OBJEKT©INTERNATIONAL D23 by OBJEKT©International

OBJEKT INTERNATIONAL

LIVE THE DREAM

since 1991

From magnificent shining sunlight and classic artificial lighting to the most inventive light sources in all their forms this edition of OBJEKT ©International is brimming with them. Spring 2025 once again marked the return of Euroluce, the biennial lighting magnet held as part of Salone del Mobile/Milano.

Light is essential to life, to art, and to so much more Today’s light creators clearly understand that, thanks to the most innovative new technologies, light can now reach even the smallest corners appearing in virtually any shape and color

The direct connection between sunlight and sustainability is powerfully illustrated in the production covering the second edition of the Solar Biennale, with a landmark program curated and hosted by mudac –the Museum of Contemporary Design and Applied Arts in Lausanne, Switzerland

Equally compelling is the story of architecture designed to fight malaria This is not about gleaming architectural over statements, but about design in service of public health. Star Homes presented their anti-malaria initiatives at Milan Design Week 2025 Curated by the Royal Danish Academy, the exhibition spotlighted the architectural, clinical, and social research conducted by Jakob Knudsen, Salum Mshamu, and Lorenz von Seidlein.

#D 23

OBJEKT© INTERNATIONAL

Living in Style no D23 summer 2025

OBJEKT INTERNATIONAL HF Publications Willemstad Curacao

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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: Gieves Anderson, Alexis Armane, Christian Altorfer MAtteo d’Angelo, Alaia Fonk, Hans Fonk, Douglas Friedman, AndrewGiammarc, François Halard, Julien Lanoo,Gilles Martin-Raget, Javier Márquez, Alessandro Muner, Jade Queré, Studio Maximilian Beck.

C0ver: Straight outa Vegas

For this issue

Graphics: Hans Fonk Studio

Art directors: Hans Fonk, Alaïa Fonk

Video productions: Alaïa Fonk

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FOREWORD

EGG COLLECTIVE, NEW YORK CIT Y

HOUSE FIGHTING MALARIA ROLF SACKS

WHAT IS IN A LAMP

PHILIPPE ZANOLINO

HAORI - JAPAN

GOOD SELECTION

TRITIUM WINERY MERCER ISLAND

CASINO ROYAL, FRANCE

VILLA HÉRITAGE, MILAN

SOUND OF THE ATLAS MOUNTAINS

EUROLUCE

SOLAR BIENNALE

WINDERKAMMER 2.0

VILLA MEDICI ROME

STRAIGHT OUTA VEGAS

WALLYROCKET51

CURAÇAO MONUMENT RESTORED PRINTEMPS NEW YORK

OBJEK T INTERNATIONAL INFO

Coquillade Flower No 5 by Hans Fonk

photo printed on art paper

Fonk Spor thorses - Top Quality Horse Training and Breeding

www.fonkspor thor ses.com

Izabel Fonk with Toto’s Maxima - D Toto’s Boy x Scandic, Mare, 2019.

Backstories. The Book.

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 ar t 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 myster y

www.backstoriesbook .com

egg collective, new york city

KNOCK ON WOOD

Sentinels from another time, trees have long been woven into folklore, religion, worship and superstition. In fact, humankind’s connection to forests, and the trees that grow within them, is as old as history itself. To carve, craft or manipulate a piece of wood is to enter into an ancient tradition and relationship, the roots of which are present to this day in our superstitions and our language.

In ancient pagan cultures it was believed that Spirits lived in trees. Therefore, touching a tree would have been a way to call on the Gods in order to ask for protection, show gratitude, or ward off bad luck. The phrase ‘knock on wood’ is thought to stem from this belief.

In 2025, Egg Collective, New York City, hosted Knock on Wood an exhibition focused on contemporary artists who manipulate wood and investigate chance in their process. Playing on themes of luck, while also exploring the idea of material kinship, Knock on Wood aimed to reanimate one of the most ubiquitous materials with its due nobility, warmth and majesty. Photos: Chris Mottalini

T H E H O U S E THAT F I G HTS M A L A R I A

The Star Homes project is focused on innovating rural housing for better health outcomes in Tanzania. It comprises 110 identical, single-family homes constructed across 60 villages in rural Mtwara one of the most underserved regions in Tanzania, where rates of malaria, respiratory infections, and diarrheal diseases remain high.

These homes integrate a series of healthfocused design innovations into a single housing model and serve as the foundation for a randomized clinical trial. The objective is to generate robust evidence on whether improved housing conditions can directly enhance family health. Interim findings from the first two years of the study indicate a one-third reduction in malaria and diarrheal diseases, improved growth outcomes among children under five, and a 50% decrease in indoor mosquito presence

In development for over a decade, the Star

Homes Project seeks to create novel, costeffective, comfortable, and insect-resistant housing to improve public health in rural Sub-Saharan Africa The initiative also aims to build local capacity by sourcing materials and labor within Tanzania and training local teams in construction The result is affordable, highquality housing built by the communities it serves.

The homes have been designed for scalability and efficiency, minimizing environmental impact and construction costs. Unlike traditional rural housing in Tanzania, the prototype features a two-story design, which reduces the footprint of the foundation and roof typically the most expensive and resource-intensive elements

Many existing rural homes in the region fail during the rainy season, often due to poor foundation quality To address this, each Star Home is built on a raised concrete plinth, cast in a single pour for enhanced durability,

and backfilled with compacted earth from latrine pits to reduce the use of concrete and eliminate the need for hardcore.

The structural frame is constructed from 0.75 mm prefabricated light gauge steel (LGS) members, bent in two directions for added strength and assembled into panels that can be erected by local workers in under two days The walls, while appearing solid, are hollow comprising two thin layers of cement render applied to a wire mesh This design uses 70% less concrete than conventional concrete block construction and reduces embodied energy by 40%

Operational energy efficiency is a central feature of the design, particularly given the off-grid locations and limited financial resources of homeowners. A custom-built, prefabricated stove reduces fuel consumption by one-third and safely vents smoke outdoors. Replaceable shade-net façade panels

block mosquito entry and enable passive cooling and ventilation, resulting in nighttime indoor temperatures that are, on average, 2.5°C lower than those in traditional mud homes

A 40W solar panel provides lighting in each room and USB charging capability Rainwater is harvested via the roof and stored in a 2,000-liter tank using a first-flush system assembled from readily available components, supplying residents with clean, free drinking water.

As part of its third edition, the LABÒ Cultural Project invited Star Homes to present their work at Milan Design Week 2025 Curated by the Danish Royal Academy, the exhibition highlighted the architectural, clinical, and social research conducted by Jakob Knudsen, Salum Mshamu, and Lorenz von Seidlein. The showcase not only explored data-driven outcomes but also illuminated the human stories behind the project through compelling narratives and photography by Julien Lanoo.

be-rühren

Rolf Sachs in Kunsthalle Schweinfurt

Kunsthalle Schweinfurt is presenting Rolf Sachs: be-rühren, the most comprehensive institutional exhibition of the artist’s work to date Spanning from the 1990s to the present, the exhibition offers an in-depth survey of Sachs’s multidisciplinary practice. The title be-rühren - a wordplay on the German verb for ‘to touch’reflects the artist’s ongoing interest in exploring human emotion and sensory experience through a deeply empathetic lens.

A key component of the exhibition is the section titled A New Interpretation of Form and Function This features the first presentation in over 30 years of Sachs’s modular furniture series p-arts + fun c'tion. Sachs distills furniture to its essential geometric elements - angles and cubes - eschewing conventional construction techniques His chairs, armchairs, and desks are assembled entirely without nails or screws, relying solely on gravity and friction. None of the pieces are fixed; each one remains in flux, capable of infinite reconfigurations

This dynamic quality invites ongoing reinterpretation and imbues the work with a unique sense of autonomy. Since 1992, Sachs has also continuously reimagined the iconic Horgenglarus chair - an archetypal functional object typically found in schools and administrative buildings.

Through the use of unconventional materials such as silicone, slate, wax, felt, and resin, he transforms this utilitarian form, offering new perceptions with each iteration. With every revision, this humble chair is endowed with a renewed ‘ sense of self,’ underscoring Sachs’s interest in identity, transformation, and the poetic potential of everyday objects

Above: Ralf Sachs in his studio. Right-hand page.

Top: Equal Parts Revised, 2008 Below that: Dirty Thoughts, 2009 and Half Chair, 1992. Center page: Köln Tailor Made, 2008, option 3. Right: Sisyphus, 2011.

Images: Courtesy Rolf Sachs Studio.

What’s in a Lamp?

Foscarini Artistique

Over two years of work, 17 international artists, and more than 100 original images: the communication project What’s in a Lamp? by Foscarini continues to evolve

Launched in 2023, What’s in a Lamp? celebrates creative freedom, artistic exploration, and the beauty of diversity Foscarini has invited international artists and content creators from across the visual arts spectrum ranging from illustration and motion design to painting and clay modeling to reinterpret its lighting designs These collaborators have been given full creative freedom to experiment, surprise, and craft personal, distinctive visions

At the heart of the project lies a simple yet powerful idea: to break away from conventional social media communication in the design sector, and instead foster a unique, evolving narrative Artists are encouraged to express their individual talents, drawing inspiration from Foscarini’s lamps, and reimagining each piece not merely as a design object, but as a visual work of art

Previous page: an artwork by Giona Maiarelli for the What’s in a Lamp? exhibition by Italian light specialist Foscarini.

These pages Above: artwork by Lee Wagstaff and on the right by Luccico.

This page: artworks for the ‘What’s in a Lamp’ exhibition by Foscarini, Milan 2025.

Top left: artwork by Francesca Gastone and beside it Mattia Riami.

Right: Kevin Lucbert.

Below left: Alessandra Brun and beside that Jim Stoten.

