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.

There are materials that never stop talking. Even when the world is moving towards total dematerialisation, even when everything seems fluid, smooth, polished by algorithms and 3D rendering, artisanal ceramics remains there, reminding us that beauty comes from fire, from earth, from hands.

It is not just an aesthetic question. It’s something more visceral. Perhaps because every piece of ceramic carries within it a story, a temperature, an unrepeatable gesture. Or perhaps because it takes us back to something familiar, ancestral. The fact is that handmade ceramics – imperfect, vibrant, alive – are returning to occupy an important place in the panorama of contemporary interior design. Not as a simple ornament. But as a planning act , as a declaration of identity.

Whoever today chooses to cover a wall, a kitchen, a sink with artistic tiles, handmade decorations, iridescent glazes or local terracottas , is making a cultural gesture. He’s saying: “I don’t want seriality, I want uniqueness. I don’t want plastic, I want real material”.

And this desire, silent but powerful, is generating a real rebirth of Italian ceramic craftsmanship , which finds new life precisely in the most visionary interior projects. From new generation boutique hotels to designer homes, from concept stores to designer restaurants, ceramics is back, but comes back different . With an ancient strength and a new aesthetic.

A new grammar of the project: from the workshop to the concept

There was a time – brief, but intrusive – in which artisanal ceramics had been relegated to a symbol of provincial nostalgia. The large industrial brands looked at it with condescension, the designers considered it not very compatible with the minimal lines of international design. Yet, while furnishings pursued total white and total flat, something continued to move in Italian shops.

Italian ceramists , often children or grandchildren of artisans, began to experiment with new forms, oxidized glazes, lava clays, vegetable pigments. They started collaborating with architects, chefs, interior stylists. They understood that their strength was not in quantity, but in the expressive power of the single tile , of the single bowl, of the single decorative element.

In the meantime, design has also taken a big turn, and has returned to desiring what is unique, tangible, emotional. The result? A silent but solid alliance between workshops and architectural firms, between territories and projects, between memory and vision.

Ceramics today have returned to speaking the language of the present . But it does so with archaic grammar: that of fire, time, patience.

Italian ceramists: some names to know

1. Francesca Verardo – Udine (Friuli Venezia Giulia)

Organic geometry, silence and stratification

Francesca Verardo is a contemporary ceramist who works in her studio in Udine, with an essential, dry, profoundly architectural aesthetic. Each piece – tile, vase, decorative panel – is the result of research on primary form and the relationship with space .

His collections are often used in interior projects for boutiques, galleries or contemporary homes: sandy surfaces, neutral colors, traces that seem like engravings of time. He collaborates with architecture studios and galleries, and his work has also been exhibited at Milan Design Week.

“I seek calm, the balance between gesture and matter. Each object must be able to remain silent and resist.”

It is a strong and subtle voice, which interprets ceramics as presence and void , as an architectural gesture .

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A post shared by Francesca Verardo Ceramics (@francescaverardoceramics)

2. Made a Mano – Caltagirone, Sicily

Lava stone and artisan rigor for signature surfaces

Founded in 2001 by Rosario Parrinello with headquarters in Caltagirone, Made a Mano produces surfaces in lava from Etna and glazed terracotta exclusively handmade in Italy. The collections – such as Cristalli , Ossido , Komon , Novecento – combine Mediterranean aesthetics and contemporary geometries, applied to contract furniture and luxury interiors.

The coverings created are unique pieces, worked with a brush, with decorative motifs that combine sculpture and function. These creations have been adopted by showrooms, restaurants and hotels around the world.

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A post shared by Made a Mano Official (@madeamanoofficial)

3. Giacomo Alessi – Caltagirone (CT)

Baroque ceramics that are not afraid to exaggerate

Giacomo Alessi is a master, but also a character. His dark brown heads, his figurative plates, his exuberant decorations do not limit themselves to reproducing the Sicilian tradition: they amplify it, renew it, stage it with courage and irony.

His pieces are also used in avant-garde interiors, combined with concrete walls or minimalist furniture. The contrast is explosive.

“Ceramics is never neutral,” he says. “It is expression, identity, story”.
And his story – theatrical, cultured, generous – went around the world.

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A post shared by MANIFATTURA ALESSI® (@manifattura_alessi_)

4. DWA study for Mutina – Fiorano Modenese (MO)

When industrial ceramics becomes wall art

Mutina is not an artisan workshop, but a brand that has chosen to restore ceramics to its artistic status . It does so by inviting designers and studios to work on the tile as if it were canvas, sculpture, composition.
One of the most interesting projects is Materia by Studio DWA (Davide Fabio Colaci and Luca Macrì), which reinterprets coverings as landscapes.

