Issuu

EUR 35.00 | USD 45.00 | wonder.ifdm.design

Fall 2026

YACHT & CRUISE

Bleached Spruce | a color by Sigma Coatings – brand of PPG Architectural Coatings Italy

worldwide interiors & architecture

Fall 2026

PHOENIX KITCHEN, DESIGN POLIFORM

POLIFORM.IT

Discover the Mangusta range at mangustayachts.com

atlasconcorde.com

Studio Milano | Via San Marco, 12 | Milano - Park Studio | Via del Canaletto, 141 | Fiorano Modenese

Designed for wellbeing

Nyra è una collezione effetto pietra pensata per dare forma a una nuova idea di benessere negli spazi.

INDOOR /OUTDOOR COLLECTION TO LIVE

DESIGN BY LUDOVICA SERAFINI + ROBERTO PALOMBA www.talentispa.com

Fall 2026 Features

Business at sea 16 Superyachts navigate the global market’s

YACHT & CRUISE

Fall 2026

Bleached Spruce | a color by Sigma Coatings – brand of PPG Architectural Coatings Italy

choppy waters

94 Simena Ares Yachts 98 W Sardinia Poltu Quatu, Italy 104 T52 Awandra Baglietto

Color stories

worldwide interiors & architecture

88 Four Seasons I Four Seasons Yachts

24 From research to design:

with Sigma Coatings, color shapes architecture

108 Casa Bibi Panarea, Italy 112 wallywhy150 Wally 116 Hainan Science Museum Haikou, China 130 El Nido Lagen Island, Philippines

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Design story 28 Foiler: the design that taught boats to fly

29/07/26 16:30

ON COVER

Kalantis by Southern Wind Photo © Oriol Esteve, Photo Nautic Bleached Spruce | a color by Sigma Coatings – brand of PPG Architectural Coatings Italy

People 32 Luca Dini

126 Enrico Bonetti & Dominic Kozerski

Shipyard

18 Gaya Beach House Juhu Beach

84 Azimut Yachts: a shipyard among the mountains

22 The Absurd and the Dreamlike

Citadelle de Villefranche-sur-Mer

74 PUR Residential Recording Studio Cunda Island, Turkey 76 Arc ZERO City place in the woodlands, Houston

Projects 36 La Valise Mazunte Reserva El Torón, Mexico 42 Private villa Recco, Italy

78 Euromast Rotterdam

48 6X Pershing Yachts

120 Songshan Lake Exhibition

52 Delano Miami Beach

and Performance Centre Dongguan, Yuehe Lake, China

58 165 REV Mangusta Yachts

122 Laufen Production Site

64 The Lake Como Edition Cadenabbia, Italy

Laufen, Switzerland

124 Reimei Kobashi Chuo-ku, Tokyo 8

144 Crest Nine Anjarle, India

152 Unframed Miami 156 Private residence San Diego, USA

80 Alfonso Femia

Wonder 20 Shanghai Grand Opera House

140 Casa L5 Poble Nou de Benitatxell, Spain

148 BGX83 Bluegame Yachts

Fall 2026

I_Cover.indd 1

136 Kalantis Southern Wind

70 GS Plus 80 Long Cruise Grand Soleil

Portfolio 161 A wide view on major international projects by Giulia Guzzini and Veronica Orsi

Design inspirations 175 A selection of the most innovative products for the contract sector by international brands

Next 185 A preview of the upcoming global projects

Numbers matter 192 Projects that redefine the notion of ‘grand’ in contemporary architecture

Fall 2026 Features

YEAR XI | FALL

Publisher & Editor-in-Chief Paolo Bleve | bleve@ifdm.it

Managing Editor Giulia Guzzini | giulia@ifdm.it

Deputy Editor, Features & Content Curator Alessandra Bergamini | alessandra@ifdm.it

Editor-at-Large

144

Veronica Orsi | orsi@ifdm.it

Contributors Alessandro Bignami, Mariateresa Campolongo, Matteo De Bartolomeis, Manuela Di Mari, Elena Franzoia, Elena Luraghi, Ruben Modigliani, Francesca Oddo, Sabrina Sciama, Désirée Sormani

International Contributor New York | Anna Casotti

Digital Editorial Team redazione@ifdm.it

Graphic Department

Marco Parisi | grafica@ifdm.it Maripina Cappelletti | mari@ifdm.it

Closed by the editorial staff

30th July 2026

.Wonder is a brand of

Owner and Publisher Marble srl | Corso Venezia 8 - 20121 Milano, Italy Tel. +39 02 40701449 - info@ifdm.it - www.ifdm.design

Printed by Faenza Printing Spa - Faenza, Italy All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the copyright owner. A record and picture file is available at Marble.

