Milan Unveiled / The Viaduct Review

MILAN UNVEILED/ THE VIADUCT REVIEW 2013

Hello, Welcome to our Milan 2013 Review. This is the first time we’ve attempted a review on this scale and it has been a real labour of love. Choosing our edited selection has been the source of much thought and debate between everyone here at Viaduct and we really hope that you find the results an enjoyable read.

We also have a great short film of the week and more news on our blog which you can visit at the link below: http://www.viaduct.co.uk/blog/ If you would like more information on any of the products listed in this document, please don’t hesitate to ask, you’ll find our contact details on the back page of this Review.

Thanks for your interest, we hope you enjoy it!

Best wishes, From all of us at Viaduct.

Counter 04 by OMA for Knoll

AT T H E F I E R A / This year the we felt that overall the Fiera was stronger and more cohesive than in previous years, often eclipsing the events across the city.

Perhaps due to Europe’s lingering economic uncertainty, the tendency was towards the risk averse, many brands choosing to be introspective, looking into their past successes to release reissues or tweaks to existing ranges. We also noticed that many new products were often still at prototype rather than production phase, manufacturers are clearly using Milan as a useful testing ground more so than ever before.

Despite this underlying conservatism we genuinely felt that there were some fantastic new products particularly at Euroluce.

A universal Viaduct thumbs up went to Vibia, DCW and Flos in particular.

In furniture, we may be biased but we really did feel that e15 had the right balance for the current mood, and we see a lot of potential in the This That Other series. The additions to Maruni’s range are timely and as always beautifully crafted.

Overall there seems to be a softening, of edges, of upholstery, and of colours. Whilst many designers continue to adopt the reduce and refine approach they are often doing so using warmer, more earthy materials, copper instead of chrome for example, and marble instead of glass. It could be that this softening is in part the beginning of a less austere narrative, perhaps due to slow growing desire of the product users to indulge in more emotional and escapist environments.

e15 have continued their fruitful relationship with Stefan Diez further exploring the materials and techniques used to create the Houdini Chair, the result is the robust and comfortable ‘This That Other’ seating family. e15 have also released Nota, a bureau made for modern lifestyles, designed by artist and architect Elisabeth Lux. Maruni have looked at their existing product range and added some well thought out additions, an armrest detail for the Lightwood Chair and a folding version of Hiroshima. They also have three new products by creative director Naoto Fukasawa and his long time collaborator Jasper Morrison. Botan is said to be a direct descendant of a bench Morrison made for his own home many years ago.

New products from e15, clockwise from top left / 1. Nota Desk by Elisabeth Lux / 2. The e15 stand at Fiera / 3. ‘That’ Lounge Chair by Stefan Diez / 4. ‘Other’ Stool by Stefan Diez / 5. ‘This That Other’ Series by Stefan Diez (‘This’ Dining Chair in the foreground).

AT T H E F I E R A / E15 + MARUNI

New Products from Maruni, clockwise from top left / 1. Malta Table by Naoto Fukasawa / 2. Lightwood Armchair by Jasper Morrison / 3. Hiroshima Folding Chair by Naoto Fukasawa / 4. Asian Bench by Naoto Fukasawa / 5. Botan Bench by Jasper Morrison.

The Scandinavian aesthetic has carried over from last year as a notable trend, and those who do it best are naturally the Scandinavian brands themselves.

Here is our selection of some of the best in show.

Several brands plundered the design archives for products that could be embraced by a contemporary audience. There were also innovative new products on view such as Dirk Winkel’s table lamp developed in association with BASF and GamFratesi’s biomimetic Beetle Chair. Artek used bright upholstery to remind everyone of it’s beautiful Kiki Sofa by Ilmari Tapiovaara and we loved the tactile quality of the oversized dimmer on the Vinge table lamp by Note Design Studio,

Clockwise from top left / 1. Development drawings for the Beetle Chair by GamFratesi for Gubi / 2. Beetle Chair by GamFratesi for Gubi / 3. Ronde Suspension Light by Oliver Schick for Gubi / 4. Orient Lamp by Jo Hammerborg for Lightyears, reissued based upon the 1963 design by Fog and Morup / 5.

Grasshoppa Task Lamp by Greta Grossman, re-edition by Gubi / BL2 Bestlite Lamp in new all brass finish.

