OBJEKT©INTERNATIONAL D21

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OBJEKT INTERNATIONAL LIVE THE DREAM since 1991

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OBJEKT© INTERNATIONAL Living in Style no. D21, winter 2024 OBJEKT INTERNATIONAL HF Publications. Willemstad. Curacao Founder: Hans Fonk Publisher amd editor-in-chief: Alaïa Fonk CFO: Izabel Fonk Alaïa@objekt-international.com Head Office the Netherlands Raadhuislaan 22-B NL-2451 AV Leimuiden - Netherlands t:+31 172 509 843 www. objekt-international.com Head Office Berlin, Germany Rneé Wilms Unique Company Group Oberwallstraße 14 D-10117 Berlin, Germany Contributing writers: Izabel Fonk, Sasha Josipovicz, Susan Grant Lewin, Milosh Pavlovic, Ruud van der Neut, Lorenza Dalla Pozza, Robyn Prince,Raphaëlle de Stanislas, Rene Wilms.

Contributing photographers: Édouard Auffray, Meritxell Arjalaguer, Alexandra de Cossette, Ivan Erofeev, Rimbon Foeller, Alaia Fonk, Hans Fonk, Andrew Frasz, Andrew Giammarco, Nivedita Gupta, Heinong, Kate Jordan, Dino Karailo,A aron Leitz, James McDonal, Ibrahim Ozbunar, Veeral Patel, Vito Stallone, Kuber Shah, Laura Stevens, Eller Studio, Suiyu Studio.

For this issue Graphics: Hans Fonk Studio Art directors: Hans Fonk, Alaïa Fonk Video productions: Alaïa Fonk

photo: Alaïa Fonk

After more than 33 years of creating OBJEKT© International, photographing unique projects, and collaborating with top interior designers worldwide, this marks the final digital issue.

Founded by me, OBJEKT© I nternational established itself as a leading publication showcasing exceptional interiors, architecture, and design from across the globe.

From the outset, we have uniquely combined antiques and classic design with modern aesthetics, placing a strong emphasis on the arts. Rather than adhering to a singular design philosophy, we proudly forged our own path.

Creating OBJEKT International—and OBJEKT China for several years— has been an incredible privilege and a true source of joy.

As the founder, I will continue to contribute to the publication and provide guidance to the new publisher whenever needed.

Moving forward, my daughter, Alaïa, will take the reins as publisher and editor-in-chief, continuing OBJEKT's legacy from Amsterdam, The Netherlands.

So, farewell for now—and thank you for being part of this journey.

H A NS FO NK

FACEBOOK: @OBJEKT.INTERNATIONAL INSTAGRAM: @OBJEKTINTERNATIONAL YOUTUBE: @OBJEKTINTERNATIONAL TWITTER: @OBJEKT_INT VIMEO: @OBJEKTINTERNATIONAL PINTEREST: @OBJEKT

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OBJEKT INTERNATIONAL DIGITAL PUBLICATION COVER : ORANGE LANE - SHABNAM GUPTA

FOREWORDS

AKAA, ALSO KNOWN AS AFRICA VAAR LUXURY YACHT FURNITURE AMELS YACHT

BALI ROOTS RANTI BAM

LISSONI’S SIGNATURE TATTVAM VILLA

GRADUATE PRINCETON PARIS DESIGN WEEK WOW HOUSE LONDON ENGLAND

HEBIL HOUSE BODRUM SPACE NEEDLE LUXURY EDIT NAPOLI

BEAUTY OF CERAMIC TILES MAAT LISBOA MUMBAI BY THE SEA

THE ART OF CHESS SWISS BARN SECRETS 743 ART LAB

FWS_WORKS PARIS - DESIGN MIAMI/ RURAL CHIC IN TUSCANY

EL DORADO FERRETTI YACHTS INFYNITO 80

OBJEKT INTERNATIONAL INFO

02 06 08 14 16 22 26 32 40 44 50 62 72 82 90 114 106 120 132 138 142 148 158 168 176 184

798 beijing art district Hans Fonk, 2024, 80x100 Photo printed on canvas partially painted with tempera and ancient Chinese pigments

Also Known As Africa

The ninth edition of AKAA, the fair in France dedicated to the artistic scenes of Africa, its diasporas, and Afrodescendants, was one of the mustattend events during the Paris Art Week at the Carreau du Temple, fall 2024.

With the growing interest for African art, AKAA continued to highlight the conversations between Africa, the Americas, and the Caribbean, with a focus on the ultramarine scene.

Numerous galleries and artists amplified the voices of these vibrant artistic communities from French overseas territories.

For this 2024 edition, AKAA had invited Cameroonian artist Malamto present an exhibition project at the heart of the fair.

One of the special events was the presentation of the Ellipse Prize to Nobel Koty, born in 1988 in Cotonou, Benin.

Above from left to right: ‘Headstart II’ 2023 by Sanjo Lawal. (68, x 91, cm, glycée print on fine art paper) Courtesy of Sanjo Lawal. Gallery: his is not a White Cube.

‘Coronation 2’ by Amado Alfadni, 2024. (100 x 80 cm, acryl on textile) Courtesy of Helmoaz Art Gallery Gallery.

01 - Serie Voile by Nobel Koty, 2024. (130 x 110 cm, acryl on textile) Courtesy of Nobel Koty.

Right-hand page: ‘From Boys to Men’ by Godwin Champs Namuyimba, 2022. (259 x 209 cm, acryl on textile). Courtesy of Primo Marella Gallery.

Coquillade - Relais & Chateau, Luberon, France - photo: Hans Fonk

VAAR: the new level in luxury yacht furniture

These pages: Vaar Polarus -181 Bellini bar chairs

Monegasque brand Vaar seamlessly blends Italian creativity with traditional Italian crasmanship. Specializing in custom, handmade luxury furniture, Vaar caters to both high-end interior and outdoor projects, with a focus on iconic, yacht-inspired designs produced in limited editions.

creation—an exclusive luxury product, made possible by exceptional Italian crasmen who excel in custom marquetry, grating, leather stitching and weaving, upholstery, metal forging, and superior wood finishing.

Vaar’s handcraed approach also allows for client-driven customization.

e company was founded in Monaco in 2014 by interior designer Fulvia Ciapparelli and Carlo Tissi, a seasoned yachtsman and captain of luxury vessels. eir shared passion for the sea gave rise to meticulously craed pieces that seamlessly fit specific spaces, drawing inspiration from yacht layouts and adding an exclusive touch to Vaar's projects.

Working directly with yacht owners, as well as shipyards and architecture studios, Fulvia Ciapparelli , Vaar’s co-founder and art director, creates bespoke, handcraed luxury pieces.

eir combined expertise serves as the foundation for creating bespoke handcraed yacht furniture, with the harmonious blend of functionality and the beauty of pure forms at the heart of their design philosophy.

Vaar’s design inspiration draws from the 1920s and 1930s, particularly the Modernist Movement, which is known for its clean lines and cool simplicity, executed with precision and fine materials. e brand's focus on the purity of form reflects the perfect marriage of aesthetic and practical principles.

Functionality, simplicity, and extreme elegance are the core elements of their design, with the interplay of various materials and finishes adding an eclectic and visually intriguing contrast. Each piece is unique, reflecting a personal vision and craed to exclusive, bespoke shapes.

Italian ingenuity, a hallmark of traditional Italian crasmanship, lies at the core of every Vaar piece. Each item is handmade in Italy to ensure top-tier design, quality, and durability, especially within the marine environment. e production process is the result of close collaboration between Fulvia Ciapparelli Tissi, head of the design team, and a group of highly skilled crasmen, including blacksmiths, carpenters, carvers, marble workers, marqueteurs, painters, metalworkers, titanium specialists, and upholsterers. ese artisans employ the most appropriate traditional techniques for each stage of production, with a strong focus on sustainable manufacturing practices.

Each piece of furniture is individually designed and craed as a haute couture

e brand consistently delivers custom projects with exceptional quality, uniqueness, and exclusivity. Fulvia’s visions, dreams, and functional requirements are at the heart of every custom project.

Aer presenting initial sketches and drawings to clients, the final designs are approved, followed by a detailed render and prototype. e production of new furniture begins only aer the prototype has been finalized. is handcraed prototype sets bespoke projects apart from large-scale manufacturing.

Custom finishes play a crucial role in personalizing each Vaar piece.

Vaar’s production is predominantly focused on yachting projects, with a continuous emphasis on sourcing high-quality, durable outdoor materials and finishes. e brand’s ability to customize every product ensures a willingness to experiment with new materials, while its expertise in delivering unique finishes in custom projects remains its strongest asset. As a result, every Vaar interior and exterior project is truly one-of-a-kind.

This page: interior designer Fulvia Ciapparelli , Vaar’s co-founder and art director. She works Working directly with yacht owners, shipyards and architecture studios Right-hand page: some of the jewels of Vaar.

Top left: Vaar VSB07 Salomé on board M/Y Polaris and next to it VDC02 Colombre, Titanium.

Below that from left to right: detail of the VSB09 Colombre , VCT06 Steel Vera Coffee Table, detail of the VTC04 Folding Colombre Coffee Table and the fine lines of the VLC07 Kalatrava armrest.

Third row from left to right: the VSB09 Colombre and the Bar Chair Bellini on the MY Polaris.

Bottom row: VDC01 Bellini, the VLC03 Salomé Lounge chair and the VLC07 Kalatrava Lounge Chair.

Backstories. The Book.

A Hommage To The Butt by

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Alaïa Fonk

With Backstories, photographer and video-director Alaïa Fonk uses the female body to let you into her world. Hoping you find a piece of yours.

The book is a hardcover art book curated, photographed and designed by Alaïa Fonk. This collector's edition features exclusive photography and content created across the globe, showcasing diverse expressions of beauty, sensuality, and feminine mystery.

www.backstoriesbook.com

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photo: Michele Clermonts

Izabel Fonk on

Impress

Wynto x Osmium, Gelding, 2013

Fonk Sporthorses - Top Quality Horse Training and Breeding www.fonksporthorses.com

Amels 80 arrived at Home Base

e latest Amels 80 has made a successful journey from Damen Yachting’s hull building facility in Romania to Vlissingen, the Netherlands. e 80 meter Amels Limited Edition joined her sister vessels with is already in the process of being outfitted. e Edition Limited Editions series continues the tradition of combining customization, proven technology and efficiency. e exterior design is by Espen Øno and the interior design is by Sinot Yacht Architecture & Design. e naval archite3cture is

by Damen Yachting. e yacht is fitted for 14 guests and 20 crew plus 14 OBJEKT captain.

Photos: OBJEKT Serena15Eller

tribute to Walter Spies

ROOTS ROOTS, an innovative project by the

Kulturstiftung Basel H.

Geiger, brought together

Bali's rich history, vibrant

culture, and captivating art within the gallery spaces.

The exhibition marked

the foundation's second immersive, site-specific collaboration in its

yearlong partnership with author, filmmaker, and curator

Michael Schindhelm.

A retrospective.

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These pages: the living room in the recreated Viila Iseh of artist Walter Spies at Kulturstiftung Basel H. Geiger’s the second site-specific immersive project by author, filmmaker, and curator Michael Schindhelm: Roots. Spies' legacy is deeply intertwined with Bali's contemporary narrative and ROOTS aimed to show his profound impact while exploring the island's postcolonial legacy over the last century

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These pages: the poolroom by Michael Schindhelm at the ROOTS project.

