Walking through the space reveals, step by step, the intensity of her holistic thinking. There are no dissonances, no breaks. Each room opens like a chapter in the same story, woven through textures, muted colors, and carefully placed pieces. Many belong to her self-produced collection: the Cone X lamp, the Tiga and Orma tables, the Ary bench, or the Raku-Yaki sconces—each with a sculptural presence that feels born of the place itself, rather than merely placed within it.

Emmanuelle composes her interiors as if writing a score. Volumes follow one another with grace, spatial transitions unfold gently, and each detail—a molding, a handle, a fold of fabric—becomes a gesture that integrates naturally into the space. Lighting orchestrates the whole with a calm rhythm that invites both enjoyment and contemplation.

The apartment is also a compendium of her passions: ceramics, to which she dedicates an entire library; objects collected on her travels; artworks by creators she admires, such as Hermentaire, Romain Guillon or Thomas Gleb, whose presence in the space adds a symbolic, dreamlike dimension.

But beyond its refinement, what makes this project truly stand out is its emotional value. The dialogue with artisans—such as Delphine Messmer, who created the mosaic floor; Romain Guillon, with his hand-scratched earthen mural in the kitchen; or the craftspeople who bring Emmanuelle’s designs to life—infuses the spaces with remarkable warmth. Here, materials do more than decorate: they express, connect, and evoke—the very values of craftsmanship that are increasingly essential in residential, commercial, and hospitality settings alike.

In this home, Emmanuelle Simon has done more than design her own dwelling. She has made a declaration of intent: her vision of interior architecture as a total art form, where every line, every shadow, every object contributes to a unified vision—one that seeks beauty through the authenticity of materials and a deep listening to space.

Project: Bonne Nouvelle.
Location: París.
Interior and furniture design: Emmanuelle Simon.
Completion: 2025.
Photography:  Damien de Medeiros.

Emmanuelle Simon, one of the most promising young designers on the European scene

Based in Paris, Emmanuelle Simon cultivates a deeply sensorial vision of design, where the architectural and the emotional intertwine in silent harmony. An interior architect and object designer, her practice encompasses everything from spatial creation to furniture and lighting design, in a constant search for balance between form, function, and sensitivity.

After training at the Penninghen school in Paris, she went on to collaborate with renowned masters of architecture and design such as Jean-Marie Massaud and Pierre Yovanovitch.

In 2017, she founded her own studio in Paris, where she has developed a distinctive aesthetic language influenced by Art Deco and the wabi-sabi philosophy. These inspirations shape an approach in which the raw nature of materials lends authenticity to the defined lines of architectural space. Her conception of each project is almost sculptural: whether an interior or a lamp, each one is built through the intimate relationship between materials, light, and void.

As an interior designer, she stands out for creating immersive, timeless atmospheres—spaces that invite stillness and contemplation. Her projects—residences, spas, boutiques, and showrooms—are landscapes of calm, built with stone, plaster, noble woods, natural textiles, and unique pieces that seem to emerge from the space rather than having been placed within it.

In 2021, she launched her first complete collection of furniture and lighting, where each piece feels sculpted rather than simply designed. Stools, consoles, lamps, and tables that evoke both the archaic and the contemporary, crafted by local artisans using noble materials. She was soon invited to collaborate with the Parisian gallery Kollector, and her pieces began to appear in international design catalogues.

Her work as a product designer has enabled her to develop a repertoire of furniture and lighting that extends her conceptual universe. Tables with essential lines, sculptural lamps, monolithic benches, and totem-like stools reflect her profound respect for raw materials and for the artisanal gesture. Many of these pieces, originally created for specific projects, have transcended their spaces to become coveted objects for collectors and galleries.

In all her work, Emmanuelle Simon advocates for an aesthetic of the essential—a quiet form of luxury that appeals to the senses and to memory. Subtle yet assured, her voice has become one of the most distinctive among the new generation of contemporary designers. She was included in the 2024 AD100 list and received the “Best Young Interior Designer” award from Ideat.

Source: Emmanuelle Simon y Balkin Bureau.

The curved backrest, generous yet restrained, and the true protagonist of the piece, is crafted from a single piece of wood, then split and finished into two mirrored parts. The result of delicate manual processes of roughing and smoothing, it reveals subtle layers of different woods that create striking tonal effects through refined black marquetry. The backrest and rear legs meet only at the base, creating a wide open space that lends the structure a gentle flexibility while evoking a totemic image.

