A New Way to Look at Furniture in Milan

It has been 60 years since Salone del Mobile Milano, the premier annual exhibition of furnishings, was based, and two and a half years since crowds final gathered in Milan’s exhibition halls to admire the relentless creativity of worldwide designers and producers.

A spirit of innovation continues to drive the truthful, not least in the way in which its organizers have responded to the pandemic. Sunday marked the opening of a particular version referred to as Supersalone.

With 423 exhibitors, a couple of quarter of the same old quantity, Supersalone is a scaled-down affair, “but in a certain way it is bigger in terms of our capacity to experiment with the format,” mentioned Stefano Boeri, a Milanese architect and the occasion’s curator. Exhibitor cubicles have been changed with show partitions which can be hung with merchandise and permit at no cost circulation. (The constructions will likely be dismantled and recycled or composted after the truthful.) And whereas Salone had beforehand been restricted to members of the commerce on most days, Supersalone welcomes the general public all through its five-day run, for a diminished entry worth of 15 euros (about $18). For the primary time, too, most of the items will likely be out there for buy.

One Salone custom has not been altered: Throughout the week of the truthful, design can be being celebrated in retailers, galleries, parks and palaces all through Milan. What follows are some highlights. — JULIE LASKY

A new treasure home for revolutionary ceramics

Ceramics by Pierre Marie Agin in the mission room of the brand new Bitossi Archive Museum.Credit…Delfino Sisto Legnani

The Italian ceramics firm Bitossi is celebrating its 100th anniversary this yr, and has marked the event by opening the Bitossi Archive Museum at the corporate’s headquarters in Montelupo Fiorentino, close to Florence, on Monday. The museum, which was designed by Luca Cipelletti of the Milan structure agency AR.CH.IT, occupies greater than 21,000 sq. ft of former manufacturing facility house (with its industrial vibe preserved), and is full of about 7,000 items from the corporate’s archive, in addition to pictures and drawings which can be supposed as a useful resource for design professionals and the general public.

On show are objects by Aldo Londi, Bitossi’s creative director and contributor from 1946 to the 1990s — who designed the well-known Rimini Blu ceramic line, and who labored with one other legend, Ettore Sottsass, starting in the 1950s. Other works are by influential designers like Nathalie Du Pasquier, George Sowden, Michele De Lucchi and Arik Levy, and more moderen collaborations with Max Lamb, FormaFantasma, Dimorestudio and Bethan Laura Wood, to title a couple of.

Although most of the items are displayed in teams, the museum additionally has a mission room that highlights the work of a single designer, in this case a set of whimsical takes on conventional ceramics by the French designer and artist Pierre Marie Agin.

In Milan, historic Bitossi ceramics are represented in “Past, Present, Future,” an exhibition at DimoreGallery, Via Solferino 11, by means of Friday. fondazionevittorianobitossi.it
— PILAR VILADAS

Using pure decay to create magnificence

A cupboard made with decaying crops, from the “Protoplasting Nature” sequence by the artist Marcin Rusak.Credit…Marcin Rusak Studio

In his Milan debut, the London-based, Polish-born artist Marcin Rusak presents “Unnatural Practice,” a present of his ongoing work with discarded plant materials. Items on show from his “Perishable” assortment, made with flowers, and “Protoplasting Nature” sequence, utilizing leaves, draw consideration to his methodology of repurposing flora into lighting fixtures, furnishings and ornamental vases engineered to decay over time.

The exhibition, which is curated by Federica Sala, is “filled with many conceptual, unfinished pieces and ideas to examine our relationship with the objects that we collect,” the artist wrote in an e-mail. It additionally encompasses a new sequence of wall-hanging items; an set up that examines the affect of Mr. Rusak’s household enterprise on his vocation (he’s a descendant of flower growers); and signature scents tied to his items, created by Barnabé Fillion, a perfumer.

“Most of the projects we work on have common threads in terms of concepts and materials,” Mr. Rusak mentioned. “The installation is something that brings you closer to looking at these objects the way I see them — as an ever-growing and decaying living catalog.” On view by means of Friday at Ordet, Via Adige 17. marcinrusak.com. — LAUREN MESSMAN

A furnishings assortment with a literary inspiration

A Mezze chaise longue from Annabel Karim Kassar’s Salon Nanà assortment for Moroso.

