversized chrome tube defines the armchair,

pictured, designed by Arianna Lelli Mami and Chiara Di Pinto. Inspired
by the 1970s, it’s part of the new 2023 collection by Baxter, which
Photo Andrea Ferrari

comprises a mix of soft and organic shapes, vivid colour accents and
tactile contrasts. A common thread defining all the furnishings and
accessories, and which besides the duo from Studiopepe, involves
designers such as Christophe Delcourt, Draga & Aurel, Federico Peri
and Roberto Lazzeroni. baxter.it M.B.

247 ELLE DECOR

 DESIGN PREVIEW 2023

A rug to playfully assemble a fabric highway.

And a coffee table/pouf that looks like a drum,
to live by the rhythm of design

Autostrada by Lapo Binazzi for Poltronova

Drum by Piero Lissoni for Lema

AUTOSTRADA — A two-lane road complemented by a curve, in

three different colour combinations. Endless compositional possibilities
define Poltronova’s Autostrada rug, made of hand-tufted wool, created
in collaboration with cc-tapis. This year’s novelty designed by Lapo
Binazzi, a former member of the radical UFO collective, first produced
in 1990, it’s been reissued for the Fuorisalone. poltronova.it
DRUM — Ribbed timber supporting structure and solid Canaletto
walnut torus profiles for the family of tables created by Piero Lissoni for
Lema. Cylindrical, oval or square, they feature painted glass
or marble tops and turn into poufs with the addition of a fabric or leather
cushion. lemamobili.com M.B.

249 ELLE DECOR

 DESIGN PREVIEW 2023

Chairs take centre stage. Defined by high and

enveloping backrests, they reference classic shapes
with a contemporary perspective

Ottavia by Cristina Celestino for Fendi Casa

Adel by Gabriele and Oscar Buratti for Calligaris

OTTAVIA — In an explicit tribute to the Fendi brand’s roots,

Cristina Celestino has designed a chair inspired by Rome, its
architecture and its colours, by playing with the shape of the arch.
Repeated in the curvature of the backrest and the element that
laterally connects the legs. fendi.com ADEL — Calligaris celebrates
100 years and, for the occasion, it translates typical work from its
tradition into two new versions of the chair by Oscar and Gabriele
Buratti: one is hand-woven and a limited edition; the other, made of
ash wood, has a Vienna straw backrest referencing the brand’s first
products. calligaris.com P.B.

251 ELLE DECOR

 DESIGN PREVIEW 2023

Organic shapes to redefine the canons

of comfort. And new lamps to take with you, in the
name of multitasking light design

Honoré by Elisa Ossino for DePadova

New Cone and Melt by Tom Dixon

HONORÉ — The furnishings designed for the living room by Elisa

Ossino speak a simple language with elegant ease. A sofa with organic
lines supported by turned feet, which combines a curvy seat with a roll
backrest and low, and sculptural coffee tables, again in the name of
curves: to be joined together, available in marble or painted polyester,
with a tactile finish for outdoor use. depadova.com
NEW CONE AND MELT — For the first time at Euroluce, as well as the
Fuorisalone, Tom Dixon this year launches Choice, a collection that
revisits his cult lamps by mixing the new Cone base with the lampshades
of Melt, Bell and Stone to create portable and rechargeable versions.
Photos Pete Navey

Lights that move freely on a shelf, on a table, indoors or outdoors.

Cone is also a floor lamp to be combined with the brand’s 28 diffusors,
including Melt and Mirror Ball. tomdixon.net P.B.

253 ELLE DECOR

 DESIGN PREVIEW 2023

Metal, wood and plastic bend and curve

to cast refined shadows. And a famous lamp is now
trending on social media

Archimede
by Alessandro La Spada for Visionnaire
Diedro by Pietro Russo for Gallotti&Radice

Nuage Abstrait by Ronan

and Erwan Bouroullec for Vitra

Bourgie by Ferruccio Laviani for Kartell

DIEDRO — Available in a wall-mounted version with doors at different

angles that accentuate the play of shadows and three-dimensionality, the
painted wooden furniture piece comes in six shiny or matte shades,
designed by Pietro Russo. gallottiradice.it ARCHIMEDE — An unusual
shape for the container by Alessandro La Spada, with a ribbed wooden
frame and a rotating steel base. visionnaire-home.com
NUAGE ABSTRAIT — Shaped by soft cloud-like curves, the vessel
designed by the Bouroullec brothers is available as a limited edition
with special workmanship: each piece, immersed in special-coloured
solutions, assumes unique colour gradations. vitra.com
BOURGIE — Almost twenty years from its debut, the lamp by Ferruccio
Laviani invites everyone to post a photo that sees it as the protagonist on
their social channels: hashtag #bourgiemania. The contributions will turn
into a digital piece to be unveiled during Design Week, accompanied
by a limited edition in new colours. kartell.it P. B.

255 ELLE DECOR

 DESIGN PREVIEW 2023

Possible eclecticism. Architects and fashion

designers implement textile projects. Artists and designers
meet on the anniversary of a historic brand

Kink e Tartan Doodles by Radici

50 candles for BD Barcelona

KINK E TARTAN DOODLES — Graphic patterns and impressive

colours contrast in a mix of seemingly irreconcilable themes — the rigour
of Scottish motifs and the irregularity of apparently random signs —
connote the textile flooring collection designed by DWA Design Studio
and Arthur Arbesser for Radici. To decorate interiors in an unusual way.
radici.it BD BARCELONA — Since its inception, the Spanish brand has
Photos Francesca Ferrari

distinguished itself for its creative offerings and incursions into the art
world. Today, at the stroke of 50 years of life, it presents a retrospective
at the Peres Projects gallery in Piazza Belgioioso, Milan, featuring
historical pieces designed among others by Dalí, Sottsass, Tusquets,
Quitllet, Hayon, as well as prototypes never produced, and rare pieces.
bdbarcelona.com P.B.