The result is a dynamic and ever-growing narrative, where each lamp becomes an expressive medium capable of evoking emotion, sparking thought, and creating connections

Each artist develops six original pieces of content, released over six weeks a curated calendar of fresh perspectives on the theme of light This creative journey invites reﬂections on the role of Foscarini’s lamps in shaping and deﬁning a personal sense of home

The project also unfolds on a deeper level through storytelling on Foscarini’s website, offering insight into each artist’s vision, inspiration, and creative process

Through interviews and reﬂections, the initiative highlights the uniqueness of each contributor, opening new perspectives and inviting audiences to engage with a more open, curious, and i maginative outlook

To date, the project has featured 17 artists ranging from renowned names to emerging talents on the international scene including: Luca Font, Noma Bar, Oscar Pettersson, Federico Babina, Maja Wrońska, Kevin Lucbert, Alessandra Bruni, Luccico, Stefano Colferai, Fausto Gilberti, Lee Wagstaff, Francesca Gastone, Antje Damm, Mattia Riami, Bennet Pimpinella, Giona Maiarelli, and Jim Stoten

At Milan Design Week 2025, the project took on a physical dimension with an immersive installation by Bennet Pimpinella at Foscarini Spazio Monforte Using his distinctive technique of scratching and coloring directly onto ﬁlm, Pimpinella created an emotionally charged narrative of light and shadow, producing scenes rich with surreal atmosphere

“Foscarini is a company driven by ideas, curiosity, and a desire to experiment,” says Carlo Urbinati, President and Founder of Foscarini

“We were looking for a more distinctive approach something that aligns with our spirit to tell our story on social media What’s in a Lamp? is a solution that embraces the limitations and potential of the medium, while creating space for creativity, stimulating dialogue, and fostering the exchange of knowledge and experiences ”

This desire for freedom and experimentation has long been a deﬁning force for Foscarini, a brand that for over 40 years has stood out for its independent thinking and rejection of boundaries Its collection includes more than 50 families of lamps, with over 200 models that span a wide range of materials, styles, technologies, and designers a true kaleidoscope of artistic voices and visions

“We’ve learned that creative freedom is what allows us to see new perspectives,” adds Urbinati

“Art and design speak a universal language and through digital channels, we ’ re able to connect with a global audience and sparking inspiration ”

Above: an artwork by Maja Wronska and on the right a work by Giona Maiarelli.

Nestled on the narrowest stretch of the Caribbean island of Curaçao, this residence is a veritable camera magnet. A vibrant fence marks the place with beyond it a merry-goround of large sculptures, and within, an avalanche of paintings. From the roof to the floors, every corner of the space is filled with the creative output of its inhabitant. This is the domain of Philippe Zanolino, a creative force of nature. Born in Périgueux, France, he eventually settled here following a tumultuous life journey that took him from his homeland to Guadeloupe, then to St. Maarten, and finally in 1986 to Curaçao. The title of this production, The Great Spiritual War, refers to one of his most significant paintings and alludes to the work of René Magritte, an artist whom Zanolino admires.

THE GRE A T S

WAR

One of the rooms in the house and studio of Philippe Zanolino on the Caribbean island of Curaçao. It is his Ashram of the arts: the artist’s spiritual space where he creates like a force of nature.

These pages

Below: Philippe Zanolino with his wife Ingeborg Bosch.

Right: the spiritual world is of great inﬂuence on the works of Zanolino as this mix media work illustrates.

Photos: Hans Fonk

Since Philippe Zanolino's arrival in Curaçao, he has been an integral part of the visual arts scene Initially residing in his seaside home in the Marie Pompoen area, he has since relocated to Bandabou, centrally located on the island. Here, he is able to be closer to nature and fully dedicate himself to his personal mission He leads a reclusive lifestyle, practicing daily meditation and following the teachings of Indian guru Sathya Sai Baba (1926-2011)

From the road, the house presents a colorful statement, with large sculptures and a gate ador ned with street signs and traffic symbols Beyond this barrier lies a garden walhala and a porch filled with more objects and paintings Entering the house from the porch, one is immediately immersed in walls ador ned with paintings, complemented by large wooden and iron sculptures.

The house is divided into a main living area, a dining area with an adjoining kitchen, a meditation room on one side, a bedroom with a bathroom at the rear, and, on the other side, a hallway leading to the studio Behind the house, a garden features a watchtower and an office. The entire space is infused with Zanolino's art.

At the age of 25, Zanolino decided to pursue his passion for creating art He has participated in numerous exhibitions and prestigious biennials, with his works exhibited across every continent

Zanolino reflects: "The most important achievement has been realizing that the universe is highly intelligent and guided. I have lear ned to intervene as little as possible, allowing creative intelligence to operate with minimal limitation

Only then do true miracles occur those that cannot be understood but can only be observed This, I believe, is the future not only of art, but of all fields, once we recognize our smallness and limitations as individuals. The best we can do is to be of service to all, and in doing so, the universe will make better use of us 'Love for love' is always my motto But Love doesn’t fall from the sky like a dead bird It is an active process, and it involves you personally "

These pages

The mai n area in Zanolin o’s h ouse is an avalan che of pai ntings, large scul ptures and smaller creative objects with each it s o wn meanin g an d spiritual character. On th e left is th e medit ation space and behi nd t he main area, t he din ing space with the k itchen. Behind that is th e master bed ro om with b athroom bordering a garden wit h a large Banyan tree and a watch t ower.

“Love doesn ’ t fall from the sky like a dead bird. It is a very active process and it involves you personally.”

Left-hand page: Love warriors and other small object in front of iron and wooden creations This page: large object made out of a windmill, details of iron crations, the dining area and the front side of the house.

Although Zanolino lacks for mal artistic training, this has not hindered him from producing an e xtraordinary body of work. Over the years, his art has become increasingly spiritual, aligned with his mission to convey spiritual insights through his creations His works contain layers of meaning that reveal the profound wisdom of the soul

In his paintings, Zanolino employs recurring symbols, which act as keys to unlocking the encrypted messages within his art. Symbols such as the dog, the bird, and the white dot appear time and again The word "Dog" becomes "God" when read backward, and the flight of a bird "Vol" in French becomes "Love" when reversed The white dot, a small untouched circle on the canvas, symbolizes the pure and untainted essence of life.

Zanolino explains, "W ith my art, I make the invisible visible I do not imitate reality; rather, I share my experiences with the world It is an experience that may not be immediately understood, but it can still be accepted " He also emphasizes, "Art opens the heart."

These pages: large wooden sculptures in the interior and on the front porch by Philippe Zanolino. In the late 80th he began exploring a new medium: sculpture made out of wood. They are meticulous crafted sculptures made out of local woods. Next pages: the porch with an overload of paintings, sculptures, metal assemblage objects and paintings. It is the social center of the house.

Museo d’Arte Orientale Turin Italy

HAORI MEN’S CLOTHING FROM THE EARLY TWENTIETH

CENTURY

TELLS THE STORY OF CREATIVE REFINEMENT IN JAPAN

These pages: formal Men’s OverKimono Jacket (Haori) depicting the entry of the Japanese Army into Mukden (formerly Shenyang, Manchuria) (detail) Japan, post-1905 (within the ﬁrst four decades of the 20th century).

Black silk taffeta (habutae); lining in silk taffeta decorated using the katayuzen stencil technique and ﬁnished with freehand brushwork.

Photos: Alessandro Muner.

Top Right:

Formal Men's Over-Kimono (Haori) with Confronting Dragon and Tiger, Japan, 1920–1940. Black silk taffeta; lining in hand-painted silk taffeta with ink.

Dimensions: H 91 × W 129 × D 48 cm.

Private Collection

Below:

Child’s Kimono depicting military themes from ancient Japan (Port and warships, arrows, armor, horse bits) on a green and light blue background. Japan, ﬁrst half of the 20th century. Silk taffeta with stencildyed pattern (katayuzen); lined in silk taffeta, lightly padded. Two damask silk twill ties attached.

Right-Hand Page:

the

Royce Ng - Kishi

Vampire, 2016 Video. Video still: Courtesy of the artist.

Photo: Christian Altorfer.

Haori. Men’s Clothing from the Early Twentieth Centur y Tells the Stor y of Japan presents a distinctive narrative of Japanese material culture throug h approximately 50 haori and juban the traditional g arments worn over and under men ’ s kimonos, respectively Held at the Museo d’Arte Orientale in Turin, Italy, the exhibition oﬀers a fresh perspective on East Asian art, hig hlig hting sophistication and reﬁnement as essential elements of Japan’s cultural histor y spanning fashion, interior desig n, architecture, and be yond.

e intricate decoration of these g arments is not only a testament to exceptional crasmanship but also ser ves as a historical document, oﬀering insig ht into early t wentieth-centur y Japan a period marked by rapid modernization, cultural shis, and g rowing imperialist ambitions

e inclusion of works by contemporar y artists invites critical reﬂection and encourag es visitors to navig ate the complex historical relationships bet ween Japan, China , and Korea during this transformative era

“Reveal, do not display ; suggest without disclosing”— these are the g uiding principles of Japan’s millenniaold cultural philosophy, which seeks equilibrium in a constant interplay of presence and absence, solidit y and emptiness, all in pursuit of harmony

Clothing plays a central role in shaping social s tructures and spaces within Japanese societ y. While women ’ s kimonos have long captivated scholarly and popular attention, men ’ s g arments remain relatively underexplored Yet, men ’ s clothing represents a s ig niﬁcant and nuanced aspect of Japan’s rich textile tradition Whether austere ceremonial wear or humble g arments for daily life, men ’ s kimonos en capsulate a private world, oen accessible only within the home or during intimate encounters.

e inner lining s of haori and the entire surface of juban re veal the wearer ’ s inner world throug h s ophisticated imag er y seductive or narrative, expertly painted or woven, rendered in exquisite detail or e voked with minimal brushwork

ese visual elements recount the cultural fabric of Japan, referencing literature, the art of war, nature, and my tholog y

Traditionally viewed as expressions of personal intimac y, the haori and juban showcased in this exhibition

take on new interpretive layers e y address vital contemporar y themes, including Japan’s t wentiethcentur y expansion across Asia and the broader s ocio -political dynamics of the era . Notably, the exhibition explores the role of propag anda , disseminated not only throug h conventional media but also, unexpectedly, via clothing including children’s g arments.

Western perceptions of Japan oen remain bound to a romanticized, traditional imag e In contrast, the decorative motifs on men ’ s g arments re veal a more complex Japan one that embraces both the multifaceted my th of the West and an assertive sense of national pride ese themes converg ed in the countr y ’ s technolog ical advancements and ﬁerce defense of its identit y before and during World War II.

is historical leg ac y continues to resonate today, e ven be yond Japan’s borders Contemporar y installations and video works enriching the narrative with reﬂections that bridg e past and present

e exhibition was curated with the expert g uidance of Silvia Vesco (Professor of Japanese Art at Ca’ Foscari Universit y of Venice), Lydia Manavello, and You Mi ( independent curator and Professor of Art and Economies at the Universit y of Kassel ) It was realized in collaboration with MAO Director Davide Quadrio and curators Anna Musini and Francesca Filisetti, with the assistance of Francesca Corrias.

