Art and Furniture Archivi - Barche Magazine ISP

Veteran Boat – Building models, miniature ships

BARBARA BORGONOVO — Mon, 25 May 2026 07:03:08 +0000

The beautiful island in the Indian Ocean hosts several factories producing ship models, some of which have been worked on the market for decades

by Bruno Cianci

The island of Mauritius has an industrial sector that few would expect to find in this gem off the eastern coast of Madagascar, in the Mascarene archipelago: the artisanal production of ship models.

Considering it a flourishing activity, compared to tourism, would be an exaggeration to say the least; however, it is surprising to note that here, workshops and producers of this type of artefact are by no means few in number. Thanks to competition and the relatively low cost of labour, these workshops produce models that are sold and shipped worldwide – efficiently and at significantly lower prices than similar products made in Europe or North America.

Prices vary considerably depending on size: from around €70–75 for a miniature ship to over €3,500 for a model over a metre in length, whilst half-hull models cost between €40 and €100.

A ‘hub’ for modelling enthusiasts

The area with the highest concentration of these factory workshops is Curepipe, located inland, about a 30-minute drive from the capital, Port Louis (on the western coast), and from the international airport in the southeast of the island. Here, many producers survived the 2008 crisis, which severely affected this industry as much as it did ‘actual’ boating. Some of the most notable workshops include Bobato, Pride of the Island, and, most notably, Le Port. Founded in 1988, Le Port features a showroom and workshop that has become a must-visit destination for visitors seeking handcrafted souvenirs. “Each year – says manager Krisen Pareanen – Le Port produces up to five hundred ship models in various sizes, and maybe about fifty half hulls, which are in much lower demand. We buy the wood, which generally comes from Indonesia, from local distributors. We have had and still have clients from all over the world: in the ’90s, they were primarily European; until the Covid pandemic, we had significant Chinese clients; in recent years, we have been working extensively with prominent Indian clients, but we sell worldwide”.

The area with the highest concentration of these factory workshops is Curepipe, inland, half an hour’s drive from the capital, Port Louis, on the west coast, and from the international airport in the south-east of the island.

Prices vary considerably depending on the size of the model, from about 70-75 euros for a miniature ship to over 3,500 euros for a model more than one metre long. Half hulls cost between 40 and 100 euros. The models are crafted by a fluctuating number of workers: ten are permanent employees, while twenty more work part-time. Each project takes up to four months to complete, depending on the size, complexity, and, of course, the client’s urgency. Some may require greater effort: “The biggest product we have built”, Krisen adds, “was a model of the HMS Victory almost four metres in length, which can still be admired here in Mauritius. A piece like this obviously required a lot of time to complete”.

Mauritius at a glance

Mauritius was named in honour of Prince Maurice van Nassau in 1598, when the Dutch first arrived on the island. 102 years later, the island became a French colony (Isle de France), but after the end of the Napoleonic Wars, it was ceded to Great Britain, and Mauritius gained independence in 1968. The popular perception is that Mauritius is a small island where the only activities are swimming and sunbathing, but this is far from the truth. In reality, the island, with a population of around 1.2 million, is large enough that it takes over two hours by car to travel from the northern tip to the southern tip, and no less than an hour from west to east. Another pleasant surprise on the island is the local cuisine: the significant presence of immigrants from the Indian subcontinent (70%), who live alongside Africans, Creoles, and other minorities, means that the cuisine reflects all these cultures, with truly excellent results.

Pocket-sized yachts

While large ships dominate Le Port, yachts have become the speciality of another Mauritius-based company located in the northern part of the island, in the area of Grand Baie, a paradise for outdoor life and snorkelling. The shop in question is called Historic Marine. Founded in 1982 by Charles Edouard Piat, this factory is now managed by his son Serge, a former skipper who, in 2008, when the global economic crisisforced dozens of other model producers in Mauritius to close, decided to invest significant time and money to keep going. “We build between 150 and 200 models a year in our workshop”, says Serge, “depending on the complexity, while our half hulls are only about 25-30 pieces a year. 40-45% of our orders are for models of a particular boat requested by an owner, generally a miniature replica of their yacht. The remaining 55-60% consists of products that visitors choose from among the many pieces we offer in our catalogue: famous ships, boats that sailed in the America’s Cup, or, at times, traditional working ships. Prices vary from about 250 to 2,500 euros for a model made in series to 800-4,500 euros for a unique model made according to drawings provided by the client. Needless to say, the more complete the documentation we receive, the more accurate our models will be”.