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Above: the entrance of the recreated Villa Esch and below that the bathroom. In the center: one of the bedrooms. Michael Schindhelm recreated the villa's maze of rooms and included works by painter Made Bayak and the graphic artist Gus Dark.

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Held in the fall of 2024, the exhibition centered around the remarkable Russian-born German artist Walter Spies (1895–1942), whose influence continues to shape Bali’s cultural landscape until today.

ROOTS sought to highlight Spies' enduring impact while exploring the island’s postcolonial legacy over the past century.

At the core of ROOTS was Villa Iseh, a retreat built by Spies in 1937 in Iseh, Karangasem. Originally a personal sanctuary for Spies, the villa later became a renowned destination for famous figures such as David Bowie, Yoko Ono, and Mick Jagger.

Michael Schindhelm recreated the villa’s labyrinth of rooms, ranging from the reception areas to bedrooms, corridors, living spaces, and a pool room. e exhibition illuminated key themes, including mass tourism, environmental degradation, and the intricate interplay of cultural identities in Bali.

Notable highlights included works by painter Made Bayak and graphic artist Gus Dark, which explored the ongoing struggle to preserve Balinese cultural identity amid contemporary challenges. Additionally, a series of films and installations showcased pivotal moments in Balinese history, including the 1965 genocide.

Excerpts from Michael Schindhelm’s docu-fiction film ROOTS brought Walter Spies to life as a spectral figure navigating Bali’s modern landscape. rough interactions with contemporary Balinese artists and cultural figures, the ghost of Spies confronted his own legacy and the lasting impact of Western civilization on the island.

Michael Schindhelm commented: “TROOTS and its accompanying docu-fiction film represent a collective memory project addressing a crucial aspect of Bali’s postcolonial history: the influence of Western modern culture on Balinese traditions. e complex history of Walter Spies on the island, along with its repercussions on Bali’s transformation into a global tourism destination, is understood as ‘shared heritage.’ Together with contemporary Balinese cultural figures, ROOTS attempted to place Spies’ legacy in its historical context and examining its relevance to Bali’s development.”

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clay tranquility

Left: British-Nigerian artist Ranti with an Ifa Vessel (photo: Laura Stevens) and a colorful Abstract As seen at the Adréhn Schiptjenko gallery in, Paris.

Right: Ranti Bam, Ifa Vessel (T3), 2022, red clay, 33 x 45 x 27 cm.

Photos: Alexandra de Cossette.

‘How Do We Hold Our Stories?’ marked the first solo exhibition by British-Nigerian artist Ranti Bam at the Andréhn-Schiptjenko gallery in Paris.

sculptures a visceral, bodily presence, further accentuated by their display on wooden, pedestal like stools.

The exhibition's title reflected Bam's profound interest into feminine semiotics, exploring themes of intimacy, care, and vulnerability, which are central to rethinking our relationship with nature and deconstructing ideological frameworks.

Bam uses clay as a metaphorical tool to examine ideas of collective bodies, interconnectedness, and the various meanings associated with water.

Bam’s ‘Abstract Vessels’ are created from embellished clay slabs, which are painted or monoprinted with pigmented slips before being assembled into delicate, elongated forms. The exterior of each vessel is left unglazed, revealing finely cracked surfaces produced rolling the clay as thinly as possible and firing it beyond its conventional temperature threshold.

To Bam, clay is a living material that connects all beings to the earth. This concept is embodied in her ongoing ‘Ifa’ series, named after the Yoruba word ‘ifá’ (divination) and ‘I-fàá’ (to pull close).

Ranti Bam (b. 1982, Lagos, Nigeria) earned her MA from The Cass Faculty of Art, Architecture, and Design, and a diploma in ceramics from City Lit, London. She is set to undertake a residency at Black Rock Senegal in early 2025.

Her artistic practice extends beyond ceramics to include film and photography.

Each piece in this series is shaped by Bam physically embracing the clay before firing. This give the 22 OBJEKT

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These pages: Ranti Bam - Into Hearthland as close to nature as it gets. Each piece in the Ifa Vessel series is shaped by Bam physically embracing the clay before firing.

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signature In their work on Hotel Aka

Alexandria, Lissoni

Architecture New York faced the challenge of

reimagining an existing

building in Old Town

Alexandria, located near

Washington, D.C.

The objective was to create

a hotel that embodied a subdued chic and

contemporary atmosphere, while incorporating subtle elements of the region's

colonial style. Lissoni

Architecture New York rose to the challenge.

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lissoni

Above: the entrance of the Hotel Aka Alexandria, Washington, D.C.

by Lissoni Architecture New York.

Photos: Veeral Patel.

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The hotel's brick façade, along with redesigned entrances and windows, was transformed into a sleek anthracite gray.

The entrance was enhanced with a modern canopy, setting the tone for the hotel’s new identity.

The interior design juxtaposes modern and classic elements, resulting in a sophisticated reinterpretation of the region's colonial heritage through the use of dark woods, soft natural tones, and luxurious materials.

References to Japanese design were intentionally incorporated, creating a visual connection to the Aka NoMad hotel in New York, which was also designed by the same firm.

Signature architectural features typical of Piero Lissoni’s design language are central to the Hotel Aka Alexandria as well, most notably the sculptural double-height staircase, which serves as the focal point of the lobby and leads to the hotel's green terrace level.

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These and previous pages: the interior design juxtaposes modern and classic elements and a sophisticated reinterpretation of the region's colonial heritage through the use of dark woods, soft natural tones, and luxurious materials. References to Japanese design were intentionally incorporated.

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Japa ne se Mini ma l ism a nd I ndi an Ve rnac ular

Tattvam Villa

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Situated on a sprawling 1000-acre estate in Gurugram, India, this 20-year-old townhouse underwent a complete interior overhaul, driven by the homeowners' desire for a design that is socially, aesthetically, and economically sustainable, accommodating three generations.

While the original facade and structural elements were preserved, the focus shifted entirely to reimagining the interior spaces.

Inspired by Japanese minimalism and the principles of yin and yang, the design aimed to create a serene, clutter-free environment filled with natural light and simple, honest materials.

The project was brought to life by Ms. Amrita Guha, Ms. Joya Nandurdikar, and their Untitled Design team.

The project sought to redefine luxury by embracing traditional Indian craftsmanship and locally sourced materials, demonstrating that opulence does not require a high cost.

In alignment with the studio's core values, the design process also included educating the homeowners on the benefits of local materials, such as their durability, low maintenance needs, and the long-term cost savings these choices offer.

These pages: a 20-year-old townhouse in India a complete interior transformation designed

by Ms Amrita Guha and Ms Joya Nandurdikar and their Untitled Design team consisting of Ms Amrita Guha, Ms Chhavi Girdhar,and Ms Joya Nandurdikar. The project sought to redefine luxury by embracing traditional Indian craftsmanship and locally sourced materials, proving that opulence doesn't have to come at a high cost.

Above: the staircase to the basement and the master suite.

Photos: Ms Nivedita Gupta

In a bold departure from conventional luxury, no material used in this project exceeded a fixed price per square foot.

The design celebrated the beauty of handcut and chiselled stone, terrazzo, pigmented cement, a variety of Indian stones, exposed concrete, wood, and Araish finishes.

This commitment to local materials reduced the ecological footprint and supported traditional artisans and their skills.

The layout was designed to enhance flow and connectivity, offering a seamless experience from the entrance lobby, bathed in natural light from two skylights, to the various living spaces. The reconfigured staircase ascends to the first floor as a cantilevered structure, with one of its treads cleverly extending to form a unique

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console table. A sculptural spiral staircase, the only element boasting a bold teal hue in an otherwise muted palette of whites, greys, and wood tones, leads down to the basement, which houses a home theatre and lounge area.

The formal living room features a wall clad in Kota stone interwoven with brass accents, while the first-floor lobby includes a custom-designed library with a cantilevered reading box, offering a tranquil retreat for relaxation and contemplation.

The residence is adorned with artwork by acclaimed artists like Akash Parkande, Abdul Salam, and Anupam Bera. These are complemented by ceramic creations from Shweta Mansingka, Anubha Jaiswal, and Manju Tomar, creating a harmonious blend 38 OBJEKT

of visual and tactile art. All wardrobe s hutters feature a refined Chatai design, showcasing intricate weaving.

A former pantry and balcony were transformed into a luxurious master bathroom, seamlessly merging indoor and outdoor elements. The design prioritized privacy and functionality, with an expansive granite counter serving as the centerpiece, creating an air of understated opulence.

A strategically placed glass wall, partially obscured by a hanging metal structure adorned with granite stone, offers a private garden view, fostering a spa-like ambiance.

A separate shower area ensures that moisture and heat are contained, further enhancing the bathroom's tranquility.

Above: a former pantry and balcony transformed into a luxurious master bathroom, merging indoor and outdoor elements. The expansive granite counter, anchores the spaceand creates a sense of understated opulence.

Right-hand page: the layout aimed to enhance flow and connectivity, creating a seamless experience from the entrance lobby, bathed in natural light filtering through two skylights, to the various living spaces.

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New Hospitality Standards

Located on historic Nassau Street in the heart of downtown Princeton, directly opposite campus, the Graduate by Hilton sets new standards in the field of hospitality design.

Paying homage to the town’s rich history, architecture, and design, the Graduate marked the first new hotel to open in Princeton in nearly 90 years and only the second hotel in its historic downtown.

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These pages: the two-story, library-like lobby is anchored by floor tiles in Princeton’s signature orange and black and a 30-foot hand-carved wooden study table.

Photos: Andrew Frasz.

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These pages: In the guest rooms, the university’s iconic color palette continues with orange-and-white seersucker drapes paired with an apricot-hued carpet. The bespoke wood-carved bed frames, feature hand-drawn illustrations referencing Princeton’s annual Cane Spree.

The bathrooms have custom wallpaper inspired by the campus’s arboretum.

Graduate by Hilton is a collection of meticulously curated hotels located in vibrant, university-centered towns across the United States and United Kingdom.

Each property brings the local stories and traditions to life.

Princeton has long been regarded as a prime location, renowned for its history, heritage, scenic backdrop, charm, and sophistication—epitomizing what one envisions a quintessential American college town to be.

In collaboration with the architectural firm Stonehill Taylor, a 1918 Colonial Revival-style university dormitory was carefully restored, modernized, and transformed into a modern, collegiate-inspired hotel.

Boasting 6,000 square feet of public space, 180 guest rooms, and a bar and restaurant, the hotel reflects the brand’s distinctive, hyper-local design style.

The environment invites guests to explore the traditions, history, and hidden gems that make Princeton one of the most beloved university towns in the nation.

The interior design allows visitors to immerse themselves in the local culture, folklore, and traditions, with subtle references to the university and the town’s 275-year history found throughout the hotel’s public areas and guest rooms.

Influential alumni, local architecture, and the traditions synonymous with the Princeton student experience shape every detail of the design.

The Gothic-inspired lobby features a hand-carved wooden reception desk flanked by four wooden

statues of the university’s mascot, the Tiger.

The two-story, library-like lobby is anchored by floor tiles in Princeton’s signature orange and black, and lined with thousands of books, as well as a collection of brightly embroidered vintage Reunions Jackets - a cherished gift given to alumni at their 25th Reunion.