257 ELLE DECOR

 VIEW [April 2023]

260 IN NOTO, OUR OWN STORY. History and contemporary style meet in the Sicilian
residence created by Rodolfo Dordoni and Gordon Guillaumier. Homeowners and
designers. 276 LIGHT GRAFFITI. Paris. An interior designed and occupied by Richard
Rogers in the 1970s becomes the light-filled home of André Saraiva, the most eclectic of
the street artists. 286 CURRENT PAST IN HANOI. Massimiliano Locatelli revamps an old
mansion set amongst the alleys of Dong Ngac. Preserving the patina of time but using
current languages. 298 PURE DESIGN. In an ethereal space, defined by light, previews
and 2023-reissues of solid sculptural furnishings are on show. All with a strong personality.
308 IN BARI, BETWEEN MATTER AND LIGHT. A play of perspective and natural textures
in the house, designed by Luca Zanaroli, overlooking the rooftops of the Murat district.
320 MAN-MADE NATURE. Mexico. Set among the ruins of a 16th century colonial palace,
a Brutalist villa blends into the natural landscape. Combining stone walls,
concrete partitions and rocks.

259 ELLE DECOR

 IN NOTO, OUR

The entrance to the living room of

Rodolfo Dordoni and Gordon Guillaumier’s
house in Noto is bordered by two screens with
drawings by Giacomo Balla, a unique design
by Gavina, now reissued by Cassina.

260 ELLE DECOR

OWN STORY
History and contemporary style meet
in the Sicilian residence created by
Rodolfo Dordoni and Gordon Guillaumier.
Homeowners and designers
words by Filippo Romeo — photos by Andrea Ferrari
Rodolfo Dordoni portrayed with his partner Gordon
Guillaumier in the large entrance hall on the piano nobile.
The large sculpture is a plaster reproduction of the
‘Belvedere Torso’. On the floor, custom-made Caltagirone
majolica tiles. Opposite page, in the original ballroom now
turned into the living room the rare period Venini chandelier
and two of the four original mirrors are on display.
Blue velvet sofas by Dordoni for Minotti.

263 ELLE DECOR

A glimpse that reveals the sequence of spaces leading
to the dining room. On the wall, nature-themed subjects
and works of art related to the animal world. On the left,
‘Pecora’ by Bruno Cassinari and ‘Memoria Mundi’ by
Anne and Patrick Poirier. On the right, ‘La sala degli
struzzi’ by Piero Terrone and ‘Palma’ by Mario Schifano.
On the floor, made of period majolica tiles, a painting
of a lion. In the following rooms, patterned floors with
unusual colour combinations.

264 ELLE DECOR

In the main dining room, the large table by
Charles & Ray Eames for Herman Miller comes
from the homeowners’ first Milanese loft. Around it,
bentwood and leather chairs. Hanging lamps by
Vincenzo De Cotiis for Ceccotti Collezioni. The
pistachio-coloured panelling provides a backdrop
for a collection of period paintings. On the floor,
custom-made Caltagirone majolica tiles.
267 ELLE DECOR
 Noto. A late 18th century palace, a stone’s throw from the cathedral and the central
Corso Vittorio Emanuele. We are just a few metres from the overlooking Church of San Carlo,
visible from the terrace attached to the main floor. “At first it was a hotel, then the residence of
a magistrate”, explains the homeowner Rodolfo Dordoni, who, together with his partner,
Gordon Guillaumier, designed the interiors. “The building, which covers several floors and is
structured around a green courtyard, was uninhabited for almost fifty years.
But the spaces retained their original charm. So, we worked ‘by subtraction’, freeing the
rooms from superfluous walls and reconstructing the hidden vaults”, says the architect, who
likes to spend the winter in this home. “In summer, Gordon and I prefer the house in the
country and to enjoy the open air. Here we like to gather the family, especially
at Christmas and other holidays. It is the perfect place to enjoy Noto: close to the cafés
on the Corso, where you can read the newspaper and spend time with friends.
It is a city residence, so we chose to emphasise these features”, he continues. “The amazing
ceiling decorations and all the ceramic floors from Caltagirone, unchanged by time, have
been preserved. While new majolica tiles with a geometric design and unusual colour
combinations have replaced the old cement tiles”. The sequence of spaces is always
surprising, starting with the majestic staircase leading to the main floor and the entrance
dominated by a spectacular plaster bust. “Doors on either side lead to the reception area and
private rooms. Opposite, we see a work by Francis Bacon with an orange background,
among the many works of art on display. “We had fun combining them following our own
logic. In the room preceding the living room, we chose works with natural subjects:
clouds and trees, portrayed in the two large screens by Giacomo Balla, interact
with a sculpture in the form of a palm tree, but also with a work by Anne and Patrick Poirier

The sequence of spaces is always surprising, starting

with the majestic staircase leading to the main floor and the
entrance dominated by a spectacular plaster bust

and images of a lion and other animal species. In the kitchen, on the other hand, art
celebrates fruit and food, such as the fish in Mario Schifano’s painting, perfect for decorating
the dining area. However, the real eye-catcher is what was originally the ballroom and
now houses the salon bordered by four symmetrically arranged period mirrors.
“They were part of the pre-existing decorations that we managed to preserve when
we bought the building. Among them is the stunning Venini chandelier, a rare example
with all the spare parts stored in the cellar”, the designer confesses, revealing
further curious details. “We even found a case in which each glass was wrapped with
newspapers from the early 20th century. Believe it or not, the old news were still legible”.
The walls were originally covered with wallpaper, which had deteriorated over time. “We
decided to peel it off, uncovering the original plaster with the pencil writings left by the
workers during the construction of the building”, he says. Of course, we notice many designer
pieces but, again, they were carefully selected and never taken for granted.
From the dark blue velvet sofas — a project, now out of production, by Dordoni
for the brand Minotti, of which the architect is creative director — to the long kitchen table,
a unique piece made from a sheet of natural aluminium; from the oversize Eames table in the
dining room, coming from the designer’s first home, a loft in Milan, to the UFO-like lamps,
another rare piece by Vincenzo De Cotiis. In the master bedroom we discover other
collectors’ items: a Memphis chair, the Ultrafragola mirror and an extremely rare bed,
also by Ettore Sottsass. “We found these furnishings here in Sicily, thanks to an old dealer
with very refined taste: these pieces, considered eccentric, remained in his warehouse for a
long time. It was a stroke of luck for us”. —

268 ELLE DECOR

In the relaxation room, a vintage sofa upholstered
in quilted leather. In the foreground, ‘Odalisca’,
a totem by Ettore Sottsass. In the background, the
‘curtain’ is made of glass modules by Angelo
Mangiarotti for Vistosi. The floor is made of Caltagirone
majolica on a purple and green striped pattern.
The walls, as in other rooms, have been deliberately
left bare after the old wallpaper has been removed.