Above: men’s informal overkimono (haori) jacket with ship leaving a dock (detail) . Japan, 1920-1940. Black silk crepe; silk

lining decorated with mask (katayuzen) and ﬁnished with freehand brushwork. Private Collection. Right: detail of the artwork on the haori.

taffeta

G O O D F E L L A S

G o o d S e l e c t i o n - T h e I t a l i a n Jo b

Good Selection is a group manifestation, initiated and orchestrated by designers Lucas Zito and Marika Caputo that stands out for its collaborative ambition and international scope It brings together over 60 international designers in a spirit of collaboration and networking Conceived as a laboratory for encounters and exchanges, the exhibition brings together talents from all over Europe and beyond, offering an insight into contemporary creation in all its forms After the first edition during Paris Design Week, Good Selection gave acte-de-pésence during the Milan Design Week 2025 under the title ‘No Selection’

The Italian job took place in a mysterious and closed place that sparked curiosity without revealing anything, it opened up to freedom of expression

M A N I F E S T O

In a manifesto the people behind the exhibition stated: “In an increasingly dominated sector by complex commercial mechanisms, Good Selection is an accessible and non-profit alternative that frees artists from intermediaries and the high economic impositions characterizing the traditional design market.

The elimination of any type of filter creates a more transparent and accessible sales system, giving full autonomy back to the designers The exhibition of works does not imply giving up one’s economic autonomy; on the contrary, the sale guarantees a full profit for the artist, without any commission ”

“An exhibition for us, by us’ is our motto that encapsulates the spirit of the project conceived and realized by designers, for designers This is why the project carries an intrinsic, indissoluble bond between artists in its DNA, rooted in the awareness of being valued and understood.”

I t i s m a d e f ro m a s i n g l e p i e c e o f s t a i n l e s s s t e e l . T h e s t e e l p i n k s t o o l i s by M i l e s l e G r a s , t h e 0 . 4 c o f -

fe e t a bl e by S a i . E S t u d i o

a n d t h e U n t i t l e d O b j e c t

fo r S t o r age I I I by S i g u rd

N i s S c h e l d e . S t e e l , p ew t e r, ny l o n m e s h . T h e

f l o o r l a m p i s by S t u d i o Fr a n c h e .

P h o t o s : S t u d i o M a x i m i li a n B e c k .

T h e s e p age s

L e f t : p a n t i n g ‘ I n s t a n t o f a

m ov i n g L a n d s c ap e ’ by

E t i e n n e G aya rd . A c r y l i c

o n c a nv a s

H 1 0 6 x 1 6 0 c m . T h e Pa t c h

f l o o r l a m p i s by L u c a s

Z i t o, t h e r aw s t e e l P i t -

bl o c k t a bl e by R X R a n d

t h e N o. 1 c h a i r by S a i . E

S t u d i o.

R i g h t - h a n d p age : AG F - 0 1

c a b i n e t by A u re l e e n

Vey r a t a n d o n t o p o f t h a t

t h e Pa t c h l a m p by L u c a s

Z i t o. T h e Pa t c h c o f fe e

t a bl e i s by L u c a s Z i t a n d

t h e v a s e i s by Jo b v a n d e n

B e r g . T h e c o p p e r w a l l p i e c e i s by Pe p e Va l e n t i a n d t h e c e i l i n g l i g h t i s by

L a u re P h i l i p p e .

They continued: “Although the excellence of design is showcased, the silent struggle of each artist is never forgotten: the twists and turns of the paths that lead designers to be recognized as such are often the common denominator

In fact, every artist shares an experience that translates into an authentic connection, fostering the creation of a dynamic and self-sustaining community where collaboration and mutual s upport are fundamental pillars.

What is sought for is the complementarity and completeness of the pieces. The goal is to incorporate a wide variety of techniques, cultures, and disciplines, hoping that these can serve as inspiration for others and a stimulus for growth ”

In this new scenario, the artist is no longer just a creator but also a promoter and guardian of its own value, capable of establishing an authentic relationship with the public .

C U R A T I O N

The Milan exhibition unfolded through different setups, where objects from various artists interact with each other, creating micro-scenarios that are either opposite or complementary. Each pairing became an act of enhancement, a moment in which the object itself emerges, revealing new potential

The spectacle transformed into a promenade through different works and personalities: a path that guided the spectator, allowing them to immerse themselves in a plurality of universes, each with its own power and perceptual capacity

The fluid exploration of the space and objects in their entirety enabled the global audience to feel more involved The intent was not to elevate the objects to the status of a isolated works of art, but to bring them closer to the audience, so that it can be experienced personally and, most importantly, connected to each individual’s daily life

L e f t - h a n d p age : L i q u i d

Va s e by D o r i a n R e n a rd .

A c r y l i c o n t o p o f

G r a n l a n d , c i rc u l a r

f u r n i t u re by M a t t i s s o n .

B e h i n d t h a t a c o f fe e t a bl e by M a x i m i l i a n B e c k .

I n t h e b a c k g ro u n d l e f t a

Pa n s t o o l by L u c a s Z i t o, a

To u r t e re l l e f l o o r l a m p by

M i l e s l e G r a s , a c u r ve d ,

o r g a n i c fo r m by A t e l i e r

S e n i m o a n d a r p o u n d

s o f a by W K B D L a b.

A g a i n s t t h e w a l l t h e E l

M a r p i e c e by Pe p e Va l e n t i .

C h ro m e p l a t e d s t a i n l e s s

s t e e l .

T h i s p age : f l u i d fo r m s , s

o l i d i f y i n g m ove m e n t i n t o

m a t t e r by S t u d i o Jo a c h i m

M o r i n e a u . B e h i n d t h a t a

t a bl e by M a x i m i l i a n B e c k

a n d a l o u n ge c h a i r by

A r n o H o og l a n d . L a m p s a re by A e d i t t o.

Tritium Winery - La Rioja

rich dark matter

The design of the Tritium Winery in La Rioja, Spain, much like its wines, tells a story of striking contrasts—where the old meets the new, complexity balances simplicity, and light plays against shadow. Situated in the town of Cenicero, the project masterfully unites the restoration of a historic building with the addition of a contemporary structure, its façade of charred wood evoking the form of a wine barrel. Designed by Francesc Rifé Studio from Barcelona, the new construction was conceived to complement rather than overshadow the original 15th-century edifice.

A central element of the renovation was the revival of an underground cellar, accompanied by the creation of a reception area and a versatile space that seamlessly adapts as a dining hall, tasting room, or venue for training events. The new architectural volume introduces a rich, dark material palette—stained oak wood, black steel, and burnt pine—which not only accentuates the historic ashlar stonework but also ensures durability while contributing to optimal wine preservation.

The underground cellar, extending 36 meters in length and descending 7 meters in depth, has been reimagined with smoked grey glass doors

These pages: like its wines, the design of the Tritium Winery in La Rioja, Spain, reads like a story of contrasts: old and new, complex and simple, light and dark. Located in the town of Cenicero, the project combines the renovation of a pre-existing building with a new structure whose façade, made of charred wood, evokes the shape of a barrel. It was a creation by Francesc Rifé Studio.

Photos: Javier Márquez

and a refined metal framework. This carefully orchestrated interplay of materials and light reveals its spaces in a gradual, theatrical sequence, unveiling the barrel storage, tasting area, and an archival repository of historical vintages.

Beyond enhancing the aesthetic dialogue between past and present, the architectural intervention has rationalized the spatial layout, fostering a more fluid and efficientcirculation. The reception area and entrance to the new cellar lead into a transitional zone that connects to the production and logistics room, where visitors can observe the steel, concrete, and ceramic grape-pressing tanks through a glass and lattice partition.

The corridor opens into a dramatic double-height space, providing access to the old cellar and framed by a sculptural staircase ascending to the first floor.

The wooden-clad railing seamlessly transforms into a tasting bar, beyond which lie an office, kitchen, restrooms, and the multipurpose hall.

Returning to the ground floor, the journey concludes at what was once the main entrance, now reimagined as a sales and exit point, marking the perfect synthesis of heritage and innovation.

These pages: the new construction sought to complement the original building which dates back to the 15th century. The designers recovered of an underground cellar and constructed the addition of a reception and multi-purpose room that works well as a dining room, tasting room or to host training events.

Next pages: new architecture rationalized the space, creating a more efﬁcient circulation. The entire dark narrative unfolds in stained oak wood, black steel, and burnt pine.

Mercer Island Residence

OTTERS, TURTLES AND BEAVERS

Nestled just steps from the shores of Lake Washington, Wshington State, this Mercer Island residence is more than a home it is Nestled just steps from the shores of Lake Washington, this Mercer Island residence is more than a home it is a dynamic dialogue between architecture and nature, past and present.

Embracing its natural surroundings, the house invites the outdoors in, creating a seamless integration with the landscape.

Originally designed in the early 1970s by architect Reid A. Morgan Jr., the seven-level structure has been thoughtfully reimagined by Seattle-based Studio AM Architecture | Interiors.

In honoring the home's architectural legacy, Studio AM transformed a formerly dark, enclosed space into a luminous sanctuary where nature flows effortlessly through every room

“It was one of the first homes built in the neighborhood, and with its distinctive descent from the street to the lake, the design had to support a continuous flow through all seven levels,” says Michael Troyer of Studio AM.

With otters, turtles, and beavers frequenting the nearby waters, the home naturally draws in life both wild and human

As homeowner Kent Sacia reflects, “This place was ahead of its time. And today, it’s more relevant than ever. ”

Previous pages: the interior of the Mercer Island House is a celebration of contrast and character. Because it’s on the water, the designers chose a neutral base palette and layered in colors like deep blue , burnt orange , and golden yellow to echo the garden and the lake .

These pages:

Left: most transformative spatial inter vention is the once-enclosed corridor, a glass-lined galler y that frames the central cour tyard. It has become a contemplative passage anchored by three totem sculptures by ar tist Steve Jensen.

Above: Landscape architect Dan Groves infused the exterior with a serene , contemporar y Zenlike aesthetic that complements the home’s midcentur y lines.

Photos: Andrew Giammarco.

Designer Danielle Krieg adds, “Throughout the renovation, we remained faithful to the original architectural language while adapting the home for contemporary living Every element from curated artwork and bespoke lighting to a bar-height table that bridges the living and dining areas was designed with intention. Our clients were open to new ideas, and that spirit of collaboration allowed us to create something timeless and personal ”

Upon arrival, the interplay of past and present is immediately evident. The previously exposed roofline at street level is now elegantly concealed behind blackenedsteel cladding, giving the home a refined, contemporary silhouette.

Inside, the transformation continues.