The frame, in solid Canaletto walnut with a slender rectangular profile, showcases the full expressive potential of the veneer through subtle variations in thickness. It supports a gracefully curved seat, upholstered in either leather or fabric.

In its ongoing mission to recover essential pieces from the modern canon, Tacchini brings this chair back to life—sober and beautiful, and embodying the purest values of Italian design in the second half of the 20th century: proportion, noble materials, and an intimate understanding of dwelling.

This re-edition is not merely an homage to a seminal designer; it is a declaration of intent. In a time defined by acceleration, the Africa Chair reminds us of the enduring beauty of the essential. Faithfully reproduced in stained ash wood and upholsteries that echo the original 1970s spirit, this is not a piece that has aged—it has matured.

In contemporary interiors, the Africa Chair reappears not as a relic, but as a gentle presence. It belongs in a living room, a studio, an intimate dining area. It adapts effortlessly, as if it had always been there.

Tobia Scarpa

Tobia Scarpa, son of the renowned architect Carlo Scarpa, was born in Venice in 1935. He studied architecture at the IUAV in Venice, where he met Afra Bianchin—his lifelong partner in both life and profession. The couple graduated in 1957 and married shortly after, embarking on a brilliant creative partnership. Following a brief period working for the Murano-based glassmakers Venini, Tobia and Afra opened their own studio in Montebelluna, nestled in the Veneto countryside where Afra had grown up.

Their first design piece, the Pigreco chair, was created in 1959 during a university course in Interior and Decorative Design led by Franco Albini. Conceived for Gavina—later acquired by Knoll—Pigreco was a daring departure from convention. Its two rear legs converge so closely they form a single structural point, remaining faithful to the triangular geometry that inspired Scarpa’s original concept. The piece, now reissued in a limited edition by Tacchini, was the first in a long series of designs that would cement their place in design history.

Their armchair 925, designed for Cassina in 1966, is held in the permanent collection of MoMA in New York, while the Libertà chair for Meritalia is part of the Contemporary Art collection at the Louvre. Their most iconic creation, the Soriana lounge chair—also for Cassina—was awarded the Compasso d’Oro in 1970. Between 1962 and 1975, the couple designed several lighting pieces for Flos, including Fantasma, Foglio, Biagio, Pierrot, Ariette and Papillona. Their Coronado sofa, designed in 1966 for B&B Italia, remains to this day a timeless symbol of relaxation.

Although better known for his work in design, Tobia Scarpa has also developed notable architectural projects. In addition to single-family homes and residential buildings, he and Afra oversaw the design and construction of industrial facilities, including Benetton’s first factory and numerous retail stores for the brand around the world. In 2008, Scarpa was awarded the Compasso d’Oro for lifetime achievement.

Source: Tachini.

Every element—from generous seating to thoughtfully detailed accessories—is crafted with the intention of harmonizing with its environment. The collection reflects meticulous attention to detail in its choice of weather-resistant, low-maintenance materials—like wicker-look synthetic rattan—and cushions with removable covers and quick-dry reticulated foam.

Galea stands out not only for its serene, timeless aesthetic, but also for its strong commitment to sustainability and functionality. It is a collection that transforms any corner into a haven of style, balance and calm.

Product: Colección Galea.
Design: Made Studio.
Design year: 2025
Brand: Kave Home.

Made Studio: design rooted in place and Mediterranean sensibility

Founded in Valencia by designers Borja García and Laura Ros, Made Studio embodies an approach to design that merges aesthetic sensitivity, technical precision and a deep connection to the environment. With a cross-disciplinary practice that spans from product design to ephemeral architecture and interior spaces, their work is defined by formal honesty, intelligent use of materials, and a thoughtful response to contemporary needs.

Each project reflects a quiet pursuit of essentiality—objects and spaces designed not to impose, but to accompany, to offer comfort and open a dialogue. Whether creating furniture for brands such as Diabla, Omelette Editions, Kave Home or Gandia Blasco, or designing installations for fairs like Hábitat Valencia or Casa Decor, Made Studio demonstrates a rare ability to craft elegant and functional solutions that stand the test of time without forsaking emotion.

Their language draws on a delicate balance between industry and craftsmanship, geometry and lightness, structural logic and sensory warmth. A practice deeply rooted in the Mediterranean landscape and a design ethic committed to the enduring values of usefulness, beauty and integrity.