269 ELLE DECOR

270 ELLE DECOR
On the wall of the private card room, ‘Study from
a human body’, an important lithograph by
Francis Bacon. Table with enamelled lava stone
top and vintage leather and wood chairs. On the
floor, custom-made Caltagirone majolica tiles.
Opposite page, the apse of the Church of San
Carlo seen from the terrace on the piano nobile.
Two views of the kitchen, with masonry cooking area and original
flues. On the top, the eye-catching steel stove module designed
for Dada. Opposite page, around the dining table with
a natural aluminium top — a bespoke designer piece — chairs by
Charles & Ray Eames, Vitra. On the front wall, a painting by
Mario Schifano; below, ‘Natura morta’ by Alfredo Bastien and
other works depicting food, the main theme of these rooms.

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The brass and glass bed designed by Ettore
Sottsass stands out in the master bedroom. Palace
armchair by George J. Sowden for Memphis. On
the wall panelling, left, ‘Senza Titolo’ by Gian
Domenico Sozzi and, right, ‘Caino’ by Wilhelm
von Gloeden. Opposite page, reverse shot of the
room with Ultrafragola mirror by Ettore Sottsass
and Tre Pezzi armchair upholstered in natural
Mongolian wool by Franco Albini for Cassina.

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 LIGHT GRAFFITI
Paris. An interior designed and occupied
by Richard Rogers in the 1970s becomes
the light-filled home of André Saraiva,
the most eclectic of the street artists
words by Flavia Giorgi — photos by Matthieu Salvaing
Light floods in through the row of large
windows of the apartment on the piano nobile
of a private Parisian town house. The
17th-century façade conceals the spartan
contemporary architecture within,
characterised by an open space marked off
into a series of smaller spaces designed by
Richard Rogers in the 1970s. Table by
Enrico Baleri, chairs by Marcel Breuer.
1970s Italian design flanks the fireplace
the only historical element recalling the period
context. Knoll sofas by Cini Boeri, with
cushions and throws by André Saraiva; the
coffee table is by Gianfranco Frattini for
Poltrona Frau. On the shelves, artworks by
Jaune, Buñuel, Molinier, Zahm, Bellmer and
Tichy are set beside a ceramic vase
and a lamp by Ettore Sottsass.
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One corner of the living room is set
aside for listening to music: the speakers
are homemade. The walls were left
intentionally bare. At the centre, between
the Eastside armchairs by Sottsass for
Knoll, a bench by Prouvé holds artwork by
Aurel Schmidt. The rugs in the foreground
are by André Saraiva.
 Graffiti. Signs of self, shouted out and shared in the city
streets, an unpartitioned training ground for the wall-art that
Swedish-born André Saraiva — who arrived in Paris as a child —
began to practice at the age of 13. He achieved fame with the
drawing of a stick figure with a top hat and a toothy grin;
known as Mr. A., he became Saraiva’s alter ego. Poking
around in Saraiva’s Paris home, we find the iconic stickman in
the form of cushions, rugs or balls. But never on the walls,
because the vertical surfaces in the house are kept meticulously
empty. “I like open spaces and white walls. Everywhere in the
city, the visual stimuli are so obtrusive that when I come home
I prefer to rest my eyes on a neutral horizon and imagine new
shapes and colours. Not to mention the advantage of being
able to have a large screen to project my films on”, reveals
Saraiva, the multi-faceted prodigy whose talents range from
street art to contemporary art, graphic design to photography,
feature-film and art direction. He has a sort of creative liberty
— “learned precisely from my experience with graffiti” —
that has enabled him to combine pop culture with high society,
becoming a promoter-entrepreneur of nightclubs, hotels and
restaurants in Europe, the United States and the Far-East.
He must have been amused by the disconnect between various
activities, much like — on a smaller scale — the stylistic contrast
between the charm of the 17th century Parisian town house
where he lives, and the private interiors, stripped of all classical
decorative elements. The formal polish and contemporary style
is due to the work of Richard Rogers, who lived in the apartment
in the 1970s, when he was working with Renzo Piano
on the construction of the Centre Georges Pompidou. “Rogers
opened up all the rooms in order to take full advantage of the
array of six south-facing windows overlooking the park.
As a result, we have a New York loft in Paris”, Saraiva informs
us. The sun paints a gridwork of light and shadow on the walls,
like fleeting graffiti. The current layout indoors, however,
is the result of the reworking carried out over the following
decade by Emanuela Frattini. The interior design and décor we
see today are due to her choices, which Saraiva has patiently
researched and reconstructed, restoring the details that had
been lost in the period before he moved in. Vintage Italian
designs, with furniture by Cini Boeri, Gianfranco Frattini,
Ettore Sottsass and Enrico Baleri, sit beside pieces of
international design, such as the Marcel Breuer chairs; stripped-
back and functional presences. Even the display of works
of art meets the criterion of simplicity: no single piece takes
pride of place; rather all are aligned on the shelves or
nonchalantly set on the floor. “I’ve always preferred to display
my collections on the floor. I like the idea that everything is
temporary. If I suddenly had to leave, it would be very easy
to move and reorganise the paintings”. But it would also be a
shame to deprive himself of that marvellous light. “Yes,
it is crucial for my spaces. And it is the sunlight that makes me
smile in the mornings”. Those are the words of a writer
who has always worked at night. —

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A visual dive into the depths of the open space,
lit by the south-facing windows. The dining
and conversation areas are demarcated by
Kyoto shelves by Gianfranco Frattini; on the
console table is a work by Oda Jaune;
at the back is the sleeping area. Opposite page,
bookshelf by Emanuela Frattini. A lattice
of light frames André Saraiva in this portrait.
“The sunlight is what makes me smile in the morning;
at night, I like the mysterious intimacy of the lighting
that emphasises the spaces”
André Saraiva

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The bedroom, which is located at the far end
of the open space, also displays natural
colours and unadorned walls. The wooden
bed with built-in nightstands is by Emanuela
Frattini, whose 1980s renovation resulted in
the still-contemporary interiors and décor.
On the right, the wooden sculpture topped
with a capital is a postmodern interpretation
of the Greek column.