Historic Marine’s showroom is a bright space filled with display cases made of wood and glass. Alongside the usual ships, such as Victory and Vespucci, visitors can admire a French war galley, Jacques Cousteau’s distinctive Calypso, ocean liners, Riva and Chris-Craft runabouts, and even sailing boats from the America’s Cup with ancient equipment dating back to the era when the Seawanhaka Rule (1889-1903) was still in effect.

The training ship Amerigo Vespucci (1931) is among the most popular vessels, alongside the timeless Victory (1765), Bounty (1784), Soleil Royal (1669), and Wasa (1627).

Also in this case, as Serge points out, the wood used is of the highest quality and therefore costly. However, he has a significant advantage over competitors: since he owns a carpentry that works with luxury hotels and other prestigious clients, Piat has privileged access to top-grade wood scraps – typically teak or other species from South-East Asia – which are ideal for building ship models. He also makes extensive use of marine plywood and Meranti wood.

Historic Marine employs 24 people, mostly of Indian origin (who make up about 70% of Mauritius’ population). Some of these employees are women, who generally specialise in rigging and varnishing. As in the most reputable shipyards, some workers are skilled in specific tasks: during our visit, for example, we observed a welder carefully creating a stern railing on a trading ship model; another craftsman demonstrated how to apply a copper coating to a hull – an anti-shipworm protection that enabled the now forty-year-old Victory to play a leading role in the Battle of Trafalgar despite its age.

// Each project takes up to four months to complete, depending on its size, complexity and, of course, the client’s urgency. //

Before heading home

Anyone eager to see spectacular ship models in Mauritius should not miss the Mahébourg Historical Naval Museum. Although the building is somewhat neglected due to lack of funds, it remains fascinating and houses models that are likely the most beautiful and accurate ship replicas on the island. Most are large square-rigged ships connected to Mauritius’ rich maritime history. Some were produced decades ago by the company Comajora, founded in 1967, which later went bankrupt along with other industry firms. Its proximity to the international airport ‘Sir Seewoosagur Ramgoolam’ makes it convenient to visit before returning your car to the rental agency and catching your flight home, perhaps with a lovely ship model in your hand luggage

Some links

https://bobatoshipmodels.com
http://www.mauritiushandmadeshipmodels.com
https://historic-marine.com/

(Veteran Boat – Building models, miniature ships – Barchemagazine.com – Excerpted from Barche, May 2026)

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Tefaf Maastricht – Seven thousand years of history

BARBARA BORGONOVO — Tue, 12 May 2026 08:57:04 +0000

The 2026 edition of TEFAF returned to the Maastricht Exhibition & Conference Centre in its distinctive style, unveiling an extraordinary array of historical rediscoveries, exceptional works, and museum-quality treasures from a diverse range of international exhibitors

by Sophia Negri

Celebrated globally as the premier destination for art, antiques, and design, TEFAF Maastricht covers 7,000 years of art history, from antiquity to the modern day.

Now in its third year, the Focus section has allowed galleries to examine a single artist or concept in detail. The Summit, in partnership with UNESCO Netherlands, examined the transformative impact of culture on economic, social, and health outcomes and promoted greater integration of the arts into public policy.

Zaha Hadid. Photo Courtesy of David Gill Gallery.

Henry Moore, Figure, 1932, Beechwood. Photo Courtesy of Osborne Samuel.

Imperial carved lacquer cabinet, Qianlong Period (1736-1795), Carved lacquer, 57,3 x 38,8 cm. Photo Courtesy of Paul Ruitenbeek Chinese Art.

The event featured four thematic exhibitions on loan: Kunsthaus Zürich (Alberto Giacometti and Dialogue), Centraal Museum Utrecht (The Ecstasy of Mary Magdalene), the Prince Claus Fund (Thirty Years of Supporting Artists) and the King Baudouin Foundation (Preserving Belgian Masterpieces).

Alongside works from museums and major private collections, the event continues to offer a prominent platform for specialist galleries, which have showcased to Maastricht old master paintings, sculptures, decorative arts, design, and contemporary works.

Italian galleries are traditionally among the most represented
in the art and antiques sector.