AT T H E F I E R A / S C A N D I N AV I A N D E S I G N

Clockwise from top left / 1. Minty hues on the 70/70 table by TAF Architects for Muuto / 2. w127 Lamp by Dirk Winkel for Wästberg / 3. Vinge by Note Design Studio for Örsjö / 4. Lukki seating range by Annikki Tapiovaara, reissued by Artek / Kiki sofa system by Ilmari Tapiovaara, designed in 1960, manufactured

by Artek.

With a few notable exceptions the shift toward soft colours and raw materials is gathering pace in the big brand collections. Pastel hued paint finishes, stains and upholstery were everyhere, as were soft, minimally treated leathers and exposed metal frames.

The updated Steelwood chair in a beech and naked galvanised steel finish is a great example of letting the materials speak for themselves. Elsewhere, Vitra have looked at their sizeable roster of products and made some clever updates to colour finishes and materials. For instance it is now possible to purchase the Prouvé Standard Chair with a plastic seat and back which drastically reduces the price, opening up the possibility of using the product in large quantities for projects.

Clockwise from top left / 1. Fauteuil Direction by Jean Prouvé, designed in 1951, reissued by Vitra / 2. Eames Wire DKR Chair with black finish and upholstery option / 3. Archetoys by Floris Hovers for Magis / 4. Traffic Series by Konstantin Grcic for Magis / 5. New finishes for the Prouvé Standard Chair, original design

by Jean Prouvé for Vitra.

AT T H E F I E R A / PA S T E L S + N U D E S

Clockwise from top left / 1. Candy Shelves by Sylvain Willenz for Cappellini / 2.

Cap Chair by Jasper Morrison for Cappellini / 3. Steelwood Galva and Theca Sideboard by Ronan and Erwan Bouroullec for Magis.

Simplified circular forms were everywhere at Euroluce, the Salone’s biannual lighting fair. The star of this pared down aesthetic was undoubtedly Michael Anastassiades whose ‘so delicate they are barely there’ String Lights drew audible happy sighs from the industry crowds at Flos. His own stand was similarly beautiful, the combination of marble, metals and glowing orbs of light is impossible to resist.

Konstantin Grcic’s OK Lamp was another feather in Flos’ proverbial hat. A sympathetic update to Castiglioni’s Parentesi lamp, Grcic’s love of the original clearly shines through.

Clockwise from top left / 1. Laguna by Matteo Thun for Artemide / 2. IC Table Light by Michael Anastassiades for Flos / 3. Dead Spit table light by Michael Anastassiades / 4. Tip of the Tongue table light by Michael Anastassiades.

AT T H E F I E R A / CIRCLES + SPHERES

Clockwise from top left / 1. String Light by Michael Anastassiades for Flos / 2.

OK Lamp by Konstantin Grcic for Flos / 3. String Light by Michael Anastassiades for Flos.

This selection is based around products, brands and designers that seek perfection, either by addressing a wide variety of user needs through modularity or through extensive testing and development.

With Aava, Antti Kotilainen has tried to create a chameleon of a chair that will blend seamlessly into any environment. Konstantin Grcic pops up again, this time for Emeco with the Parrish Chair, like Nendo’s w132 light, this chair has varying seats, frames and finishes to try and anticpate any user need. We like the fully armed version pictured that Grcic describes as “forming a belt that defines the space around you - a space where you can feel protected”.

Kristalia’s Elephant Rocker is the result of tireless experimentation and prototyping and is based on the innovation award winning Elephant Chair to begin with.

Clockwise from top left / 1. Parrish Chair components / 2. Parrish Chair by Konstantin Grcic for Emeco / 3. Compas by Patrick Norguet for Kristalia / 4.

Elephant Rocking Chair by Neuland - Paster & Geldmacher. / 5. Prototype of the Elephant Rocking Chair base.

AT T H E F I E R A / SEEKING PERFECTION

Clockwise from top left / 1. Aava Chair by Antti Kotilainen for Arper / 2. New fabric covers for Catifa 46 and 53 designed by Lievore Altherr Molina for Arper / 3. Saya Mini by Lievore Altherr Molina for Arper / 4. New Brandy by Lievore Altherr Molina for Andreu World / 5. Buzz Chair by Bertjan Pot for Arco.

Fluidity in form, be it organic curves inspired by nature like the Blom Table Light, the dramatically mini storm clouds of Bocci 57, or Levy’s wispy chandeliers for Vibia that mimic the flowing ink of a pen sketch, this selection celebrates smooth and inviting geometry.

