Built on a lifelong passion for craftsmanship and a commitment to timeless functionality, the brand today enters a new era, renewing its deepest identity.

Following its 2017 acquisition by Caleffi — a move rooted in the desire to safeguard the region’s artisanal heritage — the company has modernized its operations while staying loyal to its roots. Its identity remains inseparable from the Novara district and the unique technical know-how rooted in the Lake Orta region.

The individual is at the heart of the brand’s new vision, making human needs the focal point. Driven by a blend of aesthetics, functionality, and technology, this shift is led by a young, multidisciplinary team of creative and marketing specialists, both within the company and through external collaborations.

This strategic roadmap has resulted in a complete reimagining of the brand’s visual identity and narrative, mirroring its focus on the individual and the nuances of contemporary life.

Approach and Personality

Guided by deep introspection, CRISTINA has redefined its purpose. Understanding that today’s consumers have a clearer sense of how they want to live, the company is delving into concepts of authenticity to fuel innovation. This new direction prioritizes everyday life, transforming products into essential instruments of self-expression, a vision of “discreet luxury” that remains in step with contemporary cultural shifts.

The Collections: Bathroom, Kitchen, and Outdoor

CRISTINA unveils a product strategy rooted in evolution rather than revolution. With a conscious and responsible approach, the brand refines and enhances existing designs instead of creating for the sake of novelty, bringing to market solutions that respond to real needs and elevate everyday living.

A core part of this strategy involves leveraging in-house manufacturing expertise to develop comprehensive, versatile collections, all defined by a cohesive and distinctive aesthetic, focusing on complete solutions for both residential and contract sectors.

Salone del Mobile.Milano

During Salone del Mobile in Milan, CRISTINA will unveil this shift in direction through an installation titled “Everyday Matters. A Study of Being Present”, designed by Experiential/H. Conceived as a space to be discovered, it invites visitors into an environment that encourages personal reflection.

The installation presents a realistic and credible setting, deliberately moving away from overly idealized or unattainable scenarios. It unfolds as a sensory narrative along a curated path, offering a holistic vision of living spaces, both indoor and outdoor, and encouraging a broader reflection on everyday life and wellbeing.

At Salone del Mobile, CRISTINA will also unveil a new interpretation of Tricolore, its iconic and historic collection. This completely new modular approach positions the program as one of the most comprehensive and customizable on the market.

CRISTINA Brera

At the brand’s Brera Showroom, the Everyday Matters concept finds further expression in an artistic installation curated by Sarah Possamai, who also designed the preview event that first unveiled the brand’s new direction. During Design Week, the space will host an installation featuring everyday objects where CRISTINA’s products come to life in unexpected and expressive ways.

L'articolo Everyday Matters: A Study of being Present proviene da Archi & Interiors.

Choosing well means going beyond aesthetics. Shape matters, dimensions matter, material matters, but above all, what matters is each element’s ability to dialogue with its context. From large outdoor planters designed to give presence to an entrance to more linear outdoor planters for organizing a contemporary terrace, every solution can serve a specific function and become an essential part of the project.

The Best Outdoor Planter and Pot Brands

1. Serralunga

Among the best outdoor planter and pot brands, Serralunga holds a prominent position for its ability to combine innovation, aesthetic research, and Made in Italy quality. Founded in Biella in 1825, the company pioneered rotational molding in Europe and helped redefine the concept of designer planters, introducing oversized solutions, illuminated models, and collections with strong sculptural impact. Its planters and pots are distinguished by clean lines, durable mass-colored finishes, and designs intended to add personality to both outdoor and indoor spaces. What makes the brand even more recognizable is a comprehensive vision of contemporary living that, alongside planters, also includes furniture, lighting, and outdoor accessories.

2. Myyour

Myyour interprets outdoor planters and pots as true functional sculptures, capable of creating dialogue between design and nature with a contemporary and recognizable language. Its collections are distinguished by textured surfaces, refined volumes, and forms with strong visual impact, designed to furnish spaces with discretion or greater prominence. Among the best outdoor planter and pot brands, the Italian brand stands out for its ability to transform each element into a decorative presence capable of enhancing tables, lounge areas, and outdoor environments. A significant example is Gem, a collection designed by Paolo Cappello, composed of planters and pots in various sizes with geometric facets and sculptural Made in Italy design, also available in an illuminated version to emphasize the atmosphere of outdoor spaces with even greater character.

3. De Castelli

De Castelli brings a more material and architectural approach to outdoor planters and pots, where metal becomes a central part of the project. The Italian company, active for four generations, was among the first to introduce design into metalworking, developing a proposal that combines aesthetic research, craftsmanship, and distinctive finishes. Collaborations with designers such as Aldo Cibic, creator of Riviera Pots, and Stefano Dussin, who designed models like Rocco & Lolita, Shimla & Jaipur, and Tristan & Isotte, reinforce the brand’s identity in the world of outdoor planters and pots, with solutions designed to add character to the most refined outdoor spaces.

4. Plust Collection

Plust stands out for an approach to outdoor planters strongly connected to contemporary design, with collections designed to furnish gardens, terraces, and contract spaces with a geometric, clean, and recognizable language. The brand, part of Euro3plast, interprets planters and pots as true furnishing complements, capable of dialoguing with architecture and other outdoor elements. Among the best outdoor planter and pot brands, Plust is notable for a Made in Italy proposal that combines formal research, durability, practicality, and a coherent design vision, where even plastic material is valued for its longevity, versatility, and aesthetic performance.

5. Khilia

Khilia stands out for a minimal design that does not sacrifice the expressive power of color, with planters designed to personalize both indoor and outdoor spaces with character. Its collections focus on clean lines, essential proportions, and diverse finishes, easily adaptable to contemporary contexts, from residential terraces to contract environments. What makes the proposal even more recognizable is the role of lighting, with illuminated variants that add atmosphere and scenic presence. Presented by Plust, the Khilia collection interprets the planter as a versatile furnishing element, capable of giving identity to spaces with simplicity, color, and immediacy.

6. Lyxo Design

Lyxo brings recognizable design to outdoor planters and pots, characterized by decorative forms, studied proportions, and great attention to detail. The brand stems from Veca‘s experience in rotational molding and showcases Made in Italy products designed and manufactured in Veneto. Among the most interesting proposals is Assia, a column planter designed by Luigi Siard and Assia Karaguiozova, intended to contain and enhance flowering and trailing plants with an elegant and slender presence. Used alone or in composition with other available sizes and colors, it adds visual depth and continuity to spaces, both indoor and outdoor.

7. Twenty First

Twentyfirst Living Art brings a more experimental and artistic vision to outdoor planters and pots, with high-end products designed to add character to spaces through innovative forms and a strong visual identity. The brand interprets outdoor design with a contemporary language that combines aesthetic research, color, and a desire for change, extending this sensibility to seating, side tables, and furnishing complements. Within its proposal are numerous illuminated planters, such as Kadabra, Hilo, Mirage, Naif, and Sahara, models that help make terraces, gardens, and contract environments more scenic and recognizable. For this reason, Twentyfirst Living Art naturally fits among the most interesting brands for those seeking outdoor planters with a decorative and contemporary edge.

8. Kloris

Kloris offers planters and furnishing complements designed to bring modern, original, and immediately recognizable design to outdoor spaces. A new line from the Giurgola brand, the company showcases its experience in plastic material processing with entirely Italian products, refined in finishes and raw materials. Its planters are distinguished by refined lines, bold colors, and strong versatility, suitable for both indoor and outdoor environments. Among the best outdoor planter and pot brands, Kloris is also notable for illuminated models, such as Egizio Rustico, capable of adding character and atmosphere to gardens, terraces, and contract spaces.

9. Deroma

Deroma is a historic name in the world of planters and pots, capable of combining Italian tradition, technical expertise, and concrete attention to garden needs. Founded in Veneto in 1955, the company built its identity from terracotta culture, expanding over time with terracotta, glazed, and plastic collections designed for different environments and uses. Its strength lies precisely in this balance between experience, research, and range breadth, which has made Deroma a recognized reference in the sector, in Italy and abroad.

10. Vondom

Vondom is a Spanish brand specializing in designer outdoor furniture that, since 2008, has built its identity also through outdoor planters and pots with strong visual impact. Its proposal is distinguished by contemporary forms, innovative lines, and clear attention to sustainability, with collections designed to add character to terraces, gardens, and contract spaces. Strengthening the brand’s profile are collaborations with international designers such as Fabio Novembre, Stefano Giovannoni, Eugeni Quitllet, Ora Ïto, Ross Lovegrove, Karim Rashid, and Javier Mariscal, making the catalog even more recognizable in the outdoor design landscape. In planters and pots, Vondom expresses a scenic and contemporary style, ideal for those seeking decorative solutions capable of enhancing outdoor spaces with personality.

How to Choose Outdoor Planters and Pots Based on Shape, Dimensions, and Function

When choosing outdoor planters and pots, the first step is understanding what role they will play in the space. Some serve primarily to highlight an important plant, others help define an area, still others accompany a railing, enhance an entrance, or organize an empty corner with greater order.

For this reason, it is useful to always start from three essential aspects: shape, proportions, and function. A planter that is too small on a large terrace risks getting lost, while an overly voluminous model on a compact balcony can immediately weigh down the ensemble. The choice of shape also significantly changes the final result, as it affects how the space is perceived and organized.

Large Outdoor Planters: When They Are the Right Choice for Terraces and Gardens

Large outdoor planters work well when the space needs presence and structure. They are ideal for highlighting an important plant, framing an entrance, completing patio corners, or adding visual strength to an outdoor dining area. In a well-designed outdoor space, they are not simple accessories but elements capable of giving weight and intention to the composition.

For this reason, when choosing large outdoor planters, it is important that they have correct proportions relative to the architecture and surrounding furnishings. In a garden or spacious terrace, they can become very effective focal points; in more limited spaces, however, they must be used with greater care to avoid an overly full or unbalanced effect.

Tall Outdoor Planters: The Ideal Solution for Elongating Space Without Weighing It Down

Tall outdoor planters are perfect when working vertically and achieving a more organized and refined effect without occupying too much floor space. They are particularly suitable for penthouses, urban terraces, outdoor entrances, and all contexts where adding presence without creating excessive bulk is desired.

A tall planter can accompany a wall, emphasize a passage, highlight a plant with slender bearing, or contribute to giving more rhythm to an essential composition. In many cases, it is precisely this type that best resolves narrow or elongated spaces, as it adds character while maintaining a clean image.

Large Rectangular Outdoor Planters: Visual Order and Continuity Along Railings and Walls

Among the most versatile solutions are large rectangular outdoor planters, very suitable when following an architectural line coherently. They fit well along walls, railings, terrace edges, or external passages and help build a more organized composition.

They are also an effective choice when creating a green screen, accompanying a dining area, or visually separating two areas without resorting to heavier structures. Their strength lies in the continuity they create: they organize space without interrupting it.

1-Meter-Tall Outdoor Planters and 100 cm Models: When They Truly Make Sense

1-meter-tall outdoor planters and 100 cm models are particularly useful when the container must also have a spatial function. They serve not only to host a plant but to define a passage, construct a visual separation, add more presence to an area, or strengthen the impact of an entrance.

They are perfect, for example, on a large terrace where distinguishing the dining area from the relaxation area is desired, along a railing that needs screening, or in a contemporary outdoor space where the planter must have an architectural and not merely decorative role.

Outdoor Plant Pots: How to Enhance Flowers, Herbs, and Shrubs

Not all plants require the same type of container. Seasonal flowers, for example, can be enhanced by lighter and more decorative planters, while shrubs, small trees, and plants with significant volume need deeper, more stable, and proportionate outdoor plant pots.