285 ELLE DECOR

CURRENT
PAST IN HANOI

Massimiliano Locatelli revamps an old mansion

set amongst the alleys of Dong Ngac. Preserving the patina
of time but using current languages
words by Laura Maggi — photos by Michael Stanbury
The old family home, almost hidden at the end
of an alley in Dong Ngac, a historic village
north of Hanoi and now part of the suburbs
of the Vietnamese capital, opens onto the
traditional garden/courtyard. The residence is
the result of a careful restoration carried out by
architect Massimiliano Locatelli, who wanted to
highlight the difference between the pre-existing
structure and the current restoration works.

287 ELLE DECOR

1700s and 1800s furniture and porcelain,
increasingly hard to find, are part of the
homeowner’s collection of Vietnamese antiques.
The French windows were made by local
craftsmen according to the original design
because, as cultural heritage, they were subject
to restrictions. Opposite page, in the dining room
lit by a circular opening, marble tables designed
by Massimiliano Locatelli.

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 The kitchen wall is clad in an opus incertum
terracotta work with a craquelure effect,
recalling the decorative motifs of an old
porcelain vase from the owners’ collection.
The narrative, that serves as a backdrop to the
steel top, visually tells the story of the village
in the 18th century. Opposite page,
the hand-crafted marble table, designed by
Locatelli, ironically reinterprets the plastic
tables typical of Vietnamese restaurants.

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292 ELLE DECOR
True coup de théâtre are the bathrooms, where traces of the
past get a makeover, with a modern twist. On this page,
terracotta walls with a platinum-coloured finish are custom-
made by craftsmen from Bat Trang. The stylised banana
leaves echo those of the trees in the near courtyard. The
iconic Montebianco basin is made of marble. Opposite
page, a terracotta dragon adorns the wall that serves as a
backdrop to the basin carved from a large black stone
defined by a silver veining, from Na Kang, central Vietnam.

293 ELLE DECOR

 History is tangible in the alleys of Dong Ngac, dotted with
French-Vietnamese architecture, ancient temples and houses
adorned with Chinese pictograms: we are in a thousand-year-old
village, now a suburb of Hanoi, the capital with more than seven
million residents. For centuries the centre of academic culture and
residence of the Mandarins, Dong Ngac has been less affected
by the gentrification process, which has instead changed the face
of so many other districts. Here, shielded by a large portal
with inscriptions and an ornamental cartouche, we discover a
house with an important past, rich in memories and art,
brought back to life thanks to the restyling of architect
Massimiliano Locatelli. “It belongs to a couple — he is French,
she is Vietnamese — of great collectors of porcelain and antique
furniture from Vietnam. The building had been inherited by
several families and divided into several portions, but had
retained its special patina of time. You could still feel its soul”, “The whole project aimed
says the designer. We immediately choose to carry out a
conservative restoration that did not cover up contemporary at designing a space that is
refurbishments, to emphasise both “the old and the new”.
With its traditional U-shaped layout arranged around a central
somewhat nostalgic yet
courtyard, closed on the fourth side by a portico, the structure
echoes the typology of Chinese hutong residences that housed
decidedly current”
Massimiliano Locatelli
two or three generations of the same family. It includes a
courtyard/square/meeting place, the “space of light and rain
reminiscent of the Roman impluvium”, with frangipani and bonsai
trees placed on sculptural pedestals. The house, slightly elevated,
is accessed by steps covered in black terracotta, a shade that
marks the current revamp, in contrast to the original floors laid in
a herringbone or diagonal/parallel pattern. “Doors and windows
have been redone à l’ancienne because, as cultural heritage,
they were subject to restrictions, while all the air conditioners
have been concealed by a metal grille imitating the motif
of other wooden elements in the house. We worked a lot on the
finishes”, he continues. “To highlight the differences between the
pre-existing parts and the alterations made, we tried to ‘stress’
the traces of our additions, leaving them visible. The patina of the
plasterwork, on the other hand, has been maintained, as have the
almost faded frescoes and Chinese pictogram inscriptions that
were used to ward off evil spirits”. In implementing the project,
the architect collaborated with the best Vietnamese craftspeople,
heirs to a tradition dating back to the Imperial Age. Examples of
great craftsmanship can be seen in the walls of the bathrooms
and the kitchen — covered with ceramic artefacts designed by
Locatelli — or the black stone basin carved by a skilful sculptor
from a large rock, like those that were placed in the gardens as
a symbol of strength and power. The cultural references of the
decoration draw on Vietnamese culture, linked to Chinese style
but displaying a strong French influence dating back to the
colonial period, i.e. to the French protectorate in Indochina.
Interesting is the refined restyling, in a marble version, of the
plastic tables found in cheaper restaurants: an unusual project by
the Milanese architect that was well received by the clients. “The
whole project revolves around the reinterpretation of ancient
local craftsmanship to create the perfect setting for the collection
of 18th and 19th century Vietnamese furniture that is now
extremely rare”, Locatelli concludes. “With the aim of designing
a space that is somewhat nostalgic yet decidedly current”. —

294 ELLE DECOR

Under the portico, the old and a bit
washed-out apotropaic inscriptions with
pictograms are still visible. On the walls,
the designer deliberately left the traces of
the electrical installations exposed. Steps
and floor are covered in black terracotta,
to distinguish them from the original
clay-coloured ones. Opposite page,
architect Massimiliano Locatelli.
In the bedroom, the four-poster bed, richly
decorated with inlaid wood, is part of the
owners’ collection of antique furniture. Next
page, in the bathroom with a central shower,
a spectacular custom-made ceramic dragon.
It represents one of the four sacred animals
of Vietnamese mythology and is the symbol
of yang, which stands for the universe,
life, existence and growth.