Moritz Waldemeyer’s soft flickering LED panels mimicking candlelight worked beautifully in clusters. Over on the Wästberg stand Nendo’s modular lighting showed how just nine components can shift easily into 30 different variations of light source.

Clockwise from top left / 1. Cheshire by GamFratesi for FontanaArte / 2. Blom Table Lamp by Andreas Engesvik for FontanaArte / 4. My New Flame by Moritz Waldemeyer for Ingo Maurer / 5. Stewie by Luca Nichetto for Foscarini / 6. Yoko

by Anderssen&Voll for Foscarini.

AT T H E F I E R A / FLUID STRUCTURES

Clockwise from top left / 1. Mantis S1 Lamp by Bernard Schottlander reissued

by DCW / 2. Workflow by Arik Levy for Vibia / 3. N-Euro by Beppe Merlano and Davide Groppi / 4. Shanghai by Davide Groppi / Bocci Series 57 by Omar Arbel for Bocci.

Post war utility has been a recurring theme since 2008 but this trend now seems to be inching forward to the fifties era. We saw a lot more curvy sofa details and plush cushioning this year and there is also a softer, more enveloping style of tub and wing back chair emerging. These armchairs are thinner in profile than before but with extra squidgy upholstery and deeper sides to provide additional comfort and support. Use of texture and detailing is perhaps hinting at a future shift even further towards the luxe and fantastical, but for now there remains a reluctance for the most part to demonstrate overt extravagance.

Clockwise from top left / 1. Talma Chair by Benjamin Hubert for Moroso / 2.

Mafalda by Patiricia Urquiola for Moroso / 3. Madame Sofa by Archivo Historico for Arflex / 4. New York Sofa by Sergio Bicego for Saba / 5. New York Chair Outdoor Version by Sergio Bicego for Saba.

AT T H E F I E R A / S O F T N E S S + C U RV E S

Clockwise from top left / 1. Miut Bed by Julia Fellner for Zeitraum / 2. Pelle Chair by Lorenz*Kaz for Zeitraum / 3. E8 Table by Mathias Hahn for Zeitraum / 4. Hug Armchair by Claesson Koivisto Rune for Arflex.

MDF Italia and Lapalma both had some interesting new developments this year. Both companies have great lineage and both drew upon this for their new additions, building on past successes to generate new ones.

It was great to see Bruno Fattorini & Partners working with MDF Italia on an updated version of their classic Minima shelving range. Minima 3.0 offers new finishes and slot-in shelving blocks that allow the user to plan exactly to his or her needs.

Lapalma’s Cut Chair gained many fans here at the Viaduct office due to it’s versatility and small footprint making it perfect for public spaces indoor or out.

Their Olo Chair references 1950’s styles but with modern functionality.

Clockwise from top left / 1. Olo by Francesco Rota for Lapalma / 2. Miun Stool and Chairs by Karri Monni / 3. Link Stool by Hee Welling for Lapalma / 4. Cut Chair by Francesco Rota for Lapalma.

AT T H E F I E R A / BUILDING BLOCKS

Clockwise from top left / 1. Flow Slim Armchair by Jean Marie Massaud for MDF Italia / 2. Lim 3.0 by Bruno Fattorini & Partners for MDF Italia / 3. Minima 3.0 by Bruno Fattorini & Partners for MDF Italia.

IN THE CITY / Whilst the Fiera is predominantly the home of big name brands and major product launches, the city also plays host to a wealth of installations and showrooms.

In recent years, smaller events tucked away in hidden squares, would often provide us with some of our most inspiring sights for the week. Not so this year, but in their place were stronger offerings from established spaces such as La Triennale Museum. Many permanent showrooms also put on a good show; Spazio Rossana Orlandi was well curated as always, elsewhere Flos’ Gino Sarfatti exhibition and Leclettico’s hosting of Wallpaper Handmade stood out from the crowd.

Pop up wise, Droog’s collaboration with the Rijksmuseum was a firm favourite, as was Big Game’s ‘Everyday Objects’. We also loved the story behind the Nendo=Nichetto partnership.

Honourable mentions should go to Paola Lenti’s elegant setting in the Chiostri Dell’umanitaria and also Moooi for their huge installation in via Savona, that turned a bare warehouse space into a colourful (and slightly bonkers) showcase that epitomised their design philosophy.