Aromatic herbs and more compact compositions can also yield excellent results, provided they are placed in containers coherent with the rest of the space. When choosing species destined to grow over time, it is even more important to select outdoor planters and pots that offer sufficient space, proper drainage, and a structure suited to their presence.

Balcony Planters, Terrace Planters, and Garden Pots: Which to Choose Based on Space

Every outdoor space has different needs. It is not enough to choose beautiful outdoor plant pots: it is essential to understand how they will fit into the context, how much space they will have around them, and what effect they should create overall.

Balcony Planters: Space-Saving Solutions for Small but Well-Kept Outdoor Areas

On a balcony, the priority is maintaining balance, lightness, and freedom of movement. For this reason, balcony planters, linear planters, narrow models, and solutions that follow the perimeter without unnecessarily occupying the center work well. The goal is not to fill but to make the space more organized and pleasant.

Even in a few square meters, a very refined result can be achieved, especially by choosing elements coherent with each other in shape, height, and material. A small balcony enhanced with well-proportioned outdoor planters and pots immediately appears more studied, more harmonious, and easier to live in every day.

Terrace Planters: How to Create Depth and Rhythm in a Contemporary Outdoor Space

The terrace allows for a broader and more articulated composition. Here, large outdoor planters, tall planters, and rectangular planters can be alternated to create depth, accompany the different functions of the space, and add more character to the ensemble.

A well-studied arrangement helps distinguish the relaxation area from the dining area, enhance the most exposed sides, or make the entrance more welcoming. In these cases, terrace planters serve not only to host plants but become part of the visual structure of the outdoor space.

Garden Planters and Pots: Correct Proportions for a More Scenic Space

In the garden, the relationship with the landscape matters most. Garden planters and pots must fit naturally among paving, pathways, green areas, and furnishings, without appearing as randomly distributed elements. Often, a few well-sized pieces work better than a dispersive sequence of overly small models.

In a large space, more scenic elements can be used, such as 1-meter-tall outdoor planters to add rhythm or compositions capable of accompanying the house’s architecture with greater continuity. The key remains the same: allowing containers to enhance greenery without competing with it.

Materials for Outdoor Planters and Pots: Which to Choose Among Resin, Terracotta, Wood, and Metal

Material affects much more than it seems, not only on style but also on practicality, maintenance, and overall weight. A beautiful planter unsuitable for exposure or too inconvenient to manage risks quickly becoming an unsatisfactory choice.

Resin Outdoor Planters: Lightweight, Practical, and Easy to Integrate into Any Context

Resin outdoor planters are among the most versatile solutions for those seeking practicality and visual cleanliness. They often have an essential aesthetic, easy to integrate into both modern spaces and more neutral contexts, and are particularly interesting when choosing large models while containing weight.

They are suitable for balconies, terraces, and contemporary gardens, especially when the goal is creating an organized outdoor space that is simple to manage. Their practicality makes them an intelligent choice even for those who wish to move planters more easily throughout the seasons.

Terracotta Outdoor Planters: The Material Charm That Warms Terraces and Gardens

Terracotta outdoor planters maintain a more authentic and material character. They fit well in classic, Mediterranean, or rustic contexts but can also work very well in an essential space, precisely for the warm and natural contrast they create.

Their strength is visual impact, more vibrant and material compared to many industrial materials. However, they require more careful evaluation in terms of weight and placement, especially when dealing with large planters or surfaces requiring greater caution.

Wood and Metal Planters: Two Very Different Solutions for Style and Aesthetic Performance

Wood planters add warmth and a more natural note to outdoor spaces. They are ideal when seeking a welcoming outdoor environment with a softer and more material language. Metal planters, conversely, often have a sharper and more contemporary edge, perfect for linear, minimal, or architectural environments.

The choice between these materials depends primarily on the tone desired for the space. Wood complements green and relaxed environments well; metal lends itself better to more essential and rigorous compositions.

Drainage, Stability, and Maintenance: The Details That Truly Make the Difference

When choosing outdoor planters and pots, practical aspects also matter greatly. Proper drainage is essential to avoid water stagnation, protect roots, and maintain soil in better condition. Similarly, weight and stability must be carefully considered, especially on exposed terraces, penthouses, or areas subject to wind.

Maintenance also affects the quality of the choice. An overly delicate or difficult-to-manage material can become inconvenient over time, while a more practical solution allows maintaining an organized outdoor space with less effort. When a planter combines aesthetic performance and functionality, the result is immediately visible and lasts much better.

Price can guide the choice, but alone it is not enough to guarantee a good result. When shape, material, proportions, and function are truly coherent with the space, even a simple element manages to add more value to the entire outdoor project.

L'articolo Best Outdoor Pot and Planter Brands: A Complete Guide to Choosing the Right Solutions for Terraces and Gardens proviene da Archi & Interiors.

From the first handcrafted plaques to hotel products developed in the post-war period, through to international growth and consolidation in the high-end hôtellerie sector, APIR has built its identity around quality, artisanal craftsmanship, innovation, and personalized design.

In this interview, Pietro Angelini, the company’s CEO, retraces the fundamental stages of this evolution and explains how APIR continues today to interpret detail as an essential part of the project, encompassing signage, wayfinding, electrical plates, and bespoke solutions for contemporary hospitality.

APIR was founded in 1918 as an engraving workshop and is now in its fourth generation. What were the key steps that transformed an artisanal reality into an international company chosen by hotel chains and high-end projects?

APIR was founded in 1918 as an artisanal engraving workshop, and in these 108 years, growth has been constant. The first decisive step in the company’s growth occurred in the post-war period, when the strong tourism development in our area of the Romagna Riviera and the increase in hotels prompted us to design and produce signage and accessories specifically for the hotel sector.

Since the 1960s, we have progressively expanded our offering to the entire world of hospitality. To respond adequately to growing demand, the production structure also changed in parallel: from the original shop, we moved to the first industrial warehouse, which was later expanded in the early 2000s to support growth.

Another important turning point came with the introduction of CNC machine tools, which allowed us to make a leap in quality and production capacity. Constant investments in machinery and technology have therefore accompanied the evolution from an artisanal workshop to a structured company capable of working on international projects.

Pietro Angelini, today you lead APIR as CEO: what have you carried with you from the family history and what, instead, did you have to relearn from scratch? Is there a principle, a phrase, or a rule that you still use as a compass when you have to make a decision?

I certainly carry with me a great respect for the company’s history and for the work of the generations that preceded me. Growing up in the family, I have also always felt a strong sense of responsibility toward the business and its healthy growth.

At the same time, I had to learn some things almost from scratch, especially in change management, building a strategic vision, and reading the market. At a certain point, it became fundamental to understand which segment was most consistent with our history and our skills: that of high-end hôtellerie.

From there, the decision matured to focus more and more on high-end products, because it is the market that best values the quality, design, and attention to detail that are part of APIR’s DNA.

The compass I try to follow in decisions is precisely this: to grow and innovate, while remaining consistent with our identity and the values on which the company was built and on which it has evolved over all these years.

Your roots are in the mark: engraving, precision, material. How do you preserve this artisanal heritage and how do you reinterpret it in a contemporary key through design, technology, and personalization?

We keep our artisanal tradition in engraving alive, translating it today into a contemporary key through sophisticated design, precious and finely worked materials, high quality, and great attention to detail. Technology also allows us to customize every product, combining tradition and innovation to meet the needs of modern and sophisticated projects.

Today APIR works on an ecosystem of details: signage, plates, wayfinding, accessories. How do you maintain consistency of language across different categories, avoiding the “supply” effect and instead achieving a unified project?

To ensure consistency between different categories, we adopt a “Total Look” approach, taking care of every finishing detail according to a unique stylistic key. In this way, from signage to furnishing accessories and electrical plates, every element speaks the same language, avoiding the “supply” effect and creating a unified and harmonious project, almost always with strong elements of personalization based on client requests.

The electrical plate has become an identity element. Which choices truly matter today for architects and interior designers (finishes, compatibility, thicknesses, dimensional customization, integration with special controls)? Where do you see the most evolved demand?

Today, the electrical plate is much more than a simple functional element: it is a true style element, especially when it comes to exclusive contexts.

The choice to create electrical plates in brass represents a true plus for Apir, a break from market standards, and gives the object a strong preciousness, as well as a tactile material effect.

When we present our collections to architectural firms and interior designers, the response is always very positive: the most evolved demand concerns the possibility of freely choosing aesthetics, finishes, and dimensions, also integrating special controls. Where possible, we manage to fully satisfy these requests, transforming the plate into a true distinctive element of the project.

Wayfinding: when orientation becomes an experience. What is the most frequent error in projects when signage arrives “at the end,” and what changes when it comes into play as early as the concept phase?

The most frequent error is considering signage only at the end of the project, with the risk that it becomes an added and disconnected element relative to the context.

Instead, if wayfinding is included as early as the concept phase, two aspects change substantially: first, the number of elements to be included can be significantly reduced without compromising the ease of orientation within the structure, also benefiting the stylistic cleanliness of the environments; secondly, our collaborators are able to study the signage so that it integrates perfectly with the style of the structure, becoming an integral part of the experience and the design language.

International standards, brand books, maintenance: the project must last. How do you design a detail that is simultaneously “on-brand,” robust, and manageable over time (spare parts, consistency across multiple locations, rapid replacements)?

Our solutions are designed to require little maintenance, thanks to construction choices and materials selected based on the intended use, whether for interiors or exteriors. In this way, we guarantee aesthetic consistency across multiple locations and simple management over time, without compromising design and functionality, but above all to create solutions designed to last.

You work with some of the most demanding realities in international hôtellerie and with very high-end projects. To name a few: Cheval Blanc, Bvlgari Hotels, Four Seasons, Mandarin Oriental, St. Regis, and The Ritz-Carlton Yacht Collection.

What truly makes the difference for you when working with groups with such high standards—in terms of quality, timing, flexibility on bespoke requests, technical management, and continuity over time?

The difference is made first and foremost by service and the willingness to listen: understanding the specific needs of each project and knowing how to propose concrete solutions is fundamental. Alongside this, we focus on a Total Look approach, taking care of every detail so that every element integrates harmoniously into the overall project.

The quality of materials, precision in execution, and flexibility on bespoke requests allow us to guarantee high standards, ensuring continuity and consistency even across multiple locations and over time.

“100% in-house production” and “personalization”: strong words. What does “in-house” concretely mean for APIR? Which processes do you oversee directly and which skills make the difference in quality and timing?

For us, “100% in-house production” means that all stages of the process are carried out directly within the company. This gives us full control over quality and allows for virtually unlimited margins of personalization, adapting materials, finishes, and details to the needs of each project. The ability to manage every process internally—from engraving to material finishing—is what truly makes the difference in precision and aesthetic consistency.

Which objects or systems are becoming more strategic in hôtellerie (because they touch the guest experience) and how do you design them to be beautiful but also reliable?

There are no strategic objects or systems in themselves, but they become so when they are included in a project designed to respond to the guests’ needs for using the environment.

In this context, wayfinding takes on a fundamental role. Our experience, spanning over 100 years in signage design, allows us to apply the same principles to plate projects: it is not simply about providing switches, but about thinking of the entire room layout in stylistic and functional terms, minimizing the number of elements and placing them in the most logical points. In this way, we guarantee a comfortable, intuitive, and positive experience for guests, without ever compromising aesthetics and quality.

Collaboration with firms and designers: what do you expect from a designer (and what do you offer) so that the relationship is not just supply, but a project partnership?

Every successful project is born first and foremost from careful listening to the needs and objectives that the designer wants to achieve, both on a stylistic and functional level. We stand by their side, providing 108 years of experience and offering the possibility to customize every detail based on their needs.

Thanks to our complete offering—which includes signage, electrical plates, and accessories, all coordinatable and customizable in finishes—we can guarantee stylistic consistency throughout the project, transforming the relationship from simple supply into a true partnership.

