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      Monolithic green marble forms “majestic wall” in Milan apartment

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      Italian studio AIM has designed a compact, multi-level apartment interior in Milan organised around a floor-to-ceiling Verde Alpi marble partition.

      Created in collaboration with local marble artisans Bianco67, AIM Studio used the wall to divide the various functions of Green Nest, aiming to create an elegant backdrop for a dynamic domestic experience.
      Monolithic green marble carves apartment interior by AIM Studio in Milan”The design challenge [for] Green Nest was to combine the compact size of the dwelling with the desire to create inviting, functional and representative spaces pleasant to live in at all times of the day,” AIM Studio told Dezeen.
      “We were looking for a single gesture to characterise the apartment [and were] inspired by the idea of a majestic wall [running] through the heart of the house,” the studio continued. “This massive element, both because of its solid presence and its intrinsic beauty, is the focal point on which the entire design revolves.”
      The fluid living spaces can be divided by an operable ribbed glass doorThe marble partition was constructed as a permeable threshold between the apartment’s lower level living spaces and a staircase leading to the habitable roof terrace above.

      Designed as a single, fluid area, the main living room and bedroom can be separated by full-height ribbed glass doors. 
      The studio used the marble wall system to host functional storage and compartment spacesAIM Studio sought to meet the practical requirements of small-footprint living by using the Alpi marble to conceal a series of deep storage compartments.
      “More than a monolith, the volume is an inhabited wall whose thickness is continuously perforated, crossed and interrupted to host the different functions of living,” AIM Studio said.
      “[It] was designed as a precious shell but [leaves] nothing to chance in terms of containment and management of the space. Every compartment, every opening, has been designed [for utility].”

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      Behind the marble partition, the staircase to the rooftop terrace was completed with a central lightwell to draw natural light into the space below.
      The studio also integrated large windows into the main living area to encourage an interplay of light on the reflective marble surface and to evoke a chiaroscuro-like effect.
      The compact kitchen was formed by suspended travertine joineryTucked into a corner of the living room, the kitchen was demarcated by suspended travertine joinery and an embossed mirror feature wall.
      Neutral-toned fixtures and restrained furniture pieces were selected to balance the apartment’s modern aesthetic and emphasise the drama of the green marble.
      An embossed mirror feature wall was connected to the kitchen nook”We conceived this project as a search for authenticity; a minimal but at the same time welcoming and functional design created through natural, precious [and] timeless materials.”
      “We hope that this search for authenticity will be perceived by those who will inhabit these spaces and that it will translate into family atmospheres and elegant, but convivial, environments.”
      The studio selected a neutral material palette to emphasise the green marble gestureFounded in 2012 by Claudio Tognacca in Milan, AIM Studio has projects spanning across architecture, interior design and product development both in Italy and internationally.
      Other recently completed projects in Italy include Antonino Cardillo’s design for “a miniature palazzo” residence near Lake Garda and Humbert & Poyet’s interior conversion of a 16th-century Milanese chapel into a Beefbar restaurant.
      The photography is by Simone Bossi

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      Humbert & Poyet sets up Beefbar restaurant inside 16th-century Milanese chapel

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      Interior design duo Humbert & Poyet has delivered an opulent setting for the Milan outpost of high-end steakhouse Beefbar, taking over the former chapel of a 500-year-old seminary on Corso Venezia.

      The studio drew on the architecture of the historic building with its dramatic vaulted nave – recently restored as part of a seven-year renovation project led by architect Michele De Lucchi – while introducing elements of Milanese modernism.
      Beefbar Milano is set inside a converted chapel”We were inspired by the major figures of the Milanese style of the 1940s and 1960s and the timeless sophistication and modernism that their designs gave rise to,” said Humbert & Poyet.
      “We wanted guests to feel transported to a place that invokes the past, present and future, and experience the inimitable sensuality and relaxed nature of the Italian spirit.”
      Humbert & Poyet introduced dining chairs by Vico MagistrettiAs the restaurant is located in a historical site, Humbert & Poyet’s wanted to honour Milanese craftsmanship, using locally-produced materials including marble, terrazzo flooring and woodwork, all sourced from Milan and nearby Bergamo.