Each collection is made of rhythms, reliefs, nuances that change with the light. The production is industrial, but the concept is artisanal. And the result is often present in the most sophisticated interior projects, from Paris to Tokyo.
A ceramic that does not imitate , but takes its word.

proviene da Archi & Interiors.

]]> https://www.archieinteriors.com/en/the-return-of-artisanal-ceramics-in-contemporary-interior-design/feed/ 0 https://www.archieinteriors.com/en/how-to-experience-milan-during-the-salone-del-mobile-without-going-crazy-the-advice-you-didnt-ask-for-but-will-love/ https://www.archieinteriors.com/en/how-to-experience-milan-during-the-salone-del-mobile-without-going-crazy-the-advice-you-didnt-ask-for-but-will-love/#respond Sun, 12 Apr 2026 17:15:16 +0000 https://www.archieinteriors.com/how-to-experience-milan-during-the-salone-del-mobile-without-going-crazy-the-advice-you-didnt-ask-for-but-will-love/ During Design Week , Milan is not just a place, it is an experience. The trams seem to go slower, the streets are filled with voices in all languages, every corner is an opportunity to be amazed. But those who really work in the world of design know how intense, almost overwhelming, this week can …

L'articolo How to experience Milan during the Salone del Mobile (without going crazy): the advice you didn’t ask for, but will love proviene da Archi & Interiors.

]]> During Design Week , Milan is not just a place, it is an experience. The trams seem to go slower, the streets are filled with voices in all languages, every corner is an opportunity to be amazed. But those who really work in the world of design know how intense, almost overwhelming, this week can be. And this is precisely why it is worth stopping for a moment, breathing, and choosing to experience it with a more human, more personal gaze.

The Salone del Mobile is not a race to collect badges or chase the most photogenic installations. It is an invitation to recalibrate our gaze. Looking not only at what is planned, but also how we relate to space, to time, to others .

Salone del Mobile: where to enjoy breaks that are worth more than a thousand events

If you are in the Porta Venezia area, Loste Café ( @lostecafemilano ) is the answer to every desire for silence and beauty. Essential seating, the smell of warm bread, minimal architecture with Scandinavian touches. You can stop alone with a book or your laptop, but you will often run into someone you saw the day before in a talk at the Triennale. Here creatives find themselves without masks.

For a more classic but still atmospheric breakfast, try Pavé ( @pavemilano ), also in Porta Venezia. Iconic leavened products and a decor that tells of a creative but down-to-earth Milan.

Need to decompress after a day at the trade show? Fondazione ICA Milano ( @ica_milano ) is an independent art space in the Ripamonti area that takes you back to the essentials. Never shouted exhibitions, a perfect internal garden to recover oxygen and ideas. It’s one of those places that makes you say, “This is true luxury.”

The Fuorisalone, but calmly

There are districts where getting lost is a blessing. The 5Vie ( @5vie_milano ), for example, are the historical heart of the city, but also the place where design becomes narration. Here every showroom seems to have a story to tell and craftsmanship often coexists with contemporary art. Stop by Spazio Rossana Orlandi ( @rossana_orlandi ), which is much more than a gallery: it is a journey into the mind of one of the most iconic figures of Italian design. And then there is Nilufar Depot ( @nilufargallery ), the very powerful vision of Nina Yashar, who every year manages to surprise with bold and carefully curated selections.

Salone del Mobile: where designers eat when they want to disconnect

Not everyone wants to have lunch inside an installation. Indeed, those who really experience the Salone know that to regenerate you need concreteness and quality.

Trippa ( @trippamilano ), in the Porta Romana area, is a restaurant loved by those who work in creativity. The menu changes often, the atmosphere is warm and welcoming, and it is not uncommon to find yourself sitting next to international designers. Book well in advance.

For something quicker but always neat, Gelsomina ( @gelsomina_pasticceria ) is an elegant refuge. Revisited Neapolitan desserts, tasteful interiors, a place where the break is sacred.

And if you are in the Isola or Sarpi area, the advice is to stop by Otto ( @otto.place ): relaxed environment, community creative, simple but studied dishes. It’s one of those places where you can read, work or chat until the evening.

In the evening: where we go back to talking, not just toasting

The Bar Basso ( link ), needless to say, is still the symbolic meeting point of the Design Week. Crowded, chaotic, noisy. But also extraordinarily authentic. The Negroni Sbagliato is almost an initiatory rite, and between one sip and another you can find yourself talking about Afghan carpets or artificial intelligence with the same enthusiasm.

But if you are looking for something more intimate, try Moebius Milano ( @moebiusmilano ), in the Central Station area. An eclectic venue, with a retro atmosphere, excellent cuisine and live music. Here design is everywhere: on the plate, in the musical selection, in the layout of the spaces. Ideal for a dinner that becomes an experience.