Source: Kave Home y Made Studio.

Led by creative director Karin Gustavsson and including designs by Paulin Machado, Nike Karlsson, and Ola Wihlborg, the collection pays homage to the craftsmanship and nature surrounding Stockholm. It features noble materials like pine, oak, wool, and blown glass, focusing on sustainability and functionality.

Between the forest and the city

Inspired by Stockholm—that city where urban rhythms blend with the murmur of forests and the shimmer of water—the collection explores that essential balance between nature and culture that defines the Scandinavian way of life. The color palette speaks to us of seasons and natural textures: mossy greens, mustard yellows, warm ochres, wintry blues, and deep browns. All applied with discretion and sophistication, like a whisper that accompanies rather than imposes.

The use of materials is another central thread of the project: solid oak wood, leather dyed with plant-based pigments, hand-blown glass, linen, rattan, virgin wool, and glazed ceramics imbue each piece with character and authenticity. There is no artifice here—only thoughtful, well-crafted design.

Design you can feel

One of the most iconic pieces in the collection is the three-seater sofa with exposed oak frame, upholstered in mustard velvet: warm, inviting, and elegant, it is designed to become the heart of domestic life. Around it, solid oak side tables with rounded forms—crafted to be not only functional but also pleasing to the touch—create an atmosphere that gracefully balances modernity and tradition.

Among the new chairs, one model stands out: featuring a leather seat and gently curved wooden backrest, its organic silhouette and generous proportions make it ideal for both a dining room and a reading nook. Every curve is designed to softly follow the contours of the body.

The sideboards and display cabinets, meanwhile, reinterpret the classic Scandinavian furniture piece with fluted glass doors and finishes in light wood or muted lacquers. These are pieces that store, yes—but they also reveal, invite the eye, and take an active role within the space.

Lights with a story

Lighting takes on a special role in Stockholm 2025. For the first time in its history, IKEA introduces a chandelier: a poetic piece crafted in blown glass, evoking the spirit of Venetian candelabras but reimagined with a restrained, contemporary aesthetic. Alongside it, table lamps with printed textile shades, amber glass pendants, and minimalist wall sconces complete a lighting collection rich in nuance—designed to accompany the shifting moments of the day.

Textiles and pieces that connect

The tactile dimension is fundamental in this collection. Handwoven rugs in virgin wool feature geometric patterns inspired by Swedish textile tradition and are presented in natural tones that harmonize with contemporary interior architecture. Cushions and throws, in merino wool or washed linen, add layers of comfort without decorative excess.

At the table, the collection offers ceramic dinnerware with reactive glazes, wheel-thrown bowls with irregular rims, smoky-toned blown glass tumblers, and sculptural pitchers—objects designed for daily rituals where beauty and simplicity coexist.

At the table, the collection offers ceramic dinnerware with reactive glazes, wheel-thrown bowls with irregular rims, smoky-toned blown glass tumblers, and sculptural pitchers—objects designed for daily rituals where beauty and simplicity coexist.

A tribute to scandinavian design

The Stockholm 2025 shelving unit, with its simple, refined lines, is a sophisticated homage to Scandinavian design. Featuring a beautiful brushed veneer finish and extra-wide shelves that lend it a generous yet distinctive presence, it offers ample space for displaying the most cherished objects.

A manifesto of calm and authenticity

More than a series of furniture and objects, Stockholm 2025 is a way of understanding design as an integral part of life. A celebration of quiet luxury, of handcrafted work, of materials that age with dignity. A collection that invites us to slow down, to observe our surroundings with renewed attention, to choose fewer things—but better ones.

As Karin Gustavsson puts it, “every piece in the collection is designed to feel good. To be enjoyed with all five senses.” In an age defined by speed and obsolescence, IKEA reminds us with this collection that the essential still lives in the details: a texture, a shadow, a piece of furniture that endures.

Source: Ikea.

The structure, crafted in matte lacquered steel with a wooden base, serves both as a technical support and a textile container: on its outer face, a removable knitted cover wraps the piece, lending it a tactile quality that defines its character. Inside, seat and back cushions made from high-resilience expanded polyurethane ensure lasting comfort and durability. Arnò can be configured freely thanks to its versatile modules — central seats, corners, with or without armrests — making it a flexible, open system capable of adapting to different spaces and needs.