      “This also meant that we were able to reduce our carbon footprint by cutting down transportation distances, while also being able to showcase the beauty of the raw materials native to the region, as well as the intricate work of Italian artisans living in Milan,” the studio said.
      Dark red zellige tiles provide a subtle splash of colourPrimarily, the duo sought to balance the high vaulted ceilings of the former chapel with the comparatively small footprint of the space while finding a way to integrate the kitchen into the restaurant.
      “The decision to have the restaurant, bar and kitchen open onto one another was driven by our desire to create an environment where guests could truly savour moments of conviviality,” the studio said.
      “We also consciously aimed to preserve and showcase the inherent beauty of the original space, avoiding any partitioning that could potentially detract from its aesthetic while we decided to create a pavilion structure under the vault, which the kitchen could be placed beneath.”

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      Key to this fusing of the three main spaces is the terrazzo floor, which unites the restaurant, bar and kitchen.
      Its stylised wave pattern pays tribute to Italian architect Luigi Caccia Dominioni, who left “an indelible mark on post-war Italian design and Milanese modernism”, according to Humbert & Poyet.
      “His versatile approach to architecture and design allowed him to harmoniously blend historical and traditional elements with the modern urban environment,” the studio said. “This is precisely the essence we sought to capture in our design for the Beefbar Milan.”
      Benches are upholstered in opulent green velvetThe colours found within the terrazzo informed the palette of the whole space.
      Shades of green, black, white and burgundy repeat throughout the bar and restaurant, found across curving green couches, hand-made burgundy tiles and in the onyx marble that lines the meat display cases.
      “Our selection of colours is intricately tied to the terrazzo, which creates a cohesive and aesthetically pleasing environment that enhances the overall dining experience,” the studio said.
      Fluted walnut panelling nods to Milanese cafesJuxtaposing with the austere finish of the lofty vaulted ceiling, the lower section of the room is enveloped in fluted walnut panelling, which Humbert & Poyet chose as a nod to the “aesthetic codes of Milanese cafes”.
      Dark red zellige tiles add a touch of colour to the space while tactile velvet features on the green upholstered banquettes, providing a counterpoint to the hard surfaces.
      Positioned below Humbert & Poyet’s Asterios lights, tables topped with deep green Verdi Apli marble bring a sense of “refinement and sophistication” to the space, the studio said.
      The chapel’s dramatic vaulted nave remains a core feature of the space”The marble tables are a perfect complement to the sumptuous velvet seating benches, and the marble’s organic qualities create a sense of dynamism when paired with the Carimate dining chairs by the Italian designer Vico Magistretti,” said Humbert & Poyet.
      Beefbar Milano has been shortlisted in the restaurant and bar interior category of this year’s Dezeen Awards.
      Also in the running is a restaurant in a former mechanic’s workshop in Guadalajara and David Thulstrup’s interior for Ikoyi in London, which features copper walls and a curved metal-mesh ceiling.
      The photography is by Francis Amiand.

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      Daisuke Yamamoto presents recycled steel chairs under Milan railway arch

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      Japanese designer Daisuke Yamamoto presented recycled steel chairs on podiums of the same material as part of an exhibition in Milan, which has been shortlisted for a 2023 Dezeen Award.

      Yamamoto’s Flow project explores ways to minimise industrial waste by focusing on a single material – light-gauge steel (LGS).
      Daisuke Yamamoto presented his Flow chairs as part of the Dropcity showcaseCommonly used in construction as a strong, lightweight framing option, LGS is also one of the industry’s largest waste products, Yamamoto claims, as it is rarely recycled after demolition.
      The designer therefore chose to create a second life for the steel sheets and components as a series of sculptural chairs.
      The chairs were placed on podiums made from the same light-gauge steelHe also used LGS to form platforms for showcasing the seating designs as part of an exhibition at Milan design week 2023 that has been shortlisted in the exhibition design category of this year’s Dezeen Awards.