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 PURE DESIGN
In an ethereal space, defined by light, previews
and 2023-reissues of solid sculptural furnishings
are on show. All with a strong personality
by Murielle Bortolotto and Tamara Bianchini — photos by Federico Cedrone
Monumental Neolith table by
Emmanuel Gallina for Poliform.
The bevelled edge of the marble
tabletop creates a contrast and
highlights the imposing design
of the black elm-wood legs.
Rectangular, in three sizes,
also available in circular form
(poliform.it). On the table,
Dune, Bisanzio and New Delhi
3D-printed stoneware vases, and
cup from the Torri Spontanee
collection, all by Fornice Objects
(forniceobjects.com), plate by
Serax (serax.ccom). On the right,
the spectacular Elara lamp by
Nika Zupanc for Lodes. Its design,
consisting of two metal rings,
recalls the orbits of the planets
through space. Available
in two sizes, medium and large
(lodes.com). Organic style for
the solid-wood Lepida chair by
Constance Guisset for Woak
(woakdesign.com)

299 ELLE DECOR

Interacting sculptural forms. On
the left, by the wall, are the
sinuous outlines and delicate hues
of the Woody leather footstool by
Giorgetti (giorgettimeda.com).
In the foreground, the Due Più
armchair, designed by Nanda
Vigo in 1971 and now part of the
Acerbis Remasters collection, is
characterised by flamboyant
white Mongolian wool on a metal
structure (acerbisdesign.com).
On the right, the somewhat
anthropomorphic Yuzu armchair
by Claesson Koivisto Rune for
Arflex (arflex.it). The architectural
Fly Floor lamp by Massimiliano
Raggi for Contardi, made of
satin-finish gilded nickel, is
2.5 metres tall (contardi-italia.it).
Opposite page, the sharp profile
of the Moncloud sofa by Patricia
Urquiola for Cassina makes room
for curvy lines, achieved with
recycled PET stuffing (cassina.com).
On the sofa, vase by Fornice
Objects and plate by Serax.
Ray lamp by Draga & Aurel
for Rossana Orlandi,
made of resin with metal structure
(rossanaorlandi.com).
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Hyper-designed pieces take pride
of place. On the left, Mateo table
designed by Vincent Van Duysen
per Molteni&C, with tapering
conical base and tabletop
available in round or oval form,
and lacquered gloss or wood
finish (molteni.it). On the tabletop,
ceramic objects from the La Mère
series by Marie Michielssen for
Serax. Verner Panton’s iconic
Flowerpot VP7 lamp for
&Tradition swings above in its
new black and white, psychedelic
2023 version (andtradition.com).
In the Ark armchair by David
Lopez Quincoces for Living
Divani, the dynamic lines of the
moulded and curved wooden seat
are paired with an iron rod
forming the feet (livingdivani.it).

303 ELLE DECOR

 Blue interiors. Antonio Citterio’s
Perry sofa for Flexform comprises
unostentatious elements, filled
with goose-feathers, that can be
combined; the irregular-shaped
modules prevent the
arrangements from becoming too
linear (flexform.it). On the left,
a total white version of the
Ettorino Big floor lamp by
Catellani&Smith, made of metal
and brass with an aluminium tube
(catellanismith.com). Denso mirror
in Racing Green hue by Federica
Elmo for Vero International
(verointernational.com). On the
right, Slice coffee table by Zaven
for Sem Milano (sem-milano.com)
and Charlotte Perriand’s Lampe
de Bureau reading lamp, reissued
by Nemo (nemolighting.com).
Opposite page, the wool and silk
Anulare rug from the Legami
series by Elena Samistraro
for Tai Ping is multicolour and
hand-tufted (taipingcarpets.com).

304 ELLE DECOR

Four pieces from the past make a
comeback to furnish the space.
On the left, the Baffo armchair
designed in 1969 by Gianni
Pareschi and Ezio Didone for
Busnelli, with a tubular metal
structure to which the hanging
seat is hooked. Pictured in the
brand new houndstooth check
fabric version (busnelli.com).
Stool 60 by Alvar Aalto for Artek
will be available in three limited
editions to celebrate the brand’s
90th anniversary (artek.fi). In the
centre, the 1960s Galeotta
armchair/chaise longue,
upholstered in yellow, by De Pas
D’Urbino Lomazzi, reissued by
Zanotta (zanotta.it), and the
ed059 floor lamp by Edizioni
Design (edizionidesign.com).
On the right, Gio Ponti’s iconic
Dezza 24 armchair, designed in
1965 for Poltrona Frau. Covered
with the original Redevance
fabric, that is, printed wool satin,
it was created by Gio Ponti in
collaboration with the historic
textile company, JSA
(poltronafrau.com).
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The Art Nouveau dome of Palazzo
Mincuzzi seen from the terrace of the
two-level flat in the centre of Bari,
designed by Luca Zanaroli.
Next page, in the living room,
On the Rocks sofa by Francesco
Binfaré for Edra, lamp by Kettal
and Saharan mat by Altai. In the
background, the double-sided
fireplace and the architectural black
sheet metal staircase by De Castelli.
Cement mortar floors and light
grey lime walls.
IN BARI, BETWEEN
MATTER AND LIGHT
A play of perspective and natural textures
in the house, designed by Luca Zanaroli,
overlooking the rooftops of the Murat district
by Francesca Benedetto — photos by Max Zambelli

309 ELLE DECOR

310 ELLE DECOR
The chandelier by Vibia
illuminates the black wood table
designed by De Bartolo, with
chairs by Studiopepe for Baxter.
The architectural double-sided
fireplace, clad in sheet iron by
De Castelli, acts as a screen/
partition between the dining area
and the living room. Armchair by
Yrjö Kukkapuro for Artek, oak
cabinets, black anodised
aluminium frames by Schüco.
312 ELLE DECOR
Two views of the custom-designed
kitchen with the island made
of veined stone from Turkey by
Antolini and the cupboard with metal
doors by De Castelli. Stools by
Mattiazzi, bespoke table with
black-stained wood base and top,
Zefir chairs by Studiopepe for
Baxter. The star of the dining area
is the Match chandelier by Jordi
Vilardell & Meritxell Vidal for Vibia.
 “We gave the architect
carte blanche. He created our
dream house: bright and tactile,
minimalist but cosy”
Aurelia Miccolis and Fabrizio Barattolo