Traditionally crowds would flock to Via Tortona for their fix of the experimental. But Ventura Lambrate, now in it’s third year, appears to have stolen Tortona’s crown. We felt Ventura at Work and the Lambretto Arts Space housed some interesting work and also gave us another opportunity to see Muller Van Severen’s collection which we first fell for in Kortrijk last year.

As ever it is great to see so many students given a global stage from which to shine, and it is always exciting to see the emerging patterns of thought across the schools. We did feel perhaps Milan may be a missed opportunity for Europe’s design institutions to collaborate rather than compete. For instance a mutual project that pools together talented students from schools such as DAE and the RCA could generate some brilliant results. Cross pollination of ideas is one of the great elements of such a global fair and it would be great to see this element more actively encouraged in future years.

Back in 2011 we showed Alvaro Catalán de Ocón’s Candil series as part of our LDF exhibition and it was great to catch his latest project at Spazio Rosanna Orlandi; suspension lights made from recycled PET bottles that are made using Colombian craft techniques.

Brightening the stairwells were the latest incarnation of Dennis Parren’s CMYK series and in the basement we were struck by the ghostly glow of Haze by Woomin Park. We got to play with OS and OOS’ lights inspired by the sun and it’s surrounding celestial bodies. The light flow is controlled by discs that mimic natural light cycles, blocking light as the orbit of earth and moon do to the sun.

Next was Tobias Gutmann’s analogue portrait machine that brought a grin to our faces. You sit in front of the Face-O-Mat whilst Gutmann draws simple portraits based on your answers to simple choices.

Round the corner, MOST returned to the Museo Nazionale della Scienca e della Tecnologia’s space. Tom Dixon launched a multitude of products this

year, all using high tech manufacture techniques in an attempt to stem the tide of copies. Also on view were prototypes for ‘Capsule‘ his sportswear line for Adidas. Capsule is a series of multifunctional and easily transportable sportswear products. Examples include a coat that becomes a sleeping bag and a rucksack that converts into a wardrobe.

We were also impressed by Lensvelt’s atmospheric collaboration with Studio Job. The company have recently added several products to it’s roster including pieces by Maarten Van Severen, definitely a company in transition and one to watch.

At Spazio Rossana Orlandi, clockwise from top left / 1. PET Lamps by Alvaro Catalán de Ocón in the Garden at Spazio Rossana Orlandi / 2. Occultation and Eclipse by Os & Oos / 3. Face-O-Mat by Tobias Gutmann / 4. Diamond Lights with CMYK bulbs by Dennis Parren / 5. Haze Series by Woomin Park.

I N T H E C I T Y / RO S S A N A ORLANDI + MOST

At MOST, clockwise from top left / 1. Part of the installation for Tom Dixon’s Adidas collaboration / 2. Job Desk Lamp with oversized gold switch by Studio Job for Lensvelt / 3. Cell Pendant Series by Tom Dixon / 4. Fan Dining Chair in Natural and Screw Table with Fan Base by Tom Dixon / Capsule by Tom Dixon for Adidas.

Foreground / Chunky Upholstered Armchair in Green Army Canvas.

Middle / Waste Beam Cabinet and Red Beam Sideboard.

Background / Beam Painting.

B AC K S TO RY / PIET HEIN-EEK AT RO S A N N A O R L A N D I Piet Hein Eek is a regular fixture at Spazio Rossana Orlandi. We have always been impressed by the honesty of his choice of materials and construction. This year we felt especially drawn to the stories behind each piece on display.

philosophy that a varied environment leads to better creative output.

Hein Eek launched his new Beam Collection at Rossana Orlandi this year. First up, the chunky upholstered Beam Bench and Armchair. For years Hein Eek had wanted to get his hands on a substantial amount of army canvas material. In the end it was the current political and economic climate that made this wish come true.