Are you developing “work tools” (technical libraries, sample kits, custom data sheets, graphic support for wayfinding, ready-to-use files, configurations, etc.)? Which ones are requested the most?

We are developing several tools to support designers and firms, but among the most requested remain color samples and product samples. Thanks to our 100% in-house production, we can create them quickly and to measure, adapting them to each client’s specifications. This allows designers to evaluate finishes, materials, and details in advance, making it easier to make consistent and precise decisions for every project.

Innovation and sustainability: where is your commitment truly measured in daily production (materials, finishes, durability, repairability, waste, supply chain, packaging)? And what do you think the sector will become more demanding about in the coming years?

Our commitment in terms of innovation and sustainability is measured above all in the choice of materials and their processing. We primarily work with brass, a highly recyclable, durable, and timeless material: it can be refinished multiple times with different styles, allowing for the renewal of an environment’s aesthetics without replacing pieces and without generating waste.

This flexibility allows the project to be adapted to stylistic evolutions over time, ensuring durability and sustainability.

In your sector, “validation” often comes more from projects, references, and publications than from awards. Which external milestones have given you the most credibility in recent years (collaborations, iconic projects, presence in industry media, certifications) and why?

References are undoubtedly an important piece that has helped build our credibility over all these years: working with high-end realities such as Bvlgari Hotels, Four Seasons, Mandarin Oriental, Six Senses, Lutetia, St. Regis, and The Ritz-Carlton Yacht Collection concretely demonstrates the quality, reliability, and consistency of our work.

These collaborations become concrete showcases, more effective than awards or recognitions, because they show how our experience and solutions can meet extremely high standards and be replicated across multiple locations and international contexts.

APIR is also present with offices in San Marino and Paris. Which markets are becoming more strategic today and what are they teaching you (tastes, standards, timing, expectations)?

Today, the most strategic markets are those where high-end hôtellerie is growing: the spaces we have in San Marino and Paris allow architects to experience the finishes and personalization possibilities firsthand, and at the same time, they help us gather valuable information on how to manage complex wayfinding projects and understand what is truly needed in terms of paths and element positioning.

What are the development priorities in the coming years: new products, new finishes/materials, service enhancement, commercial expansion, strengthening of the structure?

We are working on several projects to respond more promptly to the requests we receive. We are developing tools such as a digital configurator that will allow users to see the product and the chosen finish for each project in real time. In parallel, our research and development continues incessantly to study new finishes, materials, and solutions, with the aim of expanding the offering and providing even greater possibilities for personalization.

Iconic product: which object or line do you consider the APIR symbol? Tell us how it was born: the first drawing, choices, difficulties, and when you realized it would become “yours.”

One of the most iconic products for APIR is the “Air” key ring. It is a simple object, but with a strong identity, born for the world of hôtellerie and designed to combine functionality and elegance.

Over time, it has become a true symbol of luxury hôtellerie, also thanks to its presence in highly prestigious hotels, such as the Chateau Marmont in Los Angeles, where this key ring has acquired a value that goes beyond daily use, so much so that it has become part of the structure’s merchandising as a souvenir of the stay.

It was at that moment that we realized it was no longer just a functional product, but an iconic object, capable of telling a story and becoming part of the imagery of high-end hôtellerie.

Three words. If you had to describe APIR in just three words, which would you choose and why?

History, because APIR was born over a century ago and this heritage continues to guide our way of working.

People, because behind every project there are skills, will, and passion: it is the people who give value to the company every day.

Style, because our goal is always to create products that are not only functional but contribute to defining the aesthetic identity of the spaces in which they are placed.

Close your eyes: it is 2036. How do you imagine the company, the products, and the people who will live (and work) with your creations in ten years?

With continuity in its identity built over more than a century, but with solid and sustainable growth. The goal will be to continue evolving while maintaining our trademark: a very high standard of quality, both in products and service.

Growth must always be compatible with this level of excellence, without compromise, so as to continue creating solutions with attention to detail and designed to last over time. I like to think of a company that will continue to work with passion in strong synergy with architects and designers, creating products that will accompany people’s experiences in the spaces where they live and stay.

L'articolo Interview with APIR CEO Pietro Angelini: from artisan workshop to luxury hospitality partner proviene da Archi & Interiors.

A well-designed outdoor area, however, is not defined only by budget or square footage. What matters most is the balance between function, proportion and atmosphere. A terrace can be small and beautifully resolved, or spacious yet oddly dispersive. It can have real potential and still feel cold because it lacks shade, greenery or a properly defined lounge area. Spring is the ideal time to rethink it more carefully, addressing real problems and turning them into concrete design choices.

Whether it is a penthouse terrace, a covered terrace, an open-air space or an outdoor area meant to be used every day, the point is not to fill it, but to shape it. More than ever, furnishing outdoor spaces today means aiming for a contemporary aesthetic while also creating comfort, flexibility and an immediate sense of wellbeing.

How to furnish a terrace in spring, starting from the right foundations

How to understand how you really want to use your terrace

Before choosing outdoor furniture, colours or plants, it helps to begin with a simple question: how do you want to use this outdoor space? It could become a breakfast spot, a place to read, entertain friends, enjoy dinner outdoors or simply carve out a greener, more relaxing corner.

The most common mistake is trying to make too many functions coexist in the same space, especially when square footage is limited. It is better to identify one main function and one secondary one. If the terrace is meant primarily for entertaining, the table and seating will be at the heart of the project. If relaxation is the priority, then a terrace sofa, comfortable armchairs, an outdoor rug and soft evening lighting should take the lead.

How to choose terrace furniture without getting the proportions wrong

One of the most frequent mistakes is buying beautiful pieces that are completely out of scale. On a small terrace, furniture that is too deep makes movement difficult and overwhelms the space. On a large terrace, by contrast, pieces that are too slight can look visually lost and leave the whole setting feeling unfinished.

To avoid this, it is essential to measure carefully and always leave breathing room between the various elements. An outdoor project works when every piece has enough space to exist and movement remains fluid. Tables, chairs, planters and lighting points should relate to one another, not compete for space.

How to furnish a terrace based on size, shape and layout

How to furnish a small terrace without making it feel overcrowded

When looking for ideas on how to furnish a small terrace, the most common risk is trying to include too much. Small tables, chairs, plants, storage pieces and lanterns may all seem useful, but the result can quickly feel cluttered.

A more selective approach works far better here. A storage bench, a simple bistro set, two well-designed chairs or a folding table can be enough to make the space more liveable. Greenery should also be handled with restraint: it is better placed along the perimeter or arranged vertically, rather than taking over the centre of the terrace.

If the goal is a cleaner, more contemporary look, planters and sculptural elements can add character without weighing the space down. In this sense, brands such as Plust Collection offer interesting inspiration for those drawn to more graphic volumes and an outdoor style with a modern design language.

How to furnish a large terrace without letting it feel too dispersed

On a spacious terrace, the issue is not fitting furniture in, but giving the space structure. If you do not define clear zones, even a beautiful terrace can end up feeling empty, cold or temporary.

The key is to divide the terrace into functional areas: a dining space, a lounge area, a more scenic green corner and perhaps a more intimate spot for reading or an aperitif. There is no need for rigid separation. Often, an outdoor rug, the orientation of the sofas, alternating planters or the use of lighting are enough to make the layout feel more considered and complete.

How to furnish a long, narrow terrace in a functional way

A long, narrow terrace is one of the trickiest layouts to manage. People often try to fight its shape, when in fact it is much more effective to work with it.

In these cases, it is best to follow the linear flow of the space. A bench or slim table placed against the wall, lightweight seating, planters arranged along one side only and carefully measured accessories will work much better. When the central walkway remains clear and the composition develops in a coherent way, even a narrow terrace can feel far more elegant than expected.

How to furnish a long, narrow terrace in a functional way

When you have between 20 and 30 square metres to work with, a very interesting opportunity opens up: you can create a truly multifunctional outdoor space. The real question, in these cases, is how much room to dedicate to entertaining and how much to relaxation.

The most balanced solution is often a hybrid layout. On one side, a well-proportioned table for outdoor lunches and dinners; on the other, a small lounge area with armchairs or a compact sofa. If space allows, greenery can also work as a screen, making the setting feel more private. In this type of project, brands such as Unopiù, Gervasoni or Varaschin can be valuable references for anyone seeking an outdoor setting with a more refined and coherent aesthetic.

How to furnish covered and uncovered terraces in spring

Ideas for furnishing an uncovered terrace

Anyone looking for ideas on how to furnish an uncovered terrace usually comes up against the same issue: plenty of potential, but very little protection. Direct sun, wind and greater exposure make everything more delicate, both practically and aesthetically.

Here, it is essential to choose materials that are genuinely made for outdoor use and to plan shade and comfort with care. Tables and seating need to be durable, textiles must be suitable for the outdoors, and finishes should be easy to maintain. On top of that, you need an element that can manage exposure: a parasol, shade sail, pergola or lightweight awning, depending on the setting.

How to furnish a covered terrace in a more refined way

A covered terrace has a major advantage: it allows for more atmosphere, decorative detailing and layering. The risk, however, is that it can become an in-between space, neither truly outdoors nor fully indoors.

For this reason, it should be treated like an open-air room. An outdoor rug, well-chosen side tables, a more enveloping seat, soft lighting and a few decorative accents can completely transform the perception of the space. In this kind of setting, more expressive pieces also work beautifully, such as statement vases, decorative lamps, cachepots, centrepieces or small sculptural objects that add depth and character. On a covered terrace, collections such as those by Adriani e Rossi can become a striking accent, provided they are used with restraint and in dialogue with the rest of the furnishings.

How to make a terrace feel more welcoming and contemporary

How to make a terrace feel inviting with greenery, lighting and textiles

Making a terrace feel welcoming does not mean filling it with objects. It means building a sense of comfort. The problem, more often than not, is the overall rigidity of the setting: hard surfaces, uncomfortable seating, too little shade and a lack of softer details.

The most effective approach is to work in layers. First, define the main seating. Then add cushions, lightweight throws, an outdoor rug, a few lanterns or a rechargeable lamp, and finally greenery. It is this combination that makes the terrace feel more hospitable and much more enjoyable to live in throughout spring, both by day and in the evening.

Decorating terraces with greenery to instantly improve the overall look

Among all the possible solutions, greenery is probably the most effective way to truly transform an outdoor space. The problem begins when plants and pots are chosen at random, without a clear composition in mind.

It is better to think of greenery as an integral part of the design. A few well-repeated varieties almost always work better than a collection of unrelated elements with no visual link between them. In spring, aromatic herbs, jasmine, ornamental grasses, potted olive trees where possible, small citrus plants and Mediterranean varieties are all excellent choices. The container matters too: coordinated pots or matching planters immediately give the terrace more order and presence.

How to choose outdoor lighting, textiles and accessories

People often think a terrace is complete once the table and seating have been chosen. In reality, without accessories and lighting, the space still feels unfinished.

Fortunately, it only takes a few well-chosen elements. An outdoor rug helps define the area. A cordless lamp makes the terrace more enjoyable in the evening. Two or three carefully selected cushions soften the overall look. A large vase or decorative accessory introduces a more editorial touch. It is precisely these details that make a terrace look more polished, more contemporary and less improvised.

How to improve a terrace without major work and with the right budget

What to put on a terrace instead of tiles

Many terraces look dated primarily because of the flooring. The problem is that replacing it is not always possible, either financially or practically.

In these cases, lightweight yet effective solutions can be implemented. A large outdoor rug already significantly changes the perception of the space. Alternatively, floating surfaces, interlocking decking, or outdoor platforms can be considered, making the floor feel warmer and more modern without turning everything into a construction site.

How to cover a terrace on a budget

One of the most frequent questions concerns covering. Finding shade without immediately undertaking a major structural intervention is often the first practical need of the season.