A 30-foot hand-carved wooden study table, a hallmark of every Graduate hotel, evokes the historic libraries on campus and serves as a place for visitors and students to study, gather, and connect.

The names of Princeton’s storied eating clubs are painted in gold leaf on the library bookcases framing the space.

In the guest rooms, the university’s iconic color palette continues with orange-and-white seersucker drapes paired with an apricot-hued carpet. Beside the bespoke wood-carved bed frames, inspired by the Revolutionary War-era cannon buried behind Nassau Hall, stand bedside lamps.

The bed frames feature hand-drawn illustrations referencing Princeton’s annual Cane Spree - the university’s first organized intramural event dating back to the 1860s.

Above the desk in each guest room, framed artwork highlights the university’s rich traditions, while guest bathrooms are adorned with custom wallpaper inspired by the campus’s renowned arboretum. Each bathroom also features a framed sketch by Albert Einstein, a nod to his tenure at Princeton’s Institute for Advanced Study.

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PARIS design, art and decoration

When discussing interior design, Italy, particularly the city of Milan, immediately comes to mind, and for good reason.

The city hosts numerous renowned design events, with Salone del MobileMilano standing out as the pinnacle.

Meanwhile, the French city of Paris has taken significant steps to expand the concept of interior design.

OBJEKT International explored the convergence of contemporary design and the arts in Paris, celebrating this dynamic evolution.

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“There is but one Paris and however hard living may be here…the French air clears up the brain and does one good.”

Vincent van Gogh

Left: presentation by En Residence, a design studio founded by Alexandre Roussard in 2023. It curates collections of furniture for elevated living, which draw up on multiple influences from the 20th century through to contemporary design forms. Photo: Oliver Rimbon Foeller.

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France is celebrated worldwide for its expertise in interior decoration and antiques, influenced heavily by its former Asian and African colonies. The challenge has been to blend these diverse influences into compelling interior creations, and recently, Paris has seen many of these elements come together seamlessly.

While Paris previously hosted a loosely organized design week, the addition of Art Basel at the Grand Palais and Design Miami/ at L’Hôtel de Maisons has brought much-needed structure to the scene.

Set against the backdrop of historic architecture, these events have added a fresh dimension to the Parisian design landscape.

This evolution is further enriched by art fairs like AKAA, ‘Also Known As Africa,’ held at the Carreau du Temple, and Asia Now, the Paris Asian Art Fair, hosted at Monnaie de Paris.

Adding to the excitement is a more structured Paris Design Week, which unfolded across four distinct districts. In Rive Gauche, renowned design houses and galleries showcased their latest collections, while Marais, Bastille, and République featured independent studios and concept stores.

The Opéra, Concorde, and Étoile area buzzed with flagship stores and established brands along prestigious avenues, while Palais-Royal, Place des Victoires, and Pigalle provided a platform for emerging talents and hidden gems.

Right: the American brand HestiaLiving is renowned for its exceptional tableware.

Founder Lisa Domenico Brooke, particularly attuned to the craftsmanship of Ateliers Lison de Caunes, relies on innovative techniques to recreate the intricate textures and patterns of straw marquetry in a variety of shapes and colors. Photo: Kate Jordan.

Far right - Top: Bubble Sofa by Sash Lakic, for Roche Bobois. Center: Litho chair by Guillaume Delfigne for Pierre Frey. Bottom: stone table designed by Pierre Bonnefile at Bel Ouvrage.

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Top: Ghahan Interior design, founded by Chahan Minassian in 1993 after seven years as the European Creative director of Ralph Lauren.

In 1999 he opened his showroom in the heart of Carré Rive Gauche.

Of Armenian descent, born in the Lebanon, he has been based in Paris since 1976. His signature style is considered as one of the most notable Parisian international designers. Below that: Territory, the monographic project dedicated to French designer Emmanuel Babled at Galerie Yves Gastou. Photo: ́ Edouard Auffray.

Center: Hervé van der Straeten with the Console Zappy and Bout de Canape Cumulus N°486, created in 2014 - Edition 2024.

Far right: Pierre Renart took over Hôtel de la Marine during Paris Design Week. Represented by the gallery maison parisienne, the artisan woodworker exhibited the sculptural furniture piece, Escale, in the Cour de l’Intendant, the heart of this Parisian building.

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WOW! HOUSE London, England World of Wonders, the WOW!house is one of the high lights in the world of interior design and decoration. Organized in the Design Centre, Chelsea Harbour’s in London, England, it quickly developed into an award-winning designer show house.

WOW!house 2024 raised the bar yet again and addressed the lack of diversity in the interior design industry.

More international than ever before, a new cohort of 20 legendary names, global Alisters and rising stars have joined the design family.

Each of them has let their imagination fly, conjuring rooms that intrigue, inspire and delight every sense.

These pages: WOW!house Study

by Anahita Rigby and her London based international interior and architectural design. Her background is in art and architecture. In the Study she combined an aesthetic sensibility formed by time spent living in Bath, London and Hong Kong, as well as her frequent travels through East Asia.

This is a space where Georgian proportions fuse with Japaneseinspired details.

Rigby described her study as ‘a place to read anda place of refuge to share a martini over a little secret with an old friend”.

Photos: JamesMcDonal

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Above: the WOW!house Sitting Room by Sophie Ashby, the interior designer known for making spaces that are a careful coalition of collecting, curating and commissioning, in collaboration with the charity United in Design (UID), WOW!house 2024’s charity partner. Ashby founded UID, along with Alexandria Dauley, to address the lack of diversity within the interior industry and this mission was the starting point for her Sitting Room.

World of Wonders (WOW!house) consisted in 2024 of 19 rooms and outdoor spaces, each designed to evoke a sense of discovery. These spaces offered an exclusive opportunity to experience the work of masters in their field, who were given full creative freedom.

Together, they crafted an immersive journey through interiors that stands as a remarkable testament to creativity and design excellence.

One of the many magical aspects of the exhibition was how designers, drawn from all corners of the globe, brought with them a wealth of diverse influences. They succeeded in creating a harmonious whole that not only defines current aesthetics but also sets the tone for future design directions. Each room was further enhanced by its own unique soundscape and evocative scents from Diptyque.

Nurturing talent and continuously building its thriving community is at the heart of the Design Centre. It is home to an extraordinary mix of luxury flagship stores, independent companies, and around 600 international brands. Major events on the global design calendar ensure its influence extends far beyond its London base.

From the outset, the event has been mindful of its environmental impact, and we strive to ensure that as many elements as possible find new life beyond the Design Avenue. This year, the event partnered with Positive Luxury, ta leading sustainability expert in the global luxury industry.

Conscious creativity also means championing design as a force for social good, and WOW!house has consistently supported charitable initiatives that make a difference. In its first year, fundraising for Centrepoint was supplemented by a mentoring program for six young people. In 2023, WOW!house’s support for TP Caring Spaces raised sufficient funds to completely redesign the Brook Green Community Centre.

For 2024, the selected charity was United in Design (UID), founded by interior designers Sophie Ashby and Alexandria Dauley to address the lack of diversity in the interior design industry, particularly the underrepresentation of Black, Asian, and ethnic minority communities.

Above: the WOW!house Dining Space designed by London-based Suzy Hoodless Studio. Combining her art director’s eye and a stylist’s flair, Hoodless has worked her magic here, dividing the space into separate zones linked by color and texture.

Beside that: bedroom suite inspired by the Orient Express in its glory days, travelling from Paris to Constantinople.

It was created by Tolù Adeko, founder of the Nigerian-British design studio Adeko & Co. He is known for his holistic, narrative-driven approach and collaborations with artisans, craftspeople and makers. The room was sponsored by Zimmer + Rohde.

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Above: the Home Bar as a voyage through East and West evoked in form and material begins. The scene was the creation of Özge Öztürk and Alexandre Simeray, founders of London-based studio, OZA Design.

Beside that: the Drawing Room created by Guy Goodfellow and his creative director Steven Rodel with room sponsor Tissus d’Héléne. Guy is known for making homes full of subtle connections, contemporary relevance and underplayed elegance. “Helen Cormack’s eye for quality, pattern, composition and color is inspiring.” he said of Tissus d’Héléne’s founder.

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From a Sicilian palazzo to an English Gothic castle inhabited by generations of the same family.: the multi-layered Legend Room is the creation of two design luminaries: Alidad, a world-renowned talent whose eye for antiques and textiles is unparalleled and room sponsor Watts 1874, an iconic 150-yearold, family-owned company that has never strayed from bold statements or creative independence.

Alidad: “I am not making just for today, I create a timeless narrative in each room”.

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Above: primary bedroom designed by Charlotte Freemantle and Will Fisher, the creative force behind Jamb London, one of the capital’s leading destinations for antiques and reproductions of 18th and 19thcentury chimneypieces, lighting and furniture.

Inspired by the palettes and extravagant drapery seen in paintings

by Renaissance and Baroque masters Domenico Veneziano, Velazquez and Rembrandt, they have wrapped the walls in soft silk rendered in shades of pink that blush to a dusky rose. The ‘Palmira’ bed, is reproduced by Jamb London from a Chippendale model. Beside that: the primary bathroom with clay plaster walls and hand painted mural was the creation of transatlantic architecture and interior design studio, Michaelis Boyd in collaboration with room sponsor House of Rohl.

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Above: detail of the courtyard bedroom

by British interior design firm Veere Grenney Associates for room sponsor Schumacher. Inspired by a ‘longago’ bedroom, he has made a space of handsome restraint filled with his newest fabrics for Schumacher.

“It was a kind of self-portrait. I made this room for me!” according to Grenney.

Right: the Sicis Bathroom designed by its founder and president Maurizio Leo Placuzzi, is an ode to life that awakens in spring.

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The WOW!house Dining Room, a scene imagined by American designer Ken Fulk together with room sponsor The Rug Company.

Fulk, whose clients and collaborators include Pharrell Williams, Gigi Hadid and Dolce & Gabbana, is feted for his cinematic, high concept spaces.

Here he has let his imagination fly.

The space is a glorious tribute to the decorative arts. There are ornamental moldings and ceiling coffers printed with drawings by the Ken Fulk Art Department originally made for ‘A Life Reflected’; an chandelier made from hundreds of recycled plastic PET bottles by Thierry Jeannot (from Marion Friedmann Gallery) and a French Empire fireplace in a bold brèche de médous marble set against walls lined with a tonal variation of the ‘Surrealist Garden’ rug he created with The Rug Company.

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Hebil House Bodrum

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Previous pages: the interior of the Hebil Residence at the northern part of the Bodrum peninsula, Turkey. The design project included the main residence, an independent guesthouse, and the pier. It was a creation by Sanayi313. The work involved renovation of all existing structural elements, landscape, and interior design with majority of the furniture custom designed. The spiral staircase connects the three floors while adding a sculptural element to the interior.

Behind the dining table an artwork by Hermann Nitsch.

These pages: the poolside of the Hebil residence. Studio Sanayi313 began to work on the project by completely stripping down the existing built environment and the static reinforcement of the original walls. Beside the fire place a sculpture by Marion Verboom.

Photos: Ibrahim Ozbunar

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Hebil House is a contemporary coastal summer residence located along the northern coast of the Bodrum Peninsula, offering expansive views of the blue Aegean Sea.

e modern seaside summer home was designed to capture the breathtaking views of the Aegean waters in Bodrum, Turkey.