Among the most important works are a self-portrait engraving by Rembrandt from 1630, an early still life by Paul Gauguin, an oil on panel by the very young Claude Monet, painted whilst he was still a teenager, and a luminous painting by Berthe Morisot from 1892, a pivotal year for this pioneer of Impressionism. The chronological and stylistic variety of this selection alone illustrates the fair’s encyclopaedic ambition.

Istoriato basin painted with Diana and Actaeon and the Magen David incorporated in the knotwork border, 1500-1510, Tin-glazed earthenware. Photo Courtesy of Jeremie Beylard.

Orazio Gentileschi, The Penitent St Jerome, 1610. Oil on canvas, photo Courtesy of Trinity Fine Art.

TEFAF is a non-profit foundation that promotes expertise, excellence, and diversity within the global art community. This dedication is demonstrated through the careful selection of exhibitors for its two annual fairs, held in Maastricht and New York. TEFAF serves as an expert guide for private and institutional collectors, inspiring art enthusiasts and buyers worldwide.

The Matthiesen Gallery presented Louis Gauffier’s The Orange Harvest. This masterpiece has remained intact for over two centuries, celebrating the female figure as the moral pillar of the domestic hearth in 18th-century society. TEFAF’s unique strength lies in fostering a dialogue between different eras.

The Maas Gallery.

Just a few steps away from an Attic funerary stele from the 4th century BC depicting the young Medea, presented by David Aaron, and a statuette of Ptah-Sokar-Osiris from the Ptolemaic period, on loan from Galerie Cybele, visitors were able to admire the wax and mirror installations by Berlinde De Bruyckere, created as an extension of her presentation at the 2024 Venice Biennale, or the luminous organic forms by Angela Heisch from Grimm. Eduardo Chillida, Barbara Hepworth and Arnulf Rainer completed this sculptural and pictorial panorama, which spans the centuries without ever losing its coherence.

Opening image, Pablo Picasso, Femme nue assise, 1959, Oil on Canvas. Photo Courtesy of Galerie l’Institute.

(Tefaf Maastricht – Seven thousand years of history – Barchemagazine.com – Excerpted from Barche, May 2026)

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U-Boat U-65 – Watching the time through a porthole

BARBARA BORGONOVO — Wed, 06 May 2026 10:28:40 +0000

The U-65, a 44 mm automatic watch in SS Turquoise by U-Boat Italo Fontana, presents a fresh take on timekeeping: more rounded, more fluid

by Sophia Negri

The Italo Fontana U-Boat, the U-65 Turchese, doesn’t just tell the time – it redefines it, inspiring the wearer to think “out of the box”.

The hyper-curved timepiece embodies the fusion of contemporary design and precision mechanics. The domed crystal showcases the exposed skeletonised movement, allowing the mechanism to be admired in real time: a true spectacle of mechanical perfection. A striking timepiece that showcases its intricate inner mechanics, embodying personality and innovation. The Miyota 8N24 Skeleton mechanical movement is self-winding and boasts a 42-hour power reserve.

The strap is made of silicone. The lugs connecting the strap feature a special adjustable mechanism, designed to fit the wrist perfectly.

Demonstrating Swiss mastery, the Ronda 756 quartz movement is oil-lubricated. The case is made of 316L stainless steel. The case back is crafted from stainless steel with a turquoise mineral crystal, secured with six screws. The black metal dial features applied metal hour markers and numerals with turquoise Superluminova coating. The K9 mineral crystal is domed. The U-65 is water-resistant to a depth of 50 metres and can withstand a pressure of 5 atmospheres.

The case is crafted from AISI 316L stainless steel and is fully filled with a special oil that enhances the dial, creating the illusion of no glass and resulting in more vivid colours and better readability. A visible air bubble on the dial balances temperature changes.

(U-Boat U-65 – Watching the time through a porthole – Barchemagazine.com – Excerpted from Barche, May 2026)

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Molteni&C Outdoor 2026

BARBARA BORGONOVO — Tue, 21 Apr 2026 07:11:27 +0000

There’s a beautiful world out there – The prestigious brand introduces furniture and furnishings that enhance a sober, sophisticated en plein air experience, embodying lightness,yet resilient against rain, wind, sun, and the relentless passage of time

by Chiara Risolo

Diamonds, sure. But not only. Van Day Truex, the esteemed 20th-century American designer who, among other things, served as the creative director of Maison Tiffany, firmly believed that a good design object lasts forever.