Back in 1992, Dutch designer Piet Hein Eek used the profits from sales of his acclaimed graduation project “Scrapwood Creations” to create the Eindhoven based “Eek en Ruijgrok” Design Studio with fellow designer The withdrawal of US troops from mainland Europe and smaller national Nob Ruijgrok. budgets meant cuts in defense Hein Eek and Ruijgrok always felt the spending and the sale of surplus items need to be more than just designers including, yes you guessed it, the so decided to run all aspects of hardwearing army canvas material. their business themselves. This Hein Eek used this material to direct involvement at each step upholster his chunky beam bench and has influenced Hein Eek’s creative armchairs which are constructed from process: “The products I have created layers of foam and wooden beams. have repeatedly been in keeping with the technical and financial possibilities. Also on display was the Waste Beam We’ve almost literally grown along Cabinet which looks like a neatly stacked pile of beams, but opens to with our britches.” reveal storage a cupboard within the The company now occupies a 10,000 external frame. The measurements, sq. metre building that performs a the solution for the skirting, and the multitude of functions. It encompasses way the handle is concealed in the offices, a shop, a restaurant, several surface of the end grain timber, all workshops, warehousing, a gallery these result from features of the beam. and an event room. All part of their

Once the young pretender, Ventura Lambrate has now established itself ahead of Tortona as the place for emerging designers and design schools to cluster.

This year, the Lambretto Arts Project was the undoubted highlight, a converted Lambretta factory that housed Valerie Traan Gallery, Design Academy Eindhoven and others during the Salone del Mobile.

We noticed a shift in focus in many student projects, many producing materials rather than products, particularly from food and waste materials. These ranged from using local materials and skills to create new types of paint as in Kirstie Van Noort’s Cornwall Project, to the more left-field such as Lieske Schreuder’s ‘Snail‘ project. Here snails are fed coloured waste paper to create a useable

‘thread‘ from their excrement. Another trend was focussing on methods of production exemplified by several live factory installations and tools and process on display alongside final products at several shows.

Clockwise from top left / 1. Lex Pott’s True Colour Vases / 2. Milan Bench by KASK School of Art, Ghent / 3. Flare Copper Light by Studio Besau Marguerre for Ltd Edition Design Gallery, Stilwerk / 4. Rollware: Edible Dishware by Joanne Choueiri, Giulia Cosenza and Povilas Raskevicius, Piet Zwart Institute, Rotterdam / 5. Snails by Lieske Schreuder / 6. Street memorial on Via Conte Rosso.

I N T H E C I T Y / L A M B R AT E

Clockwise from top left / 1. “Make My Day“ Live Factory by Royal Academy of Art, the Hague / 2. Muller Van Severen at Valerie Traan Gallery installation / 3.

Lambretto Arts Project Building / 4. Made in Cornwall Project by Kirstie Van Noort, Design Academy Eindhoven / 5. Street Art on Via Privata Massimiano / 6. Live ‘upcycling’ factory, University of Art & Design, Basel.

La Triennale played host this year to the ‘Toolbox’ of Belgian Design and also ‘Danish Chromatism’, both nations have strong design heritage and this was definitely reflected in the exhibits themselves.

The Brera Design District this year had a breathtaking 62 exhibitions. For us the strongest showings there were Big Game whose elegantly considered designs charmed us and When Objects Work who are consistently great. Loyalty demanded a trip to EDIT by designjunction (we exhibited there last September in London) and it’s smaller Milanese cousin was well worth it. It was the lighting companies that mostly caught our eye, but Ercol also had a Timorous Beasties upholstered Studio Couch that oozed character.

The perfect last stop was Quiet Motion, the Bouroullec’s installation for BMW. Tucked away in a courtyard with beaming sunshine these slow moving cogs were the perfect place to rest tired feet.

Clockwise from top left / 1. Bachelor Chair by Vermer Panton reissued by Montana seen at ‘Danish Chromatism’ / 2. Castor Table + Chair by Big Game for Karimoku New Standard seen at ‘Everyday Objects’ / 3. Danish Chromatism installation at La Triennale / 4. Quiet Motion by Ronan + Erwan Bouroullec for BMW / 5. Development sketch from Nendo=Nichetto / 6. Fish Skin on the Roof Carpet by Nendo=Nichetto for Ogeborg.

IN THE CITY / C ASTELLO + BRERA

Clockwise from above top left / 1. Squares Wall/Floor Lamp by Atelier Areti, seen at EDIT / 2. Bowl by Marcio Kogan for When Objects Work / 3. Special edition Studio Couch by Ercol and Timorous Beasties seen at EDIT / 4. Materials Pendants by Nevvorks seen at EDIT.

Moooi’s dramatic, luxurious room sets were a real spectacle, and nestled amongst the taxidermy and dominos were lots of new products. We especially liked the new small Heracleum II and the half moon version of the Raimond.