LET’S KEEP IN TOUCH

ifdmdesign |   10

  

THERE’S MORE AZIMUT YACHTS IN THESE PAGES THAN YOU THINK.

Fall 2026 Editorial

PAOLO BLEVE Publisher & Editorial Director

Design alchemy emerges from water

t is perhaps the natural element that most stirs the imagination and inspires design: water cannot be shaped, but it is water itself that – even indirectly – embraces the forms that navigate it and dictates the rules to them; it embraces the architecture that looks upon it, shaping and influencing it. The three interviews in this issue of Book Fall – with Italians Alfonso Femia and Luca Dini, and the New Yorkbased firm Bonetti Kozerski – reflect what has been said above. Each designer, with their own distinct approach (and on this topic, Femia and Dini, as the saying goes, “certainly don’t hold back” when it comes to asserting principles and concepts), each perspective offers a different – yet always respectful of water – way of interpreting the union between architecture

and the aquatic environment. Bonetti Kozerski, American through and through, have been immersed in the world of high-end interior design for years, and when they approach water – whether it’s a yacht or a hospitality venue – they don’t abandon their style, but rather strip away the overly “urban” elements, creating a very personal style. The projects we’re presenting here are all – as always – very appealing, each with its own unique characteristics. But one really steals the show: El Nido, a resort in the Philippines, offers a collection of truly remarkable design details. Human architecture that gently and quietly rests against natural architecture, a game of Tetris where each piece brushes against the next – scenes reminiscent of Mar Adentro (the Fall/Winter 2016 issue

of Book, a true milestone for those who may have missed it) that evoke that visionary project. Never before, as in this edition, have the “Wonders” – images that capture attention, require no explanation, and have always set the editorial rhythm of Book – caught the eye and gone straight to the heart thanks to the (often conceptual) expressiveness they embody. But has the design changed? In the editorial that opened the first issue of Book in March 2016, we spoke of alchemy – the design alchemy that the editorial staff has always sought in designers, but also the editorial alchemy that we have always sought and – we hope – found and shared with our readers. And after 10 years, we observe that, in the end, nothing has changed. Enjoy navigation.

Fall 2026 Curator’s letter

ALESSANDRA BERGAMINI Deputy Editor

Visible/Invisible

n imperfect dichotomy between the visible and the invisible weaves through the content of this Wonder Book Fall 2026. It ranges from the ‘highly visible’ – cruise ships like the Four Seasons I or superyachts by Baglietto, Feadship, and Mangusta – to the ‘invisibility’ of the territory’s water lines, whether coastal, river, or lake, as described by Alfonso Femia in his interview. These are the “‘invisible’ maps of water lines, lines of fragility or strength, that should make us aware that water is a major point of reference.” A guiding principle for design, urban planning, economics, and society. Or consider the visible dimension of boats, both sail and motor, conceived as residences on the water that allow for medium or long-range journeys and extended pauses in nature, offering the privilege

of imagining the invisible marine world beneath the water’s surface. This is a complementary duality between the concrete, measurable action of the journey and the invisible value of travel itself – or of the connection with nature as a means of understanding the world and oneself. In motion or at rest, travel, whether near or far, can become an exploration of invisible dimensions, leading to contemplation. This can be seen, for example, in resorts like La Valise Mazunte in Mexico or El Nido on the Lagen Islands in the Philippines, or in Mediterranean residences like Casa Bibi in Panarea, Casa L5 on the Alicante coast, and the Villa in Recco, Liguria. While architectural design is inspired by invisible qualities like natural light, shadow, sounds, silence, privacy, and a sense of well-being, in some projects, the

aspiration is clear: for the architecture not just to become an integral part of the landscape, but to almost ‘disappear’ within the natural context, rendering itself nearly invisible. This visible/invisible dichotomy, therefore, is not divergent but complementary. It becomes necessary both for looking closely at what we often overlook, and for uniting the two parts of our being: depth and surface, body and mind. To invoke the French philosopher Maurice Merleau-Ponty, the invisible is neither some metaphysical world nor is it hidden in a Platonic sky, it is the secret and profound underpinning of the visible itself. Everything we see carries with it a background of meaning, a context beyond the frame, and a depth that cannot be reduced to what our eyes capture in the immediate moment.