The simplest approach is to start with lightweight yet well-proportioned systems. A cantilever umbrella, a shade sail, or a well-integrated awning are often more effective than makeshift solutions that end up detracting from the terrace’s aesthetics. If, however, the project is more extensive and you wish to give the space a more architectural look, a pergola or a dedicated structure can make a real difference.

How to renovate a terrace at a low cost

When trying to furnish a terrace on a budget, the most common mistake is spreading the funds across many small, disconnected purchases. Instead, it is better to invest in a few strategic elements: a more comfortable seat, some well-chosen plants, a rug, a rechargeable light, and matching pots.

Even a simple spring refresh can work very well if approached thoughtfully. Often, it is enough to lighten what is already there, eliminate the superfluous, and add only what truly improves the quality of the space.

How much does it cost to furnish a terrace?

Understanding the budget helps in making smarter choices and better distributing the investment. Furnishing a terrace in spring can mean a simple refresh or a more structured project, with new seating, a dining area, greenery, lighting, and coverings. The difference, more than the absolute figure, lies in how the expenditure is organized.

This distinction is primarily useful for understanding one thing: there is no need to spend indiscriminately. A terrace is successful when seating, shade, greenery, and atmosphere are conceived together. That is how a truly convincing outdoor space is born, even with a mid-range budget.

Ideas for furnishing outdoor spaces in spring

Furnishing a terrace in spring means much more than choosing some outdoor furniture. It means understanding how you want to live in the space, what problems you want to solve, and what atmosphere you want to create. A small terrace can become elegant if it is minimalist. A large terrace can feel more welcoming if it is well-divided. A covered space can gain personality with intelligently chosen accessories. An open space can become much more comfortable if shade, materials, and greenery are well-planned.

Ultimately, the secret is simply this: do not add, but select. Do not fill, but give shape. This is what transforms an outdoor space in spring into an environment that is truly more polished, contemporary, and pleasant to live in.

L'articolo How to Furnish Terraces and Outdoor Spaces in Spring: Design Tips for a More Refined, Welcoming and Contemporary Outdoor Setting proviene da Archi & Interiors.

Alongside the more traditional image of masonry outdoor kitchens, the current landscape offers modular, prefabricated, compact, or highly equipped solutions designed to adapt to very different needs. Some prefer a technical and contemporary steel outdoor kitchen, others choose lighter and more essential aluminum compositions, some desire a system with an integrated barbecue, and others opt for concealed models to reduce visual impact. In this scenario, brands truly make the difference: they influence the quality of materials, durability, compositional freedom, and the overall aesthetic value of the outdoor space.

The best outdoor kitchen brands

1. Boffi

Boffi is rightfully considered one of the best outdoor kitchen brands and brings its essential and architectural language to the outdoors, with kitchens designed to combine formal elegance, functionality, and continuity with the interiors.

Among the most interesting proposals is the Minikitchen Outdoor by Joe Colombo, a re-edition of the iconic 1963 monobloc kitchen reinterpreted for covered outdoor environments. Compact yet complete, it concentrates preparation, cooking, and storage into a single volume, confirming the brand’s ability to transform the outdoor kitchen into a refined and versatile design project.

2. Arclinea

Arclinea confirms its place among the best outdoor kitchen brands thanks to a coherent and constantly evolving design system, where each collection enriches a recognizable vision made of rigor, functionality, and design culture. Even in the outdoors, the brand maintains this identity, translating it into solutions designed to offer high performance, compositional flexibility, and continuity with the home’s architecture. Artusi Outdoor, a project designed by Antonio Citterio, is part of this journey, expressing the brand’s technical and refined approach with particular clarity.

3. MODULNOVA

MODULNOVA interprets designer outdoor kitchens with the same formal rigor that distinguishes its indoor collections, bringing essential lines, refined materials, and a high-impact architectural aesthetic to outdoor spaces. The brand stands out for its ability to combine functionality, design rationality, and a strong material identity, transforming the outdoor kitchen into a central element of contemporary living.

MODULNOVA Outdoor, a project by Andrea Bassanello, fits into this vision, combining painted steel and Piasentina stone in a system designed to resist humidity, weathering, and temperature fluctuations, offering high performance and a sophisticated image.

4. Poliform

Poliform also brings the expertise gained in the world of kitchen systems to designer outdoor kitchens, with solutions designed to make the outdoors more elegant, functional, and consistent with contemporary living. Its proposal is distinguished by essential lines, materials suitable for outdoor use, and a clean, sophisticated design approach. Emblematic in this sense is the outdoor kitchen developed with CAP., a linear and lightweight system, available in wall-mounted or freestanding versions, which combines aluminum, steel, and technical surfaces in a composition designed for experiencing the outdoor space with maximum freedom.

5. Talenti

Talenti ranks among the best outdoor kitchen brands with an approach born from experience in designer outdoor furniture, translating into solutions designed to combine comfort, design quality, and aesthetic coherence. The brand stands out for its ability to bridge the traditional boundary between indoor and outdoor, creating elegant, functional environments that are meticulously detailed. Emblematic in this sense is the Tikal collection, a modular system that includes two- or three-module kitchens, corners, peninsulas, snack bars, tall units, shelves, and sideboards, designed to furnish the outdoor space with great compositional freedom.

6. Foster

Among the best outdoor kitchen brands, Foster stands out for its deep expertise in stainless steel processing and an approach that combines technology, construction quality, and design flexibility. Building on its experience in the kitchen world, the brand develops freestanding solutions designed for outdoor environments, with systems capable of combining weather resistance, functionality, and craftsmanship. Emblematic in this sense are proposals such as Finalmente, Insieme, QUI, and Ognidove, collections that interpret the outdoor kitchen in a modular, convivial, and contemporary way.

7. Fògher

Fògher interprets the outdoors as a complete space to be lived in, where outdoor kitchens, barbecues, smokers, and fireplaces interact in a coherent, contemporary, and highly functional project. The brand stands out for its minimal design, a strong Made in Italy identity, and a modular vision that allows for the creation of elegant and high-performance environments. The Lares and Agher lines clearly illustrate this approach: the former more dynamic and versatile, the latter more compact and monobloc, both designed to transform outdoor cooking into a refined and convivial experience.

8. Alpes Inox

Alpes Inox takes the outdoor kitchen beyond the home walls with a compact, technical, and highly functional approach. The brand interprets the outdoor space through elegant and configurable elements on wheels, designed to bring together all the essential functions for cooking, grilling, and frying outdoors in a single block. The result is a versatile and contemporary outdoor kitchen, ideal for experiencing gardens, terraces, and poolside areas with greater freedom and practicality.

9. Arrital

Arrital joins the best outdoor kitchen brands by bringing its idea of the kitchen as an advanced design system to the outdoors, where functional innovation, materials, and Italian design find a precise balance. Solaria, designed by Franco Driusso, is part of this journey—a kitchen specifically designed for outdoor environments and made of AISI 316 steel to ensure resistance, durability, and reliability in all weather conditions. Available in linear or island configurations, Solaria stands out for its modularity, advanced technical details, and high-quality finishes, confirming the brand’s contemporary and innovative approach.

10. Very Simple: Kitchen

Very Simple: Kitchen interprets designer outdoor kitchens with a modular, flexible, and contemporary approach, designed to adapt naturally to outdoor spaces. The brand focuses on stainless steel structures, extensive customization, and an essential vision that makes the kitchen more free, versatile, and easy to transform over time. The Outdoor Collection expresses this identity well, thanks to lightweight and configurable modules that allow for the creation of custom compositions for terraces, gardens, and contemporary outdoor environments.

Outdoor kitchens: types, materials, and functions to know

In addition to the brands, the type of kitchen, materials, equipment level, and how the outdoor space is actually used also matter greatly. Today, there are numerous possibilities: masonry outdoor kitchens, prefabricated and modular models, steel or aluminum versions, compositions with barbecues, and more compact or concealed proposals designed for those who want a more discreet visual impact. To navigate these options, it is worth understanding the main solutions available and which aspects truly influence the choice.

Masonry, prefabricated, or modular outdoor kitchens

Masonry outdoor kitchens continue to have a particular charm because they convey solidity, architectural integration, and a sense of permanence. They are perfect for those who want a fixed, scenic station well-rooted in the garden or under a porch. However, they require a more demanding project, longer timelines, and careful evaluation of utilities, coverings, and long-term maintenance.

Prefabricated and modular outdoor kitchens, on the other hand, meet a different need: greater flexibility, simpler installation, and more freedom of configuration. These solutions are highly appreciated by those who want to build their outdoor space progressively, adding worktops, storage modules, sinks, barbecues, or griddles over time. In many cases, they also represent the most convincing answer for medium-sized terraces or for those who do not wish to undertake masonry work.

There are also more compact, mobile, or even concealed models, designed for those with limited space or who prefer a more discreet presence. In these cases, the advantage is primarily practical and aesthetic: the kitchen remains available when needed but takes up less visual space when not in use.

Steel, aluminum, and other materials for the outdoors

Material is one of the most important aspects when choosing an outdoor kitchen. Steel outdoor kitchens are among the most popular because they offer durability, ease of cleaning, and a highly recognizable contemporary image. Stainless steel is often associated with technical and professional solutions, but today it is also valued in more refined and architectural projects.

Aluminum outdoor kitchens, on the other hand, are convincing for their lightness, simplicity, and versatility. They are particularly suitable for modern contexts and for those who desire a clean aesthetic that is less technical and more integrated with outdoor furniture. Alongside these materials, stone, technical surfaces, high-performance finishes, and combinations with textured elements that make the environment warmer and more welcoming also find their place.

The choice of material affects not only the image but also the durability, maintenance, and how the kitchen responds to rain, sun, salt, humidity, and temperature fluctuations. For this reason, a well-designed outdoor kitchen must always combine aesthetic performance with long-term reliability.

Gas, electric, and barbecue outdoor kitchens

Another central theme concerns the type of power supply and how one actually cooks outdoors. Outdoor kitchens with barbecues are among the most popular solutions because they interpret the outdoors in a convivial way, perfect for informal lunches and dinners with friends and family. In these cases, the barbecue is not just an accessory but often becomes the very centerpiece of the composition.

Others prefer a more complete kitchen, with traditional burners, a griddle, grill, sink, and work surfaces, to recreate an experience outdoors that is closer to that of an indoor kitchen. Solutions can be gas, electric, or hybrid, and the choice depends on both usage habits and the layout of the outdoor space. Those who cook often and desire greater autonomy tend to favor more equipped configurations; those who use the outdoor kitchen more occasionally may opt for simpler and more compact systems.

Outdoor kitchens: prices and product ranges

When evaluating an outdoor kitchen, the issue of price inevitably comes into play. However, there is no single threshold valid for all solutions, as the cost can vary significantly based on size, materials, configuration, cooking systems, the presence of a sink, storage modules, accessories, and the level of finish.

A compact and prefabricated composition will naturally have different characteristics and costs compared to a modular designer kitchen or a fixed masonry structure designed as a permanent extension of the home. Therefore, rather than stopping at a generic comparison, it is useful to understand how you want to use the outdoor space and what level of design you want to achieve.

An outdoor kitchen can indeed meet very different needs: it can be essential and practical, designed for occasional use, or transform into a more complete, scenic, and highly equipped environment. In this transition, brands have a concrete impact, as they determine not only the product’s image but also the quality of materials, construction solidity, durability over time, and the overall coherence of the project.

Outdoor atmosphere matters as much as function

In addition to technical and compositional aspects, there is an element that deeply affects the final quality of the project: atmosphere. A well-designed outdoor kitchen must not only be functional, durable, and easy to use, but also fit harmoniously into the context, interacting with the home’s architecture and the character of the outdoor space.