      “This project began with the awareness that everyday recycled construction materials are disposed of, then new construction begins – a so-called ‘scrap and build’,” Yamamoto said.
      Each of the recycled steel chairs had a different form”Using the iconic LGS material – one of the most popular materials normally used in framing systems throughout the interior wall structure – we transformed it into beautifully redesigned furniture, giving the materials a second chance,” he added.
      The exhibition formed part of the Dropcity showcase, which took place inside the Magazzini Raccordati spaces at Milan Central Station during the design week in April.
      A workshop bench was also placed at the centre of the spaceThese empty railway arches have a dilapidated, industrial aesthetic with peeling floors, stained tilework and exposed utilities.
      Yamamoto chose to leave the vaulted room largely as he found it but placed a series of platforms in two rows, upon which he presented the series of chairs.

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      Track lighting was installed overhead to spotlight the elevated designs, each of which has a slightly different shape.
      In the centre of the exhibition, a workshop bench also built from lightweight gauge steel was used to fabricate more chairs during live demonstrations between Yamamoto and craft artist Takeo Masui.
      Yamamoto and Takeo Masui built more recycled steel chairs during live demonstrations”This is a landfill, a place where a volume of used LGS is collected,” Yamamoto said. “A place where the designer and craftsmen work hand in hand to recreate what was bound to be disposed into something new, a process of disassembling to re-assemble.”
      The intention was to not only showcase the material’s capabilities for reuse but also to allow visitors to engage with the process and ask wider questions about how society deals with waste.
      The demonstrations allowed visitors to engage with the processUsing waste materials produced by other industries was a key trend that Dezeen spotted during this year’s Milan Design Week, with designers and studios including Formafantasma, Prowl Studio, Atelier Luma and Subin Seol all looking to reduce the environmental impact of their products.
      The photography is by Takumi Ota.
      Future Landfill took place at Magazzini Raccordati from 15 to 23 April 2023 as part of Milan Design Week. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.

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      Studio Wok designs Milan bakery Pan as contemporary take on Japanese culture

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      Architecture practice Studio Wok has created a matcha-green counter and Japanese-style fabric panels for bakery and wine bar Pan in Milan’s Acquabella district.

      The studio created the eatery, which is led by Japanese chefs Yoji Tokuyoshi and Alice Yamada, to have an interior that would represent a meeting between Japan and Milan.
      “There are references to Japanese culture, non-literal and far from stereotypes,” Studio Wok said. “The intention was for a deeper understanding, working on the concept of quality, both in materials and in details.”
      A fibreglass counter sits at the centre of the bakeryA central bread counter is the “protagonist piece” in Pan’s interior design.
      The counter was constructed from panels of fibreglass grid and its eye-catching colour was informed by the vivid green of matcha, an ingredient widely used in Pan’s food, the studio said.

      Fibreglass was also used to create an external bench, linking the bakery with the wider neighbourhood.
      Fibreglass was also used for an external bench”We did a lot of research looking for a ‘poor’ material that could be ennobled by being used in an innovative way,” Studio Wok told Dezeen.
      “Fiberglass grating is a material used in industry but little used in interiors and it seemed perfect to us.”
      Fabric hangs from the ceilingThe green of the fibreglass is echoed in vertical fins of hanging fabric that define the ceiling, creating a dialogue between hard and soft elements within the space.
      These suspended sheets of fabric are a contemporary update of the traditional Japanese design element of ‘noren’, meaning curtains or hanging divider panels.
      Wooden seats have views of the street”The ceiling sheets have the main function of creating a three-dimensional covering to make the environment more welcoming and also to work from an acoustic point of view,” the studio said.
      “They create a suspended three-dimensional world, both continuous and ephemeral. Furthermore, they dialogue with natural light during the day and with artificial light in the evening.”
      The bathroom has a decorative stone sinkIn the bathroom, the green theme continues with a wall and sliding door featuring translucent panels of pressed cellulose, which have been fixed onto a wooden grid frame.
      “We were looking for a translucent material to allow natural light to pass through the anteroom. It also reminded us of the rice paper walls, typical of Japan,” Studio Wok said.