Product: Sofá Arnò.
Design: Bertrand Lejoly.
Year: 2025.
Band: Paola Lenti. Italia.

Bertrand Lejoly, refined simplicity

Trained across Belgium, Germany, and Italy, Bertrand Lejoly has developed a language he defines as refined simplicity: a subtle blend of restrained expressiveness, collective memory, and architectural proportion. After years collaborating with renowned studios such as Matteo Thun & Partners and Vincent Van Duysen Architects, he founded his own studio in 2021, crafting functional and serene objects that balance the classical with the contemporary.

Lejoly’s work is deeply attentive to context: his pieces do not seek to stand out through extravagance but rather to blend into a broader, harmonious atmosphere. His collaborations with brands like Zanotta, Fantini, Duravit, and Serax have earned him international recognition, including the German Design Award, Red Dot Award, IF Design Award, and the Archiproducts Award.
His collaboration with Paola Lenti feels almost inevitable: both share a pursuit of beauty through formal purity, honest materials, and lasting design.

Paola Lenti, a thread that unites everything

It all began with a thread. In 1994, Paola Lenti introduced her first rugs — born from a profound artisanal vocation and a chromatic sensitivity that would soon become her unmistakable signature. Since then, the Italian brand has built a coherent, immersive universe where design converses naturally with tradition, innovation, and sustainability.

Initially specialized in outdoor furniture, Paola Lenti has expanded her catalogue to encompass all areas of living: sofas, tables, modular systems, shelving, and accessories combine seamlessly, sustained by continuous research into fibers, colors, and textures. Production remains firmly rooted in Italy, collaborating with artisans and research centers, and prioritizing recyclable materials, natural fibers such as linen and hemp, and low-impact production processes.

Today, with a presence in over 60 countries and close to 300 international showrooms, Paola Lenti remains true to her origins: crafting lasting beauty from the essential.

Fuente: Paola Lenti y Bertrand Lejoly

“From the first time I saw the Grace chair, I was captivated: the generous proportions, the fluidity of posture it encourages, the poetic interplay of light through its form. While the natural rattan had undeniable charm, there was always a call for an outdoor version. With this edition, we pay tribute to Tove by merging her vision with materials that speak to today,” says Marie Kristine Schmidt, Brand Director at Gubi.

Grace was initially conceived for transitional spaces—sunrooms, greenhouses, glazed terraces—but now it opens fully to the outdoors. Its sculpted silhouette, which converses effortlessly with light and space, retains the soft, enveloping presence that made it an icon.

Built with an advanced synthetic fiber that faithfully echoes rattan’s texture, and set on a powder-coated aluminum frame, this outdoor edition balances aesthetic fidelity with technical innovation. UV- and weather-resistant, the Grace Outdoor Lounge Chair becomes an elegant and functional sanctuary for patios, terraces, or balconies.

“My mother found endless inspiration in nature. This outdoor edition reflects her connection to the organic world, extending her legacy through materials that ensure its relevance. It is a natural evolution of her body of work” says Ebbe Kindt-Larsen, son of Tove Kindt-Larsen.

Craftsmanship, technology, and the poetry of form

Though the aluminum frame is precisely curved by machine, each woven section is hand-finished, preserving that vital dialogue between hand and material. The result is a piece that honors the past while looking toward the future.

Grace’s curvilinear silhouette remains intact but now speaks in a more contemporary dialect, underscored by a sober and versatile palette: Black, Alabaster White, and Mushroom Grey. The synthetic fiber mimics rattan’s flexibility, adapting to the body and casting a gentle choreography of light and shadow under the sun.

“With this version, my mother’s vision—where beauty and comfort converse effortlessly—moves beyond walls and into gardens, patios, and terraces. Her aesthetic language flourishes in these new landscapes,” adds Ebbe Kindt-Larsen.

Designed to move between worlds

Lightweight, durable, and easy to relocate, the Grace Outdoor Lounge Chair gracefully transitions between indoor and outdoor settings, following the rhythm of weather and mood. A deep, plush cushion made with breathable, waterproof foam ensures comfort regardless of rain or shine. Upholstered in Gubi’s selection of outdoor fabrics, it merges textile technology with the softness of Danish design.

