Award-winning Vancouver lighting manufacturer ANDlight will launch three collections for the first time in Italy at Ventura Future in Milan’s FuturDome (via Paisiello 6), a recently restored palazzo now open to the public. Two of the collections – round-edged Array and pseudo-space-age Orbit – are by Vancouver’s Lukas Peet, while Vine (above) is the work of Caine Heintzman, whose vertically oriented fixture employs clusters of low-wattage LED lamps “to create a big presence with a small energy draw.”
Italian fashion designer and artist Antonio Marras has teamed up with Amelia Pegorin, CEO of Saba, to re-interpret the furniture brand’s iconic collection of New York couches and lounge chairs using some the brilliant textile and stitching combinations that define Marras’ fashion. Flowers, houndstooth, tartan and hunting scenes have been handprinted onto velvet, linen and woollen upholstery. They’ll be on view at Nonostantemarras at via Cola di Rienzo 8.
Part of Spain-based Nagami’s debut series combining computational design with large-scale 3D printing, Ross Lovegrove’s versatile, orange-grey Robotica TM high stool is made of tinted PLA plastic and can serve as seating, a plinth, an objet d’art or even a perch upon which to place food that has just come out of the oven (thanks to the heat-proof silicone inserts in the seat). Other pieces in Nagami’s series have been designed by Zaha Hadid Architects and Daniel Widrig. All will be on display at the company’s pop-up showroom in the Brera Design District.
As usual, Japanese superstar Oki Sato of Nendo will be roaming the streets of Milan, keeping an eye on 10 product launches his studio has underway with the likes of Cappellini, Alias, Lasvit and Minotti. At the Fritz Hansen showroom in Piazza san Simpliciano, Sato will reveal the NO1 chair, a perfect merging of Danish and Japanese minimalism. Even the joinery between the shell and the armrests express a kind of purity, with the two barely touching one another.
Dedon is continuing with its commitment in making beautiful outdoor furniture that is hand woven in the Philippines. From Werner Aisslinger, there is the Cirql – a fresh take on the iconic poolside round-seat chair, this time made of powder-coated aluminum and Dedon fibres that can tolerate even winter weather. As its name suggests, the collection – which includes a lounge chair, a dining chair and a footstool – is inspired by circles, with a semi-circular backrest hugging the edge of the seat. They’re on view at Salvioni at via Durini 3.
In keeping with MY home’s less-is-more aesthetic, the Konan bed’s considerable appeal lies largely in its details. Resting atop a soft, rounded base, the headboard is covered with either a quilted knitted fabric or quilted velvet, giving it a three-dimensional depth. A storage compartment makes it as functional as it is stylish. A wide range of colour options, from neutral dove-grey to blue, azure and wisteria, add to its versatility.
Featuring braided-rope frames and seatbacks of varying heights, the Palombas’ modular seating for leading outdoor-furniture manufacturer Talenti impressively straddles the line between rustic and chic. “An attention to detail, decoration and textiles” was central to its creation, the designers say, adding that the pieces are meant for “cocooning.” Extra padding enhances comfort.
Established & Sons’ first furniture collection since the return of co-founder Sebastian Wrong features, among other things, lighting, chairs and a sofa that can be flat-packed. Five new pieces make up the series, which marks a new direction for the British company. Back in the early 2000s, the brand built its reputation on wildly elaborate festival installations and on furniture that was more like art (read: mainly well beyond the price limits of most consumers). While Wrong is now redirecting it to something more attainable, many of the collaborators remain the same, including Konstantin Grcic (whose Barbican divan is pictured above) and Ronan and Erwan Bouroullec. Wrong is also making a point of having pieces available for purchase on the spot. The usual six-month-to-a-year delay, he says, is no longer a feasible model.