Or try Cantun Bakery & Bistrot ( @cantun_bakery_and_bistrot ), between Porta Vercellina and Fiera, where natural wine accompanies real conversations, not showroom pitches.

Unsolicited (but useful) advice

Bring comfortable shoes. Drink water. Be curious. Don’t feel guilty if you skip the “unmissable” event. Design is also found in the details: in the way a chair is arranged in a bar, in an unexpected encounter, in a phrase heard by chance.

During the Salone, Milan becomes an ecosystem of possibilities . The value lies not in the number of events visited, but in the quality of the time you give yourself to really understand, feel and see.

And if one afternoon you don’t feel like moving, sit on a bench in the Triennale garden, observe the comings and goings, and remember: design is first of all a look at the world. Don’t waste it by running .

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?? All the places mentioned are open to the public and experience the Milan of design with authenticity. Tag them, support them, tell them: they are part of that Milan that remains even when the Salone ends.

L'articolo How to experience Milan during the Salone del Mobile (without going crazy): the advice you didn’t ask for, but will love proviene da Archi & Interiors.

]]> https://www.archieinteriors.com/en/how-to-experience-milan-during-the-salone-del-mobile-without-going-crazy-the-advice-you-didnt-ask-for-but-will-love/feed/ 0 https://www.archieinteriors.com/en/interview-with-apir-ceo-pietro-angelini-luxury-hospitality/ https://www.archieinteriors.com/en/interview-with-apir-ceo-pietro-angelini-luxury-hospitality/#respond Fri, 10 Apr 2026 07:58:37 +0000 https://www.archieinteriors.com/?p=17302 Founded in Rimini in 1918, APIR takes its name from the initials of its founder, Pietro Angelini. In over a century of history, it has spanned four generations of the same family, transforming from a small engraving workshop into a company capable of exporting worldwide. From the first handcrafted plaques to hotel products developed in …

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

]]> Founded in Rimini in 1918, APIR takes its name from the initials of its founder, Pietro Angelini. In over a century of history, it has spanned four generations of the same family, transforming from a small engraving workshop into a company capable of exporting worldwide.

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.

]]> https://www.archieinteriors.com/en/interview-with-apir-ceo-pietro-angelini-luxury-hospitality/feed/ 0 https://www.archieinteriors.com/en/how-to-furnish-terraces-and-outdoor-spaces-in-spring-design-tips-for-a-more-refined-welcoming-and-contemporary-outdoor-setting/ https://www.archieinteriors.com/en/how-to-furnish-terraces-and-outdoor-spaces-in-spring-design-tips-for-a-more-refined-welcoming-and-contemporary-outdoor-setting/#respond Thu, 09 Apr 2026 13:01:31 +0000 https://www.archieinteriors.com/?p=17551 With the arrival of spring, terraces and outdoor spaces once again become some of the most enjoyable areas of the home. The light changes, the days grow longer, and there is an almost instinctive desire to spend more time outside, even in the city. And yet, understanding how to furnish a terrace in a harmonious …

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.

]]> With the arrival of spring, terraces and outdoor spaces once again become some of the most enjoyable areas of the home. The light changes, the days grow longer, and there is an almost instinctive desire to spend more time outside, even in the city. And yet, understanding how to furnish a terrace in a harmonious way is not always so straightforward. All too often, furniture, planters and accessories are added without an overall vision, resulting in a space that feels unwelcoming, impractical or simply confused.

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.

Budget range	What can be done	Ideal for
From €300 to €800	Light refresh with outdoor rug, cushions, pots, plants, rechargeable lights, and a small table	Balconies, small terraces, rental homes
From €800 to €2,000	Table and chair set or mini lounge area, umbrella, more structured greenery, coordinated accessories	Medium-sized terraces, daily use in spring and summer
From €2,000 to €5,000	More complete project with dining, relaxation, lighting, large pots, and quality furniture	Medium or large terraces, more polished outdoor spaces
Over €5,000	Articulated outdoor space with multiple zones, coverings, design elements, and a more architectural layout	Penthouses, large terraces, high-end projects

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.