Product: Grace Outdoor Lounge Chair.
Design: Tove Kindt-Larsen
Reissue: Gubi. 2025.
Dimensions: W: 78,5 cm | D: 71 cm | H: 74 cm
Seat height:: 45 cm | Seating area: 65 x 60 cm
Materials: Aluminum frame with polyethylene fiber
Cushion: Foam with waterproof membrane
Upholstery: Gubi outdoor fabrics (see gubi.com/upholstery)
Colors: Black | Alabaster White | Mushroom Grey

Tove Kindt-Larsen: A sensitive eye at the heart of modern design

For decades, her name was overshadowed by the joint signature she shared with her husband. But today, in a long-overdue act of historical justice, Tove Kindt-Larsen (1906–1994) is emerging as a pivotal figure in Danish modern design. With a refined sensitivity to natural materials, a flair for organic curves, and a quiet determination, Tove was among the first women to carve out an independent path during Denmark’s design golden age.

A trailblazer in a man’s world

Born in Reddersen, her career began in 1931 alongside architect Thyge Hvass, where her talent was immediately evident. Before marrying fellow designer Edvard Kindt-Larsen, she had already earned first prize from the Cabinetmakers’ Guild and third place from the Danish Wicker Guild for her natural-fiber furniture.

In 1938, designer Mogens Voltelen described her as someone “unafraid to solve challenges from a completely new angle.” She was ahead of her time—working with noble materials, creating flexible solutions, and championing an aesthetic stripped of excess.

The art of designing without rigidity

Trained as an architect and later a student of Kaare Klint—the father of Danish modernism—Tove pursued a radical path: rather than designing full interiors, she focused on individual pieces that empowered users to create their own spaces. Her early adoption of rattan and molded wood made her a pioneer.

It was at Klint’s school that she met Edvard. United by a shared passion for natural materials and the balance of form and function, they would go on to leave a collective mark.

A shared Studio, a joint legacy

Married in 1937, the couple opened their studio in 1945. Rejecting the heaviness of Victorian furnishings, they introduced a clean, functional, and honest design language. Their work spanned furniture, textiles, jewelry, tapestries, wallpapers, and even architecture. Among their most renowned pieces: the Fireplace Chair (1939), the Pagoda Sofa (1956), the Pagaj Chair (1960), and the Prisma Sofa (1964).

But their influence extended beyond objects. From 1943 to 1966, Edvard curated the prestigious Copenhagen Cabinetmakers’ Guild Exhibitions—crucibles of Scandinavian design. These exhibitions, conceived together, reflected their unified vision: poetic yet practical pieces adapted for modern life.

A quiet yet indelible presence

Alongside Danish greats like Wegner, Klint, Juhl, and Jacobsen, they introduced Scandinavian design to the U.S. Edvard received accolades including the Eckersberg Medal (1949) and an honorary Guild award (1957). Queen Ingrid of Denmark even purchased one of their leather swivel stools. Tove’s name, however, often remained unmentioned—though her imprint can be felt in every fiber of those designs.

Today, through the revival of her solo work—like the Grace Chair, born from a 1936 sketch—Gubi reclaims Tove’s role as a singular creative force. Her style, deeply organic and subtly radical, didn’t merely complement 20th-century Danish aesthetics: it expanded them with a freer, more human sensibility.siglo XX: la enriqueció con una nueva sensibilidad, más libre, más humana.

Source: Gubi.

Far from the rigid proportions that usually define conventional tables, Treflo is conceived as a versatile and fluid system. Its design includes various shapes: from round tables that evoke a clover to oval versions with an infinity-shaped base. It also adapts to the living room as a refined coffee table. In all its versions, Treflo challenges static geometry and proposes a constant dialogue between form, balance, and expression.

“Cassina has always been a symbol of design culture. For this project, its Research and Development Center worked with great artistic and technical sensitivity on every detail of Treflo,” says Ronan Bouroullec.

One of the most striking aspects is the table’s base, with undulating contours that evoke the folds of fabric in motion. This silhouette comes to life thanks to lacquered finishes—either glossy or matte—and a special version made from wave-textured glass lacquered on the back, whose surface recalls the gentle movement of water. Achieving this effect involves a complex process requiring high temperatures and extended fusion times to shape a surface that is both unique and refined.

The tabletop’s perimeter, far from being perfectly regular, has been conceived as an organic line, meticulously crafted to convey a sense of craftsmanship and authenticity. Like an impressionist painting, where there are no sharp lines but rather suggestions of forms, Treflo becomes a visual and tactile experience.