Original cedar paneling, characteristic of Pacific Northwest design, has been selectively preserved to maintain warmth and texture, while new openings and lighter materials introduce brightness and modernity.

“We wanted to bring in more light without stripping the home of its soul,” Troyer explains

According to Krieg, the interior is a study in contrast and character essential for reflecting the personality of its current owners. With its lakeside setting in mind, the design team chose a neutral base palette, layering in deep blues, burnt oranges, and golden yellows to echo the surrounding garden and water.

t a l t o

c o nvey i n g t h e p e r s o n a l i t i e s

o f t h e ow n e r s . B e c a u s e i t ’s

o n t h e w a t e r, t h e d e s i g n e r s

c h o s e a n e u t r a l b a s e

p a l e t t e l aye re d i n c o l o r s

l i ke d e e p bl u e , b u r n t

o r a n ge , a n d go l d e n ye l l ow

t o e c h o t h e g a rd e n a n d t h e l a ke .

N ex t p age s : t h e b o l d k i t c h e n i s d e s i g n e d fo r

o p t i m a l c o n n e c t i o n w i t h

L a ke Wa s h i n g t o n .

The living room exemplifies this vision. Anchored by sculptural blue velvet lounge chairs and a bold orange accent piece, the space pairs tactile comfort with visual elegance Custom side tables, a striking pendant light, and organic materials such as carved wood stools and richly textured artwork create intimate destinations throughout the home.

“It was important to create flexible, inviting spaces where you could enjoy the view, curl up by the fire, or host guests,” Krieg notes.

One of the most dramatic spatial transformations is the once-enclosed corridor, now reimagined as a glass-lined gallery overlooking the central courtyard. This contemplative passage is anchored by three totem sculptures by Steve Jensen.

“That moment redefined the entire house,” says homeowner Lisa Sacia “It used to be an overlooked space, but now it’s one of our favorites.”

The connection between interior and exterior is equally impactful Landscape architect Dan Groves introduced a tranquil, modern Zen aesthetic that complements the home's midcentury lines.

Sculptural plantings from vivid hostas to elegantly shaped yews enhance privacy and offer seasonal interest, while whimsical container gardens by Michele Walker bring bursts of color and vitality to the patio.

Located in the heart of the legendary Palm Beach on La Croisette in Cannes, France, the Casino Royal Palm, reimagined and designed by the architectural duo Caprini & Pellerin, breathes new life into the timeless mythology of the French Riviera.

Drawing inspiration from the Art Deco movement, the space is a celebration of gaming culture, infused with theatrical ﬂair and a playful, immersive ambiance

For nearly a century, the Casino Royal Palm has embodied the elegance of a bygone era. Steeped in the glamour of the Belle Époque and rooted in Cannes’ enduring passion for gaming, it now enters a bold new chapter.

Originally inaugurated in 1928, Palm Beach has long stood as a symbol of Riviera prestige A distinguished venue for opulent galas and iconic filmsettings, it continues to reflect the region’s signature blend of refinement, glamour, and hospitality an enduring emblem of the Côte d’Azur In 2019, Caprini & Pellerin were entrusted with the prestigious commission to restore the iconic Palm Beach Collaborating closely with local artisans and trusted partners, the Cannes-based firm led the architectural reinvention of both interior and exterior spaces

A Legacy Revived

A historic destination for the international jet-set, the newly revitalized Casino Royal Palm seamlessly blends heritage with modern sophistication Classic games such as blackjack, punto banco, and roulette are reimagined in a space that pays homage to tradition while embracing contemporary elegance A majestic central bar invites guests to enjoy cocktails and champagne accompanied by the melodies of a grand piano moments crafted in pure Riviera style

The space resonates with the creative spirit of avant-garde icons like Meret Oppenheim, Marcel Duchamp, and Salvador Dalí, creating an atmosphere alive with bold artistic energy.

Right: the architectural duo Caprini & Pellerin gave new life to the Casino Royale in Cannes, French Riviera Originally inaugurated in 1928, Palm Beach has long stood as a symbol of Riviera prestige. Caprini & Pellerin’s vision was anchored in a reﬁned play of contrasts: ever y detail, ever y surface and material invites tactile and visual engagement. Photos: Alexis Armane, B/W photos: Jade Queré.

Scenographic Vision: Art Deco Meets Cinema

The design reflects a deep passion for gaming, expressed through a richly theatrical setting. Contrasts of softness and sharp lines, smooth finishes and raw textures, converge to create an immersive visual journey The Art Deco aesthetic is reinterpreted through a contemporary lens, influenced by fashion and film The project pays tribute to Jean-Michel Frank and draws inspiration from American Bauhaus for its minimalism and monumentality, while elements of Dadaism and Surrealism challenge norms and introduce an audacious, imaginative edge.

Guests enter through two distinct portals, each opening onto a curated universe. Draped textiles and sculptural reception desks evoke the whimsical elegance of Wes Anderson’s cinematic worlds a blend of nostalgia and modernity.

Flexible Spaces and Reﬁned Layouts

The casino features a grand main hall, two intimate gaming areas, and an entertainment zone complete with a bar and stage. Decorative elements such as faux balconies and elegant curtains create an atmosphere of reﬁned intimacy The interior palette, inspired by the venue ’ s historical archives, is dominated by soft peach hues echoing the

original façade Textile patterns inﬂuenced by haute couture ﬂow seamlessly across pastel and geometric carpets, reinforcing the space ’ s stylistic cohesion.

In the entertainment zone, a gracefully curved bar with a parchment-textured patina and Botticino marble countertop became the focal point A custom satin chandelier lends a burlesque aesthetic, while a small stage equipped with a grand piano features an ingenious curtain of inverted tin cones allowing it to pivot between the main hall and the bar for versatile performances.

Artistic Dialogue of Contrasts and Materials

Caprini & Pellerin’s vision is anchored in a reﬁned play of contrasts between matte and gloss, opulence and restraint, organic curves and clean geometries

Every detail, every surface, and every material invites tactile and visual engagement

The use of polished marble, textured plaster, and patinated bronze enriches the aesthetic language, creating a sophisticated balance between tension and harmony

In the main hall, a grand curtain subtly separates the table games from the slot machines This sculptural divider combines blocks of Brescia Fantastica marble with pleated hessian, embellished with hand-carved wooden details

The room is crowned by a monumental fresco depicting scenes from the world of gaming in Cannes, a tribute to the artist Israel Rubinstein

Above, a bronze patina chandelier evocative of ﬁne jewelry illuminates the space with sculptural grandeur.

Custom-designed furnishings in French-stained oak tables, sofas, and seating bear the signature of Caprini & Pellerin The walls blend waxed concrete, acoustic plaster, and geometric moldings, with a cleverly integrated frieze that conceals ventilation systems while framing the room elegantly

Floral bench seating and tulip-shaped table lamps add a feminine softness to the space, complemented by terracotta sconces by artist Guy Bareff, which lend a sculptural presence Modernist artworks grace the walls, echoing the legacy of great Riviera artists. Vintage furnishings were thoughtfully selected to ground the design in a sense of timeless authenticity

The rebirth of the Casino Royal Palm was made possible through the collaboration between the Partouche Group and the Palm Beach Group

These pages: the Ar t Deco style of Casino Royal was reinterpreted with a contemporar y vision inspired by fashion and cinema, creating a unique space. On the left the small stage with the grand piano, enhances the versatility with an ingenious cur tain made of inver ted tin cones, enabling a swift reorientation of the stage to face either the main hall or the bar On the right the blend of softness and sharp lines, smooth surfaces and raw textures is creating an immersive experience.

Next pages: the project honors Jean-Michel Frank and draws on American Bauhaus for its simplicity and monumentality, while touches of Dadaism and Surrealism challenge conventions and add an audacious ﬂair.

P i e r r e - Yv e s Ro c h o n fo r

S a l o n e d e l M o b i l e . M i l a n o

V I L L A H É R I TA G E

Above left: plum-colored library focussed on the transmission of knowledge and manual skills. The library, where books and textiles come together, is a tribute to knowledge that survives because it knows how to renew itself. Right: the winter garden room is inspired by the majestic glasshouses of the 19th century and is a tribute to Italian landscapes. It has reinvented its purpose, turning the space into a place of deep connection between architecture and nature. In the center, a Murano glass chandelier tells of plant worlds. Classic sofas, reupholstered with fabric in contemporary motifs, embody the dialogue between tradition and current creation. Left: Pierre-Yves Rochon.

Photos: Hans Fonk

At Salone del Mobile Milano 2025, a remarkable project broug ht to life an interior concept that challeng ed conventional notions of beaut y and time : V illa Héritag e. Conceived by renowned French architect Pierre-Yves Rochon, the installation underscored the sig niﬁcance of time and lived experience in interior desig n drawing from tradition while reinterpreting it throug h a contemporar y lens.

e project soug ht to honor the leg ac y of the past while projecting it into the f uture. V illa Héritag e was envisioned as a space where desig n becomes a shared, timeless lang uag e one that fosters dialog ue across artistic disciplines and invites reﬂection on the idea of cultural transmission.

Eleg ant and e vocative, the villa redeﬁned the parameters of interior desig n. It became a bridg e bet ween memor y and innovation, where luxur y extended be yond visual appeal to embrace a multi-sensor y experience rooted in harmony, culture, and timeless resonance.

At its core, the project posed essential questions : Why do certain forms and proportions continue to captivate across g enerations ? What renders an object truly timeless ? How can environments be desig ned

These pages: the bedroom is from being neutral and silent, it dialogues with pieces from different eras, from the most opulent to the plainest, allowing breathing space to each material and detail. At the windows, the Venice Lido is brought to life through images from Luchino Visconti’s Death in Venice.

to move people and etch themselves into collective memor y ? What is the relationship bet ween art, desig n, and materialit y ?

e answers emerg ed throug h a rich, multi-sensor y environment where lig ht, color, volume, and material coalesced into a perceptual lang uag e. is immersive experience transformed desig n into a living narrative that traverses time and shapes human experience.

e installation was a ke y element of the exhibition itinerar y A Luxur y Way, oﬀering a reﬂection on desig n as a universal lang uag e that bridg es tradition and innovation, past and f uture. More than a physical space, more than an artistic installation, V illa Héritag e ser ved as a sanctuar y within the Salone craed to inspire contemplation on the meaning of living and artistic expression.

Pierre-Yves Rochon remarked :

"Heritag e is not a limitation ; it is a source of freedom. By understanding and mastering the leg ac y of our cra, we g ain the tools to reinvent and redeﬁne desig n. V illa Héritag e celebrates this dynamic interplay bet ween histor y and contemporar y creativit y, eng ag ing all the senses in an experience where lig ht, texture, and sound e voke emotion.