It belongs to one of the country’s most prominent art collectors and houses a remarkable collection of unique artworks, including a painting by Hermann Nitsch, an installation by Jannis Kounellis, a sculpture by Marion Verboom, and another by Arik Levy, among others.

e property consists of a main house, a guesthouse, and a private pier. Spanning three floors, the ground level features the living spaces and kitchen, while the first and second floors house the sleeping quarters.

e interior of the Hebil House, as it is called, was designed by the Istanbul based design studio Sanayi313.

e design studio adopted a holistic approach to the residence, maximizing the transparency of exterior walls to

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provide uninterrupted panoramic views of the sea and allow ample natural light.

Transparent transitions between spaces further enhance this effect. Locally sourced Hekimköy stone was used for the façade cladding and ground-level flooring around the pool area, achieving a seamless visual harmony and material continuity.

Inside, the interiors are defined by light colored textured surfaces and natural materials such as wicker, linen, and aged wood. e restrained choice of materials allows the focus to be drawn toward the furniture and the impressive art collection. At the heart of the house, a spiral staircase serves as a sculptural element, with its curvaceous form appearing to float in the open space. e spacious main living area, designed to connect seamlessly with the outdoors, is divided into three open sections: a dining area and two distinct seating areas.

Notable features include floor-to-ceiling windows, a stone fireplace, a painting by Hermann Nitsch, a sculpture by Marion Verboom, and a powder room with wicker-covered walls and a mono block stone sink. e first-floor bedrooms are designed with linen-upholstered headboards that extend to envelop both the bed and the nightstands.

Walk-through closets link the bedrooms to their en-suite bathrooms, while custom-made furniture by Sanayi313, craed from the brand’s signature mazel wood, adds a personalized touch to the space.

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Previous pages: furniture was custom designed for the house

by Istanbul based Sanayi313.

These pages: the main bedroom with sea view and two bathrooms. The pier was specially designed for the house.

Next pages: a glorious sunset at the Bodrum peninsula.

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Space Needle Luxury

Perched on the 57th floor of the new Rainier Square Tower, the tallest residential building in downtown Seattle, USA, the urban residence blends timeless design with elements of glamour, offering nearly 360-degree views. The design was inspired by the homeowners' desire for an elevated living experience, both literally and figuratively, set against Seattle's evolving urban landscape and the surrounding natural beauty. Interior architecture and design firm Studio AM from Seattle brought this vision to life.

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These pages: interior architecture and design firm Studio AM from Seattle designed this apartment in the highest building in town with a nearly 360-degree views.

The design was inspired by the homeowners' desire for an elevated living experience, both literally and figuratively, set against Seattle's evolving urban landscape and the surrounding natural beauty.

Photos: Andrew Giammarco.

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These pages: the master bathroom high in the skies above Seattle, is a colorful mixture of vintage and modern design elements giving the space a timeless elegance.

These pages: guest bedrooms, office space and master suite offer near panoramic views over the city and the surrounding nature and mountains.

Modern elegance prevails, with carefully placed bursts of color in the primary bedroom and textured elements that add warmth.

The clients, eager to recapture the views from their previous condominium, chose Rainier Square Tower for their new home. By combining three pre-existing rental units into a single 4,150-squarefoot residence, the design team crafted a home with expansive views, seamlessly merging spaces for an open atmosphere suited to the high-rise setting.

The grand entrance was strategically positioned to provide an impressive view upon entry. As guests cross the

threshold, the residence unfolds as a series of interconnected spaces radiating from the central living and kitchen areas.

The interiors feature carefully curated elements, such as an acrylic piano and a 660-gallon saltwater aquarium, designed to captivate the eye and engage the senses.

Personal touches abound, such as a custom light screen behind the piano, inspired by musical notes.

Combining three pre-developed rental units into one 4,150-square-foot unit, the design team was able to establish a home with expansive views that combines spaces for an airy, open atmosphere fitting for the high-rise locale.

In the kitchen, meticulously crafted details and finishes continue the emphasis on timeless elegance. A ceiling treatment composed of individual seashells a bold marble backsplash with brass inlays, which was inspired by the Japanese concept of wabi-sabi and picks up on the color palette of the black and polished brass Lacanche range. In the living area, textured elements that infuse warmth, prevail.

At the heart of the home is the main living area, which serves as the central hub linking the kitchen, dining area, office, and primary suite. Retractable doors create fluid transitions between private and communal spaces, allowing the dining area to connect to the guest suite and the living room to open into the primary suite.

The living room itself boasts bespoke finishes and textures, including a glass-beaded wall treatment, accented with pops of brass and blue. These details, along with gently curved walls and furnishings, create a warm, inviting aesthetic that enhances, rather than competes with, the breathtaking views.

In the kitchen, the focus on timeless elegance continues, with meticulously crafted details and luxurious finishes.

A ceiling adorned with tiny individual seashells complements a bold marble backsplash with brass inlays, inspired by the Japanese concept of wabi-sabi.

This design element harmonizes with the black and polished brass Lacanche range.

A custom glass-inlaid waterfall table opposite the kitchen island offers additional seating to take in the waterfront views, with the glass design evoking clouds, reminiscent of being in the sky.

Throughout the residence, references to the homeowners' diverse backgrounds, such as their working farm in Oregon and ties to the music industry, are woven into the fabric of the interior design.

Modern elegance prevails, with carefully placed bursts of color in the primary bedroom and textured elements that add warmth to the expansive living areas.

Above all, the views take center stage, with near-panoramic vistas showcasing Seattle's iconic Space Needle, Mt. Rainier, Mt. Baker, and even glimpses of Canada, visible from nearly every vantage point within the home.

These pages: the interiors boast curated elements, including an acrylic piano and a striking 660-gallon saltwater aquarium, positioned to captivate the eye and engage the senses. At the same time, personal details abound, such as a custom light screen behind the piano whose design takes inspiration from music notes.

EDIT NAPOLI

In six years time, the event evolved into a jewel of interior arts and craft, shining a light on contemporary design and modern cllassics in the historical Archivio di Stato di Napoli. EDIT Napoli has a mission of highlighting sustainable design, territoriality and the quality of the products on display, rather than quantity.

It is supporting production processes that combine craftsmanship with design in pieces that can be produced at scale. The 2024 event revolved around the works of independent designers, as well as design authors and editors, creatives and producers, displaying their work in the city of Naples, Italy.

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Left: Vaga chair by Rosana Sousa, Porto, Portugal, She focuses on the thoughtful use of materials and forms, blending traditional craftsmanship with cutting-edge elements of modern industry. Photo Inês Silva. Next to it: Silla S·3D chair by the Spanish Goslo Studio. Its geometry is the result of rethinking the chair so that it can be comfortable and 3D printed with the least possible environmental impact.

Right: paravan Napulju designed by Jovana Lišcevic for Studio Svar from Serbia. Photos: Dino Karailo.

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Above: the Edit Napoli curators Domitilla Dardi and Emilia Petruccelli. Photo: Eller Studio.

Below ‘Shiwa Shiwa’ by Kengo Kuma for Alcantara at the Teatro San Carlo during Edit Napoli. As the curtain rise at the Teatro San Carlo, it reveals the sets designed for Giuseppe Verdi’s ‘Simon Boccanegra’ by architect Kengo Kuma for Alcantara. Kuma has chosen to entitle his creation ‘Shiwa Shiwa’, meaning crease-furrow, describing a Japanese concept relative to the curvilinear development found in nature, and its elusiveness. With its mutable vaults, perpetually in motion, Kengo Kuma’s design for the Alcantara wave became the emblem of the action of the opera: a totalizing artwork in its own right.

Right: Giulio Iacchetti and Matteo Ragni, the design curators for Abet Laminati, have crafted an evocative installation The installation, suspended between metaphor and illusion, transforms the classic Neapolitan urban landscape of laundry hung out to dry into a narrative about the aesthetic values of Abet, showcasing its colored and decorative laminates.

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The sixth edition of Edit Napoli, the editorial and authorial design fair, took place at the Archivio di Stato di Napoli. Initiated and curated by Emilia Petruccelli and Domitilla Dardi, the event engaged with the city's historic architecture.

Emilia Petruccelli stated, “We are pleased to see companies that, year after year, consider

Edit a valuable partner in sharing their story.

This is evident in the synergies we have developed, such as with Feudi di San Gregorio, Crédit Agricole Italia, and Drivalia - three distinct entities that view us as a platform for creating value, both locally and in terms of design. After five editions, the sixth marks the beginning of a new five-year phase for the

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Left: exhibition ‘Along the edge – Alpi 1984-2024’ an overview of four decades of creativity illustrating the company's evolution in the design of wooden surfaces thanks to collaborations with some of the greatest designers in the world.

The show curated by Piero Lissoni, art director at Alpi, was hosted in the Sala Monumentale of the Real Museo Mineralogico.

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Above: Galatea Ancestrale the research project by Incalmi created by Caterina Roppo. Complesso Museale Santa Maria delle Anime del Purgatorio ad Arco.

Right: integration of modern design at the historical Archivio di Stato di Napoli during of EDIT Napoli 2024. Photo: Eller Studio|Francesco Maran.

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event, which has demonstrated its maturity through a consistent increase in exhibitors annually. Six years since the first edition of Edit Napoli, we are proud to say that we have always believed in this city and recognized its potential. The events, numerous companies, and initiatives surrounding it confirm this .”

Domitilla Dardi added, “With its vibrant energy and cultural pluralism, Naples serves as an active stage for the design world hrough Edit, where a unique communal and echangeoriented dimension thrives. This city has been contemporary throughout its history precisely because of its connection to international communities.

The many intellectuals who have made Naples their home over the centuries stand as proof.

This melting pot continually brings forth innovation, and with Edit, we have pursued this direction from the very first edition.”

“Our goal has always been to foster dialogue between different entities to enhance their value. The way we structure the Cult program, through an extensive and careful curatorial process, exemplifies this by pairing projects with prestigious locations throughout the city, creating a series of dispersed exhibitions that elevate both the content and the setting.”

In 2024, the curated Edit Cult once again established a dialogue between historical sites and contemporary projects, creating a multifaceted narrative across the city.

The objective remains to further develop a program with a distinctive exhibition concept for design, customized for each individual exhibition, stemming from the synergy between the architectural context and the works on display.

‘Editare iMaestri, tribute to Filippo Alison’ by Cassina at Palazzo Reale di Napoli.

VERSATILE BE The International Exhibition of Ceramic Tiles and Bathroom Furnishings, Cersaie, held in the Italian city of Bologna, has solidified its position as the premier global stage for innovative materials and solutions.

The event serves as a unique platform for international architecture offerins professionals an unparalleled opportunity to exchange experiences.

Above: Imola celebrated at Cersaie the emotions of everyday life: buy emotions, not tiles.Vital, warm and contemporary, their products are made for 150 years with passion in the Italian city of Imola.

Right” LaFaenza is a Cooperativa Ceramica d’Imola brand dedicated to the design of interiors in both residential and small to medium-sized retail settings. The brand expresses a modern, refined, sophisticated and distinctive style with the care and knowhow of our ceramic tradition.Their motto: Express it.Tell it. Live it.

Photos: Hans Fonk, et.al.

The 2024 edition upheld this tradition, demonstrating how Italian ceramic manufacturers' intensive focus on innovation and technology has transformed the event into one of the world's most compelling showcases of ceramic tiles and bathroom furnishings.