Beyond its formal richness, the new Treflo collection stands out for its deep commitment to sustainability. Its base is crafted from an innovative material—rigid polyurethane with bio-based components—reflecting Cassina’s ongoing pursuit of more responsible solutions at every stage of its creative process.

If form is poetry, color is emotion. Treflo is offered in refined monochromatic combinations that emphasize its elegance and sculptural character. From the neutral tones of Comfort to deep shades of midnight blue, Pinot Noir, brick red, and a distinctive dark green, each table seems to possess a personality of its own—almost like a functional work of art.

With Treflo, Ronan Bouroullec and Cassina invite us to rediscover beauty in soft gestures, subtle lines, and the delicate balance between technique and emotion. A table that doesn’t just occupy space—it transforms it.

Ronan Bouroullec: Designer of the Poetic Gesture

Ronan Bouroullec (Quimper, France, 1971) is one of the most influential figures in contemporary design. Alongside his brother Erwan, he has formed one of the most prolific and celebrated creative duos of recent decades, while also developing highly regarded solo projects.

With a unique sensitivity for capturing the poetry of form and a constant search for balance between function and emotion, Ronan has collaborated with renowned brands such as Vitra, Hay, Flos, Kvadrat, and more recently, Cassina. His work is defined by formal purity, a handcrafted approach, and meticulous attention to detail—always guided by an openness to innovation and the exploration of new materials.

Source: Cassina and Ronan Bouroullec.

Fifty years after its debut, Fiandra returns with refined proportions and a technical approach that prioritizes circularity. The structure, which in its original version proposed an ingenious slanted wooden base wrapped in canvas, has been reinterpreted from within: now without molds, without hidden structures, and with minimal use of superfluous materials.

The result is a piece that not only captivates with its relaxed and inviting silhouette but also with its technical conception. An architecture of rest that speaks the contemporary language of sustainability.

Essential Design, Intelligent Construction

True to Magistretti’s idea of eliminating the unnecessary to highlight form and function, Cassina has replaced the original base with a metal frame onto which the padded elements are directly placed. These elements are made with varying densities and wrapped in a layer of recycled polyester fiber that provides firmness, stability, and comfort.

The inner cushions also reflect this commitment to responsible design: one of the polyurethanes used contains bio-based polyols, while the other includes a recycled content.

Every technical decision is, at the same time, a poetic gesture.

Upholstery That Defines Character

Fiandra is offered in a wide selection of fabrics that embrace and define its volume. The upholstery is not an added detail but an essential part of the concept: it covers all structural elements, enhancing their sculptural and timeless presence.

Moreover, the system has been designed for easy disassembly, which facilitates recycling of its components at the end of their lifecycle. A solution that, without abandoning Magistretti’s legacy, marks a new path for contemporary furniture design: more conscious, more transparent, more free.

Vico Magistretti (1920–2006)

Milanese designer and architect, Vico Magistretti was a key figure in 20th-century Italian design. Educated at the Politecnico di Milano, he began his career in the post-war period, standing out for a vision that combined functionality, elegance, and a deep understanding of materials. He created pieces that are now icons of industrial design, such as the Eclisse and Atollo lamps, or the Carimate chair, collaborating with renowned brands like Artemide, Cassina, and De Padova.

His style, sober and essential, was characterized by the pursuit of simplicity without sacrificing formal poetry. Magistretti also left a strong mark as a teacher, influencing generations of designers from his post at the Royal College of Art in London.

Throughout his career, he received numerous awards, including the Compasso d’Oro, and his work is part of permanent collections such as that of the MoMA in New York.

Source: Cassina.

With this low table, Tangelder delves into the intrinsic nature of glass—from fluidity to solidity—leveraging its expressive potential to craft a monolithic object of striking presence. Each table is made of blown glass and hand-shaped using a cast-iron mould in the Veneto region of Italy. The result is an object with an organic, irregular silhouette, where variations in thickness generate subtle plays of light, reflection and colour.

The technical challenge has been considerable. Cassina has developed highly complex production processes to ensure the structural stability of the piece—especially at the base that supports the upper volume—and to achieve the delicate engravings that enrich its surface.

The designer is especially drawn to the ambiguity of glass: a material that, when heated, acquires an almost architectural fluidity, allowing it to be shaped like a sculpture. This fascination is evident in every detail of the table, where form and matter engage in a delicate dialogue.