Bari, Saturday morning. Little Oceano, three years

of pure energy, climbs up on a stool in the kitchen,
closely watched by Nena, the elegant black Great Dane
enjoying the first rays of sunshine on the adjacent terrace.
Filippo and Rosalinda, 6 and 8 years old respectively,
also peep out from the metal sheet clad staircase,
intrigued by the tripod with the camera positioned
in the centre of the living room. Entrepreneur Aurelia
Miccolis took the first flight from London to welcome us
with her husband Fabrizio Barattolo, a plastic surgeon.
“We were looking for a larger house for the family,
which was both in the centre and visually connected with
the old town and the sea”, the homeowners recount.
“Two originally separate but overlapping flats on the top
floors of a building in the Murat district had the ideal
characteristics. Architect Luca Zanaroli did the rest, we
gave him carte blanche”. We are a stone’s throw from via
Sparano, the shopping street that after the 2018
restyling is considered the exclusive heart of Bari, and the
large terrace on two sides, perfect for summer dinners,
determined the couple’s final choice. “Quite naturally,
we decided to place the living area on the upper level”,
explains the Bologna-based designer, who created
important residences, many of them published in Elle
Decor. “It accommodates a single large L-shaped room
with a maxi modular sofa in the living area and the dining
room open onto the kitchen, directly interacting with the
outdoor space. To cover the floors, walls and ceiling,
I chose cement mortar and a light grey lime.
They have tactile, non-reflective textures that soften the
strong natural light and distribute it evenly over the
surfaces, in contrast to some specific elements:
from the kitchen island made of veined stone from Turkey
to the black-stained oak custom-designed dining table,
which characterise the spaces devoted to conviviality.
Up to the sculptural sheet metal volume that
accommodates the double-sided fireplace and acts
as a backdrop between the rooms, defining their functions
without isolating them. I wanted to mark the passages
in a fluid way, visually connecting spaces through
perspectives generated by partitions and corridors”, the
architect continues. From the black iron staircase leading
to the floor below, as if on the underside of a ship, the
gaze points to the pumpkin-coloured Bellini sofa, meant
as an oasis for relaxation. “Here the atmosphere is
deliberately warmer, thanks to the oak flooring and the
saturated colours of the precious silk tapestry that
counterbalances the marble table by Mangiarotti.
An intimate room intended for play, study and home
theatre, which also subdivides the sleeping quarters: on
one side, the three children’s rooms and, on the opposite
side, the master bedroom”. From the bed, one looks
upwards and see the spectacular two-by-two-metre
skylight revealing stunning views and the palm trees on
the terrace. By choosing specific materials and hues we
let the natural light through: this was decisive for the
project, for no curtains or sunshades on the windows,
which would have limited the perception of the city from
the inside, were needed”, Zanaroli concludes.
The play of perspective continues undisturbed through the
large windows framing views of the skyline. From the bell
tower of the San Sabino cathedral to the Art Nouveau
dome of Palazzo Mincuzzi, which in the evening,
illuminated ad hoc, showcases all its elegance. —

314 ELLE DECOR

On one side of the large corner
terrace is the dining area, perfect for
convivial summer evenings. Tense
table and Flow Filo chairs by Mdf
Italia, outdoor kitchen with sink, hob
and barbecue by Steininger. The
greenery was designed by Studio
Paz. Opposite page, the owners:
Aurelia Miccolis and Fabrizio
Barattolo.
The architectural staircase leading to
the lower floor is covered with black
iron oxide sheets by De Castelli.
The modules of the Camaleonda sofa
by Mario Bellini for B&B Italia make
up a soft pumpkin-coloured island,
where Oceano, Filippo and
Rosalinda can play. Next page,
adjacent to the sleeping area, a
reading corner with the table by
Angelo Mangiarotti, Agapecasa,
and the Angora wool tapestry by
Altai. Seating by Verner Panton.
317 ELLE DECOR
The ribbed glass door delimits the
bathroom, in a play of reflections
with the mirrored walls in the
corridor. Shower by Ceadesign.
Opposite page, the master bedroom
with the spectacular skylight opening
onto the terrace. Stand by Me bed
by Edra, bedside table by Living
Divani and spotlights by Viabizzuno.
On the chest of drawers by Nanda
Vigo for Acerbis, Snoopy lamp by
the Castiglioni brothers for Flos.
Filikli Angora wool rug by Altai,
bed linen by Society.
319 ELLE DECOR
An exterior view of the villa located in
the state of Querétaro, Mexico,
designed by architect Emmanuel Picault
of Chic by Accident. Behind, the Bernal
Peak, a UNESCO World Heritage Site.
The Brutalist structure is set among
the ruins of a historic building, while
the central swimming pool acts as a
counterpoint to the rocky landscape.

320 ELLE DECOR

MAN-MADE NATURE
Mexico. Set among the ruins of a 16th century colonial
palace, a Brutalist villa blends into the natural landscape.
Combining stone walls, concrete partitions and rocks
by Tami Christiansen — photos by Richard Powers
322 ELLE DECOR
The spectacular dining room features
tall vertical windows, one of which
extends into the ceiling to facilitate
views of the imposing Bernal Peak.
In the centre of the room, the solid
wood table and chairs with wicker
seats and backs are a 1980 design
by Mexican architect Ricardo
Legorreta. Black split slate floor.
Above, an ancient Mesquite tree
provides shade for relaxing by the
pool, amidst hand-woven raffia mats,
cushions and folding wooden chairs.
Left, what was once the living room
of the 16th-century colonial mansion
has become a relaxation space. The
original peeling walls were
preserved, while new iron French
windows, masonry sofas and woven
raffia tables were added. Opposite
page, the outdoor path connecting
the house to the garden.
“In the garden, I designed the elevation changes and green
spaces according to the pre-existing architecture”
Emmanuel Picault, Chic by Accident