Over the decades, Cersaie has evolved from a technical trade fair into a vibrant celebration of creativity.

OBJEKT International did the tour highlighting the beauty and versatility of the ceramic tiles.

EAUTY

Left: for over a century Fantini Mosaici has developed major projects, participating with passion and great professionalism in the definition of the Milanese architectural heritage. Milan’s charm is often hidden in the details.

Discovering the works created in the city by Fantini Mosaici starting from the early years of the twentieth century, means following an itinerary that winds through Milan in a union between mosaic art and architecture: from the mosaics of the Galleria Vittorio Emanuele II to the legendary Sala delle Cariatidi of Palazzo Reale.

Each place expresses Italian craftsmanship and the beauty of surfaces enriched with mosaic, seeded or pebble work. In 2024 Fantini openend a new showroom located in Foro Buonaparte.

Right: the classics meet the ceramic future at Infinity’s Taj Mahal.

The 41st edition began with a pivotal conference titled “The Energy Transition and International Competitiveness for the Italian Ceramic Industry.

In his address, Augusto Ciarrocchi, President of Confindustria Ceramica analyzed the challenges facing the Italian ceramic industry, noting a decline in both domestic and international markets. He stated: "The Italian ceramic industry continues to face severe international crises and uncertainty in the national construction sector. While domestic turnover fell by 6%, foreign sales also declined by 4% compared to the previous year."

Ciarrocchi highlighted the risks posed by rising costs and the EU Emissions Trading System (ETS), warning of potential industrial relocation: "While we are seen as a model globally, factors like the ETS system, high costs, and a lack of legal and infrastructural certainty discourage investment in our territories. The energy transition must balance sustainability with economic stability and job preservation."

The Circle Convention Center near Zurich Airport (2022), designed around "passageway" and "square" concepts. Taoyuan Museum in Taiwan, where interior spaces seamlessly connect with the external environment. Fussa Municipal Building, notable for its red ceramic flooring and twin towers. Yokosuka Museum, featuring an underground exhibition area and an open rooftop restaurant. Villa in Yatsugatake, an early project that established Yamamoto's hallmark— creating open, accessible spaces that blend with their surroundings.

In his address, Yamamoto explained his vision:”All the works shown epitomize architecture that is as open as possible towards

He also called for action on product origin labeling, arguing that lack of regulation within the EU puts Italian ceramics at a competitive disadvantage: "It is astonishing that European consumers are denied product origin information, while countries like Japan and the U.S. enforce such standards. Protecting ‘Made in Italy’ is vital for the competitiveness of our ceramics industry and broader manufacturing."

The architectural highlight of Cersaie 2024 was a keynote speech by Riken Yamamoto, the 2024 Pritzker Architecture Prize laureate.

Introduced by Emilio Mussini, President of the Promotional Activities and Fairs Commission of Confindustria Ceramica, Yamamoto’s participation was part of Cersaie’s cultural program, “Costruire, abitare, pensare” (Building, Living, Thinking). Over 15 years, this program has welcomed hundreds of architectural luminaries, including 12 previous Pritzker winners such as Renzo Piano, Norman Foster, and Kazuyo Sejima.

Yamamoto presented several iconic projects, emphasizing architecture’s integration with public spaces:

the outside, public space. My architecture seeks to create as many places as possible where people can enter freely, trying to create continuity with the external space, the public dimension. When you manage to create a truly open space, people can use it as if it were in a public space. If we create architecture which is projected more and more towards the exterior, I believe it is possible to change the world".

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These pages: thanks to the experimental and innovative approach, Ceramiche Refin presented new ceramics to redefine the possibilities of design. Refin introduced ‘Reliefs’, a 3D cladding project: structures in porcelain stoneware capable of giving surfaces a special threedimensional effect that generates tactile sensations and unexpected aesthetic perceptions.

Top left: ceramics by Fonduvalle: Music Records and next to it the presentation by Frassinoro, Gruppo Gresmalt.

Bottom left: ceramic tiles by Salzar and next to it presentation by Cesar.

Right hand page: Ceramica Sant'Agostino with Discover Evolution: ‘When a glowing tradition leads to an inner renovation.”

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Above: since 1998 Sintesi Ceramica Italiana, one of the leading brands of Gruppo Ceramiche Gresmalt, has been offering design solutions for ceramic floors and walls, for indoor and outdoor application, able to customize any private and public environment. Center: Settecento has been designing and manufacturing wall and floor surfaces for over 50 years with an emphasis on research and developing products unaffected by time and fashion is our pledge.The entire production process, along with the whole research and product development, takes place in Italy, underlining their firmly believe in Made in Italy in terms of both business activity and creativity.

Above: Ceramiche Piemme showcased its maximum expression in the new collection Homey Paper Clay, created in collaboration with artist Paola Paronetto. Designed to diffuse a sense of calm and lightness with its pastel, natural and matte tones, the series bridges the gap between our industrial world and the tradition of artistic ceramics. Ceramiche Piemme was founded in 1962 in Maranello, with the aim of producing high-quality ceramic floors and wall tiles with high aesthetic and technological content, as in the best tradition of Made in Italy.

Left: Casalgrande Padana introduced Project Wood Pollino amongst others: porcelain stoneware for all kinds of indoor and outdoor floors and walls.

Above: ceramics by NovaBell and below that

by Marco Corona. NovaBell was purchased in 1988 by Mr. Silvio Bellei, a protagonist of the Italian ceramic industry who, in the 1950s, actively participated in the development and growth of some of the most important companies in the industry.

This page Top: Sapien Stone presented a selection of new materials that brought the special design quality of its ceramic surfaces to a whole new level.

The new products offer a complete sensory experience in which materials and light will interact to bring out the unique features of each product.

Center: Supergres and below that an image of the versatile collections of Italgraniti bringing a sophisticated touch to contemporary interior design.With refined, minimal aesthetics, the collections have modern elegance and functionality by combining warm, natural tones with a soft, elegant surface.

Right-hand page: the recently renovated headquarters of Fiandre, redesigned by Masimo Iosa Ghini's studio.

Left: created in collaboration with artist Letizia Balloti, Mirage presented Indomita, elevating nature onto large porcelain stoneware slabs using innovative techniques.

Right: Iris Ceramica Group presented ‘Sinfonia’, an exhibition space as a Foyer hosting a theatre of innovations. A metaphor of many meanings that should bring together - in a cloud of words the whole world of people, technologies and brands that make the Group. Here Moonlight, the back-lit ceramic slab and in the background part of the Foyer Iris also introduced the magnetic dry laying system licensed by MagFace.

Mumbai by the Sea The Beach House in Mumbai is a seaside retreat, with a harmonious blend of design and artistry. Designed for a family with a deep passion for nature, the home embodies minimalism with an earthy ambience.

It celebrates nature's palette while showcasing art, functionality, and culture, all brought to life by Shabnam Gupta of The Orange Lane.

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These and previous pages: the interior of the Mumbai beach house designed by Shabnam Gupta of The Orange Lane. The spaces embody a fusion of aesthetics and functionality with the essence of minimalism creating an earthy ambience that resonates with the homeowner's connection to nature and artistic passions.

Photos: Kuber Shah.

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Nestled along Mumbai's scenic shores, The Beach House exemplifies thoughtful design and creative beauty. Spanning 2,500 square feet, the residence offers a serene sanctuary for a discerning couple, their young daughter, and their pets.

The home seamlessly merges aesthetics and functionality, embracing minimalism while fostering an earthy atmosphere that reflects the homeowners’ deep connection to nature and their artistic inclinations.

Given that the wife is an artist, the design sought to create a space that not only complements her work but also provides a serene, vibrant living space rich in colors and textures. Walls were removed to maximize light, with careful attention paid to the sun’s path. Niches were crafted to showcase the art.

The entrance sets a tone of warmth and sophistication, with a passage featuring black and white checkered flooring and walls clad in rough natural stone. Expansive glass windows offer panoramic views of the Arabian Sea, filling the interiors with natural light and blurring the lines between luxurious indoor living and the vast coastal beauty outside, creating an immersive experience.

Inside, The Beach House is grounded in a design philosophy that embraces a neutral, earthy color palette, enveloping each space in tranquility. This intentional choice serves as a calm backdrop, allowing vibrant furniture and curated artwork to stand out as focal points in each room. The design emphasizes open spaces.

The layout is tailored to accommodate the family’s lifestyle, with distinct zones offering both sanctuary and practicality. A den, awash in soothing hues, serves as a flexible space for relaxation and informal gatherings.

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Nearby, a ‘Pooja’ room exudes serenity, with walls adorned with hand-painted artwork created by the lady of the house in collaboration with a local artist. The master bedroom radiates calm with natural white wooden flooring and a spacious walk-in closet, offering an oasis of minimalist elegance.

These and next pages: the design of the Mumbai beach house integrates open spaces, thoughtfully planned to accommodate the family's pets and child with ease. Black and white checkered flooring and walls clad in rough natural stone give contrast to the vibrant furniture and curated artworks.

The hand-painted artworks are created by the lady of the house in collaboration with a local artist The master bedroom exudes serenity with its expansive walkin closet, providing an oasis of calm and minimalist elegance.

Personalized touches abound, with bespoke artworks and handcrafted motifs enhancing the interiors. Created and curated by the homeowner, these artworks tell a story of shared experiences and memories, infusing the home with warmth and individuality.

The home's design ethos centers around biophilic principles, integrating natural materials, maximizing daylight, and incorporating elements of nature throughout.

These elements not only elevate the home’s aesthetic appeal but also deepen the connection with its natural surroundings, enriching the living experience.

Noteworthy features include an enclosed balcony with a skylight that floods the space with natural light, and limestone flooring in communal areas, which adds a tactile, earthy dimension that harmonizes with Mumbai’s coastal landscape. A vertical garden brings a touch of greenery indoors, promoting a healthier living environment and reinforcing the home’s biophilic design.

Throughout the design process, The Orange Lane overcame challenges, such as maintaining the pristine appearance of rough white limestone flooring and adhering to strict residential building regulations.

These challenges were met with innovative solutions, reflecting the firm’s dedication to sustainability and practicality, ensuring The Beach House seamlessly integrates with its coastal environment.

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Situated along the riverfront in Lisbon's historic Belém district, the Museum of Art, Architecture and Technology (MAAT) consists of two main structures: the MAAT Central, a former power station constructed in 1908, and the MAAT Gallery, a modern building that opened in 2016.

These two facilities are connected by a park that runs along the banks of the River Tagus. In addition to the exhibitions of contemporary art, the museum also hosts permanent exhibitions, including The Electricity Factory at Central Tejo and the sculptures within the MAAT gardens.

Above: the Electricity Factory from 1908 and the Gallery from 2016 connected via a sculpture garden, forming the MAAT art complex along the Tagus river in Lisbon.

Production: Alaïa Fonk Photos: Hans Fonk

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MAAT Central, formerly known as Central Tejo, was a factory built in 1908 to supply electricity to the entire Lisbon region.

It operated continuously from 1909 to 1954, and remained in limited service until the 1970s. Central Tejo’s architecture, featuring imposing brick-clad iron structures with various influences, is emblematic of the "electricity factories" of the late 19th century.

Recognized as a building of public interest in 1986, Central Tejo first opened to the public in 1990 as the Museum of Electricity.

It later underwent restoration before reopening in 2006. Edigma was responsible for implementing the museum spaces, including the permanent exhibition "The Electricity Factory."