Fluid Joinery – Side Table I is available in a single format—conceived to be displayed individually or in group compositions—and in three refined colours: smoked, amber and blue. Each hue is achieved through the layering of transparent and pigmented glass. As a result of the entirely artisanal process, each table is slightly different, making every piece one of a kind.

Linde Freya Tangelder

Linde Freya Tangelder (Netherlands, 1987) is a Dutch designer who explores the boundaries between art, design and architecture. Founder of the studio Destroyers/Builders, her work is characterised by a strong sculptural sensibility, a deep respect for materials and an approach that combines brutalism with intimacy.

Trained in both the Netherlands and Belgium, her practice revolves around the idea of building by deconstructing—playing with contrasts in texture, proportion and finish. Her pieces—ranging from furniture to installations—reveal a balance between rawness and refinement, often drawing inspiration from architectural fragments, utilitarian objects or industrial elements reimagined through a poetic lens.

Tangelder has collaborated with leading galleries such as Maniera (Brussels), and has exhibited her work at events including Milan Design Week and institutions such as CID Grand-Hornu. Her artisanal approach and distinctive formal language have positioned her as one of the most compelling voices in contemporary European design.

Source: Cassina y Linde Freya Tangelder

Inspired by rattan, the material that characterises the Expormim brand, but made of FSC® sapele wood, Meridies is a proposal to go back to our childhood when, after long beach mornings and family meals, we were looking for a shade under which to rest on the sofa in endless naps, waiting for the arrival of the coolness of the afternoon.In fact, the term meridies in Latin means midday, but also a cool, shady place to rest comfortably during the hottest hours of the day.

Meridies is composed of sculptural designs made of FSC® sapele wood, and tables made of ceramic and travertine, a natural stone full of texture. Although the collection is primarily inspired by the way rattan is worked at Expormim, there are other sources of inspiration, such as the evocative forms of natural elements. Petals, seeds or leaves allow the designer to deepen the feeling of softness and lightness.

A collection of this time

It is indisputable that craftsmanship is being revalued to the point of becoming one of the trends of our time. Tired of industrial products, we are trying to recover the essence of the natural, the handmade, which brings us closer to that more human side of design.

Craftsmanship is a fundamental feature of the Meridies collection. In order to imitate in wood the curvaceous contours that rattan makes possible thanks to its natural plasticity, every detail of the construction process has been meticulously treated, with maximum comfort in mind. This is why Lazzeroni’s designs are equipped with soft, wide, generous seats and semi-circular backrests with cushions.

If craftsmanship is one of the current trends, in interior design we are witnessing a growing desire to merge interior and exterior spaces. Thanks to architectural solutions such as consistency in the use of materials, large windows or sliding doors, the integration of the outside environment is easier. This is why many furniture collections are designed to be used both indoors and outdoors. The Meridies collection by Lazzeroni follows this line.

Project: Meridies Collection.
Design: Roberto Lazzeroni.
Brand: Expormim.
Presented: 2025.

Roberto Lazzeroni

Roberto Lazzeroni was born in Pisa, the city where he has chosen to live and work. His professional training is the result of his studies in Art and Architecture in Florence. From the beginning, he has always shown interest in the phenomena of both the conceptual art world and radical design. In the early 1980s, he became interested in industrial and interior design, a specialisation that he defines as fundamental for his later approach to the world of industrial products. A great connoisseur of the history of design and its related signs, he is very skilled at putting this knowledge into practice on a daily basis.

When talking about his own projects, Lazzeroni uses the expression sentimental design; in fact, it is easy, even for the untrained eye, to see the tension between the past and the future in these works. This tendency is nowadays defined as transitive design. Signs of the past are somehow recognisable; they are clearly reworked and the result is a real and balanced tension between the past and the future. Lazzeroni’s training and his understanding of design have led him to specialise in art direction. Currently, he works especially on the total concept behind the birth of a brand.

Among others, he has received the following awards: Tecniques Discretes (Paris, 1991), Conran Foundation Museum (London, 1992), Elegant Techniques (Chicago, 1992), La Fabbrica Estetica (Paris, 1993), Dall’Albergo alla Nave (Genoa, 1993), Costruire il mobile (Milan, 1999), his most recent recognition being the Archiproduct Design Award 2023.

Source: Expormim y Roberto Lazzeroni