]]> https://www.archieinteriors.com/en/how-to-furnish-terraces-and-outdoor-spaces-in-spring-design-tips-for-a-more-refined-welcoming-and-contemporary-outdoor-setting/feed/ 0 https://www.archieinteriors.com/en/the-best-outdoor-kitchen-brands/ https://www.archieinteriors.com/en/the-best-outdoor-kitchen-brands/#respond Tue, 07 Apr 2026 06:00:00 +0000 https://www.archieinteriors.com/?p=17446 Outdoor kitchens now play an increasingly central role in contemporary outdoor projects. It is no longer just about adding a barbecue or a service station to the garden, but about shaping a functional, welcoming space that is consistent with the style of the home. Terraces, porches, and gardens thus become environments to be lived in with …

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

]]> Outdoor kitchens now play an increasingly central role in contemporary outdoor projects. It is no longer just about adding a barbecue or a service station to the garden, but about shaping a functional, welcoming space that is consistent with the style of the home. Terraces, porches, and gardens thus become environments to be lived in with greater continuity, where cooking outdoors means combining conviviality, comfort, and design quality.

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.

]]> https://www.archieinteriors.com/en/the-best-outdoor-kitchen-brands/feed/ 0 https://www.archieinteriors.com/en/archieinteriors-hdemy-group-partnership-design-students/ https://www.archieinteriors.com/en/archieinteriors-hdemy-group-partnership-design-students/#respond Thu, 26 Mar 2026 16:49:26 +0000 https://www.archieinteriors.com/?p=17587 We are pleased to announce the partnership between Archi&Interiors and Hdemy Group, the educational group that brings together NAD – Nuova Accademia del Design and Accademia Cappiello. This collaboration is rooted in a clear belief: today, building a serious and contemporary dialogue around design requires more than simply connecting companies, designers and industry professionals. It …

L'articolo Archi&Iteriors and Hdemy Group together: a partnership to give space to the perspective of tomorrow’s designers proviene da Archi & Interiors.

]]> We are pleased to announce the partnership between Archi&Interiors and Hdemy Group, the educational group that brings together NAD – Nuova Accademia del Design and Accademia Cappiello. This collaboration is rooted in a clear belief: today, building a serious and contemporary dialogue around design requires more than simply connecting companies, designers and industry professionals. It also means involving students, those who represent the freest, most open and least market-conditioned part of design thinking.

In our editorial work, dialogue with companies is part of our everyday activity. We are in constant conversation with brands, architects, interior designers, product designers, associations, institutions and professionals who help shape the present of design. Yet within this network, we increasingly feel the need to open up space for students as well, the true protagonists of tomorrow’s design culture.

Why dialogue with students matters in contemporary design

In contemporary design, the perspective of students should not be seen as marginal. This is not simply about giving voice to a younger generation. It is about recognising the value of a viewpoint that is still in formation, less shaped by market habits and more open to research, questioning and experimentation.

Their vision, precisely because it is not yet fully influenced by commercial logic, can become a genuine source of inspiration and reflection for companies as well. In a sector that often risks moving within already codified languages, established positioning and repetitive narratives, the ability to look at design with fresh eyes can restore depth to the conversation and reopen questions worth listening to.

This is one of the reasons why, as a magazine, we believe it is essential to bring students into the design conversation not as passive spectators, but as active interlocutors.

Archi&Interiors is building a community between companies, professionals and education

This partnership is part of a broader editorial path that Archi&Interiors has been shaping over time. Our goal is not to cover design merely as a showcase of products, trends or collections, but to contribute to the creation of a community in which different but complementary worlds can truly engage with one another.

Today, Archi&Interiors is in dialogue with a network of more than 80 companies in the design sector, reaches over 50,000 unique monthly readers, speaks to a community of more than 5,000 professionals including architects and interior designers, and is present as a media partner at major trade fairs, including the Salone del Mobile. Within this ecosystem, engagement with the world of education is not a secondary extension, but a strategic component.

Because if companies are a fundamental part of the design system, academies are equally the place where that system continues to renew itself, question itself and generate new visions.

The role of Hdemy Group in today’s design dialogue

The partnership with Hdemy Group should be read in exactly this direction. Through NAD – Nuova Accademia del Design and Accademia Cappiello, the group brings an essential dimension into the conversation: education. Not only technical or creative training, but the construction of method, sensitivity, language and critical thinking.

For us, having these two academies as education partners means strengthening the conversation around design from a more complete perspective. It means acknowledging that design does not emerge only in companies or studios, but also in the places where people study, experiment, make mistakes, observe and learn how to give form to ideas.

In this sense, NAD and Accademia Cappiello represent an important presence within the community we are building. They bring a point of view that has not yet been entirely filtered through production logics and, for precisely that reason, can help make the debate more alive, more open and more meaningful.

A partnership between editorial culture and education to tell design better

Bringing together editorial work and design education means connecting two functions that are too often kept separate. On the one hand, there are those who design, or who are learning to design. On the other, there are those who observe, interpret and narrate. But in contemporary design, this division is becoming increasingly unhelpful.

Today, design also needs to be told well. It needs the right words, perspectives capable of reading processes, and content that can move beyond the surface. At the same time, those studying design need to understand that communicating a project is not something secondary, but an increasingly important part of design culture itself.