This said, it would be almost obvious to assume that the key to eternity for a table, a sofa, a chair, an armchair, or any other piece of furniture is the perfect, harmonious, and coherent combination of two crucial factors: form and function. Of course, all solidly based on quality – in both design and materials – which is a necessary prerequisite. Besides these fundamental premises, if you flick through the pages of Molteni&C’s extensive book of history – a black belt in high-end design – it would be just as easy to assume that the brand is a careful observer of Truex’s philosophy. Each collection, in fact, can interpret the contemporary without ever being merely subject to it. In other words, it resists fleeting fashions, market whims, and the clamour of marketing.

SOLEVA SIDE TABLE

The undisputed star of the 2026 collection – lightweight but extremely robust, it becomes the focal point of symposiums. The structure is consistently made of powder-coated aluminium tubing, while the top is available in either stoneware or a more striking lava stone.

And so does the brand’s new 2026 Outdoor collection, which is among the highlight features of Salone del Mobile Milano. It introduces furniture and accessories that engage with the surrounding landscape without ever overpowering it. This appears to echo a statement once made by an authoritative name in yacht design, Bernardo Zuccon, from Zuccon International Project: “A boat, regardless of personal taste, can be defined as beautiful when, as you observe it in the middle of the sea, you don’t feel that the latter fades into the background or suffers from the large size of the boat or, even worse, its excessive opulence”. The subjects differ in our case, as does the context, but the essence remains the same.

«Soleva evokes the warmth of the day, the slow passage of light crossing through spaces and decorating surfaces. My collection for Molteni&C Outdoor speaks of harmony between lightness and solidity, of a silent dialogue between structure and comfort, where every line breathes with the surrounding air».
Vincent Van Duysen, brand’s creative director

SOLEVA SOFA

Available in 2- or 3-seater versions, it features a powder-coated aluminium tubular frame, a backrest with vertical slats in marine plywood, and polyurethane-padded cushions with upholstery in water-resistant polyester fibre. An optional feature of the design is two soft-side cushions for the armrests, available as a pair.

And thus, the 2026 Outdoor collection becomes an essential part of the scenery, seamlessly blending into the surrounding environment, whether enhancing a graceful Italian-style garden in a Liberty villa, the patio of an ancient farmhouse amid the countryside hills, or a sophisticated industrial-style terrace overlooking the city.

«With the Chelsea Outdoor collection, we extended Dordoni’s stylistic imprint to the external landscape, bringing outdoors that sober elegance characteristic of the Chelsea family in its living and dining variants. The concept goes beyond simply transferring the indoor design. It becomes a detailed interpretation: a precise adaptation, crafted with full respect for the original, and capable of imbuing it with a fresh material and perceptual essence. An evolution that refreshes the collection’s identity while preserving its core features». Studio Dordoni

The collection results from a collaboration between industry giants. To design it, the brand’s creative director, Vincent Van Duysen, relied on the expertise of Yabu Pushelberg, a dynamic American firm with offices in New York and Toronto, and Studio Dordoni, founded by Rodolfo Dordoni. This company already boasts several projects with Molteni&C and, for the first time, is working with Spanish VIBIA, particularly on lighting products.

CHELSEA SOFA

Modular, designed for simple and intuitive modularity. It features a powder-coated aluminium tubular structure. Made in a single shade, dust grey, it is characterised by the refined handcrafted polypropylene rope weaving of the armrests and backrest (the cushions of the latter are loose, without fastenings).

But let’s dive right in. There’s Soleva, an authentic tribute to lightness, using a holistic language, an “empirical sun salutation”, even from the colour perspective. It is a complete furniture system comprising a sofa, an armchair, a chair, a sunbed, a stool, and a table. The common thread connecting all these pieces is the powder-coated aluminium tubular frame. The lines are clean and well-defined, yet never sharp-edged, inviting relaxation.

FRONDA BEACH UMBRELLA

Essential for outdoor use. It fulfils its purpose of providing shade without detracting from the surroundings. The umbrella is available in two colours: anthracite grey or pure white. The supporting structure and arm are made of aluminium. It is designed to be fixed to the ground.

An innovative choice was to use vertical slats of marine plywood for the backrests, a recycled, environmentally friendly material that ensures durability and flexibility. Aluminium also plays a central role in Chelsea Outdoor, another highly successful celebration of outdoor living. Elegant, stylish, and understated, with original decorative features, it represents the evolution of the indoor project signed by Studio Dordoni.