325 ELLE DECOR

The bottom of the pool was created
with a special resin that changes colour
depending on the time of day.
All around, organ pipe cacti. Next
page, in the dining room with slate
flooring, a painting by Florian and
Michael Quistrebert hangs on the wall.
The three concrete and volcanic stone
spheres, as well as the solid
wood seat, come from the Chic
by Accident gallery’s collection of
furniture and artworks.
327 ELLE DECOR
In the bespoke concrete kitchen,
locally produced pottery, crockery
and large terracotta dishes. In the
foreground, three-legged wooden
butcher’s block. Black split slate floor.
Opposite page, the concrete hob is
integrated into the semi-cylindrical
cabinet accommodating ceramics by
Mexican artist Perla Valtierra.
Outside, a glimpse of the installation
made with clay pots.
329 ELLE DECOR
“I refuse to alter the patina of time, visible on the
old walls. I must respect and preserve it”
Emmanuel Picault, Chic by Accident

330 ELLE DECOR

In the garden surrounding the
new building, the ruins of the
original colonial residence have
been preserved and deliberately
left unchanged. Opposite page,
from left, a view of the swimming
pool between the new concrete
wings. A detail of the shower
area, with integrated wash basin,
bordered by the circular
exposed concrete wall.
State of Querétaro, central Mexico. A Brutalist architecture
respectfully interacts with the majestic Bernal Peak, guardian of
the sacred territory of the Otomí-Chichimecas. “I like to think of
Bernal House as a humble spectator in its natural environment”,
says Emmanuel Picault, founder of Chic by Accident,
a multidisciplinary brand that ranges from interior architecture to
design, with a gallery in Mexico City. “We had to deal with the
rocky topography and at once find a way to celebrate it”,
confesses Picault. The layout of the spaces and the choice of
materials — concrete and local slate stone inside and out the
home — are the direct result of a careful study of the environment.
“We wanted to create a space in harmony with the solemn
beauty and sacredness of the mountain”, he continues.
The intricate geometries of the building, characterised by high
peaks, sudden slopes and differences in height, follow
to the orography by reinterpreting the shapes of the surrounding
rocky landscape. “When we arrived, the ruins of the
16th century colonial palace were overgrown with cacti, agaves
and desert plants. We immediately realised that we had to
integrate the presence of this past into our design”, Picault
explains. The new structures had to evoke the powerful energy of
the ruins, and the mix of concrete, local black slate and metal,
juxtaposed with the ancient stone walls, made it possible to
create unexpected contrasts. When the young homeowner
Marcos Ruiz first presented his draft project to the studio, the idea
was simply to build a second home, where he could work
and get some rest. “We wanted to allow the owner and his guests
to experience and use the home in many new ways. So, we
designed the indoor areas in tune with the outdoor spaces.
To achieve this, we meshed materials with colours, water with
earth, old with new, desert with cactuses”. Each detail of the
architectural design, inside and out the house, is carefully studied
to generate plays of light and shadow that change hour by hour.
The openings in the vertical perimeter walls are echoed in the
skylights on the ceiling, and even the doors — tall and thin, and
emphasised by frames forged by a local blacksmith — have been
strategically positioned to let the light in. “During the construction
of the building, I noticed that the top of the Bernal Peak, when
sitting at the dining table, was not fully visible, so I modified the
design by raising the roof and creating longer windows, so that
the entire monolith could be seen”, confesses Picault. Most of the
furnishings, integrated into the architectural structure, are made
of masonry and wood. The custom-made furniture is
complemented by unique pieces by some of the most important
Mexican mid-century designers, including Legorreta, Barragan,
Escudero and Shoemaker. “The end result is a villa with a
brutalist yet delicate style. It’s the result of intense feelings
and emotions, like the composition of a poem”. —
331 ELLE DECOR
332 ELLE DECOR
In the master bathroom, freestanding
custom-made copper bathtub and
masonry shower. Next page, on the
integrated bed covered in white
stucco, Mexican wool blanket.
The copper wall sconces come from
Santa Clara de Cobre in the state of
Michoacán, Mexico. Mesquite wood
mosaic floor. The bespoke iron
and glass fixtures were created
by local blacksmiths.
INSIDEDESIGN
Bespoke kitchen and bathroom designs, carefully considered down to the
last detail. Lava-stone wall and floor-coverings, and dual-use items
by Tamara Bianchini and Murielle Bortolotto

A perfect mix of simplicity and practicality for the All-rounD modular

kitchen system by Doimo. In the 02-D23 combination, pictured,
the large open space is fitted with just a few capacious elements,
flanked by tall units that create movement with different depths.
Defined by clean lines, the kitchen island is finished in Fenix NTM®
Rosso Jaipur with a velvety-soft surface. The hob has convenient
touch controls on both sides of the island. doimocucine.com

337 ELLE DECOR

INSIDE DESIGN/PROJECTS

Two young designers are transforming tableware through

projects with dual-purpose designs

Born in 1996, Paolo Stefano Gentile is the creator

of Pocopiano, a white ceramic plate by Caltagirone,
designed for Orografie. The inside surface of the plate
has a gently increasing slope that makes it possible to
hold different types of foods, solid and liquid, at the
same time. The design was created during the ‘Emersivi’
workshop with EDIT Napoli, in October 2022, and can
be seen during Design Week at 31 via Tortona, Milan.
paolostefanogentile.it

Dual use. Daniel Nikolovski, a thirty-year-old

Macedonian, transforms his project ideas into minimalist
and geometric design objects. One example of his
output is the Martini Champagne Glass: produced in
collaboration with an Italian artisan, it’s made of
hand-blown borosilicate glass and reversible. One side,
the cylinder, is designed for the bubbles of sparkling
wines, while the other side, the cone, can be used to sip
a perfect Martini cocktail. daniel-nikolovski.com
Photos Giorgia Di Tria

338 ELLE DECOR

INSIDE DESIGN/PROJECTS

In the Brera district, in the heart of Milan, a new two-level space has
been created for a brand that explores wellbeing from every angle

Photos Alberto Strada

A deep dive into the world of Cristina Rubinetterie, enveloped in its warm and refined signature
spaces. Their new-look 200sqm concept store at 8/10 via Pontaccio in Milan was designed by
Elisa Ossino Studio. The designers selected travertine surfaces, limewash and a cocciopesto
terrazzo-style flooring in various shades of beige as the perfect backdrop for the bathroom
and kitchen products. The door-arches are finished in dark metal. cristinarubinetterie.com

340 ELLE DECOR

INSIDE DESIGN/WELLNESS

Shades of pink play a starring role in the bathroom space.