The partnership between Archi&Interiors and Hdemy Group therefore also begins here: with the intention of building a bridge between education and editorial storytelling, creating a space in which design can be discussed, interpreted and expressed through different voices.

The contest inspired by the Fuorisalone 2026 theme “Be the Project”

The first concrete development of this partnership will be a student contest, designed to bring this dialogue into action. The initiative will be linked to the Fuorisalone 2026 theme, “Be the Project,” and will invite students to engage with design not only as a discipline to study, but as a reality to read, interpret and narrate.

For us, the point is not simply to launch a participatory initiative. It is to understand which students already have a perspective, a sensitivity, a voice. Who is able to grasp what lies behind an object, an installation, a vision, a language. Who can turn observation into editorial content.

The best participants will join the Archi&Interiors editorial team through a dedicated column, contributing in a real and tangible way to bringing a new perspective on contemporary design into the magazine.

Why telling design through the eyes of students matters

For us, the story of design seen through the eyes of students is a central issue. Not for generational reasons, but for cultural ones. Students often look at design from a perspective that has not yet been domesticated. They notice details that the sector sometimes no longer sees. They move with fewer automatisms. They ask different questions. And precisely because of this, they can also help companies and professionals reinterpret themselves.

In a community that seeks to connect companies, architects, interior designers, product designers, associations, institutions and academies, this perspective is invaluable. It enriches the design conversation with a degree of research, freshness and critical freedom that the system cannot afford to lose.

A new phase for the Archi&Interiors community

This partnership therefore marks an important step forward for Archi&Interiors as well. Not only because it expands our network, but because it strengthens our idea of a magazine that does not want to observe design from the outside alone. We want to build an editorial platform capable of activating relationships, generating dialogue and putting different voices in contact with one another.

Welcoming the world of education into our horizon means making this community more complete and more credible. It means recognising that the design of tomorrow is built not only in the spaces of production or professional practice, but also in classrooms, educational processes and the still-open thinking of those who are currently training.

And it is often there that the most interesting intuitions begin.

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With the partnership between Archi&Interiors and Hdemy Group, the dialogue between editorial culture, companies and education opens up to an even richer dimension. At the centre are students, not as a symbolic presence, but as a living part of a reflection on design that today needs new voices, new questions and new perspectives.

For us, this is the most important point: building a design community in which the narrative is not closed, vertical or self-referential, but capable of including those who are only just beginning to imagine their place in the world of design.

Because listening to tomorrow’s designers ultimately means understanding today’s design more deeply.

L'articolo Archi&Iteriors and Hdemy Group together: a partnership to give space to the perspective of tomorrow’s designers proviene da Archi & Interiors.

]]> https://www.archieinteriors.com/en/archieinteriors-hdemy-group-partnership-design-students/feed/ 0 https://www.archieinteriors.com/en/luxury-garden-mini-spa/ https://www.archieinteriors.com/en/luxury-garden-mini-spa/#respond Thu, 26 Mar 2026 11:57:25 +0000 https://www.archieinteriors.com/?p=17515 There is a new way of imagining outdoor space, and it no longer revolves only around furniture, swimming pools or dining areas. More and more often, the contemporary garden is becoming a place dedicated to private wellbeing, quality time and a quieter, more intimate idea of luxury. In this scenario, luxury garden mini spas are …

L'articolo Luxury Garden Mini Spas: the new outdoor trend shaping wellness, privacy and design proviene da Archi & Interiors.

]]> There is a new way of imagining outdoor space, and it no longer revolves only around furniture, swimming pools or dining areas. More and more often, the contemporary garden is becoming a place dedicated to private wellbeing, quality time and a quieter, more intimate idea of luxury. In this scenario, luxury garden mini spas are emerging as one of the most interesting outdoor trends of the moment: not simply outdoor hot tubs, but true design elements capable of redefining the relationship between architecture, landscape and comfort.

What makes them increasingly central to the conversation around outdoor design, home wellness and new ways of living is their ability to bring together several needs in one design gesture: wellbeing, because they introduce a daily ritual of relaxation and regeneration; privacy, because they turn the garden into a protected and intimate retreat; and design, because today these solutions are more refined than ever in terms of shape, materials, finishes and integration with the surrounding space. It is no coincidence that this topic is attracting both end users and architects, interior designers and outdoor design professionals.

To talk today about luxury outdoor mini spas means looking at a fast-evolving segment where technology, aesthetics and design culture meet. From Italian brands that speak the language of product design to international companies specialising in premium wellness, the market now offers different solutions in terms of dimensions, style, performance and positioning.