MAAT Gallery, designed by the British architect Amanda Levete’s firm AL_A, opened to the public in 2016 next to the

Left: large window overlooking the river Tagus at MAAT Central, formerly known as Central Tejo, a power plant built in 1908.

Beside that: permanent exhibition The Electricity Factory at MAAT central. Above: images form the exhibition in MAAT Central ‘Procession: Praise and Sanctify’ in partnership with Manicómio, an artistic creation platform with resident artists who have experienced or are experiencing mental illness, in a coworking space open to the public since 2018 in Beato, Lisbon.

The exhibition brought together works by Anabela Soares, Cláudia R. Sampaio, Filipe Cerqueira, Joana Ramalho, Micaela Fikoff and Pedro Ventura.

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converted Central Tejo power station. The design proposed a new relationship with the river and the wider world.

Levete described the Gallery as a “powerful yet sensitive, low-slung building that explores the convergence of contemporary art, architecture, and technology.”

The project aimed to seamlessly integrate the structure with the landscape, allowing visitors to walk on, under, and through it, or along the river.

The roof, designed as an extension of public space, provides access to the city via a footbridge over the railway line, offering views of Lisbon and the Tagus River.

The riverfront was so integral to the project that the design sought to reflect it within the building: the overhanging roof, which provides welcome shade, captures sunlight reflected off the water and channels it into the building through skylights.

The interior spaces were designed to flow organically into one another, facilitating uninterrupted movement through volumes of radically different scales.

MAAT Garden was designed by Lebanese architect Vladimir Djurovic along a 2 25-meter strip of the riverside.

The landscaping project references the wooded areas along certain parts of the Tagus, aiming to highlight their inherent nature and characteristics in contrast to the rich and varied surrounding vegetation.

Above: the façade of the MAAT GAllery, designed by British architect Amanda Levete’s firm AL_A. Landscape design is by Lebanese architect Vladimir Djurovic.

Right-hand page: curated by Jacopo Crivelli Visconti, Nosso Barco Tambor Terra [our boat drum earth] one of the largest sculptures by Brazilian artist Ernesto Neto.

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The core of MAAT Garden features a mixed wildflower meadow with scattered trees and a granite-paved footpath leading to an adjacent park to the west.

Positioned between the beach and tree-lined spaces, this area emphasizes the distinctive character of the park, promoting biodiversity, and serving educational purpose.

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the A rt of C hess

These pages: the underside of the box for the Staunton chess game, personally endorsed and numbered by Howard Staunton, once the world chess champion. Date: 1845-1850. The ivory king measures 7.1 cm and is marked underneath 'Jaques London' - the original purveyors of the set. The knight is based on the horses depicted in the famous Elgin Marbles frieze from the Parthenon in Greece, one of the British Museum's major exhibits since the early 19th century.

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from the arives e history of the game of chess and its attributes dates back centuries. It covers representations of kings, queens, bishops, knights, rooks and pawns of widely differing styles, forms and materials.

It was OBJEKT©International's move to examine the pieces on the chessboard.

The foundations of the chess game we now know were probably laid in the 6th century in an area that today comprises Pakistan and India.

There, the original version developed, combined with a number of other games. It was to reach Europe in the course of some hundred years. The chess war game was first introduced in Spain, by way of Persia, Arabia and North Africa, and then in Italy.

Other European countries became acquainted with the board game as it spread from Russia, the Viking countries and Turkey. The name 'chess' derives from the Persians: they called the king 'shah' that has corrupted into 'chess'. The Persian word 'mat', literally meaning defeated and is used almost unchanged in 'chess-mate'.

By around 1300 the game, admittedly in several variations, was known almost throughout Europe. Initially it was mainly popular among the elite.

Mastery of the game was, by definition, one of the skills required of knights, though it also formed part of a noblewoman's education.

However, the church authorities were less enthusiastic about this suggestive war game, which was only removed

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from the index of forbidden games in 1329. Over time, the outward appearance, but also the rules of the chess game have changed radically.

Nowadays it is played on a board with 64 'fields' or squares. One player takes the white chessmen, the other takes the 'black'. At the start, each player has sixteen pieces on the board: the king, queen, two rooks, two knights, two bishops and eight pawns.

Each piece has its own style of moving and any piece can capture another. The object of the game is to checkmate the opponent's king by maneuvering it so it will be beaten at any following move.

The earliest known 'new style' rules date from 1497 and were published by Lucena of Spain.

From having been the weakest piece in the game, the king's consort became the most powerful - able to move horizontally, vertically and diagonally, and advance as many squares as the player thinks fit.

This increase in power might perhaps be explained by the important position of noble ladies at European courts. And the bishop was also allowed to move larger distances over the board, making the game more dynamic and competitive.

Below: ivory chessmen comprising four segments. First half 19th century, John Calvert, London. The king is 8.5 cm in height. Bottom: Chinese ivory chess pieces with an ingenious 'puzzle-ball' base. The king (portrayed as the Chinese emperor) measures 15.2 cm.

Chess games of this type from the middle of the 19th century were not meant to be played with - they were imported into Europe as showpieces for the interior.

Right: polychrome porcelain chess pieces made in Portugal. Marked 'VA' (standing for Vista Alegre) underneath.

Date: 1960. The game represents the Christians versus the Moors. The white queen is designed as a crowned Madonna. Height: 11.5 cm. The black queen is represented as a Moorish lady.

Text: Ruud van der Neut Photos: Hans Fonk

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These pages: very early wooden chess pieces, Afghanistan. Date: 8th10th century. Height of piece on the right: 7.5 cm.

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Not only were the rules modified, but the appearance of the actual chess pieces was changing too.

For example, the equivalent of the rook depicted as a tower in the modern game used to be a chariot in India.

And there, the piece representing the bishop was an elephant with a warrior on its back. However, the greatest outward change occurred when the Arabic world encountered the game around the middle of the 7th century.

Their religion forbids a true-to-life portrayal of animals and people, so in those regions abstract shapes were c hosen instead - based on cylinders, cones and squares. Both the king and the queen were depicted as a cylinder, with only a difference in size.

the (mass) production of chess pieces, designed according to a standardized pattern especially in wood, took off. In addition, talented craftsmen and artists were being commissioned by royalty, aristocracy and wealthy citizens to create special chess sets.

They were often made in costly materials like (semi-) precious stones, amber, ivory, exotic woods and precious metal. Kings and queens were models for many a chess piece - Catherine de Medici, Frederick the Great, various Swedish queens and Louis XIV.

The Persian knight, or horse, was a truncated cylinder with a triangular segment on top. While the foot soldier today's pawn - was cone-shaped.

Sets of this type are rare today and are mainly found in museum collections.

The Rijksmuseum in Amsterdam owns a unique, beautifully-carved wooden set made in southern Germany around 1550. The king, probably representing Charles V, is decked out with the chain of the Golden Fleece, while the queen, sitting side-saddle on a mule, holds a falcon.

The Moors were thought to have introduced these abstract shapes into southern Europe. Christianity had no objections to realistic renderings of man and beast, and accordingly, with time, a European interpretation of the pieces came about with, in the Mediaeval chess set, skillfully carved miniature sculptures of kings and knights on horseback.

The councilor was depicted as a bishop the symbol of ecclesiastical power - and contemporary designs continue in that tradition, with the crosswise cleft reminiscent of a bishop's mitre.

In the Renaissance, and subsequently, a tremendous variety of chess pieces was being made, from beautifully fashioned to extremely simple.

Most came about as a kind of folk art, made by anonymous artisans, invariably very basic in design and made in (soft)wood, bone or some other material that was relatively easy to carve.

The best-known centres of production of ivory and bone pieces were Erbach in Germany and Dieppe in northern France. But cities like London, Paris and Lyons also produced chess sets.

The game of chess burgeoned in popularity in the late Middle Ages, and

The red shade of the 'dark' pieces was obtained by treating the ivory in the

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Top left: wooden chess pieces made in the Netherlands. Date: c. 1780. The king measures 10.2 cm.

Bottom left: rare southGerman boxwood piece portraying a lady on horseback. Date: c. 1550, height 7.7 cm.

Right: ivory chessmen of the 'George Washington' type. Late 18th century.

All depictions are abstract, apart from the knight.

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These pages: chessmen in ivory and tropical hardwood, African.

Date: 20th century.

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highly poisonous aniline. From the second half of the 18th century porcelain chessmen became fashionable.

They were made in factories in Sèvres and Meissen; as well as by the English Wedgwood, in pale shades of porcelain, and in the famous Russian porcelain from St. Petersburg.

Colored glass chess sets, made in Venetian glassworks, were also introduced, especially in the 19th century. Ivory sets with a distinctly Oriental design were imported from China from around 1800, to be used as decorative items or for the actual chess game.

not in the know do not recognize them for what they are, as their design differs from that of conventional chessmen.

For instance, not so long ago a single stone piece of abstract design from Arabia, made US $ 400,000 in an auction in America.

More recently, famous artists and designers like Marcel Duchamp, Man Ray, Salvador Dali, Josef Hartwig and Michael Graves have designed chess pieces. They have become true collector's items for which a passionate collector will pay astronomical sums.

In 1851 the first international chess tournament was organized in London, between participants of more or less equal ability. The Englishman, Howard Staunton, conceived this international event and was responsible for introducing a standard for modern chess sets that is still in use today, world wide.

He commissioned Nathanial Cook to design the set in 1845 and, soon after it was launched, it was on sale in a limit-ed edition in a box bearing Staunton's signature.

Today antique chess pieces, even singly, demand substantial prices, as the bone, ivory and turned wooden pieces are rather fragile and often some have gone missing over the years. Collectors are mainly interested in early sets. People

And a collector recently paid over € 150,000 for a German set dating from 1735. Most collectors of antique chess sets are in the United States, but, these days, British and German collectors are also influencing prices of unusual pieces at auctions and in the antique trade.

Mathieu and Ine Kloprogge, ardent collectors of antique chess sets published a book entitled Chessmen Art and History, containing hundreds of illustrations of antique chess pieces.

Above: chess set designed by Cy Endfield, the American silversmith (and film-director) to commemorate the 'match of the century' between Bobby Fisher and Boris Spassky in 1972. All pieces were fashioned out of a single silver tube and fit together like a puzzle. The dark pieces are silver-gilt. The set was made with a folding board and in a limited edition of 650, each numbered and registered to the buyer.

Right: bronze chess piece from Ivory Coast. This set was custom made for a European client, cast in the 'lost wax' method. Only one set was made.

Swiss Barn Secrets

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The project is located in a hamlet within a predominantly rural and agricultural area in Reppischtal, Zürich, Switzerland. This new residence pays homage to the region’s historical context.

Designed by Boris Egli of BE Architekturen GmbH, based in Rieden bei Baden, the home adopts a residential barn style.

Traditional barn elements have been reimagined with a contemporary twist. From a distance, the residence seamlessly integrates into its rustic surroundings.

interior, with a positive spatial volume inside the building. Around these stacks, a negative volume forms, comprising a landscape of open living spaces interconnected both vertically and horizontally, creating a generous interior with a sense of endless expanse.

The new building reinterprets the simple, unembellished nature of a traditional barn through its choice of materials. Exposed concrete slabs for the floors and a special plaster for the walls maintain a

The exterior facade is clad in glazed spruce wood, the same type of timber traditionally used in Swiss barns. The pitched roof, featuring tile roofing typical of the local architecture, complements the design. The windows, which can be opened, are concealed behind wooden shutters.