Depending on the materials, finishes, and configuration chosen, an outdoor kitchen can express a minimal and architectural aesthetic, a more technical and professional identity, or a more textured, warm, and convivial feel. It is precisely this balance between performance, durability, and aesthetic quality that distinguishes a simple cooking area from a true designer outdoor kitchen.

In contemporary outdoor design, it is not just about what a kitchen allows you to do, but also how it contributes to defining the space, the atmosphere, and the pleasure of living in it.

L'articolo The best outdoor kitchen brands for a designer outdoor space proviene da Archi & Interiors.

At the center is visual comfort, together with intensity control designed to enhance residential spaces and contract projects. Guiding this vision is the Hu.Li – Human Lighting philosophy, which places people and their rhythms at the heart of the project.

In this double interview, Gianluca Raineri, CEO of Accento, and Roberta Bonaiti, founder of Masina Studio, explain how engineering and artistic direction meet, transforming technology into light to be experienced over time.

Accento was born from the technical experience of Erresei, active since 1996 in architectural lighting.
Gianluca Raineri, which elements of the original culture—internal manufacturing, engineering precision, attention to detail—still form your foundation today?

All of those mentioned are fundamental and present in our daily work. Internal manufacturing for obsessive control in attention to detail, engineering precision in the pursuit of maximum performance, and attention to detail as a distinctive mark of Made in Italy. All of this with the goal of creating and offering the market products that are unique in technology and design.

Roberta Bonaiti, from your design perspective, what have you inherited from that spirit and how have you transformed it into aesthetic language?

When Gianluca Raineri called me to oversee the artistic direction and product design for Accento, I already knew Erresei, renowned in the lighting sector for its great technical capability and attention to detail.

Qualities so alive and rooted in the company’s DNA that it was a natural transition for Accento as well. Every new product is born first from a technical opportunity (a material, a new way of making light, etc.) around which the designer can experiment and express themselves. Accento connects technological language with symbolic language, creating objects that want to be understood, used, and loved over time.

Light has become a cultural language of living.
Gianluca Raineri, what was the moment when you realized that Accento could “shift” the perception of light in the market?

We know the lighting market thoroughly thanks to continuous dialogue with its protagonists, particularly designers and manufacturers. Combined with this, it must be said that our history in the world of LED lighting goes back a long way, with our first patent registered in 2002. For this reason, years ago we realized that attention was shifting from the quantity of light to its quality—understood as high color rendering, control, and visual comfort.

It is from this awareness that Accento was born, as a project oriented toward more conscious light, designed not only to illuminate but to improve the psychophysical well-being of those who experience it.

Roberta Bonaiti, what does it mean to design a lamp that is not just an object, but a visual and sensory narrative?

Creating a narrative for me means thinking about the experience that object will generate.
Visually, I try to create a form that has its own identity even when off and that evokes an imaginary.

On a sensory level, however, I work extensively on the experience of light. A lamp must not be static but must respond to those who use it, which is why I believe interaction is a very important factor. I like to imagine ever-changing scenarios where light can be shaped not only by design but by those who use it.

Hu.Li – Human Lighting is the heart of your philosophy.
Gianluca Raineri, what is the most complex challenge in ensuring visual comfort without technical compromises?

The most complex challenge in ensuring visual comfort without technical compromises lies in the continuous search for components, materials, and solutions, capturing the evolution that has occurred in recent years in the LED lighting sector.

As in haute cuisine, another great expression of Italian craftsmanship, what we seek is not only to choose the best “ingredients” but to assemble them with the utmost care in the aesthetic pursuit of the result.

Roberta Bonaiti, how do you translate the concept of “human” light into forms, materials, shadows, and intensity?

Translating Human Lighting into my work means putting the human being, with their rhythms and vulnerabilities, back at the center of the project. A concept that materializes in the creative process through gentle and non-invasive forms, materials that interact with light softly, and where shadow has the same dignity as light.

Ultimately, translating Human Lighting, for me, means treating light as a living material and allowing those who experience it the freedom to manage and shape it.

The choice of Nichia LEDs is a distinctive feature of Accento.
Gianluca Raineri, why has this “unconventional” choice become a strategic pillar of the brand?

Nichia, the Japanese company that invented the white LED, is not only the world’s largest company in the sector and the only one to have internally the three essential components of the LED—the case, the die, and the phosphors—but is also universally recognized as having the highest quality products.
For this reason, for Accento there could be no other choice to guarantee the performance and reliability of its lamps.

Roberta Bonaiti, what does this enable in terms of color rendering and light quality, especially for decorative projects?

Using high-quality LEDs is a fundamental choice not only in technical terms but also in design, because it transforms light from a simple functional element into an element of aesthetic truth.

In terms of color rendering and quality, it translates into real advantages in color fidelity within the space (just as sunlight would), in the purity of white light, and in the absence of flicker guaranteed by the excellent electronics that accompany it.

The choice of LED therefore becomes very important if you want to achieve light that is not only high-performing but also respectful of the materials it illuminates, thus ensuring excellent visual comfort.

Your collections—Pivò, Pivò Plus, Plissé, Oì Circle Shades—have very different identities. Gianluca Raineri, what was the biggest risk or gamble in launching one of these collections?

Rather than a risk tied to a single collection, I would speak of a shared gamble that has accompanied Accento from the beginning: we wanted to focus on creating fixtures that were unique in performance and light quality, and with Masina Studio we chose to prioritize a deep design dialogue, in which form and performance balance naturally, without compromise.

The gamble was therefore on two fronts: on the design and production of the product, which I would say has been largely won, and on the commercial front where we are gradually gaining the consensus and trust of the market, especially in the mid-to-high segment and in international markets, where the focus is exclusively on product value.

Roberta Bonaiti, is there a design backstory—a mistake transformed into value, a sudden intuition, a hidden detail—that you can share with us?

With Pivò, Accento’s first collection, we wanted to create a lamp capable of complete rotation, but we wanted to concentrate all the complex mechanics of movement into a joint of only 4 centimeters in diameter. In such a reduced volume, we had to accommodate the fluidity of the gesture, the stability of the position, and the passage of high-quality LED technology.

We realized that traditional production methods would never allow us to achieve that level of miniaturization and millimetric precision. This is where the intuition was born: we abandoned the well-trodden paths to embrace Multi Jet Fusion (MJF) 3D printing, which over time has become one of Accento’s distinctive qualities.

The dialogue between engineering and design is central to your method.
Gianluca Raineri, how do you manage the balance between production, sustainability, quality, and aesthetic direction?

Our method is based, with respect for roles, on close collaboration between the company and the designer. Accento’s task is to invent and prototype a technical element unique in the market in terms of lighting and dimensional performance, which represents the “building block” on which Masina Studio can work to develop a fixture, seeking the union of performance, functionality, and design.

This is our recipe, in which ESG principles are a concrete and transversal reference: from engineering oriented toward efficiency and product durability, to the choice of responsible production processes and suppliers, to design that prioritizes modularity, repairability, and conscious use of resources. For us, sustainability is not a formal constraint but a design criterion that guides every decision, both technical and aesthetic.

Roberta Bonaiti, what is the exact point where the poetics of light meets technical requirements and becomes “Accento”?

The dialogue between engineering and design is never a compromise but the beating heart of the Accento method. The exact point where these two souls meet is that moment when technical complexity disappears to make way for the emotion of light.

I like to think that when someone turns on an Accento lamp, they don’t think about the technology inside (and I assure you there’s plenty of it), but immediately feel that the light is ‘right.’

Physical prototyping, despite 3D technology, is still fundamental.
Gianluca Raineri, why do you continue to invest in matter, in real testing, in concrete light?

Despite extensive experience and know-how developed by creating solutions in the most diverse fields—situations that allow results to be achieved more quickly—it is essential to resort to physical prototyping, particularly in the field of lighting.

Even if it may seem strange, there are lighting contexts in which not even the most advanced computers and software can provide realistic predictions or acceptable precision of what the result will be. This is why it is essential to invest in research and experimentation, physically testing prototypes and the behavior of light before proceeding to product industrialization.

Roberta Bonaiti, what is the moment when you understand that a project “works”: sketch, model, first prototype, or light test?

None of the above. I understand that a project ‘works’ when, presenting my sketches to Gianluca, I see his expression change and the spark ignites. In him I recognize the great ability to immediately understand the potential and feasibility of a project, which, in addition to being very reassuring on a psycho-emotional level, also has practical implications, positively impacting the product development process. It is no coincidence that to date, every validated concept has been developed and brought to market.

Interior and contract sectors today require very different performance.
Gianluca Raineri, how does Accento respond to the demand for hybrid hospitality—hotels, evolved retail, flexible residences?

Those indicated represent exactly Accento’s target, as its collections offer total freedom of orientation, allowing lighting to be shaped with precision, following the architecture and the needs of the moment. A gesture is all it takes to change direction and a touch to adjust intensity, transforming every environment into a perfect balance between form and perception.

The purpose of Accento lamps is indeed to make light a living material, capable of enhancing details and shaping surfaces.

Roberta Bonaiti, from a design perspective, what changes between a lamp designed for a domestic living room and one for a boutique hotel?

Obviously in such different contexts the relationship between individual and space changes greatly, but for me, in both cases, the goal remains the same: whether it’s a hotel room in Bern or a living room in a house in Milan, the lamp must make the guest or owner feel at the center of an atmosphere designed specifically for them. This is what I call ‘light comfort.’

Brand identity and creative vision work together.
Gianluca Raineri, how do you guide a direction that must be coherent, recognizable, yet at the same time open to innovation?

With Masina Studio it was easy to find this balance, as technique and innovation are in Accento’s DNA, and Roberta was able to capture this identity and shape it both in the development of the lamps and in the brand’s communication, where everyone also recognizes the consistency that has distinguished us so far, as it will in the future.

The brand and product “common thread” is expressed in three elements: the essentiality and simplicity of forms, visual comfort, and finally the technological soul that enables smart and intuitive light management.

Roberta Bonaiti, what is the greatest freedom and what is the greatest responsibility in being Art Director?

In my work as Art Director, I feel first and foremost a tremendous sense of responsibility toward the company and the people who work there, even before the ideas.

When Gianluca called me to collaborate, the most precious freedom was being able to start from a blank page: to define a coherent aesthetic, to transform an intuition into a distinctive brand, and to create objects that embody it.

With my work, I have the opportunity to build an entire imaginary around the brand. I have the freedom to decide what emotion a catalog should evoke, what rhythm a video should have, or what ‘tone of voice’ the brand should use to speak to the world.

In a world saturated with visual stimuli, however, the responsibility I feel most acutely is the need to protect Accento’s integrity: every image, every stand, every graphic choice must reflect its identity. If the narrative betrays the reality of the product, or if the image is disconnected from the technical quality, the brand loses credibility. Being Art Director therefore means being the guarantor of this balance: the visual promise we make must always correspond to the product we offer.

If you had to choose a single “iconic” product or project that truly represents Accento.
Gianluca Raineri, which product embodies your vision of light as invisible technology and everyday comfort?

It’s difficult for me to identify a single product, but, trying to get to the core of Accento’s identity, I would naturally speak of two creations that embody our vision, despite having had different paths: Pivò, particularly the table and floor versions, and Plissé.

The first for its absolute essentiality and adjustability, and the second for its unique aesthetic among table lamps, so much so that a European design registration was also obtained. Both were also winners of the Archiproducts Design Award, confirming their value.

Roberta Bonaiti, could you share with us a sketch, a study, a formal research that tells how one of your lamps is born?

Plissé, the latest lamp developed for Accento, was born from the desire to create a lamp where the light source was our starting point: a light that exists but is not seen. From the beginning I thought of Le Corbusier’s Chapel at Ronchamp, the folds of kirigami, and the play of light and shadow that emerges from it. The result: a form suspended between tradition and technique, a light that is both high-performing and poetic.