Luxury mini spa brands to know today

Looking closely at this trend in contemporary outdoor spaces, we selected some of the most interesting brands in the world of luxury mini spas and designer mini pools: solutions that turn the outdoors into a private space of comfort, wellbeing and refined design quality.

Below is a selection of companies producing designer mini pools and outdoor spa solutions that interpret this evolution of outdoor living with consistency and vision.

Gruppo Treesse

Gruppo Treesse is an Italian company with more than 40 years of history, based in Nepi, Lazio, and specialised in mini pools, spas, whirlpool tubs, saunas and systems for both residential and contract wellness projects. Its name has become particularly relevant in the luxury garden mini spa segment thanks to research that combines technology with formal clarity. The brand’s most recognisable feature is the Ghost system and its evolution, Ghost Plus, developed with Marc Sadler: the hydromassage system is concealed within a thin perimeter slit, minimising the visual impact of jets and technical components and creating a tub that feels more essential, elegant and aligned with the language of contemporary design. Treesse also develops products for private homes, hotels and hospitality projects, and among the best-known models in its range are Shadow, Phantom, Maya GP, Muse GP, ICE and Breeze.

Glass 1989

Glass 1989 is an Italian company founded in 1989 and based in Oderzo, in the Veneto region, specialising in wellness solutions for bathrooms and spas: tubs, hammams, saunas, multifunction showers and mini pools. Its distinctive strength lies in its ability to bring the world of wellbeing into a product system that is highly legible to architects and interior designers, with a well-structured technical range and a strong focus on collaboration with designers and specifiers. On the design front, Glass 1989 has worked with names such as Meneghello Paolelli Associati, Doshi Levien, Luca Nichetto, LucidiPevere and Enzo Berti, while its references include hospitality projects such as Nilaya Anthology – Mumbai, Hotel CastelBrando and Le Saint Remy. Among the most interesting models for an article on luxury outdoor mini spas are Infinity 220, a portable overflow spa with an integrated system beneath the tub perimeter, Infinity 260/240 and MySpa 195_E, which clearly express the brand’s dual nature: more architectural on one side, more compact and versatile on the other.

Zucchetti. KOS

KOS is an Italian brand active since 1998 in the world of wellness and bathroom design, joining the Zucchetti group in 2007 and now connected to its base in Gozzano, in the province of Novara. It specialises in tubs, mini pools, basins and high-design bathroom solutions, with an approach much closer to product design than to purely technical wellness. KOS products stand out for their measured, minimalist and highly controlled language, as well as for the long-standing collaboration with Ludovica Serafini + Roberto Palomba, which has deeply shaped the brand’s identity. In the field of outdoor mini spas, the most representative models are Outdoor Minipool Incasso and Quadrat Pool, two solutions that avoid easy spectacle in favour of a quieter, more integrated and architectural presence. Rather than filling the garden, these products tend to build a more refined relationship with decks, terraces and the domestic landscape.

Jacuzzi

Jacuzzi is the brand that, more than any other, has helped shape the contemporary imagination around hydromassage. Its story began with the Jacuzzi family’s intuition in the field of hydrotherapy and, according to the brand, more than 70 years of innovation now flow into its wellness products. Although the name has become almost synonymous with the category itself, Jacuzzi continues to develop spas with a stronger design dimension, as shown by its Italian Design line. Its products stand out for the integration of ergonomics, PowerPro jets, intuitive controls and a more refined form than the traditional image of the purely technical hot tub. Among the most interesting models to mention are Omnia, with six seats and one lounge seat, J-332, with double ergonomic lounge seating, Profile, which introduces the overflow concept into a spa, and Virtus, explicitly presented as a solution suitable for hospitality as well.

Aquavia Spa

Aquavia Spa is a European company founded in 1988 in the province of Barcelona, specialising in the production of hot tubs and swim spas for private and professional use. The brand works clearly around three themes: European design, energy efficiency and intensive use. This is why it is relevant not only for high-end residential projects but also for hotels, boutique hospitality and wellness centres. Its products stand out for attention to ergonomics, insulation, control technology and finishes, with a range that goes from premium lines to more compact solutions for rooftops, terraces and urban spaces. On the contract side, Aquavia explicitly addresses hotels, architects and interior designers and showcases projects developed for the hospitality sector, along with models such as Hotel Spa, designed for rooms and wellness areas with an automatic filling system, and the Infinity Line, a range of overflow spas for exclusive residences and boutique hotels. Among the projects cited by the brand is Los Hibiscos Hotel in Costa Adeje.