Generous fixed glazing is fronted by wooden sliding doors that offer sun protection, darkening, and privacy. A raw steel beam serves as an exposed gutter, extending beyond the roof's edge, while downpipes have been omitted, allowing rainwater to cascade down the sides like a waterfall.

The building’s design responds to the natural topography of the site.

Rather than excavating behind the building and backfilling in front, the ground floor is arranged on a series of levels that follow the existing slope.

raw, unfinished aesthetic. These two materials – concrete and plaster – are used consistently throughout the interior to achieve a cohesive and expressive effect.

While a barn typically serves as a storage space and workroom for agricultural production, this new structure, though not a depository, metaphorically 'stores' rooms like bedrooms, bathrooms, and closets within it as closed volumes, stacked atop one another.

This stacking creates a sculptural

The freestanding two-car garage, made of exposed concrete, was constructed using the same timber formwork as that used for the house facade. A photovoltaic system was installed on the gently sloping concrete gable roof, with the solar panels covering the surface like a carpet.

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Previous pages: typical barn characteristics were taken up and reinterpreted in a modern way in this Swiss residential barn.

These and next pages: The interior of the house reinterprets the simple, unadorned nature of a traditional barn through its choice of materials. Exposed concrete slabs for the floor and a special plaster covering the walls ensure a raw, unfinished feel.

Lighting design: Lichtblick AG, Buchs Photos: Vito Stallone

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743 ART Lab

The vision of the owner of 743 Art Lab in Shanghai, China was to create a space that seamlessly combines the functions of an artist’s studio, an exhibition venue, and a place for contemplation.

To bring this dream to life, he commissioned Nong Studio to execute the project.

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These page: the living and studio space of 743 Art LAb in Shanghai, China. Photo: Heinong.

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These pages: the 743 Art Lab embraces the raw character of the industrial architecture, stripped of decorative elements.

Chef Designer: Chasing Wang Design Team: Jiaxiang Wang, Xu Zhang Lighting Consultant: Fager Yang

The design aimed to strip away any decorative elements, instead embracing the raw character of the industrial architecture. This was achieved by using natural, minimalist materials and incorporating both natural and artificial lighting.

As a result, the space became one where the past and present coexist harmoniously.

The rectangular space, measuring 12.5m by 7.7m, was divided into two main sections. The artist’s workspace, with favorable lighting and a ceiling height of 4.5 meters, provides an inspiring environment for creativity.

The other section accommodates auxiliary functions

such as the entrance, a corridor, kitchen, storage, and a bathroom.

With a two-level design, the second floor functions as a resting area and meditation space, connected by a stair platform. The gallery, designed with a ‘room within a room’ concept, retains the original ceiling height and arched roof, creating a sense of reverence for the art displayed.

Drawing inspiration from the Song Dynasty’s “Walking and Dwelling” philosophy in Chinese landscape painting, the spatial layout fosters a timeless and scale-free atmosphere reminiscent of traditional Chinese gardens.

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fws_work has transformed a compact loft in Taipei, Taiwan into an artist's residence, imbuing every step, every moment, and every scene with a sense of poetic essence.

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Previous and these pages: interior of the Taipei loft designed by fws_work.

Project team: Yu-Hsiang Fu (Principal Designer) Construction Management: ArchinSpace Staging & Art Styling: Note In Silence.

Artwork: Genggeng Studio.

Photos: Suiyu Studio

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The owner of the loft in Taipei's Xinyi District is an artist who sought a serene and inspiring environment within the 700square-foot apartment. The design by fws_work embodies the concept of ‘a step at a moment creates a scene,’ where each step, each moment, and each scene is imbued with a poetic essence.

connection with the surrounding environment and inviting a sense of tranquility indoors. Strategically placed openings in the walls enhance the narrow staircase and small bedroom, capturing the dynamic interplay of light and shadow throughout the seasons, and blending the outdoor foliage with the indoor scenery.

By maximizing the high-ceilinged, open area with large windows, the interior is bathed in abundant daylight, fostering a

This approach transforms every corner into a unique, picturesque vignette.

The space is adorned with a palette of

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dark tones, creating a sense of depth and ambiance. The use of dark plaster and solid wood serves as a backdrop that amplifies the poetic atmosphere.

Tactile materials were selected to evoke a sense of tranquility and comfort, with handmade bricks covering the staircase, adding a nostalgic touch.

The original stone tile flooring has been preserved, further enhancing the overall aesthetic. Additionally, woven rattan

folding doors replace traditional solid walls in the tearoom, allowing light and shadows to permeate. These chosen materials and their arrangement infuse the space with warmth and serenity.

These pages: the interior is flooded with abundant daylight, for an inviting a sense of tranquility indoors. A palette of dark tones is creating a sense of depth and ambiance.

The use of dark plaster and solid wood provided a backdrop that enhanced the poetic atmosphere of the design.

fws_work is a multidisciplinary design studio based in New York and Taipei.

Their projects are rooted in rich concepts and narratives, a collaborative process, and a keen appreciation for detail.

The name ‘fws’ stands for ‘fellows.’

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These pages: fws_work embraced the concept of ‘a step at a moment creates a scene’, where every step, every moment, every scene is infused with poetic essence. Various openings were strategically placed in the walls, opening up the narrow staircase and small bedroom.

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pour le plaisir des yeux DESIGN MIAMI/ PARIS

Design Miami.Paris returned to L’hôtel de Maisons in Paris.

Contemporary highlights explored themes of materiality and pay homage to designers who sit at the pinnacle of their refined crafts.

A profound legacy of Modernism was honored through significant historic highlights.

Returning for the second time to L’hôtel de Maisons, the 18th century mansion in the cultural district of Saint-Germain-des-Prés, the event coincided Art Basel Paris in 2024.

Grela Orihuela, Design Miami senior VP of Fairs, commented: “This year we returned to L’hôtel de Maisons and brought over 20 of the world’s leading collectible design galleries together under one roof. Each gallery offered a unique exhibition of historic and contemporary pieces that came together to tell the story of great design across the rooms of the historic mansion, furnished by the greats of Modernism, through to emerging 21st century icons.”

OBJEKT International made its own selection for this production.

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Top left: Galerie Meubles et Lumières (Paris), the expert in the avant-garde 1960s French designers, presented works by creators who revolutionized the art of living. Highlights included works by Christian Adam, Pierre Paulin and Robert Mathieu, Below that: Nilufar Gallery (Milan) paid homage to the enduring legacy of vintage design, presenting an interplay of contemporary gems and vintage rarities. On show: masterpieces, spanning countries and masters, with contemporary works to underscore how the past continually informs and inspires the present. Highlights included a pair of dark-hued armchairs from Gino Levi Montalcini and Giuseppe Pagano, referencing to Nilufar’s specialism of Rationalist Movement.

Top right: Friedman Benda (New York/ LA) with Raphael Navot’s Encompass sofa and dr. Samuel Ross’ Amnesia and Anasthesia I. Joris Laarman’s Ply Loop Chair revealed a captivating study in form and movement that stretches traditional plywood’s possibilities to new limits. Other highlights included a rare and early ceiling lamp by Ettore Sottsass.

Below that: Galerie kreo (Paris) presented limited edition works by some of the most innovative designers of our time, many of which have found their way into the world’s most important public and private collections. A highlight of the gallery’s Paris presentation is the Tower Hills chair, one of the last designs by the late Virgil Abloh.

Photos: Ivan Erofeev.

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Left: Galleria Rossella Colombari (Milan) with Italian design from the past century, with a focus on 20th century polymath Carlo Mollino. Inspired by his legacy, the presentation was titled “Uno Studio di Interni Molliniano” .

On display: a series of historical Italian designs, designed by the most important Italian Architects between the 1930s and 1990s, including: Gio Ponti, Ettore Sottsass, Melchiorre Bega, Osvaldo Borsani, Gaetano Pesce and Carlo Scarpa, among others.

Next to it: Marc Newson's Pod of Drawers, presented by Carpenters Workshop Gallery (London / New York / Paris / Los Angeles).

It was awarded Best Contemporary Design Object. Newson was inspired by the 18th century style of André Groult, the famous French cabinetmaker.

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"This has been a pivotal year for Paris, and we are pleased to be returning to the cultural capital in fall 2024 to contribute to the creative momentum.

Design Miami.Paris marked a new key moment on the annual design calendar each October, with an ever-expanding design scene that we are lucky to be helping to cultivate, through a diverse set of contemporary and historic programming that captures the past, present and future of collectible design."

Design Miami CEO, Jen Roberts

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Left: Louis Vuitton with works by the Campana Brothers. Two iconic contemporary pieces, the Bulbo chair and Merengue ottoman, defined by monochrome blue, bold forms. The were in striking contrast to the ornate rooms of L’Hôtel de Maisons. The presentation coincided with Louis Vuitton’s newly unveiled exhibition in Paris, LV Dream.

Below on the left: presentation by Fornasetti partner of Design Miam/, Paris. Next to it: Galerie Desprez-Bréhéret (Paris) and Galerie Yves Gastou (Paris) presented creations by Jean Touret dating back to a significant chapter of his career, where he established the Ateliers of Marolles. Touret’s historic works were shown alongside contemporary pieces by Agnès Debizet. In the center: Galerie Mitterrand (Paris) with Mobilier de salle à manger by François-Xavier Lalanne. It was awarded Best Historical Design Object. The dining table was made in Lalanne's studio in Ulry, with a Carrara marble top resting on a construction of steel rings. The chairs are similarly structured, with thin curved steel slats holding shaped metal plates for the seat and back.

On the right: presentations by Galerie Scene Ouverte and Saint-Louis.

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Above: L’Hôtel de Maisons located in one of the most prestigious districts, Faubourg Saint-Germain, the 18th century mansion is an iconic landmark deeply rooted in Parisian history. The lavish hotel was home to several generations of the distinguished Pozzo di Borgo family, as well as celebrated fashion designer, creative director, artist and photographer Karl Lagerfeld.

Below that: Galerie DowntownLaffanour (Paris) placed 20th century French masterpieces in conversation with 21st century icons. A selection of works by French luminaries Charlotte Perriand, Jean Prouvé and Serge Mouille were presented alongside visionary works by Ron Arad, Choi Byung Hoon and Ettore Sottsass, demonstrating the profound influence of French Modernism across the globe, from one century to another.

Next to it: the unique setting of Design Miami/ in L’Hôtel de Maisons, Paris.

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Rural Chic in Tuscany

These pages: the Umberto121 project in a rural enclave located in a typical Tuscan building in the small historic center of Montisi (Montalcino). This village is part of one of the five municipalities included in the Val d'Orcia, a UNESCO World Heritage Site Photos: Meritxell Arjalaguer

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These pages: house has been renovated, maintaining authenticity and preserving the original architecture and the characteristics of the different periods it has lived through: frescoes from 1800, terrazzo from 1930, etc. The original building dates back to the 14th century.