DALIA SIDE TABLE

Offered by Molteni&C in two different heights, high or low, it has a square shape with a gres or cement top. It is the perfect side table for pleasant, more intimate, open-air chats with a good drink in hand.

SOLEVA SUNBED

Carrying the warmth of the sun in its name, the Soleva sunbed embodies a lifestyle in full harmony with nature.

The collection is further complemented by Yabu Pushelberg’s versatile Club, a foldable chair with a varnished steel frame and backrest, and a seat in batyline (a highly resistant technical fabric). Additionally, there is the side table Dalia, available in two heights, with a square top in gres or cement; the parasol Fronda – discreet yet essential outdoors – in grey anthracite or pure white, depending on the setting; and two lighting treasures, Meridiano and Out. Two different ways, in shape and size, to light up outdoor environments, but both with one big plus in common: they are, as are all pieces in the collection, forever. Precisely as Van Day Truex would have said.

Opening image –

Club chair – Its biggest asset is dynamism. This foldable chair can easily dialogue with any element in the 2026 Outdoor collection. It features an extremely solid frame in varnished steel, while the backrest and seat are created in linen batyline, both wear- and weather-proof.

(Molteni&C Outdoor 2026 – There’s a beautiful world out there – Barchemagazine.com – Excerpetd from Barche, April 2026)

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Art Basel Miami Beach – Art as syntesis

BARBARA BORGONOVO — Tue, 10 Feb 2026 07:52:50 +0000

Art Basel Miami Beach is one of the most important art fairs in the world. We went along as guests of Bernardo Zuccon, a big name in Italian nautical design and a great enthusiast

by Bernardo Zuccon

The way someone who designs spaces, volumes and proportions looks at art can be beneficial. You can also use this approach when working on a new project: listening, watching and being open to suggestions without looking for the answer. This exercise in observation is happening at Art Basel Miami Beach. If you’re used to dealing with complex objects like yachts, which are like a mix of technique and vision, you might not think Art Basel is the best fair to visit. For me, it’s more like a place to explore. Art is never just art there, but a story of the present and what’s going to come, sometimes a bit controversial.

Jeffrey Deitch, Tom Wesselmann.

At a certain point, Art Basel ceases to be a fair and becomes what it should always be: a space for interaction, where different languages – art, architecture, design – find authentic points of contact. And it is often in these intersections, rather than in official events, that the real value of the experience is measured.

Miami, with its bright lights and busy energy, makes everything seem louder: the art, the market, the cultural differences. It’s a city that doesn’t do half measures, and maybe that’s why it’s a good place to see what’s going on in our world right now. When I’m walking around the stands at the Convention Centre, I look at each section as part of a bigger project. I’m not looking for a big name or an ‘iconic’ work, no matter what. I’m more interested in how something can say a lot with a little, when a shape just has to be there, almost like it’s necessary.

Library Street Collective, Kennedy Yanko.

This idea keeps coming up in my thoughts: designing means taking away, not adding. And, at its highest level, contemporary art works in the same way. It does not explain, reassure or decorate. It suggests. Sometimes it makes us uncomfortable. But it always forces us to take a stand. At Art Basel Miami 2025, this tension is evident: works that deal with time, memory and identity; installations that interact with the body and space; languages that hybridise technology and raw materials. Not everything is convincing, but almost everything raises questions.

David Zwirner, Ruth Asawa, Dana Schutz.

Charles Burnand Gallery.

Among the most significant moments, one in particular stood out naturally, without being sought after. The encounter with the works of Luis Fernando Zapata, presented by the Galería Elvira Moreno in Bogota. A silent, measured work, in which material, rhythm and spatial construction seem to dialogue with a language surprisingly similar to that of architectural design. These works do not seek immediate effect but rather convey a sense of imaginary archaeology. Objects that seem like discoveries from ancient civilisations, totemic and archetypal figurations that evoke nameless rituals, thresholds between the ephemeral and the eternal.

1. Roberts Projects, Betye Saar. 2. Neugerriemschneider, Renata Lucas. 3. Fellowship and ArtXCode, IX Shells. 4. Onkaos, Mario Klingemann. 5. Mendes Wood DM, Patricia Ayres. 6. Gomide & Co, Adriana Varejão 7. Pace Gallery, James Turrell. 8. Rolf Art, Silvia Rivas. 9. Alisan Fine Arts. 10. Fellowship and ArtXCode, IX Shells. 11. Galerie Alberta Pane, Luciana Lamothe. 12. Holly Herndon and Mat Dryhurst. 13. Pace Gallery, Elmgreen & Dragset. 14. The Modern Institute, Andrew Sim.