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      The effect of these materials is to create “a green monochromatic box from which the monolithic element of the sink emerges,” Studio Wok said.
      The sink was made of a grey-tinted natural stone called Moltrasio.
      In the main space, light grey walls and floors in hand-trowelled cementitious resin amplify the sense of light, while chestnut was used in both its pale natural form and stained black across integrated and freestanding furniture.
      Black-stained chestnut was used for the bar areaThe bar area has a more serious, less playful atmosphere, informed by the black-stained chestnut wood of the counter and cabinetry.
      Here, a rough-hewn natural stone boulder serves as a water counter, introducing a freeform, sculptural element to the space.
      Studio Wok designed the bakery and wine bar with references to JapanTo anchor the space in the local neighbourhood, Studio Wok designed large windows with pale chestnut frames that open the bakery up towards the street.
      Seating in the window areas “project the interiors of the venue outwards, creating a hybrid threshold space between the domestic and the urban,” the studio said.
      “Our vision for the material palette at Pan was to seek a balance between elements with a contemporary and industrial flavour, with others that are more natural and timeless,” said Studio Wok.
      “It’s a celebration of Japan and its dualism between innovation and wabi-sabi spirit.”
      Studio Wok has previously designed a cavernous pizza restaurant and transformed a barn into a country home.
      The photography is by Simone Bossi.

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      6a Architects brings Soho sex shop windows to JW Anderson Milan flagship store

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      British fashion brand JW Anderson has opened a flagship store in Milan that was designed by British studio 6a Architects and draws on the local atmosphere as well as Soho sex shops.

      The 53 square-metre-store is located on the Via Sant’Andrea luxury shopping street in Milan’s Quadrilatero shopping district. It is set across a single floor and comprises two rooms.
      JW Anderson’s first Milan store was designed by 6a ArchitectsWhile the boutique primarily draws reference from its “bourgeoise” Milanese surroundings, the retail space also pulls from designer Jonathan Anderson’s first JW Anderson store in Soho and from the 2017 exhibition Disobedient Bodies, which was curated by him.
      It was designed by 6a Architects, who Anderson began working with in 2017 after selecting the studio to design the set for Disobedient Bodies at The Hepworth Wakefield.
      It draws on a Milanese atmosphere”I thought [6a Architects] really grasped how to take my visual language and turn it into something which was able to be educational,” Anderson told Dezeen.

      “They’re very good at hybrid, old or new. They’re very good at this combination, they’re great architects.”
      “The store actually is a combination of Disobedient Bodies and a store. It’s a little bit more elevated,” he said. “The front of the building feels Soho, and as you go in, it feels more kind of domestic Milanese.”
      It carries over elements from the Soho storeIn a nod to the store frontages of the sex shops found in London’s Soho area, the windows of the Milanese store were decorated with neon lighting and rainbow-slatted curtains.
      Anderson and 6a Architects used the design as a juxtaposition against the more typical Milanese interior.
      “For me, there is something very sexual about neon lighting,” said Anderson. “I think we associate it with grand gestures and I felt like a window is kind of like a television set. There’s something with neon that it does, it kind of tricks you.”
      Traditional Italian furnishings and finishes fill the interior”There are little alleyways and they have all these amazing sex stores on and these curtains,” Anderson continued.
      “I liked the idea that we have this in Milan and then suddenly you enter into a kind of Milanese setting, something which is very bourgeoise.”