Disenia

Disenia is an Italian company based in Brugnera, in the province of Pordenone, part of Ideagroup and specialised in contemporary bathroom and wellness solutions. Every project is imagined, designed and made in Italy, with particular attention to the balance between ergonomics, aesthetics and technology. Within its Wellness Collection, the brand offers indoor and outdoor designer mini pools for both residential and contract use, available in freestanding or built-in versions. These products stand out for their clean language, ergonomic seating, integrated LED lighting, touch display and a range of finishes that allow them to fit coherently into different architectural settings. A particularly interesting element from a design perspective is the contribution of Claudio Papa, whose work helps define a mini spa that feels more measured and more aligned with contemporary design than with the traditional technical image of the whirlpool tub. Among the most interesting models are Gilium, Helba 210, Helba 240, Linos and Kyra.

Novellini

Novellini is an Italian company with more than 60 years of experience, based in Borgo Virgilio, near Mantua, and specialising in bathroom and wellness solutions. The brand brings to the outdoor segment a vision that is closely aligned with Made in Italy, working across design, comfort, sustainability and integrated production quality. In the case of outdoor mini spas, the reference is the Outdoor SPA collection, where the Divina line interprets wellbeing as part of the contemporary domestic project. These products stand out for their clear lines, ergonomic research, weather-resistant textured surfaces, quiet hidden technology and systems such as Bluetooth Audio, Chromolight and Aquaclean with ozone and UV treatment. The collection’s accessories further reinforce this vision, with pieces designed by Marco Pellici and conceived to create an aesthetically coherent environment. Models worth mentioning include Divina M Spa, Divina L Spa, Divina XL Spa and Divina XXL Spa, alongside the Moon and Vita lines, which broaden the narrative of the outdoor spa as a design space rather than a simple exterior tub.

Busco Wellness

Busco Wellness is an Italian company founded in 1970, with headquarters, production and showroom in Osimo, in the Marche region, specialising in the design and manufacture in Italy of indoor and outdoor spa mini pools, above-ground and in-ground swimming pools, outdoor tubs and counter-current swimming systems. It is an interesting name because it combines strong technical expertise with a high level of customisation, speaking both to residential projects and to more exclusive environments. The brand stands out for mini pools that can be configured in dimensions, finishes and performance, and for lines that work strongly on materiality and visual impact. The most recognisable is probably Stonehenge, also offered in Panoramic View and Basic versions, with stone-effect finishes, a self-supporting structure, a patented Busco system inspectable from the tub edge and the option to integrate hydromassage, airpool, chromotherapy and counter-current swimming. Alongside it, models such as Miami, with rounded corners and overflow, or Pacific, more compact and suitable for built-in or above-ground installation, reveal a broad and flexible range. Another element that gives the brand weight is the fact that it presents itself as an official supplier for MSC Cruises and Ferretti Group, signalling a presence in high-end hospitality and luxury yachting contexts as well.

Villeroy & Boch

Villeroy & Boch is a historic European brand, founded in 1748 and based in Mettlach, Germany, now active in the Bathroom & Wellness and Dining & Lifestyle sectors. It did not originate as a mini spa specialist in the strict sense, but it is an important name to mention because it shows how the theme of high-end private wellness is now involving brands with a long tradition in bathrooms and the culture of living. Villeroy & Boch products stand out for a premium approach based on design, quality and durability, and the brand’s presence in the Bathroom & Wellness segment makes its inclusion relevant in a broader selection focused on contemporary wellness luxury. In this context, rather than acting as a radical player in the outdoor mini spa segment, Villeroy & Boch enters as a reference for heritage and high-end comfort, useful for understanding how the desire for private spa experiences is expanding from the bathroom to outdoor space.

How to choose a luxury mini spa for the garden

Choosing a luxury mini spa for the garden does not simply mean focusing on aesthetics or the number of jets. What really makes the difference is how it will be used, how it relates to the outdoor space, the type of installation and the quality of long-term management. In other words, an outdoor mini spa should be considered part of the design project: not only as a wellness experience, but as a volume, a weight, a footprint, a maintenance commitment and a visual presence within the domestic landscape. This is also why the most common online questions tend to revolve around the same themes: outdoor mini spa prices, garden mini spa permits, mini spa on a terrace, outdoor mini spa energy consumption and the difference between a simple hot tub and a true luxury hydromassage mini pool.

3-person or 5-person outdoor mini spa?

One of the first decisions concerns the actual size of the product. A 3-person outdoor mini spa can already offer a very comfortable experience in compact settings: product sheets include, for example, models measuring around 200 x 150 cm, with 498 litres of water and a filled weight of around 748 kg. A 5-person outdoor mini spa, on the other hand, moves into a different scale: dimensions can easily reach 220 x 220 cm, capacity may rise to 1,200–1,480 litres, and in some cases manufacturers indicate for terraces and slabs a required load-bearing capacity of 400 to 450 kg/m². This means that choosing between 3 and 5 seats is not only a matter of sociability, but of design, structure and circulation space around the spa.