Alyson Shotz.

Alisan Fine Arts.

Art does not coincide with its exchange value; it is a recurring thought. Just as it does not coincide with luxury. Luxury, if anything, is the time devoted to understanding, to really looking, to developing a personal perspective. In this sense, Art Basel remains an extraordinary laboratory: concentrated, chaotic, at times excessive, but capable of providing a sincere snapshot of the contemporary world.

Outside the Convention Centre, Miami continues to buzz with excitement: side exhibitions, private foundations, and independent spaces. It is in this widespread fabric that the experience is completed. As in any good project, it is not the individual elements that count, but the relationship between the parts.

Lehmann Maupin, Do Ho Suh.

James Fuentes, John McAllister.

Art Basel is also – inevitably – a powerful economic machine. The market is everywhere, visible, declared. But this is not the level that really matters. As is often the case, the best art manages to escape the noisiest logic, carving out spaces of silence even in the heart of the fair.

Zapata’s works seem to arise from a deep inner need, from meditation on human fragility, spirituality and memory, in which time becomes a constituent element of the work, not simply a context. It is in dialogue with the gallery owner that the encounter takes on a further dimension. A series of unexpected connections. Partly shared Argentine roots, a common sensitivity for work built up over time, but above all, a similar vision of the relationship with clients. Not simply clients, but people with whom to establish lasting relationships, based on trust, listening and mutual pleasure in working together.

Lisson Gallery, Lee Ufan

Luis Fernando Zapata.

This is familiar territory for someone like Zuccon, who is accustomed to developing complex projects that require continuity, dialogue and a deep understanding of the explicit and implicit needs of those who will inhabit them. In this sense, the encounter with the gallery is not only artistic but also cultural: a broader recognition that goes beyond the work on display.

For an architect accustomed to long cycles and processes that take years to take shape, art has the privilege – and responsibility – of being immediate, reacting in real time to the present. But this immediacy is not superficiality: on the contrary, it is a form of lucidity. I observe how many works seem to operate on a temporal dimension similar to that of the project: not the instant, but the duration. Traces, stratifications, signs that seek not effect but permanence. This attitude resonates deeply with his knowledge of architecture and nautical design: objects destined to age, change and be lived in. Art Basel Miami 2025 thus closes, not with a definitive answer, but with a series of open questions. And perhaps this is the best outcome: returning to work with a slightly shifted perspective, one that is more attentive, more critical and more free. After all, designing and observing contemporary art share the same ambition: to give shape to the present without ceasing to question the future.

(Art Basel Miami Beach – Art as syntesis – Barchemagazine.com – Excerpted from Barche, February 2026)

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Elka, a touch of light for your interiors

BARBARA BORGONOVO — Wed, 28 Jan 2026 14:56:22 +0000

Elka presents Model 43130, a mixer tap that combines the solidity of a cylindrical form with the refinement of flat detailing.

It is the perfect element for creating a visual focal point in interiors dominated by wood and stone.

Meticulously crafted from thick chrome-plated brass, this tap stands up to time and wear without compromise. Its mirror-like surface reflects the surrounding environment, blending seamlessly into the overall design while asserting its presence with distinctive character.

For more information, please visit www.elkadesign.it/

(Elka, a Touch of Light for Your Interiors – Barchemagazine.com – January 2026)

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Cassina’s Outdoor 2026 Collection is ready for the launch

BARBARA BORGONOVO — Wed, 21 Jan 2026 08:55:59 +0000

The 2026 Cassina Outdoor Collection is an invitation to pause, unwind and reconnect, with yourself or with your guests, in a balanced blend of elegance and comfort.

To enjoy life outdoor in a harmonious oasis of wellness, an elegant haven of peace where one can surrender to relaxation and regain energy, enhanced by a style that embodies Italian excellence. Oasis of Now is a space designed for reflection, serenity, and intimacy — a place to experience special moments surrounded by soft, welcoming lines. All of this is set within a refined, timeless atmosphere, enriched by natural tones and balanced contrasts.

Art director Patricia Urquiola presents Vidalenta as part of the collection, a new, versatile and welcoming system for the living and dining areas. Defined by an essential structural vocabulary, it creates a dynamic balance between the discipline and rigour of the tubular metal frame and the generous, soft contours of the padding, fully expressing the concept of informal hospitality.