Art remains our eternal inspiration, ele vating desig n into a timeless dialog ue with humanit y. "

Left: the play of mirrors turns the bathroom into a place suspended between reality and perception. A large wall of mirrors by Arte Veneziana fragments the space, multiplying the viewpoints and modulating the light in a choreography of reﬂections. Beside that: view through library to drawing room.

Exhibiting Brands at Villa Héritage: Annibale Colombo, Argenteria Schiavon, Arte Veneziana, Barovier&Toso, Barovier&Toso ARTE, Bellotti Ezio, Beltrami, Biancoperla, C G Capelletti, Casamilano, Devon&Devon, Francesco Molon, G. Moscatelli, Gallotti&Radice, Ghidini 1961, Golran, I BIAGI, I Dogi, Illulian, Jansen ,l'Opiﬁcio, Loris Zanca, Medea, Minotti, Moscatelli, ONIRO Group, Pozzoli, Pinetti, Ercuis & Raynaud, Rivolta Carmignani, Roberto Giovannini, Saint Louis Crystal, Salda, THG, Venini, Vetrerie di Empoli, Villari, Vista Alegre, Zanaboni.

Above: Villa Héritage’s Dining Room is a bridge between cultures and stories interwoven over time. The dark blue envelops the space, evoking the sea, movement and the elsewhere. It’s a color that conjures up a whiff of the trade routes, the inﬂuences of faraway lands such as Asia and India, reinterpreted over the centuries in European furnishings and the decorative arts Right-hand page: the drawing room is the link between opera and design, placing theatricality at the center of the space. The deep, omnipresent red evokes the scene, the curtains, the dramatic intensity typical of the great Italian opera houses. It is a space of restrained emotion, reminiscent of the architecture of the historic spaces.

The magic sound of the Atlas Mountains

The location is the heart of the High Atlas Mountains, nestled above the Dadès Gorges. Also referred to as Dades Valley, are a series of rugged wadi gorges carved out by the Dadès River in Morocco.

The river originates high in the Atlas mountains, flowing some 350 kilometers southwest before joining the Draa River at the edge of the Sahara. In this impressive rough terrain lies hotel Eden as an homage to Moroccan heritage, culture and craftsmanship.

At the hear t of the High Atlas Mountains, nestled above Dades Valley lies Morocco’s boutique hotel Eden as an homage to local craftsmanship, heritage and culture . At the helm are local brothers Lahcen and Ismail Sabiri.

T h e s e p age s : t y p i c a l

M o ro c c a n i n t e r i o r s t y l e .

I t i s k n ow n fo r i t s r i c h

c o l o r s , i n t r i c a t e

p a t t e r n s , h a n d c r a f t e d

d e t a i l s , a n d a w a r m , i nv i t i n g a m b i a n c e .

I t bl e n d s A r a b, B e r b e r, M o o r i s h , a n d Fre n c h

c o l o n i a l i n f l u e n c e s , re s u l t i n g i n a l o o k t h a t ’s

b o t h ex o t i c a n d e l e g a n t .

Moroccan style has ear ned its place in the inter national interior design world as a design classic that never went out of style. It is a style that specially during night falls, when candles are lit, refers to ‘The Arabian Nights’, the famous collection of Middle Easter n folktales, often called ‘One Thousand and One Nights’.

These stories, are renowned for their magical and adventurous nar ratives, including the well-known tales of Aladdin, Ali Baba, and Sinbad.

Moroccan interiors are a celebration of craftsmanship, stor ytelling through design, and a love for sensor y richness. The results are spaces that feels intimate, soulful, and full of character.

Typical Moroccan interior style is known for its rich colors, intricate patter ns, handcrafted details, and a war m, inviting ambiance. It blends Arab, Berber, Moorish, and French colonial inf luences, resulting in a look that’s both exotic and elegant.

The color palette has bold and vibrant hues like deep reds, emerald green, cobalt blue, saf fron yellow, and royal pur ple. They are combined with ear thy tones like ter racotta, sand, and ochre, often used as a grounding base.

Textures and fabrics play an impor tant role in Moroccan interiors. Luxurious materials like silk, velvet, and wool blend seamless with Berber r ugs, embroidered cushions, and f loor poufs. Layering is key and throws, drapes, and r ugs add depth.

Handcrafted fur niture is made of dark wood or metal, often inlaid with mother-of-pearl or bone while lowslung seating like f loor cushions, banquettes, and car ved wooden tables give the scene a nonchalance chic f lair. As far as lighting is concer ned: the

Moroccan style features lanter n-style lamps made from perforated metal or colored glass cast beautiful shadows. The ambient lighting is mysterious soft and atmospheric. Or nate patter ns are essential with geometric motifs, arabesques, and mosaic tilework (zellige) and intricate wood car vings and plasterwork (tadelakt) on walls and ceilings.

To add to the overall atmosphere accessories like brass trays, ceramic potter y, tagine dishes, and handmade mir rors with arched or sunburst frames are added in abundance.

In the architecture are arches, cour tyards, and columns impor tant. Traditional homes (riads) often feature an open-air cour tyard with f lowers, sweetsmelling plants, and a central fountain.

Hotel Eden has many of these elements incor porated in the design including Berber style elements. Berber interiors feel more rooted, raw, and soulful a celebration of heritage, sur vival, and a connection to the land. They’re perfect for those drawn to authentic, slow-living environments that honor simplicity and craftsmanship.

The hotel sits right in front of the famous Monkey’s Fingers Rock for mations, and has impressive views over them. The magnificent landscapes and unspoiled Berber villages with their unique cultures are a stone throw away. Each of the hotel’s 18 rooms, is inspired by the deser t, mountains and the ear th are crafted by local ar tisans.

They enjoy views of the mountain scener y or of the hotel’s garden that has been curated by renowned French landscape architect Guillaume Ber thier.

R ight: three of the hotel’s

1 8 ro o m s . T h ey e n j oy

v i ew s o f t h e m o u n t a i n

s c e n e r y o r o f t h e h o t e l ’s

g a rd e n o a s i s curated by renowned Fre n c h

l a n d s c ap e a rc h i t e c t

G u i l l a u m e B e r t h i e r. T h e

d e c o r o f e a c h ro o m h a s

b e e n c r a f t e d by l o c a l

a r t i s a n s , w i t h i n t r i c a t e

d e t a i l s d r aw n f ro m

M o ro c c a n a n d B e r b e r

c u l t u re .

These pages: detail of the traditional hammam spa for an authentic Moroccan experience.

A b ove : b a t h ro o m i n a

m i x v a n M o ro c c a n s t y l e

a n d m o d e r n c o m fo r t .

R i g h t : d o o r w ay t o t h e

c o u r t ya rd g a rd e n

c u r a t e d by Fre n c h

l a n d s c ap e a rc h i t e c t

G u i l l a u m e B e r t h i e r.

Straight, round, speckled, and sharply angled. Aesthetically sleek to seductively composed. From bright white to nearly every color of the rainbow.

The Biennale of Light, better known as Euroluce and part of Salone del Mobile. Milano, once again illuminated the world in 2025. Objekt©International was present at this radiant celebration. Or, as Christopher Columbus once aptly put it: “Following the light of the sun, we left the Old World.”

the

Above: in

background the Alcinoo by Artemide.

Right: ‘Il Bianco, il Nero e lo Specchio’, light creations by Davide Groppi.

Photos: Hans Fonk et. al.

Roman Bou ro ullec for Flo s.

Light and Technology Illuminate the Future

In 2025, innovation and illumination converged at the 32nd edition of Euroluce, the biennial exhibition dedicated to lighting design, held as part of the Salone del Mobile.Milano. This year’s event highlighted how light through cutting-edge technologies, advanced sensors, and highefficiency sources has evolved into a transformative tool capable of redefining spaces and the way we live.

The integration of technology into lighting systems has made illumination more interactive and responsive. Through form and innovation, light sources are now capable of producing surprising visual effects and fostering new kinds of interaction, including gestural control Advanced materials born from rigorous technological research enable new functionalities, paving the way for multisensory environments designed to elevate comfort and well-being.

Research into controllable light sources, including brightness, temperature, and color, has led to dynamic atmospheres and enhanced visual experiences Lighting designers are increasingly focusing on flexible, sensory lighting through sophisticated LED dimming systems, color-tuning capabilities, and high-efficiency diffusers.

Innovative solutions showcased included sound-absorbing lamps incorporating light with stabilized natural elements like ferns, ivy, and eucalyptus enhancing acoustic comfort while enriching interior ambiance Another standout innovation was a luminous glass disc, with a finely processed glass diffuser, producing a shifting, vibrant light that changes with the observer's perspective creating refined, dynamic interiors

A key theme at Euroluce 2025 was the emulation of natural sunlight indoors, achieved through the precise balancing of various light spectra This approach mirrors the shifting qualities of daylight, enhancing occupants’ psychophysical well-being and linking indoor environments more closely with the natural world

Institutional Voices on the Future of Light

Maria Porro, President of the Salone del Mobile Milano, remarked: "As anticipated, Euroluce redefined the future of lighting design, sparking a surge in competitiveness among cutting-edge Italian companies Once again, the sector demonstrated that excellence in process and product innovation is vital for success in the increasingly demanding global market."

The Euroluce International Lighting Forum along with the “Light for

Life. Light for Space” sessions featured internationally renowned speakers exploring the multifaceted impact of lighting design. The event emphasized that as light assumes a pivotal role in the integrated, sustainable design of both public and private spaces, it becomes central to quality of life and environmental sustainability. The Forum served not only as a platform for commercial exchange but also as a hub for education, inspiration, and multidisciplinary reflection. It encouraged a more holistic understanding of lighting’s role in our daily lives and living spaces.

Carlo Urbinati, President of Assoluce (FederlegnoArredo), stated: "Light gives depth and character to spaces, evokes emotion, and enhances well-being With the Euroluce International Lighting Forum, organized in partnership with Salone del Mobile Milano, our aim was to tell the story of light from a comprehensive perspective. Thanks to insights from experts, biologists, and anthropologists, we explored light's impact not only on environments but on people and even animals. We hope participants leave with a deeper awareness of both the benefits and potential harms of light, and a commitment to placing lighting at the core of design not as an afterthought, but as an element that brings added value, wellness, and safety. Light must be seen as more than just a commodity."

La Dolce Attesa: A Poetic Installation

In a unique artistic collaboration, Oscar-winning director Paolo Sorrentino, with scenographer Margherita Palli and sound designer Max Casacci, presented La Dolce Attesa a sensory installation reflecting on the universal experience of waiting.