When Annabel Karim Kassar, a London-based architect, selected to name her new furnishings assortment Salon Nanà after the titular courtesan in Émile Zola’s 1880 novel, “Nana,” it was not out of admiration for the character’s apply of driving males to distraction and dying. Rather, Ms. Kassar, who was born in Paris, mentioned the items have been meant to evoke the sociability of late-19th-century literary salons.

Produced by the Italian firm Moroso, Salon Nanà consists of lush sofas with oversize down cushions, a chaise longue and two teams of tables, some with Moorish patterns and ornamental studs. The designs draw from Ms. Kassar’s three years in Morocco and extra broadly from her lengthy tenure in the Middle East, the place her agency has places of work in Beirut and Dubai. The sofas, as an illustration, can be found in black-and-white striped material influenced by the djellabas, or robes, worn by Arab males. (Other choices run to 1960s-style floral prints and corduroy paying homage to 1970s males’s trousers.)

As for the character that impressed the gathering, Ms. Kassar is keen to reduce the feminine Second Empire invention of a male author some slack. “I have no judgment about Nana being good or bad,” she mentioned. “She had to endure a difficult life.” On view by means of Sept. 19 at Moroso’s showroom, Via Pontaccio eight/10. Moroso.it — JULIE LASKY

An optical phantasm provides dimension to new carpets

Carpet from the Ombra assortment by Muller Van Severen for cc-tapis.

Trompe l’oeil, the centuries-old artwork world strategy of tricking the attention, has been utilized in a totally fashionable manner to the Ombra carpet assortment for the Milanese firm cc-tapis.

The Belgian couple who designed Ombra — Fien Muller, a photographer, and Hannes Van Severen, a sculptor, principals of the studio Muller Van Severen — mentioned they needed to get away from the concept a rug was only a two-dimensional aircraft on the ground. “We hope to give movement in an interior, in a subtle way,” they wrote collectively in an e-mail. “It was mainly a study of interesting uses of color and composition with paper and light. But you can’t call it pure trompe l’oeil, either.”

The designers labored on the mission at their eating desk in the course of the pandemic, slicing, gluing and photographing paper and cardboard, utilizing the sunshine from their telephones to create and research shadows.

The rugs, produced in Nepal, are hand-knotted in Himalayan wool and are available in two variations: monochromatic or multicolor. They are produced in one dimension: 9.eight ft by 7.5 ft.

On view by means of Friday at Supersalone and at the cc-tapis showroom at Piazza Santo Stefano 10. cc-tapis.com — ARLENE HIRST

Lamps in electrifying mixtures

Fixtures from the modular Shade assortment from George Sowden’s new firm, Sowdenlight.Credit…Alice Fiorilli

George Sowden, one of many founding members of Memphis, the ’80s radical motion that challenged modernism’s ruling aesthetic, is maintaining with the techno-Joneses. With his new firm, Sowdenlight, the English-born, Milan-based designer intends to produce a big selection of revolutionary lighting options.

First up is Shade, a whimsical group of multihued fixtures that capitalize on the light-diffusing, easy-to-clean properties of silicone. The modular lamps may be made to order, giving the client a head-spinning array of type and coloration choices.

The preliminary assortment contains 18 fundamental shapes, which may be assembled into 18 pendant lights, 4 desk lamps, two flooring lamps and 7 cell fixtures.

Mr. Sowden, 79, is in the meantime growing a alternative for the traditional Edison gentle bulb. This signature of business stylish, he mentioned, although “perfectly functional for incandescent fixtures,” is a producing mistake when utilized to LED applied sciences, “wasteful and inadequate.”

Shade is on view at the Sowdenlight showroom, at Via Della Spiga 52. Sowdenlight.com — ARLENE HIRST

The secret to everlasting youth?

The inspiration for Agape’s Vitruvio mirrors goes again to these from conventional stage dressing rooms.

For the Italian tub fixtures firm Agape, the inspiration for its Vitruvio mirror goes again to conventional stage dressing rooms, the place a hoop of incandescent bulbs helped stars placed on their make-up — and imagine they nonetheless appeared younger. “The quality of illumination for the face and upper part of the body is close to perfection,” mentioned Cinzia Cumini, who together with her husband, Vicente García Jiménez, designed the rebooted model of the old-school vainness lights.