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Umberto121 is a rural enclave nestled within a traditional Tuscan building in the small historic center of Montisi (Montalcino). e village is part of one of the five municipalities included in the Val d'Orcia, a UNESCO World Heritage Site. e owners, of Spanish and Italian origin, acquired the house in the summer of 2020, during the height of the pandemic, with plans to renovate it from afar while residing in Barcelona. A few months later, they decided to leave Barcelona and settle with their two daughters in this quaint village of 300 inhabitants. e original building dates back to the 14th century, though it has since acquired architectural and aesthetic elements from different periods. In the 1800s, Umberto121 and the adjacent structure were part of a single building dedicated to the production of pharmaceutical formulas, with Umberto121 serving as t he owner's residence. Over time, the property changed hands, and by the time the current owners purchased it, it was owned by a family of bankers.

Built upon several medieval structures in the heart of Montisi, the house boasts five double bedrooms, a spacious living room, a study, a fireplace, a kitchen, a dining room, and a garden. It covers a total of 350 square meters with an additional 400 square meters of garden space. e renovation was driven by the passion of the owners, who aimed to preserve the house's authenticity and honor its historical architecture and the distinct features from various eras: frescoes from the 1800s, terrazzo floors from the 1930s, and more.

“We sought the essence of the house, stripping away unnecessary elements added in recent decades and giving it only what it truly needed. When we first purchased the house, two of the rooms had frescoes, but we knew there had to be more. We eventually uncovered additional walls decorated with frescoes, revealing traces of its past,” the owners explain.

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These pages: the first floor has four double bedrooms, all with en-suite bathrooms.

The two frescoed rooms are separated by a large passageway with armchairs and a reading area.

Next pages: the authentic old elements throughout the project, are the essence of the created Tuscany chic.

An original feature they discovered from the 1930s was the graniglia (terrazzo) flooring, which has been carefully polished, and in some cases, stoneware layers covering the floors were removed. e owners strived to enhance the authenticity of each room, sourcing original lamps from different periods in local markets and acquiring furniture from various Italian and Spanish antique dealers.

Both the rooms and common areas have been meticulously restored, retaining their original features: antique doors, floors, exposed beams, and exquisite 19th-century frescoes.

On the ground floor, the main communal spaces include

the living room, study and library, dining room, kitchen, and garden, which is accessible from the kitchen and dining area. A newly designed double bedroom with an en-suite bathroom is also located on this floor, with restored frescoed floors and walls. e first floor houses four double bedrooms, each with an en-suite bathroom. While the terrazzo floors could not be preserved in these rooms, oak parquet was installed in the first two rooms. e two frescoed rooms are separated by a wide passageway, furnished with two armchairs and a cozy reading nook.

Now, each room in the house tells its own story and has a distinct identity.

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eldoradissimo bare feet and bikini environment

These pages: for the El Dorado house, interior designer Susan Marinello was inspired by cultural Mexico. Left an art work

by Tracy Stuckey, a custom made bench with Pierre Frey fabrics and a Stark carpet. Right: a Palecek console, a stool

by Pfeiler Studio and a vase, locally made in Cabo.

Photos: Aaron Leitz.

e Baja Peninsula, Pacific Northwest, has become much appreciated sun respite. Interior designer Susan Marinello created here a bare feet and bikini environment that connects to the sun with art, textiles and special artifacts were sourced both in the US and Mexico. She was inspired by the breadth of creativity shown by skilled artisans found in places like Mexico City and Oaxaca

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Designed for a Seattle-based, blended, Brady Bunch family of eight, this getaway home is located in the El Dorado Club, nestled between the towns of San Jose del Cabo and Cabo San Lucas. e interior was designed by Susan Marinello with architecture by Denton House Design Studio.

For residents of the Pacific Northwest, the Baja Peninsula has become a close and much appreciated sun respite. e 10,200-square-foot home is located at the top of the hill within the resort development and is part of a multifamily block called the Hilltop Villas.

Each building has four floors, split into two residences. is residence is on the third and fourth floor, with a rooop outdoor space.

By keeping the foundational pieces neutral with natural warm toned woods, Susan Marinello was able to create spaces that became the canvas for marrying textures, materials and elements that reflected the culture of the region.

Art, textiles, and special artifacts were sourced both in the US and Mexico. e majority of so goods and case goods were custom made for the project. e interior designer selected a Parota wood slab for the dining table, which is a native wood species in Mexico. Seagrass & rope materials were selected to add texture to area rugs, ottomans and lamps. e modern, white spaces throughout the house acts as a gallery to emphasize the bright, bold fabric patterns of the supporting pieces, such as the benches, pillows and ottomans. Neutral fabrics were selected for the seating to act as a canvas to the vibrant, contemporary fabric patterns and art works.

These pages: the living area with a yellow artwork by Ivan Carmona, a large painting by Frank Arnold, a custom made cabinet made out of Mexican Parota wood, table lamp and stools by Palecek, lounge chairs

by EJ Victor and a custom sofa and side table by Lily Jack. The table lamp near the window is by CB 2.

e owners were diligent about hunting for artwork that was either local or had a narrative tie to Mexico. e large piece in the living room is by a local artist named Frank Arnold. Together with the designer they were able to visit his studio in San Jose Del Cabo to view and select from his vast array of work. ey were inspired by the breadth of creativity shown by skilled artisans found in places like Mexico City and Oaxaca and

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selected handmade light fixtures to add the character of hand-touched work throughout the home. Indigenous woven baskets in the kitchen and a collection of animal masks in the bunk-room celebrate the culture of the area. e homeowners are always hosting family, friends and truly living in all the rooms. It is a bare feet and bikini environment that connects to the sun, exhales and provides deep breaths.

Left-hand page Top left: the master suite with a custom made bed and bench by Lily Jack, lamp with a shade from Mexican Otomi Textile and a night stand by Royal Custom Design. The floor lamp is by CB 2, the dresser by Four Hands and a rug from the Turabi Rug Gallery. Next to it: the outside terrace with a lounge chair by Room & Boardand a stool by Palecek. Below that: bunk beds by local F&M Furniture, table lamp by Anthropology and a rug from the Turabi Rug Gallery. Bottom right: the master bathroom with plumbing by Waterworks and an vintage Mexican rug.

This page; the outside terrace with cement tiles by local Mexican artisan, counter stools by Restoration Hardware and a surfboard by Garry Linden x St. Frank. The Susan Marinello project team consisted of Susan Marinello, Katie Quackenbush, Jordan Cresap and Zyanya Zaldo.

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These pages: the dining and kitchen area with pendants on the right from Leon Leon, Mexico city and on the left

by L’Aviva Home, Oaxaca, rainforest baskets by Tribal Weavers of Colombia, custom table by Warchol Woodworking and custom dining chairs and stools by Lily Jack

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Ferretti Yachts Infynito 80

Sustainable Enhanced Architecture

Left: the highlight of Ferretti’s Infynito 80: the iconic All-Season Terrace, an interesting architectural feature and the winner of some prestigious awards.

Above: the yacht, that was introduced at the 2024 Cannes Yachting Festival, sailing into the sunset.

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Ferretti Yachts Infynito 80, the model presented at the 2024 Cannes Yachting Festival, embodies the range’s signature characteristics: environmental friendliness, high degree of flexibility and innovative layouts.

The highlight is the iconic All-Season Terrace, an interesting architectural feature and the winner of some prestigious awards.

With a length overall of 23.70 metres (77ft 9in) and a maximum beam of 6.32 meters (20ft 9in), the yacht is the result of collaboration between the Product Strategy Committee led by Piero Ferrari and the Ferretti Group Engineering Department, with exterior design by architect Filippo Salvetti and interiors by Ideaitalia.

Infynito 80 has numerous new features, including the choice between an open or semi-open sundeck and the sheer size of the outdoor surface areas covered and protected by the hard top or superstructure.

This second model in the Ferretti Yachts range also features F.S.E.A. technology (Ferretti Sustainable Enhanced Architecture), a package of environmentally friendly cruising solutions. They include a fast displacement hull optimized to improve fuel consumption efficiency and to minimize environmental impact (while maintaining high levels of performance), a special focus on the use of green materials (such as natural fabrics, regenerated leather, recyclable materials, ecological water-based paints and lamellar teak with FSC 5 certification), and an integrated system that stores the solar energy collected by the photovoltaic panels installed on the hard top and on the roof of the All-Season Terrace in an Energy Bank, for enjoying life on board in ‘hotel mode’ for up to 8 hours at anchor.

The main deck showcases the range’s main features, such as the versatility of configuration, continuity between exteriors and interiors and the iconic All– Season Terrace. It has a 18-square-meterbeach area containing a sea-view sofa with a spacious built-in storage compartment. There is also a stern platform with a linear lift for launching and hauling up the tender, as well as for more convenient access to the water.

The cockpit is furnished with freestanding units, including Talenti sofas and low tables. A wide door opens onto the main lounge (26m2), which is surrounded by extensive glazing.

Moving towards the mid-section of the yacht, the dining area has a Cattelan Italia table seating six in the standard

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Above and top right: the main deck showcases the main features of the yacht, such as the versatility of configuration, continuity between exteriors and interiors. Interiors were designed by Ideaitalia. The mid-section consists of a dining area and has a Cattelan Italia table seating six, whereas in the optional version it can be replaced by a ‘country kitchen’ that leaves space for a bar counter with stools.

Bottom right: the extensive sun deck.

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version, whereas in the optional version it can be replaced by a ‘country kitchen’ that leaves space for a bar counter with stools. Further forward, the main galley by Ernestomeda is fully appointed, has ample storage space and can be separated from the living zone by a sliding glass door.

In the bow section, the fully recessed and electrically operated glazed surface opens to the All-Season Terrace.

Sheltered by an extension to the superstructure for greater protection and privacy, this 13-square-meter terrace is a comfortable private space containing a dinette area with either a table or a cocktail bar. It has direct access to the main galley through the opening glazed surface and the starboard side door.

The hallway separating the living area from the galley provides access to a dayhead on the starboard side and the wheelhouse, which is raised above the level of the main deck for greater visibility. It is fitted with an integrated Simrad Command bridge.

Ferretti provides the yacht with either a Classic or a Contemporary interior.

The sundeck comes in two versions: completely open, with a large hard top protecting and shading the helm station and dining area, or a semi-open, where the area sheltered by the hard top is closed by glazing that wraps around the entire bow section. This setting can be transformed into a completely closed space that can be climate controlled by adding an optional Norwegian enclosure aft.

The lower deck features four double cabins (master, VIP and two twins) with en-suite bathrooms, sleeping a total of eight. The master cabin (18 square meters) is in the mid-section and features an open-layout bathroom on the port side, graced by elegant, sophisticated materials such as Carnic peach blossom marble.

Top right: the master cabin (18 square meters) is in the mid-section of the lower deck and features an open-layout bathroom on the port side. Below That: the sundeck has two versions: completely open, with a large hard top protecting and shading the helm station and dining area, or a semi-open version.

Above: the cockpit, furnished with freestanding units, including Talenti sofas and low tables and the VIP cabin in the forward section.

The forward section is occupied by the VIP cabin, while the starboard guest cabin is also available with sliding beds and the port guest cabin can be furnished with a queen-size bed or bunk beds.

The crew quarters in the mid-section have independent access from the port walkway and contain two separate cabins (sleeping three), with a bathroom and a laundry station.

Infynito 80 can be powered by two 1200 HP MAN V8 engines (top speed 20 kn - cruising speed 15 kn) or two 1400 HP MAN V12 engines (top speed 22 kn - cruising speed 17 kn).

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These pages: the stern platform with a linear lift for launching and hauling up the tender, as well as for more convenient access to the water. From this area, a few steps on either side lead up to the main deck and cockpit.

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