Sorrentino explained: “The installation ‘La Dolce Attesa’ is an experience that transforms space into a high-angled shot of suspended emotions, into a limbo of visual and sound suggestions, playing on the borderline between two verbs One of which is to wait, which doesn't mean standing still. Waiting means shifting one's gaze, tending towards Pursuing, without running Then there is the other, the hasty, peremptory one: waiting Which makes us anxious A foot tapping nervously, an eye on the clock, time that fails to pass. Waiting is the state of mind of impatience.“

“Waiting, on the other hand, is a dimension. A place where things can happen. A time of transition. It is sweet, because waiting is not passive. It is slow, but fertile An incubator It needs time Time to transform chaos – the chaos outside and inside us when we wait in a clinic – into something recognizable. Not instantly. When the time is right. You have to know how to be in the emptiness of that room Which means that how that space is designed and created can make the difference ”

Ab ove: K artell, cel ebratin g 25 years o f Kartell li ghts.

Right: 101 C op erh agen.

L eft : Aqua Creatio ns.

Righ t: A- N- D.

Belo w: Euroluce -

L ight of Ital y.

Left: Slamp: Right: Wunderkammer - Temple of Light and Sound - by Emilio Ferro for Vissionnaire. In the background the Sputnik lamp.

L eft: Bon Jou r Un plugged by Ph ilippe Starck f or F los. Above: Fik sas x Mart inelli L uce. Right: Giop ato Coo mbes and Installati on Scarabei .

Abo ve: F oscarin i ( pho to: Gi uliano K oren). Beside t hat: Art emide.

Moooi

Left: Lu cepl an. A bo ve: Terzani.

Abo ve: Visto si Righ t: Barovi er & Toso wi th Alchem ic Jewels, celebratin g 7 30 years o f Venet ian craft and el egance.Here a b reat h of gold .

Abo ve: Tobia

S carp a for F los.

L eft: Venicem. Righ t: Vibia.

L eft: Serip. Righ t: Reaggi ani.

p right : L

L eft: Platek. Righ t: L uxx u.

Ab ove: Il F anale.

Right: Squ are i n Circle Stu dio.

uceplan.

Left: lamp design by A ustrian Arth ur Arb esser. (p ho to : Matteo D 'A ngelo )

Ri ght: Vi abizzu no .

Cattelani & Smith

Grau’s Campﬁ re desi gned b y Timo n an d Mel chio r Grau .

Left: Band van Ego nd.

A bo ve:Fo rtun y.

Ab ove: To m Rossau . Right: S aas In stru men ts.

Th is page: La D olce Attes a by Pao lo S orren tin o. Righ t: Las vit with S oaked i n Li ght, an exh ibi tio n ex plo rin g the con nectio n between water, l ight, an d h uman well -b ein g.

mudac- Solar Biennale Sole

T H E

S U N

T H E

L I G H T

T H E P O W E R

The spring equinox of 2025 marked the launch of the second edition of the Solar Biennale, with a landmark program curated and hosted by mudac –the Museum of Contemporary Design and Applied Arts in Lausanne, Switzerland. At its center is Soleil s, a major exhibition that explores how design can accelerate the adoption of solar innovation and reimagine material culture through the transformative potential of sunlight and solar energy

As a ﬂagship initiative of the Solar Biennale, Soleil s is conceived as a participatory platform that invites collective engagement The exhibition features hands-on workshops, interactive installations focused on solar technologies, and a solar punk short story collection that imagines alternative futures shaped by solar innovation

Special programs span Plateforme 10 and Archizoom at EPFL, with highlights including exhibitions dedicated to solar-driven architecture and a curated series of artist ﬁlms at EPFL P avilions exploring the sun ’ s inﬂuence in cinematic storytelling

“Soleil s explores the symbolic and transformative power of the sun, inspired by the Solar Biennale’s vision,” said curators Rafaël Santianez and Scott Longfellow. “Solar design goes beyond being a technical solution it prompts us to rethink our connections to health, politics, urban life, and

Previous pages: Mireia luzárraga + Alejandro Muiño, Fellaria’s Time Capsule, 2024.

These pages

Left: Circa Diem 2.0, 2025 © EPFL – PLMTI (A. Santa ruz).

Above: the people behind Solar. From left to right: Rafaël Santianez - Scientiﬁc collaborator, Scott Longfellow - curator, Marco Costantini - Director and Marjan van Aubel and Pauline van Dongen - founders of Solar.

Next pages: Mathilde Pellé, Maison soustraire, 2021,

inclusivity This exhibition is a call to embrace solar-powered futures that are ecosexy, innovative, and inclusive ”

The exhibition is structured around three core themes that deﬁne the trajectory of a solar future:

• Energy: Investigating new materials and how design accelerates solar integration;

• Politics: Examining the sociopolitical dynamics of transitioning to solar and challenging extractive energy systems;

• Popular Culture: Exploring how solar aesthetics and storytelling shape public perception and cultural narratives

A major highlight of the ervrny are the of eight new and commissioned projects that push the boundaries of solar design, narrative, and material experimentation.

Participating studios and artists include ecoLogicStudio, mischer’traxler studio, Rocio Berenguer, Alice Bucknell, Nathanaël Abeille, and Mathilde Pellé, among others recognized for their visionary contributions to sustainable futures

In addition to these newly commissioned works, Soleil·s features a curated selection of recent projects by internationally acclaimed artists, designers, and collectives, including Ólafur Elíasson, Liam Young, Andreas Gursky, DISNOVATION ORG, and contributions from leading academic institutions such as EPFL, HEAD, and ECAL. Together, these works deepen the exhibition’s narrative, linking contemporary design practice with global solar movements and historical energy perspectives.

Marjan van Aubel and Pauline van Dongen, founders of The Solar Movement, remarked:

“We are delighted to entrust the second edition of the Solar Biennale to mudac, a pioneering institution at the intersection of design and critical inquiry. The Solar Movement is global by nature connecting people and disciplines and it’s inspiring to see how each new context reimagines its purpose. Every edition brings new perspectives, fresh voices, and unexpected themes that expand our collective imagination for a solar-powered world We look forward to seeing how mudac’s curatorial vision shapes this next chapter.”

This page: Rocio Berenguer Bad Dance with the Badweeds, 2024. Right-hand page: Nathanaël Abeille, Reﬂexions, 2021-2023.

Previous pages: mudac- Solar Biennale Soleils - 2025 © Cynthia Ammann.

These pages

Above: Circa Diem 2.0, 2025 © EPFL – PL-MTI (A Santa Ruz)

Right-hand page :Nathanaël Abeille, Reﬂexions, 2021-2023. © Image Courtesy of Nathanaël Abeille.

ART ZOO MUSEUM, AMSTERDAM

In one of the most beautiful 17th-century canal houses on Amsterdam’s Herengracht, the new Art Zoo Museum opens its doors in the summer of 2025

A contemporary interpretation of the classic Wunderkammer, the museum offers a unique artistic experience

At the Art Zoo Museum, the sublime taxidermy art of the internationally renowned artist collective Darwin, Sinke & Van Tongeren takes on a near-theatrical quality. Feathers shimmer, muscles appear tense, and eyes seem to follow you with curiosity

Towering aviaries reveal a world where animals reign supreme timeless still lifes reminiscent of the grandeur of 17th-century Dutch masters From vividly colored birds and sinuous snakes to imposing crocodiles and even a T-Rex they appear as though they could come to life at any moment

The Art Zoo Museum is an initiative of the Vrije Academie voor Kunst & Cultuur (Free Academy for Art & Culture) and the artist collective Darwin, Sinke & Van Tongeren

For over 35 years, the Vrije Academie has made art and culture accessible to a broad audience through lectures, courses, cultural travel, and exhibitions

Director Peter van Duinen: "I ﬁnd it spectacular that these artists, through their breathtaking taxidermy installations, are giving new life to the 17th century a period I hold so dear It’s a remarkable addition to Amsterdam’s cultural landscape We are proud that Darwin, Sinke & Van Tongeren have chosen to collaborate with us ”

The duo Darwin, Sinke & Van Tongeren rose to international acclaim through their unique approach to taxidermy, where aesthetics and reverence for nature go hand in hand. Their work is part of prominent collections, including that of artist Damien Hirst

Eva Krook, Managing Director:"At a time when everything in Amsterdam seems to be growing bigger, more commercial, and high-tech, this museum offers an intimate space in the city center where the craftsmanship of taxidermy truly shines It is an aesthetic homage to nature, wonder, and all that is fragile and cherished.”

On these pages: the artistic creations by Darwin, Sinke & Van Tongeren in the Art Zoo Museum in Amsterdam, The Netherlands.

The duo rose to international acclaim through their unique approach to taxidermy, where aesthetics and reverence for nature go hand in hand

Ethical Commitment: None of the animals exhibited at the Art Zoo Museum were taken from the wild, no animals were bred speciﬁcally for the museum and all animals died of natural causes

RE-ENCHANTING VILLA MEDICI, ROME

Launched in 2022, The Re-enchanting Villa Medici in Rome refurbishment program was launched in 2022 It entered a significant new phase in 2025 with the renovation of seven guest rooms and the redesign of two historic citrus gardens

This production pays particular tribute to India Mahdavi’s transformation of six historic rooms: the second chapter. The Re-enchanting project is part of a broader project led by the French Academy in Rome – Villa Medici, aiming to harmonize architectural and landscape heritage with contemporary design, craftsmanship, and artistic expression, fostering a dialogue between tradition and modern creativity

Previous pages: Villa Médici in Rome with the restored historic lemon garden by landscape architect Bas Smets, in collaboration with Pierre-Antoine Gatier, Chief Architect of Historical Monuments. Next to it, the Salon des Muses.

This page: the Galiléo room. Bed is specially designed for the project by Mahdavi.

Top right: India Madhavi and Sam Stourdzé, director French Academy in Rome –Villa Medici. (photo: Alessia Calzecchi)

Next pages: Salon Lili Boulanger, Villa Médici, reworked in 2023 by India Mahdavi. Photos: François Halard.