Internationalization: lighting markets have changed.
Gianluca Raineri, where is demand for contemporary Made in Italy lighting growing today?

Accento has received considerable interest from abroad since its inception, both in Europe and on other continents. Currently, the greatest response for us comes from nearby countries such as Switzerland and Austria, as well as from Northern and Eastern Europe.

Recently we have also undertaken projects in the United Arab Emirates, particularly fascinated by Made in Italy, where significant development is expected.

Roberta Bonaiti, what cultural differences do you perceive in the way people “see” and experience light?

The way people experience light is certainly a cultural matter, concerning people and their habits.
My challenge is to create a language that is as respectful as possible of these differences. Whether for a Swedish cottage or a Dubai penthouse, my goal is for the light to adapt to different cultural rituals, always carrying with it Accento’s identity.

Let’s imagine we’re in 2035.
Gianluca Raineri, what will remain essential in Accento’s DNA?

Accento’s advantage is extensive experience poured into a new and fresh vision of the world of light, not conditioned by past identity legacies. This has meant that from the beginning there has been an orientation toward what are, and will be, the future trends in the lighting world related not only to design but to human well-being and home automation interaction.

For this reason, I am certain that Accento will be able to embrace all the innovations that await us while keeping these defining aspects unchanged.

Roberta Bonaiti, what revolution—aesthetic, technological, or typological—would you like to bring to the world of lighting?

Whatever revolution it may be, I only want to think it can be silent and gentle.

Perhaps the true revolution today is not a light that imposes itself: it is a light that listens. A precise yet non-invasive presence, capable of respecting rhythms, restoring truth to materials, and leaving space for shadow—as part of the same grammar. If Accento has a recognizable “future,” it is here: in technology that knows how to be silent, and in design that does not demand attention but earns it over time.

L'articolo Accento: lighting design, visual comfort and smart control – interview with Gianluca Raineri and Roberta Bonaiti proviene da Archi & Interiors.

In the world of outdoor furniture, Made in Italy remains a benchmark for those seeking well-crafted collections, premium materials and thoughtful design. Here is a selection of ten brands that stand out for the way they interpret open-air living, balancing design research, comfort and quality.

Best Outdoor Sofa Brands: the Names to Know

1. Giorgio Collection

Giorgio Collection brings its luxury language to the outdoors with furnishings designed for high-end terraces, gardens and open-air spaces. The brand carries the same artisanal care found in its interior collections into its outdoor world, working with refined materials, sophisticated details and a clear sense of identity. This vision is expressed through Sahara Collection, a complete outdoor line that includes seating, dining pieces, tables, accessories, textiles and lighting. Burmese teak, satin-finished stainless steel and hand-worked concrete come together to create an outdoor atmosphere that feels elegant, tactile and built to last. A strong choice for those looking for designer outdoor sofas with a more exclusive point of view.

2. Exteta

Among the most compelling names in the world of outdoor sofas, Exteta stands out for its highly curated vision of outdoor living, shaped by Brianza craftsmanship and high-end design culture. The brand creates pieces for those who value material quality, attention to detail and furnishings that give real character to terraces, gardens and poolside areas. Its identity is made even more distinctive by the collaboration with Jacquemus, the French maison known for its bold, recognisable aesthetic, which led to a new interpretation of Locus Solus, the historic collection designed by Gae Aulenti. The result is a luxurious outdoor language where French design sensibility meets Italian savoir-faire, ideal for those who want outdoor spaces with personality and presence.

3. Ethimo

Inspired by Mediterranean landscapes and by an idea of outdoor living rooted in harmony, nature and wellbeing, Ethimo has built a highly recognisable identity in exterior furniture. The brand designs gardens, terraces and open-air spaces as true outdoor rooms, where sofas, lounge seating, dining sets, lighting and accessories coexist in a natural way. Teak, carefully selected fabrics and finishes developed for different environments — from the seaside to the mountains — allow for spaces that feel personal and well balanced. Ethimo also shows a concrete environmental awareness through FSC-certified wood and a strong focus on quality. The result is an elegant and welcoming outdoor style with a clear sense of place.

4. Roda

With Roda, the outdoors is conceived as a natural extension of the home. The brand builds its identity around comfort, durability and a design vision in which gardens, terraces and covered outdoor spaces are treated with the same care as interiors. Among the leading names in outdoor sofas, Roda stands out for its use of solid teak, natural stone, stainless steel and woven straps, selected for both resistance and a warm, measured aesthetic. Its collections focus on versatility, modularity and a close dialogue with nature, shaping outdoor spaces that feel elegant, inviting and enduring.

5. Paola Lenti

Starting from rugs and textile experimentation, Paola Lenti has built an outdoor universe known for its use of colour, material innovation and artisanal quality. Today the brand is a reference point for those seeking outdoor sofas that combine comfort, personalisation and a strong visual identity, both in residential settings and in hospitality or yachting projects. Collections such as Sabi reflect this approach well: a modular seating system that also includes armchairs and sun loungers, designed to adapt naturally to terraces, gardens and poolside spaces. Stainless steel, sassafras wood, technical cords, outdoor fabrics and removable cushions with recycled padding all speak to a real focus on durability, wellbeing and usability. The result is refined but welcoming outdoor furniture, where every detail helps create spaces that are instantly recognisable.

6. Talenti

Talenti shapes the outdoors through collections that combine comfort, design research and strong construction quality. Founded in Umbria and now established internationally, the brand offers outdoor sofas, modular seating, tables, chairs, lighting, rugs and accessories designed for gardens, terraces and contract spaces with a coherent, distinctive look. Among the best names in outdoor sofas, Talenti is recognised for its collaborations with leading designers and for its ability to create complete environments that feel welcoming and carefully considered. Its design profile is also reinforced by the 2024 Compasso d’Oro, awarded for the MrX shading system developed with Marco Acerbis. A strong option for those looking for outdoor furniture that combines aesthetics, function and resistance.

7. Varaschin

With more than fifty years of experience, Varaschin has built its identity around an idea of outdoor living where comfort, conviviality and wellbeing are central. The brand interprets gardens, terraces and poolside settings through furniture designed to last, using materials such as wood, metal, synthetic fibres and fabrics suited to open-air use. One of the most solid names in the outdoor sofa segment, Varaschin stands out for its balance between function, detail and modular flexibility. Collections such as Emma, designed by Monica Armani, express this vision through hand-woven details, generous seating and a complete system of coordinated elements. The result is an outdoor style that feels elegant, relaxed and easy to live with.

8. Gervasoni

Among the best outdoor sofa brands, Gervasoni stands out for an elegant yet informal language built on material research, detail and a strong stylistic identity. The brand approaches the outdoors through furnishings that combine natural, industrial and technical materials, creating spaces that feel refined yet welcoming. Its long collaboration with Paola Navone helped shape a recognisable world of iconic collections and warm atmospheres that never feel stiff. Another strength is the high degree of customisation, which makes the products suitable for both residential spaces and contract projects. A compelling choice for those looking for outdoor furniture with sophistication, versatility and character.

9. Unopiù

For more than forty years, Unopiù has interpreted the outdoors as a true extension of the home, with collections designed to furnish gardens, terraces and verandas with balance, comfort and personality. The brand offers a complete vision of designer outdoor furniture, where sofas, tables, seating, loungers and accessories work together to create spaces that feel cohesive and welcoming. One of its strengths lies in material selection, starting with Grade A teak from certified sources, appreciated for its durability, resistance and natural beauty. Collections such as Chelsea and Aurora reflect this vision through refined lines, subtle exotic references and a strong connection to open-air living. A solid choice for those looking for garden furniture that combines quality, style and atmosphere.

10. Emu

Among the best outdoor sofa brands, Emu stands out for its long experience in metalworking and for its ability to transform gardens, terraces and contract spaces into welcoming, well-structured environments. The brand approaches the outdoors through furniture focused on durability, comfort and versatility, combining steel, aluminium, teak and customisable fabrics to create solutions suited to both residential and hospitality settings. Sofas, loveseats, armchairs and coordinated tables make it possible to design complete lounge areas that feel practical and coherent. What defines Emu is this balance between technical know-how, attention to detail and a vision of outdoor living shaped by conviviality and ease of use.

Outdoor Sofas: What Kind of Atmosphere Should You Create in a Garden or on a Terrace?

Designing an outdoor space well means creating a complete setting, not simply adding a few seats. A well-chosen garden sofa can change the way an exterior space is used, shaping a lounge area that connects naturally with the table, the outdoor seating arrangement, the dining area or a quieter corner dedicated to rest. The point is not only visual. A sofa gives identity to the space and makes it truly livable.

From an Urban Terrace to a More Social Garden

On a smaller terrace, a two-seat outdoor sofa or a compact solution often works best, helping the space feel lighter and more open. In a larger garden, a three-seat garden sofa, a broader composition or a complete outdoor lounge set can work more effectively, especially when the aim is to connect the relaxation area with the dining zone.

When an outdoor setting is designed to host guests, lunches and evening gatherings, the sofa becomes the element that links together several functions: the outdoor dining table, the barbecue area, coffee tables, decorative lighting and textiles. In these cases, the most successful atmosphere is the one where every element speaks to the others without making the space feel overloaded.

Outdoor Sofa Materials: the Detail That Truly Changes the Result

In the world of outdoor sofas, materials matter just as much as design. What really makes the difference includes:

• aluminium, appreciated for its lightness, resistance and practicality

• wood suitable for outdoor use, chosen for a warmer, more natural look

• technical weaves and advanced fibres, ideal for durability and visual comfort

• rattan and textured finishes, often preferred in settings with a softer, more welcoming feel

• technical fabrics and high-performance upholstery, developed to withstand sunlight, humidity and frequent use

Material quality also affects day-to-day maintenance. That is why more and more people look for water-resistant outdoor sofas, easy-clean surfaces and structures designed to handle outdoor life with less effort.

Outdoor Cushions, Textiles and Accessories

A well-designed outdoor space is also defined by its details. Outdoor cushions do more than improve comfort: they build atmosphere, add visual depth to the sofa and make the overall setting feel more complete. Around the sofa, a few carefully chosen additions can shape the whole scene — outdoor rugs, low tables, lanterns, soft lighting, decorative planters and textiles that make a garden or terrace feel more welcoming.

Very often, it is around these details that a convincing outdoor setting takes shape. A sofa without the right context can feel isolated. On the contrary, when it is placed within a space designed with care, it can turn the exterior into a true open-air living area.

Colour, Proportions and Visual Balance

Colour also plays a strategic role. Sand tones, warm greys, muted green, rope shades, terracotta and other natural hues are especially appreciated because they pair easily with outdoor flooring, walls, wood, stone, greenery and accessories. In more understated settings, softer and low-contrast palettes work particularly well. In more decorative spaces, textiles, cushions and accents can be used to bring in stronger character.

Proportion matters just as much. A terrace sofa that is too large can weigh down the setting, while one that is too small may lose impact. The right balance between volumes, accessories, circulation and nearby furnishings is what makes an outdoor project feel truly resolved.

Resistance, Maintenance and Long-Term Performance

For anyone looking at outdoor sofas, durability remains a major concern. Exposed to sunlight, sudden rain, dust, humidity and frequent use, these pieces need to preserve comfort, colour and visual appeal over time. That is why the best outdoor projects rely on dependable materials, easy-care upholstery and solutions that simplify maintenance.

A Space Meant to Be Lived In

Whether the goal is an outdoor lounge for entertaining, a terrace dedicated to evening relaxation or a convivial space arranged around the barbecue, the sofa is often the element from which the whole outdoor setting takes shape. It defines the style of the space, shapes the atmosphere and improves the way the exterior is used every day.

L'articolo Outdoor Sofas: the Best Made in Italy Brands for Refined Open-Air Living proviene da Archi & Interiors.