Droog’s ‘copy room‘ had the phrase “The New Original: Copying as a driver of innovation” emblazoned on the wall. To demonstrate they copied a traditional Chinese vase and used it’s attributes to create new original products. With this vase they kept the form, but sampled colours from the original patterns, layering them proportionally to the amount each colour was used in the original.

We liked this positive response to the issue of copies that is preoccupying the minds of many in the industry right now.

Droog also collaborated with the newly revamped Rijksmuseum creating contemporary objects inspired by the Rijkstudio archives. We liked ‘Forgotten Tools’ a 3D printed titanium cutlery set, and ‘Centrepiece’ a reinterpretation of Wenzel Jamnitzer’s famous centre piece, now re-decorated with 3D-printed magnetic miniatures of the Rijksmuseum collection.

Clockwise from top left / 1. Patricia Urquiola’s ‘Revolving Room’ installation for Kvadrat and Moroso / 2. Droog’s reinterpreted Chinese Vases / 3. Close up of the handle on the Bucket Lamp by Studio Job for Moooi / 4. Droog’s collaboration with the Rijksmuseum.

IN THE CITY / S H OW RO O M S + POP UPS

Moooi’s ‘Unexpected Welcome’ showcase, clockwise from top left / 1.Roomset / 2. New Raimond Dome suspension light by Raymond Puts / 3. New Heraculeum II by Bertjan Pot.

The Flos Professional Space was a sure fire highlight for us this year. On display were five lights all originally designed by Gino Sarfatti mid last century.

And the twist? Flos’ technical team have given each light an internal makeover, adding LED technology and other functionality to fit with the demands of 2013.

Gino Sarfatti was a giant among lighting designers. Completely self taught, he trained initially as an engineer but was forced to drop out of university as the political situation in Italy worsened in the early 1930s and his father lost all his assets due to sanctions imposed on Italy through the League of Nations.

Sarfatti made his first light as favour for a friend and by the time he retired thirty years later he had designed more than 650 lamps, prolific by anyone’s standard.

The majority of these were released through his own company Arteluce which

he established in Milan in 1939. Arteluce maintained production until Sarfatti sold it in 1973 to Flos. The only gap was during the Second World War when the family fled briefly to Switzerland in fear for their safety. The company was also a critical success, it was awarded the Compasso d’Oro in 1954 and 1955 and the Honorary Diploma at the Milan Triennale.

Piero Gandini, the president of Flos, said of Sarfatti “It’s his unique role as a designer/businessman that fascinates me most – a practical visionary, a concrete intellectual, an exceptional man whose courage, perseverance and talent allowed him to elegantly demonstrate his own idea of freedom”.

When Sarfatti sold Arteluce and retired, he moved to Lake Como and became a passionate stamp collector until his death in 1985.

B AC K S TO RY / RE-LIGHTING GINO S A R FAT T I

L-R / 1. Interior of the Arteluce Showroom, Milan 1963 (image from Flos Archives) / 2. Model 2129 designed by Gino Sarfatti in 1969, updated by with LED technology by Flos in 2012 / 3. Model 548 designed by Gino Sarfatti in 1951, updated with LED technology and optical dimming sensor by Flos 2012.

Paola Lenti are famous for the amount of effort that goes into their installations and this year was no exception. Their outdoor collection displayed in bright blues, magenta and pink popped against their specially installed pools and canopies.

Milanese furniture showroom Lecleticco hosted this years Wallpaper Handmade Exhibition. As with the fair and many other city events there was lots of marble on display such as Bethan Gray’s Table Top Series and Michael Anastassiades’ Marble Dishes inspired by fortune telling fish. The 3 signs tables by designer Jim Hannon Tan address the fact that marble is a precious resource by ensuring there is minimum wastage of the material.

All images on this page are from Paola Lenti’s installation at Chiostri Dell’umanitaria.

IN THE CITY / S H OW RO O M S + POP UPS

Clockwise from top left / 1. Sung! by Klaar Prims at Wallpaper Handmade / 2.

Coffee Table by Antonio Citterio for B&B Italia / 3. Table Top by Bethan Gray at Wallpaper Handmade / 4. Flux Table Lamps by NoĂŠ Duchaufour-Lawrance at Wallpaper Handmade / 5. 3 Signs by Jim Hannon Tan at Leclettico

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