Fall 2026 Wonder

JUHU BEACH, MUMBAI | GAYA BEACH HOUSE | LISSONI CASAL RIBEIRO

The home accommodates three generations of one family. The project respected the volumetry of the existing architecture, redesigning the façades with recessed terraces and the inclusion of narrow vertical openings to enable light to enter while respecting the need for privacy. Double-height planted courtyards serve as filters between the glazed façade and the interior. 18

Fall 2026

Wonder

Fall 2026

Wonder

SHANGHAI GRAND OPERA HOUSE | SNØHETTA, EAST CHINA ARCHITECTURAL DESIGN & RESEARCH INSTITUTE (ECADI), THEATRE PROJECTS, AND NAGATA ACOUSTICS

Conceived as both a world-class performing arts venue and a civic destination for the city, the Opera House brings together three state-of-the-art auditoriums designed to support performances across different scales and genres, alongside a sweeping roofscape that offers 24-hour, year-round community access. Shanghai Grand Opera House will officially open on October 17, 2026. 20

Fall 2026 Wonder

CITADELLE DE VILLEFRANCHE-SUR-MER | THE ABSURD AND THE DREAMLIKE | ARTSA CONSULTANCY - SELCAN ATILGAN

For this project, under the direction of Camille Frasca, Arne Quinze has invited Joana Vasconcelos to collaborate on an ensemble of works exploring the poetic, the surreal, and the unexpected. In the spirit of Jean Cocteau, the exhibition dissolves the boundaries between the rational and the fantastical, embracing the absurd, the poetic, and the dreamlike. From June 20 to October 31. 22

WALLYWHY150

CRUISING ON ENVY

Fall 2026 Color Stories

From research to design: with Sigma Coatings, color shapes architecture From color research and the global theme Parallels to Bleached Spruce, the signature hue of the Expressive moodboard: how color, when conceived as a system, becomes a true design tool Author: Veronica Orsi

Understanding color trends is never simply a matter of aesthetics. Color is, in fact, the first design gesture. Before form, material or texture, it is color that shapes the perception of a space, defines its atmosphere and communicates its identity. At the heart of this approach lies the global research conducted by PPG’s team of stylists and color specialists, who analyse social, technological and environmental shifts to identify the trends set to influence the future of design. Sigma Coatings, brand of PPG Architectural Coatings Italy, translates these insights into practical tools for architects, interior designers and specifiers, transforming color into both a lens through which to interpret the present and a strategic resource for designing contemporary spaces. This international research gives rise each year to a global color theme – for 2026, Parallels – together with the Color of the Year, Secret Safari. A nuanced yellow-green with both organic and mineral qualities, Secret Safari is an invitation to slow down in an increasingly fast-moving world. As Francesco Pezzo, PPG Commercial Specification Manager Italy, describes it: “A color that speaks of belonging, balance and a conscious future.” Gentle yet confident, it is energising, enveloping, fresh and calming all at once. “It is as enduring as architecture itself.” Together with the overarching Parallels concept, it demonstrates how color, when approached as an integrated system, 24

becomes an essential design strategy. Parallels unfolds through three distinct moodboards - three complementary creative directions in which the Color of the Year is interpreted in different ways. Authentic explores materiality, craftsmanship and a sense of rootedness. Visionary investigates the convergence of technology, artificial intelligence and future living. Expressive celebrates energy, individuality and transformation. Each moodboard comprises a coordinated palette of eleven colors that dialogue with Secret Safari, providing architects, designers and manufacturers with a complete chromatic vocabulary ready to be applied across materials, finishes and architectural surfaces. A tangible demonstration of this systemic approach to color is the collaboration between

Sigma Coatings and IFDM on the Wonder Book series. Each edition features a Sigma Coatings color selected from the annual Color Trends collection, becoming the defining hue of the cover while inspiring the featured design object presented within that chromatic field. This edition highlights Bleached Spruce (PPG1223-4) from the Expressive palette, following Crushed Silk from Authentic in the previous issue and Secret Safari, which inaugurated the 2026 series with the Wonder Book Spring edition. From this collaboration emerges a broader cultural ecosystem in which the original premise comes full circle: color once again becomes the first act of design, shaping space, supporting objects and entering into dialogue with architecture itself.