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      Inside, gridded handmade terrazzo covers the floor and visually divides areas of the interior through bespoke contrasting tones of grey and sand.
      Brassy, metallic curtains ripple along the rear walls of the store, in a similar way to 6a Architects’ use of curtains in the exhibition design for Disobedient Bodies.
      Jonathan Anderson selected furniture and artwork for the interiorAluminium scaffolding, which was also carried over from Anderson’s Soho store, was translated into display shelving and brought an “angst” to the interior that contrasts against traditional Italian furnishings, such as fluted walnut panelling that envelops two curved walls.
      “There is something slightly more underground in terms of the construction of a JW Anderson store, whereas, I think Loewe [for which Anderson is creative director] is about a heightened perfection,” said Anderson. “With JW Anderson, there’s always a bit of slight angst to it.”
      “It’s softer inside, and then you have this harshness with the windows where there’s neons and sex curtains and it’s kind of like a theatre. It has moveable parts and in a weird way the store becomes a giant window.”
      It has furniture by Mac CollinsFurniture and artworks personally selected by Anderson fill the interior.
      Designer Mac Collins’ black Iklwa chair was paired with matching side tables, while a Cardinal Hat pendant light by Lutyens Furniture is suspended from the ceiling of the main space.
      Oil paintings by Chinese artist Hongyan appear to float on the ripples of the brass-coloured curtains, and images by photographer Wolfgang Tillmans sit on the walls of the store’s fitting room.
      An image by Wolfgang Tillmans is placed in the fitting room”I don’t believe that stores should be completely cookie-cutter,” said Anderson. “I feel like the key is to make sure that each store has a different universe because there’s no point in having something which is just a duplication, duplication, duplication.”
      Jonathan Anderson founded his eponymous label JW Anderson in 2008 and was appointed creative director of Spanish luxury house Loewe in 2014, which recently announced the winner of its sixth annual craft prize.
      During London Fashion Week, JW Anderson presented a “parallel world of people trapped in their computers” for its Spring Summer 2023 collection.
      The photography is by DePasquale+Maffini, courtesy of JW Anderson.

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      Boyy flagship in Milan reveals layers of the store’s history

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      Danish artist Thomas Poulsen, also known as FOS, has revamped the flagship store of accessories brand Boyy in Milan, keeping time-worn surfaces left over from the site’s former fit-outs.

      This marks the third time that FOS has refreshed the space on Via Bagutta since 2021, as part of the artist’s plan to create a dynamic “evolving” store.
      FOS has redesigned Boyy’s flagship in MilanIn its first incarnation, the Boyy flagship had funhouse-style mirrors, walls draped in faded pink fabric and cobalt-blue carpets emblazoned with everyday objects.
      This colour scheme was inverted for the second iteration of the store featuring blue walls and bubblegum-pink carpet. Elements of both of these schemes now remain in the store’s third and final form, which was left purposefully unfinished.
      Unpanelled sections of the wall reveal the store’s past fit-outs”This space was an experiment in formulating a shared language for how Boyy could develop as a brand,” FOS explained.

      “We started by creating an installation – the first rendition – then used that experience to create a second installation, and finally built upon the combined experience to create this final permanent space that we have now arrived at.”
      “We always envisioned the third rendition as the final act,” added Boyy co-founder Jesse Dorsey.
      Accessories are displayed inside illuminated glass vitrinesThe Boyy flagship now has walls panelled with the same grey ceppo stone that clads the store’s facade.
      Some areas were left without panelling, revealing the aged, fabric-lined walls left behind by a previous occupant – a 50-year-old antique shop that sold quaint Americana-style objects for the home.
      Blue fabric can also be seen hanging in the rear corner, saved from FOS’s second overhaul of the space.