The title derives from “Vitruvian Man,” the Leonardo da Vinci drawing of a nude male determine inside a circle and a sq., whose magnificence additionally impressed them. But they employed fashionable expertise to enhance the expertise. “Lighting bulbs are romantic but nowadays a little uncomfortable in the usage,” Ms. Cumini mentioned. “LEDs allowed us to rethink with a contemporary approach.” The improve smooths the looks of facial wrinkles sans warmth, so you possibly can put in your greasepaint with out sweating profusely. The sq. mirrors can be found in three sizes: about 24 inches, 31.5 inches and 47 inches per aspect. They are being displayed with different new merchandise at the Agape 12 showroom at through Statuto 12. agapedesign.it/en — STEPHEN TREFFINGER

Reviving a minimalist radio by an Italian grasp

Cassina’s remastered model of a Franco Albini radio has each FM and digital expertise, Bluetooth capabilities, and a seven-inch show display.

Typically, couples who obtain undesirable marriage ceremony presents disguise them, return them or give them away. Franco Albini had a unique concept. When, in 1938, this neo-rationalist Italian architect and his bride, Carla, acquired an ungainly radio in a standard wooden cupboard that seemed misplaced in their fashionable dwelling, Albini discarded the housing and mounted the electrical parts between two supporting items of tempered glass. “Air and light are construction materials,” he later informed his son Marco.

Albini finally refined the design for industrial manufacturing, making a minimal glass case for the electrical guts. Produced by the Swiss firm Wohnbedarf, the stripped-down Radio in Cristallo was launched in 1940. Now the furnishings firm Cassina has revived it with the similar proportions (about 28 inches excessive by 11 inches deep), including a state-of-the-art speaker from the Italian firm B&C. The radio has each FM and digital expertise, Bluetooth capabilities, and a seven-inch show display. The worth is $eight,235 (a limited-edition, hand-wired model sells for $14,770).

On view throughout Milan Design Week at the Cassina showroom at Via Durini 16. cassina.com — ARLENE HIRST

Shining a light-weight on on a regular basis objects

Alessandro Zambelli’s DailyGlow lights for Seletti “dispense” LED strands or glow from inside.

Turning the acquainted into one thing new and compelling is a specialty for Seletti. In 2006, the Italian firm commissioned the designer Alessandro Zambelli to create Estetico Quotidiano, a sequence of on a regular basis objects like takeout containers, tin cans and baskets remade in porcelain or glass. These items have been “figurative, quirky, accessible and deeply linked to the memories of the daily objects we all have in mind, yet with a twist and a sense of surprise,” mentioned Stefano Seletti, the corporate’s artwork director.

For the brand new assortment, referred to as DailyGlow, Mr. Zambelli added the ingredient of sunshine. Objects solid in resin — together with a toothpaste tube, a milk carton and a liquid-soap bottle — “dispense” LED-illluminated strands as an alternative of their supposed merchandise. (Sardines and canned items glow from inside their vessels.)

Mr. Zambelli mentioned he needed to seize “the essence of common shapes, the ones we see every day in the objects around us.” At the identical time, by including lights to the equation, he reworked the objects into “lamps that could narrate how the world is changing.”

The DailyGlow assortment is being proven by means of Saturday at the Seletti flagship retailer at Corso Garibaldi 117. From $219. seletti.us — STEPHEN TREFFINGER

Warmhearted mirrors fabricated from stone

Two tabletop dimension Friends mirrors, a part of the brand new collaboration between the Italian design agency Salvatori and the Brooklyn-based designer Stephen Burks.

Despite all their challenges, the final 18 months have given house for self-reflection and creativity. In that optimistic spirit, the Italian design agency Salvatori is presenting work that has been in growth in the course of the pandemic, together with its first collaboration with the Brooklyn-based designer Stephen Burks.

Mr. Burks has fused his vibrant aptitude and cultural perspective with Salvatori’s experience in stone surfaces to create a brand new assortment of sculptural mirrors. The mirrors, which come in a tabletop dimension titled Friends (from $three,900) and a wall-hanging model referred to as Neighbors (from $5,400), incorporate an array of colourful marble, together with Rosso Francia (pink), Giallo Siena (yellow) and Bianco Carrara (white). Holes in the anthropomorphically styled items additionally counsel cutouts in a masks, providing viewers a chance to see themselves in a brand new gentle.

“I was inspired by the variety of stone that was available to us — and how that spoke to the diversity of people who might see their image reflected on the surface,” Mr. Burks mentioned in an e-mail.

Although the merchandise may be interpreted as masks, Mr. Burks mentioned that they aren’t supposed to obscure the face. “I’m hoping the mirrors will remind people of how expressive they can be.” Through Sept. 10, at Salvatori’s Milanese showroom at Via Solferino 11; salvatoriofficial.com — LAUREN MESSMAN