In this collection, the boundaries between indoors and outdoors dissolve. Eloro Outdoor , designed by Rodolfo Dordoni, has been developed in collaboration with Dordoni Studio to meet the demands of the outdoors while preserving the comfort and distinctive aesthetic of the original indoor model. Just like a selection of timeless pieces from the Cassina Historical Archive: Dalila , a statement piece by Gaetano Pesce (design 1980), and the Novetrenta Outdoor armchair and sofa by the maestro Vico Magistretti (production 1966), which offer a unique and strong iconic presence to any outdoor setting. The reinterpretation of the Torei Outdoor low tables by Luca Nichetto, meanwhile, introduces a versatile element that harmoniously complements any open-air environment.

An ever-evolving catalogue

The collection has been further enriched and expanded through targeted project updates: the Carlotta armchair by Afra & Tobia Scarpa, paired with the coffee table of the same name, is now proposed with a natural iroko wood structure or iroko lacquered in Cobalt Blue or Olive Green, with a Dune coloured woven cord, while Antonio Citterio‘s Esosoft Outdoor system welcomes a new sunbed.

Marking these transformations, a new selection of fabrics featuring original colours and patterns broadens the collection narrative, creating a refined dialogue with outdoor spaces. In addition, new lighting designs and rugs complete the 2026 Outdoor catalogue, fully reflecting the unique philosophy of “The Cassina Perspective”.

(Pronta al lancio la Collezione Cassina Outdoor 2026 – Barchemagazine.com – Gennaio 2026)

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The success of Cyrniloi by Nick Ervinck for Angelino Artworks

BARBARA BORGONOVO — Mon, 19 Jan 2026 11:40:12 +0000

December 2025 was a month of remarkable intensity and great projects of Angelino Artworks, entirely devoted to the launch of Cyrniloi, a work born from a prestigious collaboration with internationally renowned artist Nick Ervinck.

An ambitious project which combines formal research, technological experimentation, and contemporary language, fully embodying the philosophy of Angelino Artworks: transforming art into a three-dimensional, immersive, and profoundly distinctive experience. Cyrniloi represents a virtuous dialogue between creativity and production, between artistic imagination and technical know-how.

The official presentation took place during an exclusive event at the historic Villa D’Agilè, a stunning setting that highlighted the symbolic and theatrical value of the work. It was an intimate and refined evening, bringing together collectors, professionals, and long-time supporters, offering them the opportunity to preview Cyrniloi and explore the creative journey behind its realization. The event also provided a special moment to share holiday greetings with our guests, celebrating the close of a year rich in projects, collaborations, and new opportunities.

Nick Ervinck

With Cyrniloi, Angelino Artworks reaffirms its commitment to creating works that transcend the traditional boundaries of art, exploring new forms of expression and strengthening collaborations on an international scale. The new year opens as a space yet to be shaped: new works, new synergies, and new experiments are already underway, with the goal of continuing to blend art, technology, and industrial vision. This year, Angelino Artworks gallery aims to bring projects to life that surprise, engage with the present, and anticipate the future.

(The success of Cyrniloi by Nick Ervinck for Angelino Artwork – Barchemagazine.com – January 2026)

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Carlo Albano: Rimani, the intelligence of light

BARBARA BORGONOVO — Tue, 13 Jan 2026 08:20:48 +0000

There are professionals that work with solid and concrete materials. And then there are others that choose the more elusive element of all: light. Carlo Alban, CEO of Rimani belongs to this category, but with a rare peculiarity: for him the light has never been an instictive or decorative act. It is a meticulous, measured and aware. A presence that does not dominate, but builds deep relationships between space, material and perception.

by Priscilla Baldesi

His career takes shape in Turin, at the end of 1970s, in a technical and industrial environment which soon teaches him the value of precision and responsibility. It is during years that Carlo Albano begins working with large-scale infrastructures a complex systems, from public lighting to industrial environments, and even extreme contexts such as the Mont Blanc tunnel. These experiences shape a solid methodology and instill a conviction that remains central to his work: light truly works only when it is designed for people.