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      These swathes of time-worn fabric were enclosed inside aluminium window frames, as were some of the store’s display units.
      Elsewhere, Boyy’s selection of shoes and handbags can be showcased in several illuminated glass vitrines or on the ledge that runs around the periphery of the store.
      The store has been finished with terrazzo flooringFOS also created a display shelf around a crumbling structural column that sits in the middle of the floor plan.
      A couple of tiered, sea-green bench seats were dotted throughout the store as decoration, complementing the flecks of greens stone that are found in the terrazzo floor.
      Curved benches provide seating throughout the storeMilan is home to an abundance of visually striking retail spaces.
      Others include the Moschino flagship, which was designed to reference the history of ancient Italy, and the Off-White store, which is decked out with natural materials like Patagonia granite.

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      Space tourism informs design of Ichi Station sushi restaurant in Milan

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      Valencian design studio Masquespacio has completed a dine-in restaurant for takeaway sushi chain Ichi Station in Milan, with interiors designed to resemble a futuristic spaceship.

      Set in a historic building in the Brera district, the chain’s latest outpost builds on the same travel and transport concept established across its other outlets – including eight in Milan and another in Turin.
      Masquespacio has designed Ichi Station’s Brera outpostBut Masquespacio wanted to take this idea to the next level for the new restaurant by drawing on the visual language of sci-fi and space tourism.
      “We proposed approaching the travel concept as a trip to the future,” said Masquespacio co-founder Christophe Penasse.
      “When you enter Ichi, it’s like entering a capsule-like spaceship travelling through light, where you will disconnect from reality in order to get in touch with the food.”

      Customers can pick up orders at the takeaway counterMasquespacio completely redeveloped the layout of the 80-square-metre site – previously another restaurant – creating a central dining area along with a tunnel where diners can observe some of the sushi-making process.
      A pick-up bar close to the entrance was added to separate the circulation routes of take-away customers and diners.
      The dining area is housed in a cylindrical tunnelThe tunnel motif was developed as a way to express the idea of travel and make a reference to Japan without falling into cliches.
      “Some elements were incorporated to remind the customer of Japan, like the huge lighting circles, although we tried to avoid making typical references to Japan such as using wooden structures,” Penasse explained.

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      The tunnel motif also informed the circular and cylindrical details that pop up throughout the space across seat backs, bar stools and decorative elements such as the circular feature light in the main dining area.
      “The shapes and forms give the project the futuristic look that it needed,” the designer said.
      Diners can also watch sushi being prepared at the counterMasquespacio opted for a simple and restrained material palette that includes glass and micro-cement, which was used along with fully integrated tables and seating to create a seamless look reminiscent of a spaceship.
      The restaurant’s custom-made furniture brings in another reference to transport design tropes. “You can recognise it as a reinterpretation of the seating in a station and especially on a train,” Penasse explained.
      LED light panels are integrated into the walls, ceilings and table topsThe interior is finished in neutral shades of beige and off-white but is cast in different vivid colours thanks to the LED lighting system that is integrated into the walls, ceilings and even the table tops.
      The lights alternate between shades of blue, green, purple and peach at variable speeds and, according to Penasse, create a veritable “explosion of colour”.
      The toilets are finished in contrasting navy blueAlthough based in Spain, Masquespacio has completed a number of projects in Italy in recent years.
      Among them are two colour-block restaurants for fast-food chain Bun – a blue-and-green interior in Turin and a green-and-purple version in Milan.
      The photography is by Luis Beltran.

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      Six interior designers style rooms at Artemest’s L’Appartamento in Milan

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      Six interior design studios, including Kingston Lafferty Design and T.ZED Architects, have overhauled a room at the 1930s L’Appartamento for commerce platform Artemest at Milan design week.