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p o i n t s t o t h e h i s t o r i c a l e n v i r o n m e n t , e n h a n c i n g i t s a p p r e c i a t i o n T h e M o b i l i e r N a t i o n a l a l s o c o n t r i b u t e d

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c a b i n e t m a k i n g , i n v o l v i n g e x c e p t i o n a l a r t i s a n s f r o m

b o t h c o u n t r i e s

Historic Lemon Garden

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r e s t o r a t i o n o f t h e h i s t o r i c l e m o n g a r d e n b y l a n d s c a p e

a r c h i t e c t B a s S m e t s , i n c o l l a b o r a t i o n w i t h P i e r r e -

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v i e w s o f R o m e a n d i t s i c o n i c c i t r u s t r e e s

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b y Te c t o n a a n d i n s p i r e d b y t h e g a r d e n ’s h e r i t a g e

French Academy in Rome

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s u r r o u n d e d b y a s e v e n - h e c t a r e p a r k o n R o m e ’s

P i n c i a n H i l l .

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r e s e a r c h e r s i n r e s i d e n c e f o r u p t o o n e y e a r ; t o p r e s e n t

a w i d e - r a n g i n g c u l t u r a l a n d a r t i s t i c p r o g r a m a c c e s s i b l e

t o t h e g e n e r a l public; and to preserve, study, restore, and promote its architecture, landscape and artistic heritage

Cardinal Ferdinando de’ Medici

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r e d e s i g n i n g t h e a p a r t m e n t s , r e o r g a n i z i n g t h e v i l l a ’s

f a ç a d e , a n d s y s t e m a t i c a l l y l a y i n g o u t t h e g a r d e n .

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f r o m t h e A r a Pa c i s .

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a m b i t i o n : t o b e c o m e p o p e . Ye t , a f t e r a d e c a d e o f

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t h e i n i t i a t i v e o f J e a n - B a p t i s t e C o l b e r t .

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( 1 9 6 1 – 1 9 7 7 ) , t a s k i n g h i m w i t h m o d e r n i z i n g t h e

i n s t i t u t i o n . A s F e r d i n a n d o h a d d o n e i n h i s t i m e ,

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r e s t o r e h a r m o n y a n d u n i t y t o t h e s i t e .

Top l eft: Salle Bo ulanger.

Above: view from the Chamb re des Am ours to th e Salon des Muses.

Right : th e Debu ssy Room .

pages:

modern colored

The intervention by Mahdavi allowed the Academy’s collections to stand out in a new setting in particular a group of sculptures, paintings and historical Gobelins.

These

Chambre des Amours, Villa Médici. Chairs upholstered in

fabrics.

Sculptural Symphony in Nevada Desert

a poetic interplay of land, light, and form. Architecture and interiors are by studio

These pages: perched in the Nevada deser t, Tombolo is

Daniel Joseph Chenin. Photos: Douglas Friedman.

Poised like a crown atop a natural rise in the Nevada desert, Tombolo transcends the notion of a private residence. It is a lyrical synthesis of land, light, and lived experience Designed by the architecture and interiors firm of Daniel Joseph Chenin, the 12,400square-foot estate draws its name and conceptual foundation from the geographic landform known as a tombolo an evocative symbol of connection, transition, and unity

“There is an emotional rhythm to this home,” notes Daniel Joseph Chenin. “That rhythm resonates throughout the structure, orchestrating a sensory narrative that unfolds from room to room a dynamic interplay of tight and expansive, intimate and monumental.”

This metaphor of connection is not merely symbolic, but foundational to every design gesture. As one ascends the winding private drive, the home reveals itself gradually, emerging from the rugged terrain in a deliberate, cinematic sequence The transition from asphalt to cobblestone marks the first sensory cue that the ordinary has been left behind Upon arrival, a circular auto court centers around an architectural oculus its tight geometry framing the boundless desert sky above.

The home's exterior is bold and sculptural, defined by vertical ribbing and a rhythmic colonnade a structural poem composed in steel, stone, and light. The composition evokes the symmetry and discipline of Art Deco, softened by organic references to the desert landscape. The result is an ever-shifting form that responds to the environment with quiet dynamism.

Inside, the home transitions from architectural strength to intimate elegance Rich wood tones, reflective metals, and bespoke finishes unfold in layers, each inviting closer engagement Rather than a conventional open plan, the interior is a curated series of spatial vignettes each distinct in character yet harmonized by aligned geometries and visual continuity The office and study exude classical refinement, featuring stepped ceilings and bookcases lined with gold leaf.

“The interiors are where the story becomes tactile,” Chenin explains “We believe in designing for movement architecture should choreograph how one experiences space ”

Previous pages: the blush-hued kitchen with a 13-foot La Cor nue range. Onyx-backed por tals, custom brass hardware, and sculptural light ﬁxtures elevate the culinar y core into an ar tful atelier of ever yday ritual.

These pages

Left: architect and interior designer Daniel Joseph Chenin. Above: the grand staircase, spiraling upward like a lyrical refrain Wrapped in hand-painted silk wall coverings, mirrored reﬂections, and diffuse light, it has become a ver tical axis of transformation.

Next pages: seating area in the white-washed living room. The design is a meditation on contrast and cohesion, where structure and softness, past and present, merge.

This philosophy is most vividly realized in the grand staircase a sculptural spiral ascending like a lyrical refrain. Wrapped in hand-painted silk, mirrored surfaces, and diffused light, it acts as a vertical axis of transformation.

Across the main gallery, a sunlit living room flows into a blush-toned kitchen, centered around a commanding 13-foot La Cornue range Onyx-clad portals, custom brass fixtures, and sculptural lighting transform the culinary core into a gallery of everyday rituals. Hallways are treated not as passive c onnectors, but as immersive, gallery-like spaces that celebrate light, material, and art.

The primary suite on the main level epitomizes sensorial luxury, with rose petal-carved wool carpets, silk wall treatments, and a cocoon-like bed enclosure creating an atmosphere of refuge. The en-suite bath is a study in material richness burl wood, onyx, and polished brass anchored by a freestanding tub framed in cascading metallic beads that shimmer like desert rain.

Upstairs, a six-bed bunk room, designed for the owners ’ grandchildren, is imbued with a spirit of nautical whimsy and craftsmanship. Adjacent, a lounge and bar featuring a Moët champagne dispenser adds a note of sophisticated playfulness. Expansive terraces with double-sided fireplaces and panoramic views extend the home’s warmth into the open desert

Sustainability is seamlessly integrated into the design Deep-set colonnades, vertical fins, and strategic orientation maximize passive cooling, while a rooftop garden enhances insulation and softens the architectural profile. Materials including regional stone, dark oak, and patinated metals were sourced locally, rooting the home in its native landscape

Ultimately, Tombolo is a meditation on contrast and cohesion where structure meets softness, history meets modernity, and form becomes feeling

“This isn’t simply a home,” says Chenin. “It’s a journey.”

In a land defined by extremes, Tombolo offers equilibrium. In a world that moves relentlessly forward, it invites stillness Like the landform for which it is named, it is a bridge, between nature and emotion, architecture and art, shelter and sensation

Above: the bedroom suites are a study in sensorial luxury with silk wall coverings, and a cocoon-like bed structures they create a space of retreat and repose. Right-hand page: the bedroom suites are a study in sensorial luxury with silk wall coverings, and a cocoon-like bed structures they create a space of retreat and repose. This page: the bathrooms are a masterclass in material richness, burl wood, onyx, polished brass, and a freestanding tub framed by shimmering metal beads that glint like desert rain.

Previous pages: the cool strength of the exterior of the house yields to warmth and sensuality, wood tones, reﬂective metals, and bespoke ﬁnishes unfold in layers, inviting discovery. These pages Left the white washed living room with the grand piano. And below that an adjoining sitting room Rather than a traditional open plan, the home is a series of curated vignettes, each space distinct in character, yet linked through visual cues and aligned geometries.

Right-hand page: throughout the home, Chenin treats corridors not as transitional voids, but as opportunities for storytelling. Furnished hallways become galleries, each segment an immersive moment composed of art, light, and materiality.

w a l l y r o c k e t 5 1

Redeﬁning High-Perfor mance Yacht Racing

Inspired by the ethos of owner-driver one-designs and engineered for peak performance under IRC and ORC rules, the revolutionary wallyrocket51 hitted the waves. Representing Wally’s first thoroughbred 15.5-meter race yacht, the wallyrocket51 delivers cutting-edge performance and operational efficiency, offering owners unparalleled flexibility—from Grand Prix podium pursuits to one-design Wally fleet racing all at reduced capital and campaign costs.

As part of the Ferretti Group, Wally has long been synonymous with pushing the boundaries of yacht design Always several steps ahead of industry norms, Wally fuses performance, comfort, and design to reshape the landscape of superyachting.

A Vision Realized

Launched in 2023, the wallyrocket51 was conceived as a breakthrough in the 50-foot race boat category: a ratings-optimized, high-performance platform accessible to owner-drivers and engineered for excellence in both fleet and one-design formats under IRC and ORC systems

Following successful sea trials and a strong debut at the ORC National Championship of Central and Southern Tyrrhenian in Sorrento, the wallyrocket51 is now preparing for some of the most prestigious races on the calendar, including the Cowes–Dinard–Saint Malo Race, the Admiral’s Cup, and the Fastnet Race in summer 2025. Designed for versatility, the yacht seamlessly transitions between electric-powered one-design configurations and manual-powered fleet racing. It supports a reduced crew of 11, further enhancing its owner-driver appeal

From Concept to Class-Leading Innovation

Wally Founder and Chief Designer Luca Bassani reflects on the project:

“The wallyrocket51 is a serious accomplishment: it is born from the brilliance that has always defined the Wally brand When I founded Wally, I wanted to create sailboats that could be both very comfortable and easy for cruising but also very fast for racing. Over the past 30 years we have certainly achieved this result – but today, in our opinion, the market is changing, splitting between owners who want to cruise and those who want to race, and race in a more professional way That’s why we decided to build a one-design boat, and for that there’s no better size than around 50 feet, which is why the wallyrocket51ended up at 51 feet (15 5 metres) ”

He continued: “We think the one-design idea will be very appealing to a wide range of owners as not only will the boat be lightning fast but also the life of the boat is much longer – you don’t have a new, faster boat coming every year The rule will be very strict also for things like the maintenance of the boat so that people can’t modify their yachts to gain an advantage. It also means we can design in all the innovations now, to maximise performance and keep the fleet current and exciting for many years into the future”.

Design Collaboration: Performance Meets Precision

Creating a 51-foot yacht that excels in both performance and owner-drivability required a fresh approach. Wally partnered with Botin Partners, global leaders in high-performance naval architecture, best known for their work on TP52s and other top-tier racing yachts.