Behind the project are Tiphaine Deshays and Enrica Zola, two complementary perspectives that came together to reinterpret the world of custom rugs through a fresher, more contemporary and design-driven lens. In this interview, they share the story behind the brand, their dialogue with architects and interior designers, the expressive freedom of their collections, and their desire to bring a more personal and distinctive vision to the sector.

From bespoke residential solutions to rugs for hospitality and contract projects, ADEMI Edition sees the rug as a true furnishing element — one that brings together function, aesthetic research, and a deeper culture of living.

ADEMI Edition is a young name, but your expertise in rugs goes back many years. Tiphaine, Enrica: what is your role within the company, and how do your responsibilities come together across vision, product development, and relationships with design professionals? What was the spark that led to the birth of ADEMI? What gap did you identify in the demands coming from the interiors world, and what need from architects and designers made you feel that the time had come to build a brand with a clear direction?

Yes, absolutely. My experience in the rug industry began around twenty years ago. I have always been deeply passionate about the world of design and interiors.

ADEMI is a young and new brand, launched in January 2025, when I felt the need to create something different — a brand that could reflect not only my personal growth, but also a younger, fresher, and more contemporary vision of the rug world.

At that moment, and with that perspective in mind, I was speaking with Enrica, as often happens, about everyday ideas and future possibilities. We have shared a long-standing friendship, and I proposed that we embark on this new adventure together.

That is how the story of ADEMI began: two different yet complementary personalities, united by the same vision, working to make the world of rugs more widely known and appreciated within the design world, addressing an increasingly broad audience both in Italy and internationally.

When an architect or interior designer involves you in a project, what is the very first thing you want to understand about the space and how it will be used — even before talking about pattern, colour, or collection? What information is truly decisive in making a rug work within a project?

A rug truly works when the client trusts the process and is willing to be guided through the design journey.

That is essential, because it helps people understand that a rug is not just a decorative accessory, but a true furnishing element that should reflect both the identity of the home and the personality of the client.

For this reason, it is extremely important for us to work in harmony with both the architect and the end client. We are involved from the beginning to the end of the project, taking the client by the hand and guiding them with advice, suggestions, rug sampling, and ongoing support all the way through to the final result.

What makes a rug unmistakably “Ademi” at first glance — scale of pattern, rhythm, palette, texture, finishes? And which choices do you never compromise on, even when trends change?

Every bespoke rug that is conceived, designed, and produced is unique. A rug is also a form of artistic expression, and it should be imagined and created as such.

We do not believe there are fixed rules when it comes to combining colours or materials. Wool and Tencel, for example, can come together beautifully. What matters is the vision behind the product and the emotional and aesthetic balance it achieves.

Exclusive, Essential, Outdoor, Bespoke Rugs, Cut on Demand: what is the common thread that connects these lines, and what really changes between them in terms of process, freedom of customisation, performance, and quality control?

We created a collection designed to respond to and embrace a wide variety of needs and project requirements.

The Exclusive line was developed with the idea of creating rugs made with more precious fibres and designs with strong personality.

The Essential and Outdoor collections, on the other hand, were designed to meet the needs of those who want an original and distinctive rug at a more accessible price point.

And then, of course, there is the bespoke line, where each client can give full space to their creativity. In that sense, working and creating with architects and designers is especially stimulating, because it allows us to engage with different worlds and transform ideas into highly personal pieces.

At Ambiente 2026 you presented new collections, materials, and solutions. What is the guiding idea behind these new launches, and what do you want to bring to the world of contemporary rugs that, in your opinion, is still missing or too often approached superficially?

At Ambiente 2026, we presented an exclusive capsule collection called Intersezioni ed Intrecci, designed for us by architect Mattia Vayra from Turin.

We wanted to give him complete freedom to express his creativity and imagination, and that is how this capsule came to life. It stands out for its strong design identity, bold personality, and deliberately intense colours.

We must say it was very well received, because it brought people closer to the idea of the rug as an art form — as a furnishing element capable of completing a home with a truly unique touch of personality.

With this capsule, we wanted to show in a concrete way everything that can be achieved through rugs, from shapes to colours, from textiles to graphic design.

What have been your real milestones so far — a technical decision, a leap in standards, a signature project, or a recurring request that pushed you to raise the bar and define ADEMI’s identity more clearly?

We raise the bar every single day, because our vision is constantly evolving.

We are continuously looking for new and different synergies in order to create new models and offer a more youthful, vibrant, and distinctive idea of the rug.

That is why working closely with architects and designers is fundamental for us. It gives us fresh perspectives and allows us to communicate a vision of the rug with ever greater personality and design value.

When a designer entrusts you with an idea, how do you translate it into a real rug? What are the stages of your method — brief, proposal, samples, approvals, production — and at what point is the final result truly defined?

There is no single or fixed process.

It depends on whether the client is an architect or a designer. In that case, the creative phase is often more immediate, because they may already have a clear vision in mind or, having designed the client’s home, know exactly what kind of request to bring to us.

The situation is different when the project comes directly from a private client. In those cases, we guide them step by step, and the rug takes shape gradually as trust develops. It all begins with getting to know the client personally, because that understanding is essential in order to create something truly meaningful.

Very often, the client does not yet know exactly what they want, but they want to be guided in making the right choice. For us, that is why trust is the foundation of everything.

We know that some of your most successful rugs have been developed for the hospitality sector. How does ADEMI Edition position itself in the hospitality and contract world? And in these contexts, what role do you assign to the rug: a decorative finish, or a true design element capable of defining atmosphere, identity, and the quality of the experience?

In recent years, there has been a growing demand for rugs in the hospitality and contract sectors to do more than decorate a space: they are increasingly expected to define the atmosphere and make environments feel more welcoming.

In this context, we develop tailored proposals using materials that comply with required regulations while also standing out for their elegance, refinement, and distinctive visual identity.

“Custom-made” is an overused phrase. For you, which parameters are truly design-driven — pattern scale, edging, density and texture, palette, shape, finishes, performance? And are there any requests you tend to discourage because they may compromise coherence or quality?

For us, the ultimate goal is that our clients are truly satisfied.

With that in mind, we do our best to help and guide them in choosing the right materials, colours, shapes, and design direction. Our role is to support creative freedom while ensuring that the final result remains coherent, refined, and aligned with the project.

Printed carpet, hand-tufting, artisanal knotting: when do you recommend one technique over another? What impact does each have on visual depth, design precision, tactility, durability, and long-term maintenance?

To help people understand the different rug-making techniques, and to show the final effect in a tangible way, we decided to create several capsule collections designed by architects, which we will present in Milan during Salone del Mobile 2026.

For us, this is a major opportunity — one we did not expect to happen so quickly. That is why we strongly wanted these capsules to come to life: they are the result of a synergistic process involving architects, designers, technicians, and graphic professionals.

Our idea is that a rug should be seen as a work of art, and as such, it must carry a strong message.

If you had to describe ADEMI Edition in just three words, which would you choose and why?

PASSION: As in every area of life, passion is essential if you want people to fall in love with a product, an idea, or a value.

DRIVE: Since its launch, ADEMI has grown very quickly because it was built around a strong desire and a precise vision — something new and different. Every day brings a new challenge, and that is what motivates us.

INNOVATION: ADEMI is constantly seeking new synergies. This allows us to present the rug in a fresh and original way — as a furnishing element that is conceived, designed, and created using different techniques and materials.

Let us close with a vision exercise: it is 2036. How do you imagine the role of the rug in tomorrow’s interior design world, and where do you want ADEMI to stand within that dialogue between project, material, and the culture of living?

The rug is, and will remain, a constant over time.

What will certainly evolve is the innovation behind it: new materials, experimentation with new fibres, and new production techniques.

L'articolo Interview with Enrica and Tiphaine: Ademi brings the rug to the center of the project, redefining it with a fresher, freer spirit. proviene da Archi & Interiors.

This trajectory is also further refined by a crucial school: the meeting with Giorgio Armani, who refined his ability to synthesize and research materials. From there, the idea becomes a method: not necessarily starting from a drawing, but from the concrete possibilities of the material and of those who work it –bending, welding, manual treatments– until obtaining essential objects without ever slipping into the banal.

This is what the first pieces are called Tavolo, Sedia, Panca: not minimalism as a style, but as a take on responsibility. Archetypes designed not to depend on trends, built with “displaced” industrial materials of meaning – linoleum, technical rubbers, extruded profiles – and held together by a rigor that can be recognized at a glance today: sharp proportions, light on the metal, handmade welds, and that rare consistency of those who prefer to last rather than like it immediately.

ZEUS was born as a “group” even before being a company: friendships, contaminations between design, fashion and art, and a clear stance compared to the more “noisy” postmodernism.Looking back to 1984, what was the spark that started the project? And, above all, what did you want to take away from the design language of the time – or give back to the project – in terms of essentiality, rigor and relationship with the material?

The first SEDIA and the first TAVOLO were born from an internal stimulus, something was spinning in my head, a need to coagulate my instinct, discover materials, put them together, overlap them and make them coexist in forms that expressed my rigor born partly from readings and images of oriental culture, but above all from an education in the essence of things born and raised in a country context where simplicity coexists and dominates with function both by economy and by tradition.

“Archetype” as a program: calling the first pieces Sedia, Tavolo, Panca is a choice of language – simple only in appearance, but in reality very courageous. Why that essential vocabulary? What did you want to affirm, and what type of relationship with the object and with living did you intend to establish from the beginning?

The first pieces, we are in 1984, are called TAVOLO, SEDIA, so already in the name they underline the concept of archetype, of reference object from which to start.

The black sign, almost graphic, deliberately devoid of colour, takes on the value of essentiality; they were products that did not have to follow trends, they had to remain over time, and so it was, iconic products.

The first collection is an expression of what I had inside without the limits dictated by market demands or salespeople. The reference term for my wealth of experience and the ZEUS project is the result of my experience gained over years of working in direct contact with the material and with those who work with it.

What elements make a ZEUS object recognizable at a glance – proportions, rhythm, “sign”, way in which the metal psheds light – and what choices does it never negotiate, even when tastes, markets and seasons change?

The clean, minimal design, and certainly the hand-made welds are the distinctive feature that immediately catches the eye when looking at a ZEUS product. All our products are designed without following current trends, and the choice of quality materials is never in question.

Archetipo, Irony (Slim/Big/Easy), Tristano, Slim Sissi: what is the common thread that unites the families and what really changes between them in terms of production process, complexity, possibility of customization and quality control?

An important aspect is the capacity for synthesis, the ability to collect, stop and resume images, sensations, experienced and seen visions to transpose them into the development of the design moment and the nascent object.

My belief in the capacity for synthesis leads to the characteristic of my objects, namely their essentiality. The rejection of decorativism and the superfluous arises from an internal need for simple things and primary feelings which are the expression of a great passion that has accompanied us for more than forty years.

Since we are manufacturers, we have more maneuverability in customization: we can choose how to move in materials and finishes, and above all we can customize even for small quantities.

In your production you declare a “strongly artisanal” industrial matrix, with folding, welding and treatments carried out by hand, and a preference for finishes that let the material speak. At what point, for you, does the hand become a design value—and not a simple narrative attribute?

It is the project that takes production capabilities into account. The materials are industrial materials, easy to find and low cost, they overturn the use for which they were originally designed. Linoleum for floors is used to cover tables, Pirelli millepunte rubber from car mats becomes chair seats, extruded rubber sleeves become armrests and backrests. The construction is the result of folding, welding. They are all handmade, unique products. And this still remains the characteristic that distinguishes us.

Is there a threshold beyond which minimalism stops being essential and becomes sterile? How do you recognize it – and how do you avoid it in the construction of forms and in the choice of materials?

It hasn’t happened to me to do something banal, because there is always a thought behind every product.