      The designers each used furniture, lighting and art from the brands, designers and artists represented on the Artemest platform to showcase their own style in a room at the apartment in Milan’s 5Vie district for the L’Appartamento exhibition.
      “We wanted to bring this stunning apartment back to life and show how different interior design studios, each with its own style and design approach, can work with Artemest to create inspiring and surprising interiors that celebrate authentic Italian beauty,” said Artemest founder Ippolita Rostagno.
      T.ZED Architects designed the entrance space at Artemest’s L’AppartamentoIn the entryway, Dubai-based studio T.ZED Architects aimed “to set the tone for what is yet to come” by preserving the character of the room and adding selected pieces.
      The studio choose a mix of furniture in off-white, cream and brown, including copper and leather finishes that plays off the green tones of the richly patterned, period wallpaper.

      Mirrors – including a Sybilla mirror with console by Ettore Sottsass for Glas Italia, and an Itaca floor mirror by Atlasproject – were placed to illuminate and enlarge the space, while amplifying the period details.
      Kingston Lafferty Design placed a golden block in the living roomIn the adjoining room, Dublin-based studio Kingston Lafferty Design aimed to “challenge visitors’ sense of what a living room should be” by placing a sculptural monolithic block seems to glow with a soft golden sheen in the centre of the space.
      The block splits the room into two distinct spaces and contains a mirrored space described by the studio as “a gallery of lights”.
      The golden block divides the space into twoOn one side of the block is an informal living room that evokes a sense of playfulness through the use of oversized furniture in bright colours, including the Osaka Blue Sofa by Pierre Paulin for La Cividina.
      The other side has a rich palette of jewel-tones to creates a more decadent atmosphere.
      Moniomi aimed to create a room on the terraceLeading from the living room a large terrace was reworked by Miami-based studio Moniomi, which aimed to create an outside room that felt like an interior space.
      The studio used a combination of large-scale upholstered pieces, gridline patterns and graphic blacks and whites, softened by lush greens to reference the outdoor location.
      The design language here features saturated colours and layered patterns – including the Nuovola 01 dining table by Mario Cucinella for Officine Tamborrino, which represent the studio’s Hispanic roots.
      Nina Magon designed the apartment’s dining spaceAnother US-based designer, Nina Magon, created the L’Appartamento dining room, playing with monochromatic hues to enhance the authenticity of the original finishes here.
      Sculptural furniture, such as the Trompe-l’oeil Trois dining table by DelMondo Studio, topped with a cluster of Flow[t] pendant lamps by Nao Tamura for WonderGlass was added to the space.
      The bedroom was designed by Styled HabitatIn the bedroom, Dubai-based studio, Styled Habitat, delved into the history of the 1930s to translate the romance of that era into the modern day and evoke a sense of timeless glamour.
      To capture the experimental and avant-garde trends of European modernism, Styled Habitat juxtaposed new and old, with a Czech Chair by Hermann Czech for Gebrüder Thonet Vienna, alongside pieces like the Calle Pinzi Murano Glass Chandelier by Luci Italia.

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      Finally, for L’Appartamento’s hallway and the studio, Paris-based interior designer Anne-Sophie Pailleret was informed by her first reaction to seeing the apartment.
      The long, narrow hall, has been covered with the textural Tra 1100 Wallpaper hand-crafted by La Scala Milano Wallcovering, contrasting with geometric Alfabeto Tiles by Margherita Rui for Ninefifty, on the floor.
      Anne-Sophie Pailleret styled the corridorThe walls are further decorated with Ninfea wall lamps by Giovanni Botticelli in collaboration with Paola Paronetto, functioning as a gallery-style grouping of lights.
      For the studio room, Pailleret created a mix of warm colours and graphic patterns, with comfortable and curvaceous furniture.
      The photography is courtesy of Artemest.
      L’Appartamento takes place from 17 to 23 April 2023 at Via Cesare Correnti 14, 20123 Milan, Italy. See our Milan design week 2023 guide on Dezeen Events Guide for information about the many other exhibitions, installations and talks taking place throughout the week.

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