In the 1980s, this vision found a new and surprising ground: the museum. With the founding of ILTI Luce, Carlo Albano brought technological experimentation to the heart of exhibition design. The project for the Egyptian Museum in Turin marked a historic moment: the introduction of fiber optics as a lighting solution opened up unprecedented possibilities, both for the conservation of artworks and for the very way they were presented. Light became discreet, respectful, almost invisible, yet decisive. A revolutionary approach that was later recognized by UNESCO as the world’s first museum application of this technology.

The same approach guided Carlo Albano in introducing new technologies, such as LED lighting, applied well in advance of its mass adoption, across a long series of internationally significant projects: from Palazzo Grassi to the Vatican Museums, from the Nefertari project to Milan’s Castello Sforzesco. When ILTI Luce became part of the Philips group in 2009, a highly successful industrial chapter came to a close, but his drive for research remained undiminished.

“In certain contexts, light must know how to take a step back,” Carlo Albano affirms. “Only then can it truly enhance what it illuminates”. A philosophy that anticipated, by decades, the contemporary debate on museum lighting and perceptual sustainability.

Carlo Albano

In 2015, Rimani was born—a design laboratory before it was a company. Here, light is conceived as a bespoke experience, shaped through careful listening to the spaces, their functions, and the people within them. Museums, architectural projects, retail spaces, healthcare environments, and horticultural lighting systems all become fields of application for a single principle: improving quality of life through comfortable, efficient, and sustainable light.

“In certain contexts, light must know how to take a step back”, Carlo Albano affirms. “Only then can it truly enhance what it illuminates”. A philosophy that anticipated, by decades, the contemporary debate on museum lighting and perceptual sustainability.

In recent years, this journey has naturally extended into the world of contemporary art, through collaboration with Angelino Artworks. A meeting of kindred visions, where craftsmanship, engineering, and advanced technology converge in the creation of bespoke artworks and design pieces. For Angelino Artworks, Rimani has designed dedicated lighting supports for major works, conceiving light as a structural part of the artwork itself, not merely an accessory.

“In our work, light is not an afterthought” explains Andrea Angelino, CEO of Angelino Artworks, “but an integral part of the project, on the same level as form and material. The collaboration with Carlo Albano Rimani stems from this shared vision: combining technical rigor, engineering processes, and design sensitivity to create works that truly function in space”.

Alongside professional activity, Rimani has sustained a commitment to education for over thirty-five years, teaching at the Politecnico di Torino and in museum exhibition design master’s programs, helping to train new generations of designers. A quiet but essential effort, reflecting the same attention to the future that runs through his entire career.

Looking back on his journey today, a rare consistency emerges: light as a tool for measurement, balance, and responsibility. Not an effect, but a choice. In an era dominated by visual excess and spectacle, Rimani’s work demonstrates that the most authentic innovation often arises from subtraction, precision, and the ability to design what, though invisible, profoundly shapes the way we experience space.

(Carlo Albano: Rimani, The Intelligence of Light – Barchemagazine.com – January 2026

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Molteni&C presents the new short film “Geometry of Life” in Milan

BARBARA BORGONOVO — Mon, 12 Jan 2026 13:48:59 +0000

The cinematic work of the young German director Luca Werner “Geometry of Life” represents the foundation of the new communication campaign of Molteni&C

Molteni&C’s culture of quality living comes alive in the new short film of Luca Werner, shot in two chapters in Palazzo Molteni, the Urban Pavillon Molteni&C, set in the heart of Milan. The first chapter, which will be released soon, tells about the elegant home living of family life through the generations and many point of views. The narrative unfolds against the refined backdrop of Molteni&C interiors, within the prestigious Palazzo Milanese – home of Franco, a collector for whom art and design are central elements of life.

In a story rich in atmosphere, Clara and her partner Alan return to their family house situated in the heart of Milan, where the everyday routine, traditions and the deep emotional bond unify its members they reveal as an invisible drama which permeates words and gestures. A silent “geometry” that brings the family together in a cinematic story made of shared spaces and moments of natural intimacy. The protagonists of the spaces are the furnishings from the Molteni&C collections, including the Emile sofa and Odile side table, designed by Christophe Delcourt, and the Monk armchair by Tobia Scarpa.

The second chapter of Geometry of Life will continue the story with a family gathering, this time in the contemporary penthouse of the young couple abroad. The short film will premiere during Milan Design Week 2026. The creativity of Geometry of Life forms the foundation of Molteni&C’s new communication campaign, launching in January 2026

(Molteni&C presents the new short film “Geometry of Life” in Milan – Barchemagazine.com – January 2026)

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