FOR THOSE WHO KNOW Set the stage for the extraordinary. Introducing the Vario cooling Expressive series. The difference is Gaggenau

Fall 2026 People | Luca Dini

Fall 2026

AGAINST THE GRAIN: THE ELEGANCE OF DISSENT When going against the grain isn’t a stance, but a natural disposition that translates into a daily challenge full of inevitable – yet conscious and calculated – risks, linked to the relentless search for something that isn’t there, accompanied by energy and assertiveness. It’s along the lines of ‘if you don’t like me straight away, just try to trust me and it’ll work’. The ‘on’ switch seems to be permanently switched on Author: Matteo de Bartolomeis Project photo: T55 Sportiva M/Y Loewe (courtesy of Ocean Indipendence)

A hunter of inspiration and gatherer of wild ideas, a seeker of untrodden paths, independent to the extreme and ambitious, a virtual son of the Renaissance and a father of change – as Peter Gabriel would say, a true Watcher of the Skies: this is Luca Dini, a true Florentine through and through, rough only on the surface, yet one who doesn’t mince his words; if you step into his world, the musical score of the relationship composes a symphony that is never dull. A solitary navigator in the ocean of repetition, always in search of new influences far from the everyday, to create nautical projects – and more besides – where luxury speaks with an innovative and visionary vocabulary. Having grown up in the cradle of the Renaissance: have you ever noticed elements of design or architecture – as we understand them today – in the works of that period, which perhaps sparked a creative spark in you? Growing up in Florence means you cannot help but be influenced by the geometry of proportions and the symmetry of details; it is a visual and cultural imprint that stays with you forever. Rather than a single design element or a specific work, what really sparked my creativity was an indepth study of the overall harmony characteristic of the Renaissance. Observing how light falls on

Brunelleschi’s façades or the precise balance of historic buildings, one realises that design and architecture – even the most modern forms – are never merely aesthetic exercises. The great lesson of the Renaissance, which I still apply today whether in the layout of a superyacht or a luxury residence, is the ability to place people at the heart of the space, designing around their needs and emotions. That sense of wonder (is it just others’ or his own too?) always comes through in his presentations; he seems like a constantly restless hunter of serendipity: what are his sources? That sense of wonder must first and foremost be my own: if I am not the first to be moved by an idea or a drawing on the table, how can I hope to ignite that same spark in the eyes of others? Many of my colleagues see repetition as a way to make money without too much effort, often applying aesthetic conventions we’ve seen before. I, on the other hand, describe myself as a restless hunter because I consider boredom and repetition to be creativity’s worst enemies. To fuel this constant quest for serendipity, however, I never look within my own sector. My true sources spring from cross-pollination and venturing into parallel worlds: a sartorial detail in haute couture, the iridescent reflections of a new material in the

Luca Dini

People | Luca Dini

automotive sector, the provocation of a work of contemporary art, or, quite simply, the geometries of nature captured from an unusual perspective. You come across as a man who falls into the category of ‘not exactly easy to deal with’; you express complexity through simplicity, and you are tremendously dialectical. How do your clients cope with this? Do they choose to be dominated, or has anyone found the key to striking a balance? I’m happy to accept the description of being a ‘not exactly easy’ sort of man, because those seeking the easiest route – a yes-man or someone who simply carries out orders – are unlikely to come knocking on my door. When I speak of expressing complexity through simplicity, I mean that stripping things back, refining them and arriving at the purity of a complex concept requires an enormous intellectual and dialectical effort. My clients, consequently, do not choose to be dominated at all, but consciously choose to be guided. In fact, I have never once imposed ideas on a client for my own benefit. I have always sought to interpret the client’s wishes as best I can through architecture. This balance rests entirely on a solid and mutual trust. They bring their most intimate, often abstract, desires to the table, and I contribute my vision and character to translate them into a reality that 33