Defining the washbasin, the taps and the original dressing table

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[3]

1. From the collaboration between Devon&Devon and

Marcel Wanders Studio comes Secret Gardens, a line of
products laminated with a decorative vinyl film. Items
include the Blossom dressing table (pictured), available in
seven patterns. devon-devon.com 2. Underground is a
receptacle consisting of two elements: a round marble bowl,
with a wooden tray on top, available in two sizes.
Designed by Attila Veress for Luce di Carrara.
lucedicarrara.it 3. Stainless steel Lutezia taps with satin
bronze finish, by Cea. Designed by Jean-Michel Wilmotte
Photos Nicola Gnesi

for the famous Hotel Lutetia in Paris, and now part

[4] of Cea’s catalogue. ceadesign.it 4. Uva and Menta are two
new colourways offered by Ceramica Flaminia for some of
its collections. Pictured, the App countertop washbasin
in the grape shade. ceramicaflaminia.it

342 ELLE DECOR

INSIDE DESIGN/PROJECTS

The wellness room is defined by pure shapes and forms, designed

ad hoc. Made to measure and customisable, a place to relax

Bathroom design. The XS Trend collection by Casabath for body-care

spaces includes the Riga 80+ wall-mounted washbasin made of solid-surface
Monolith Bianco, 160 cm x 53 cm x 40 cm high, paired with the FLAT_R
shower tray and Trend_Wp shower-wall. Pewter 850 Metal structure with a
double-sided screen of enamelled and extra-clear glass and semi-recessed
Cubic wall shelf units. casabath.it

344 ELLE DECOR

INSIDE DESIGN/MATERIALS

Natural floor- and wall-coverings to decorate spaces. A mirror with

a three-dimensional effect. And music becomes design

[1] [2]

1. Sound System PLH Belcanto is based on Enrico Corelli’s

concept of integrating sound in the cover-plates of switches and
outlets. Pictured, the Mono cover-plate with loudspeaker in
contrasting colour; one of sixteen different options. plhitalia.com
2. Made of lava stone, Gemme by Rodolfo Dordoni for
Nerosicilia. A collection with a porous finish, with drops of
recycled glass as infill. Available in yellow, red, green, blue,
white and black. nerosicilia.com 3. Modular mirror AGC 9285 by
Agc Glass, comprising Planibel Clearvision Extra Clear glass in
strips of varying thicknesses, glued together. agc-glass.eu
4. Oltre is Quintessenza’s new porcelain stoneware collection.
It is possible to combine patterns and solids in five different
colours with a matte finish. quintessenzaceramiche.it

[3]

[4]

Photos Alessandro Gaja

346 ELLE DECOR

 Real and surreal. The solo
exhibition by Argentine artist
Leandro Erlich opens on 22
April, in Palazzo Reale. The
show includes 18 works, from
video-sculptures to theatrical
installations such as ‘Changing
Rooms’, 2008, or ‘Bâtiment’,
2004 (pictured), which will be
displayed in the museum’s
internal courtyard, where the
public becomes part of the
artwork itself. Until 4 October.
palazzorealemilano.it

ARTSHOW
Courtesy of Galleria Continua

April in Milan – The best in contemporary art and new means

of expression on show in the capital of Lombardy
by Piera Belloni

349 ELLE DECOR


Focus on materials
Galleria M77 opens its doors to ‘L’età dei metalli’,
an exhibit focusing on one particular aspect of Milanese
designer Alessandro Mendini’s creative evolution: the use
of metallic elements in his design and art projects.
Curator Stephan Hamel drew inspiration from Mendini’s
interest in materials such as steel, copper, gold and
platinum (pictured, a detail from his painting ‘Oro e nero’
1992), showcased in more than 55 works.
Until 20/5. m77gallery.com
Courtesy of Galleria Continua, San Gimignano- Courtesy of Pier Giorgio De Pinto and Raucci-Santamaria Studio Project, Milan
Alessandro Mendini Archives – SMA Sistema Museale dell'Università degli Studi di Firenze, © photo Aurelio Amendola
Exhibition/installation
Michelangelo Pistoletto conceived ‘La Pace Preventiva’ (The
preventive peace) for the Sala delle Cariatidi in Palazzo Reale.
The show includes an imposing maze of corrugated cardboard,
leading into spaces containing some of his most significant works
(pictured, ‘Contatto’, 2017). The exhibition continues with three
further installations in the Museo di Storia Naturale, the
Planetario and the Acquario Civico, where follow-up meetings
will take place. Until 4/6. palazzorealemilano.it
ART PREVIEW
Science and the art of film-making
Based on the unusual theme of anatomical waxworks, ‘Cere
anatomiche’ is a collaboration between La Specola (Florence’s
Natural History Museum), and David Cronenberg. Hosted by
Fondazione Prada until 17/7, it includes a brand-new short by
Cronenberg being screened on the Podium’s ground floor,
while on the first floor is a striking installation of 13 waxworks
from the museum’s collection. Pictured, a detail of ‘Statua
femminile giacente detta Venere’ by Clemente Susini and
Giuseppe Ferrini, 1782. fondazioneprada.org
Lagoon inspiration
Until 24/4, Raucci/Santamaria Studio Project will host
Pier Giorgio De Pinto’s solo show ‘Through a Venetian Blind
Glass’. The title, inspired by the words of Gertrude Stein,
introduces the artist’s work in a series of watercolours
detailing, with obsessive carefulness, still lifes and images
of the Venetian Lagoon, including objects that symbolise the
history of Murano glass (pictured, ‘Untitled#21’, 2022;
bottles and glassworks by Venini). raucciesantamaria.eu
351 ELLE DECOR
 ART PREVIEW

Retrospective in pictures
Also at Palazzo Reale, ‘Helmut Newton.
Legacy’ showcases photos, magazines,
documents and videos to document the main
© Helmut Newton Foundation

themes found in the famous photographer’s

work: fashion (pictured, a shot for Elle, 1967),
portraits and nudes. Special attention is
devoted to a collection of previously
unpublished images, with a particular focus on
the most unconventional fashion photoshoots.
Until 25/6. palazzorealemilano.it

353 ELLE DECOR