The result is a yacht that displaces just 6,250 kg and integrates an advanced 640-literper-side water ballast system across fore and aft tanks enabling exceptional trim control and speed optimization

Botin Partner Adolfo Carrau notes:

“We developed the wallyrocket51 from a clean slate as a dedicated one-design class, optimized for dual-rule compliance. Working closely with Wally, we achieved a balance between elite performance, production viability, and cost efficiency Key innovations include ultra-low displacement, reimagined sail plan geometry, and a refined hull and keel bulb design for downwind advantage ”

Previous and these pages: the revolutionary wallyrocket51 in its element during race trials. To create this 51-footer that could out-pace while being manageable for an owner-driver and still be able to offer shorthanded day sailing was an epic challenge, Wally turned to racing maestros Botin Partners to develop the naval architecture. With their extensive experience developing the fastest TP52s and other 50-foot race boats, the Wally team still pushed them to innovate. Botin responded, not only with a yacht that displaces just 6,250kg, but which also incorporates a state-of-the-art water ballast system comprising 640 liters per side across fore and aft tanks.

Photos: Gilles Martin-Raget.

Distinctive Wally Aesthetics

To ensure unmistakable Wally style, Santa Maria Magnolfi was enlisted to develop the yacht’s design language. Balancing performance with Wally’s iconic design ethos was a challenge met with sophistication

The result: an aggressive yet elegant aesthetic, where every stylistic element is driven by functionality optimized surfaces, reduced weight, and enhanced aerodynamics. Signature features include the inverted sheerline, stern geometry inspired by Wally’s signature air intakes, and a sport-oriented reinterpretation of the brand’s larger yacht helm design

Precision Engineering and Advanced Construction

To meet the project’s exacting standards, Wally entrusted engineering to Pure Design & Engineering The hull was constructed at a specialist racing yard using pre-preg carbon fiber with Corecell and Nomex cores ensuring maximum strength and minimal weight. Even a 3% weight variance in composites translates to a 36kg impact underscoring the need for meticulous precision throughout

Built for Speed

The wallyrocket51 carries a 94-square-meter square-top mainsail from Southern Spars, supported by Future Fibres AEROsix hybrid carbon rigging This contributes to 160 square meters of upwind sail area and a 265-square-meter gennaker for 360 square meters downwind Performance development has been led by sailing legends Vasco Vascotto (28-time world champion) and Guillermo Parada, who have been integral to the yacht’s development from inception

Vascotto remarks:

“We wanted to create a boat that could make owners and sailors happy, incorporating all the things they say they want when you have a beer with them after racing – a yacht that holds its value, that is as stylish as a Wally, that is faster than anything else out there, and that still has a controllable budget. And every day we sail the boat, in different conditions, it confirms we got the project right!”

Parada adds:

“As a crew, and by mindset, we love challenges, and perhaps the most difficult and important one is the Admiral’s Cup and Fastnet Race. Even though the wallyrocket51 was created as a one-design, we’ve always wanted to prove that it could compete anywhere – in ORC, IRC, and long-distance races. It’s not a boat built for these events, but we’ll do everything we can to prove that it can be competitive there too Over upwind and downwind combined we should be quicker than any other boat in spite of being smaller and lighter ”

“It’s a boat with its own DNA, designed for owner-drivers, with a taller rig relative to its size and incorporating all the latest innovations from recent years. I believe it could appeal to a wide range of owners of equivalent classes, or even maxi yacht owners looking for something nimbler and fun to race with friends ”

Race-Ready Systems and Conﬁgurations

Key to the yacht’s adaptabilities are the water ballast system, battery pack, and hydraulic winch configuration The system adjusts fore-aft trim and can fill tanks in one minute, with tack-side transfers in just 6–7 seconds. For ORC/IRC racing, hydraulic winches and batteries can be removed and replaced with manual coffee grinders, avoiding rating penalties while retaining versatility.

Right: for the construction of an extreme and lightweight racer, Wally turned to Pure Design & Engineering to oversee the project and ensure the required engineering standards. The hull was built in a shipyard specialized in racing yachts, using pre-preg carbon with Corecell and Nomex cores. On a yacht so compact and light, Wally placed meticulous attention on weight control for every detail of the yacht an essential factor in delivering the required performance levels. Here a detail of the steering wheel.

Next pages: wallyrocket51 at ease in the sunset.

Above: the interior of the house, architect Ben Smit built in 1948 for his family on the Caribbean island of Curaçao. It was designated a protected monument in 2018 Recently, it was meticulously restored by the Dutch couple teh art collectors Sjef and Justine Visschedijk. Shutters and vertical blinds provide cooling by the prevailing winds.

Photos and text: Hans Fonk

SHUTTERS AND PREVAILING WINDS

Curaçao monument restored

Architect Ben Smit designed this house as his private residence on the Caribbean island of Curaçao. Constructed in a U-shape, it is set on a spacious corner lot adorned with numerous trees. The house still stands in its full glory, recently and meticulously restored by the Dutch couple the art collectors Sjef and Justine Visschedijk

They preserved the original form and intricate details. The expansive covered terrace at the front, a living area in the center, and a patio at the rear seamlessly transform into one open space when all the sliding doors and shutters are opened Leveraging the prevailing winds, the house requires no artificial air conditioning. The only alteration made by the new owners was the addition of a swimming pool, which occupies the site of the original patio

Jef Visschedijk: “Prior to the restoration, we engaged in extensive discussions with Ben Smit about his ideas and principles for building in the tropics. Guided by his vision, we carefully restored the house to its former glory, although for certain elements such as the large glass sliding doors we employed new construction techniques The colors on the walls are exactly as the architect envisioned, and all the shutters and vertical blinds have been retained The only change was the removal of the large tree on the patio, which has now been replaced by a swimming pool. Monumentenstichting/ Fonds provided a valuable contribution to the renovation, down to the smallest details ”

“We were recently able to expand our plot by over 400 square meters, bringing the total size to approximately 1,750 square meters, which has enhanced the visual and spatial aspects of the property,” says Jef The house is a detached concrete and glass structure in the Modern Movement style. It consists of a single-story, U-shaped floor plan with flat roofs

Preceding pages: the entrance of the house is a combined seating and dining area. It illustrates the great openness of the interior.

These pages: the exterior of the house is dominated by the large ﬂat ﬂoating roof with large overhangs and slim steel columns. The swimming pool now replaces a garden with a large tree. The roof provides shade not only for the interior but also for the exterior and the terraces.

The sleeping quarters are located in the eastern wing The front façade, featuring a recessed main entrance, faces the opposite side

Aluminum frames and shutters, along with vertical ‘brise-soleil’ panels, were installed for natural ventilation and sun protection. Inside, large wooden sliding doors with glass open to the patio. Some of the original furniture, designed by the architect, has been preserved. A covered terrace is located on the southwest side of the house.

Benjamin Smit, a Dutch architect born in Amsterdam, began studying architecture at the Royal Academy of Fine Arts in Antwerp in 1939. During World War II, Smit was forced to flee from the Holocaust. Via Jamaica, he arrived on the Caribbean island of Curaçao in 1943, where he remained until 1969,

Smit was part of the modernist movement known as the New Building (Het Nieuwe Bouwen), drawing inspiration from Brazilian architecture with climatec onscious design principles. His great influence was the Brazilian architect Oscar Niemeyer, although he likely also looked at the creations of Richard Neutra and his contemporaries in Los Angeles.

In 1946, Smit established his own architectural firm in Curaçao. He became a partner of Kees Bakker, and together they were the island's two most prominent architects from the 1940s to the 1960s.

Smit designed several notable buildings, including the Hilton and InterContinental hotels, the Antillean paint factory, the chapel of the Alverna Monastery, and the southeast wing of the old Sint-Elisabeth Hospital.

His own residence, built in 1948 on the Angloweg, was designated a protected monument in 2018 He lived there from 1943 to 1969, when the family relocated to the Netherlands

Left: one of the guestrooms located on the easter n par t of the house to make full advantage of the prevailing winds. Below: the original bathroom. Above: the librar y as par t of the living area. The large bookcase was made free standing to give the room a more spacious feeling.

Following pages: the master bedroom Here the original tile ﬂoor was replaced with a dark wooden one

N E W YO R K C I T Y Printemps One Wall Street

‘Printemps New York’ is a celebration of two iconic cities Paris and New York fusing heritage, architecture, and poetic vision.

Conceived by renowned designer Laura Gonzalez, the project reﬂects her signature ability to blend diverse inﬂuences and craft distinctive, immersive environments.

Gonzalez explains: “For this project, we drew deeply from the legacy of Printemps Paris its mosaics, stained glass, patterns, and original artworks. But we are located on One Wall Street, in the heart of New York ”

“This is a new narrative, one grounded in a city where anything is possible. I don’t believe this project could have emerged anywhere else, because New York is truly one of a kind Here, there are no limits ”

The result is a harmonious interplay between Printemps’ storied past and the bold dynamism of New York. The space became a visual conversation between two distinct cultural identities, offering a tribute to their fusion

Inspired by the elegance of a Parisian apartment, Printemps New York boldly reinterprets the 160-year history of the brand, drawing upon the architectural and decorative richness of its Paris flagship while embracing the modernity of its New York setting.

Gonzalez reimagined traditional materials and introduced innovative ones Classic oak parquet is enriched with natural stone inlays, while Art Nouveau-style tiles referencing vintage Printemps patterns are given a contemporary twist.

Materials that appear to be marble are, in fact, composed of compressed recycled plastic, and delicate petal forms are sculpted from solid wood, showcasing both craftsmanship and creativity

The result is an enchanting space that unfolds as a series of joyful, interconnected rooms. Emphasizing sustainability, Gonzalez crafted the store’s furnishings entirely from recycled materials and incorporated antique pieces sourced from French flea markets enhancing the project’s environmental integrity and imbuing it with timeless charm.

P r i n t e m p s N ew Yo r k b e c a m e a

v i b r a n t t r i b u t e t o c u l t u r a l a n d

s t y l i s t i c f u s i o n , i n s p i re d by t h e

c o d e s o f a Pa r i s i a n ap a r t m e n t .

E a c h s p a c e h a s i t s ow n i d e n t i t y

a n d i s a r i c h , c ap t i v a t i n g , a n d e n -

c h a n t i n g e nv i ro n m e n t . T h e s t o re

i s a t r u e s e n s o r y j o u r n ey h ro u g h

s p a c e s w h e re L a u r a G o n z a l e z

t r a n s fo r m e d c l a s s i c m a t e r i a l s w h i l e d eve l o p i n g n ew o n e s .

OBJEKT©International is the authoritative and bespoke title for the upscale urban modernist with a passion for interiors, art & antiques, modern design and outstanding architecture.

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photo : Hans Fonk