Since the 1980s, the showroom has become a place of exhibition, communication and meeting for ZEUS: a cultural device, not just a commercial one. What responsibility do you feel today, in 2026, towards that “editorial” dimension of the brand—and how does it translate into concrete choices?

Our showroom has always played an important role. Zeus in 1984 was the precursor of the Fuorisalone by organizing shared presentations and exhibitions within its spaces in via Vigevano: we could thus fully express our identity, not reducing it to the space of a stand at the Fair – a thought that still remains today!

It was on the occasion of the 1984 Salone del Mobile that we organized the first real party, where the first collection of archetype products was presented.

This – subsequently called ALL NIGHT LONG PARTY, with music and grandiose buffets where the whole city participated in the event – and the subsequent memorable parties were moments of openness and exchange for ZEUS; the presentations as an extended group, on the occasion of the Salon, had a strong impact on the media.

In 1988 I had the intuition to ask Ansaldo for the abandoned space, which was obtained free of charge, where I could set up the usual annual presentation: among the unused locomotives, we organized an exhibition and a round table in which we discussed contemporary design.

For 30 years our showroom has been in Corso San Gottardo, a 1950s garage of around 1000 m2 where we present our products and host other brands from different sectors such as lights and carpets.

In the hospitality world the project is made of atmosphere but also of continuous use: lobbies, rooms, restaurants, lounge areas. In which interventions has ZEUS best expressed its identity in this sector? If you like, tell us about one or two particularly successful projects (even without mentioning the client), explaining what the experience was to build and how you translated that request into choices of materials, finishes and details.

One of the most important projects that I would like to remember is the one carried out at the Venice Biennale, specifically in the Le Bombarde restaurant. Tables with antique wood tops, GINGER chairs and the EASY IRONY bookcase, Zeus products customized based on the surrounding environment and consistent with the mood of the place.

In the world of fashion and retail you have collaborated with companies such as Giorgio Armani, Replay, Furla and Giglio Palermo, designing and creating boutiques in Italy and abroad. What changes for ZEUS when the project must translate a brand identity into space – and not just “furnish” an interior? If you like, tell us about one or two particularly significant interventions (even without going into confidential details), explaining what the initial request was and how you transformed it into choices of material, proportions, finishes and duration.

The meeting and collaboration with Giorgio Armani were fundamental in the acquisition of my ability to synthesize and research materials. The project and creation of various Emporio Armani stores in Italy and abroad are the basis on which the first ZEUS collection was born. It is clear that the identity of the brand I work with always remains, but it merges with our production capacity, especially in metal processing and the use of industrial materials.

When a client or designer asks for customizations, which parameters do they really consider as design parameters (dimensions, thicknesses, tolerances, fixing systems, finishes, resistances, times) and which requests, instead, do they tend to discourage because they risk distorting the object or compromising its durability?

There are projects that we do not accept because they do not correspond to our production identity, for example when we are asked to use materials with which we do not work.

Looking at the catalogue: which are the most representative products of today ZEUS – and why do those precisely describe your idea of ??form, function and matter best? (If possible: an “Archetype”, an “Irony” and a particularly significant piece for the contract world.)

Certainly the Archetipo collection designed in 1984, iconic and still top of the line, and then the SLIM IRONY collections (highly requested in the contract sector) EASY IRONY and BIG IRONY.

You have often declared that you do not necessarily start from a drawing, but from the potential of the material. He tells us how a piece is really born: what is the trigger – a surface, a treatment, a production constraint, a cost-target, a gesture? And at what moment do you “understand” that the shape is the right one?

Manual skills and the direct relationship with the artisans have always been an instinctive need and a pleasure of mine. I need to have a direct relationship with things to be able to express my aesthetic and functional opinion. My approach is not just creative from scratch, but rather modification according to my experience. Not invention, but filter and precise attention to detail that determine the substantial difference between pure minimalism and the banal sign. An important aspect is the capacity for synthesis, the ability to collect, stop and resume images, sensations, experienced and seen visions to transpose them into the development of the design moment and the nascent object.

If available: do you have sketches, notes, prototypes or archive images that can tell the story of the genesis of a product – the passage in which the material “decides” the shape? Would you like to share one or two materials with the editorial team?

You talk about the life cycle of materials and metal as a recyclable material: without slogans, what concrete choices have you adopted today (materials, processes, durability, reparability, finishes) and what objective do you want to make more measurable between 2026 and 2027?

Our strong point is that of being self-producers; we use recyclable materials, we have always focused on essentiality, minimalism, the rejection of formal and symbolic “waste” in favor of rigor and intransigence, and the choice of poor technologies.

If you had to describe ZEUS in just three words, which ones would you choose—and why?

Minimalism – Material – Handmade, words that represent our concept.

We close with a vision exercise: it is 2036. How do you imagine the relationship between craftsmanship and technology in the production of furniture – and where do you want ZEUS to be placed, in that dialogue between matter, rigor and culture of living?

Even in the future we plan to continue with our style and our production method, differentiating ourselves from current trends and maintaining our cornerstones.

L'articolo Interview with Maurizio Peregalli, CEO of ZEUS: minimalism that is never banal, in the name of matter proviene da Archi & Interiors.

MMA Projects, between project culture and international dimension

MMA Projects is a multidisciplinary and multicultural architecture and design studio based in Milan. He works internationally in sectors ranging from residential to commercial, from retail to hospitality, with an approach that seeks a balance between functionality and poetry, technical competence and aesthetic refinement. In his vision, the shapes tend towards the essence, the palettes remain sober, and the attention to natural materials and craftsmanship becomes part of the story.

Mama Shelter Business Bay, a hotel-apartment that behaves like a destination

Mama Shelter Business Bay Hotel Apartment presents itself as an urban destination: comfort, originality and a sense of community intertwine to redefine hospitality, catering and entertainment, bringing the “MAMA style” into the metropolis.

Facade as an urban jewel: the architectural concept

The volume of the building is enhanced by a precise idea: treating the facade as a precious texture, “like a jewel” . The inspiration comes from the desire to create a vibrant and engaging presence in the Dubai skyline, capable of translating the dynamic and fluid energy of the brand into architecture. For MMA Projects, the facade becomes a true canvas: it reflects the diversity of the city and the ambition to offer memorable experiences, up to declaring the most radical objective — to create a work of art .

Vertical slats and fluid movement

The selected design works on vertical slats which slowly transform into a more fluid pattern in the central part of the main facade. It is a choice that differs from static facades: here the theme is movement, energy, a surface that “changes” like a natural pattern – from the wind on the water to the soft and evolving design of the dunes.

Black in Dubai, an intentional decision

The black palette – unconventional in the local context – is a stance. It serves to make the tower stand out from the lighter tones of the surrounding buildings and to create a clear visual impact, consistent with the boldness of the brand.

LEDs, sparkle and a “diamond” podium

The vertical decoration is emphasized by LEDs that illuminate in spots , to amplify the “precious stone” sparkle effect. The lower end of the facade, however, is designed with a multifaceted and reflective motif, like a diamond: a base that captures light and glances, and completes the narrative of the “jewel”.

Light as identity, without excess

At night, the illuminated slats amplify the personality of the building: thefacade appears pulsating, alive, theatrical. Lighting design is treated as part of architectural design, with a clear objective: to obtain a subtle but impactful effect, enhancing the fluid movement of the slats without generating light pollution . The result arises from the collaboration between the creativity of the MMA Projects team and specialized technical skills.

Materials and performance in the desert climate

The facade had to be not only iconic, but also functional: in Dubai resistance and maintenance are not details. For this reason, durable and low-maintenance materials were selected, such as glass and steel , suitable for the desert climate. The large windows favor natural lighting in the interior; the slat system also performs a solar shading function , contributing to the energy efficiency of the building.

Architecture and landscape: the integration of greenery

The facade also becomes an element of connection between inside and outside thanks to the introduction of vegetation and transparencies that reflect the surrounding environment. Integrating greenery in a complex urban and climatic context like Dubai requires targeted choices: resistant plants and green wall systems capable of adapting to desert conditions.

Interior design development: the synergy between brand and studio

The interiors take shape from a synergy between the MAMA Shelter creative team – responsible for the aesthetic and narrative vision – and MMA Projects, which supports the development with a strategic contribution on a technical and regulatory level. The studio acts as a developer and local partner expert in the standards required by the Emirati market, translating visual ideas into achievable and compliant solutions, for an iconic but also technically solid and sustainable project.

A “social podium”: why the common areas are on the first floors

An unusual choice for Dubai becomes a distinctive sign: placing the common areas on the first floors of the building. Restaurants, bars, swimming pools, lounges and even an outdoor cinema are transformed into accessible and open spaces, in line with the Mama philosophy. The level facing outside and in dialogue with the street becomes an elevated square : it avoids the isolation of the exclusive rooftop and offers a model of inclusive hospitality.

Ground floor, double lobby and continuity of spaces

From the entrance, the project defines two paths: a lobby for the private apartments and one for the hotel rooms, so as to guarantee differentiated functionality and a tailor-made experience. In the lobby you immediately enter the “Mama mood”: pop, vibrant, ironic atmosphere, with bold colors and textures. Continuous display windows, soft light and a sense of warmth transform the welcome into a visual and sensorial experience.

The two lobbies connect to the brasserie and the restaurant, in a fluid path that crosses the main common areas: spaces designed for guests and passers-by, overlooking the street, to open the hotel to the city and build an active dialogue with the urban context.

First floor, modular offices and meeting rooms

The first floor houses offices, four meeting rooms and a break room with servicebar. The meeting rooms adopt movable walls that allow flexible configurations; the adjacent environments become modular and transformable, from private meetings to group meetings.

Third floor, the suspended swimming pool square

The third floor is the social heart of the building: not only a distribution hub, but a relational fulcrum. Four swimming pools coexist here, each with a specific identity; one area is designed for families and children, with more private spaces and a playful element such as the ice cream tuk tuk. Next door, an à la carte restaurant surrounded by greenery, an equipped gym and two wellness areas for treatments and massages complete the experience.

The third and fourth floors are connected internally (elevators) and externally via an imposing architectural staircase, a scenographic gesture that reinforces the continuity and relationship between levels.

Fourth floor, entertainment and catering

The external staircase leads to the fourth floor: show kitchen and grill, lounge with bar, stage for live concerts, a more private secret bar and a second brasserie. The vertical distribution also responds to the needs of the aparthotel: in the hotel part the lift lobbies are smaller, while in the common areas they are enlarged, encouraging meeting and sharing between the residential and hotel soul, while maintaining differentiated access.

Rooms and apartments: Dubai view, Mama style, Middle East standard

On the upper floors, rooms and apartments overlook the city. The Mama Shelter style returns even in private spaces: bright colors and bold textures for a dynamic and welcoming atmosphere. The contribution of MMA Projects is decisive in the technical translation of design solutions, transforming the furnishings designed by the brand into engineered elements compliant with the standards required by the Middle East market.

Credits and contacts

MMA Projects – Via Paganini 18/20, 20825 Barlassina (MB) Italy – info@mmaprojects.com – www.mmaprojects.com
PR & Communication : OGS PR and Communication – Via Koristka 3, Milan 20154 Italy – info@ogscommunication.com – www.ogscommunication.com / press.ogscommunication.com

Questions and answers about the project

Who signed the façade project and the architectural development?

MMA Projects handled Facade Design, Lead Architect and ID Development, in collaboration with consultants and project operators.

How many rooms and apartments are planned?

The project includes 197 rooms and 203 apartments .

What is the distinctive element of the facade?

A black leather with vertical slats that transform into a fluid pattern, an LED system for a “sparkling” effect and a faceted base, like a diamond.

L'articolo Mama Shelter Business Bay Dubai: “jewel” facade and lifestyle hotel by MMA Projects proviene da Archi & Interiors.