Built-in outdoor mini pool or freestanding model?

The type of installation also changes the final result significantly. A built-in outdoor mini pool tends to integrate better with the overall design of the garden, deck or terrace and creates a more architectural image. A freestanding model, by contrast, is often easier to install and less invasive from an operational perspective. Some products, such as MySpa 195_E by Glass 1989, allow for both options, clearly showing how the market is moving towards solutions that are more flexible and more open from a design standpoint. The choice, therefore, does not depend only on taste, but on how much you want the spa to assert itself visually or, on the contrary, blend into the built landscape.

What really matters in a luxury hydromassage mini pool

At the higher end of the market, the difference is not made by one extra decorative detail, but by a combination of less visible and far more decisive factors: thermal insulation, filtration, cover quality, ease of drainage, technical accessibility and continuity of use. Premium lines focus precisely on these aspects, speaking about remote control, high-performance filtration and energy efficiency, while technical FAQs also stress the importance of planning a drainage system in the spa area to avoid water build-up around the tub. The point is simple: a luxury hydromassage mini pool is defined less by its initial promise and more by how well it performs over time.

Mini spa on a terrace: first the load, then the design

Product sheets make it very clear that weight and structural load cannot be treated lightly: several models indicate a required load capacity for terraces and slabs between 400 and 450 kg/m², while guides generally remind users that, before installing any tub, it is essential to assess the slab capacity and add together the weight of the structure, the water and the people using it. In practice, design comes second: first technical feasibility must be verified, then the visual effect and comfort can be considered.

How much does an outdoor mini spa cost?

When it comes to outdoor mini spa prices, it is helpful to distinguish immediately between entry level, mid-range and truly premium segments. Looking broadly at the market, the most affordable solutions may start from around €1,779 including VAT, but this is still far from the concept of luxury and much closer to an accessible or temporary purchase. The first more structured rigid mini pools are positioned instead around €4,399 to €4,959, while fuller and larger models can easily rise to €6,459 or €6,900. It is at this point that the mini spa stops being a simple accessory and starts to resemble a real investment for the outdoor space.

The high-end segment, however, often follows a different logic. Among brands more oriented towards design or premium wellness, prices are not always displayed directly: in some cases only a price range is shown, while in others configuration or a quotation is required. This detail already says a lot. Once you truly enter the territory of the luxury outdoor mini spa, the cost depends not only on the product itself, but also on customisation, finishes, installation, accessories, privacy screening, insulation and the design of the surrounding area. That is why the question how much does an outdoor mini spa cost does not have one single answer: the price changes radically depending on whether you are buying a tub to place outdoors or a design element to integrate into a high-end outdoor project.

Useful information about garden mini spas

Do you need permits for a mini spa in the garden?

The most accurate answer is that there is no single rule valid for every case. Recent guides point out that above-ground, removable, seasonal structures without building work may more easily fall into situations that do not require specific permits. However, when fixed works, permanent bases, condominium contexts or planning restrictions are involved, the issue changes and must be assessed case by case. In a serious article, it is better to avoid shortcuts here: a mini spa is not automatically “free” from permits simply because it is not an in-ground swimming pool.

Outdoor mini spa energy consumption: how much does it really matter?

The energy consumption of a hydromassage mini pool generally starts at around 3 kW and can go beyond 7 kW in more accessorised models. At the same time, some manufacturers cite examples of well-insulated mini pools claiming 2.3 kW at full regime or about 2.9 kWh per day. The point, therefore, is not to search for one absolute number valid for all products, but to understand that energy consumption, insulation, thermal cover, outdoor temperature and frequency of use must all be read together. An efficient mini spa is not simply one that “consumes less”, but one that is well designed to reduce heat loss and maintain performance over time.

How often does a mini spa need maintenance?

Guides from the best mini pool brands insist on filtration, sanitisation, debris removal, wall cleaning and regular monitoring of water parameters. Others remind users that, in normal use, the mini pool should still be emptied periodically and that it is wise to plan a drainage system in the spa area already at the design stage. Here too, true luxury is measured in management: a mini spa is more successful when it remains easy to maintain, safe and compatible with the rhythm of everyday life.

Is a rigid, semi-rigid or inflatable mini spa better?

The difference between these three categories is far more substantial than it may seem. Aquavia’s guides explain that a rigid spa offers a stronger shell, more stable materials, better comfort, higher efficiency and a lifespan that can exceed ten years. The inflatable version, by contrast, remains a more accessible and temporary choice, interesting for occasional use but less coherent with a high-quality outdoor design project. In an article dedicated to the luxury garden mini spa, this point is decisive: luxury lies not only in shape, but in durability, quality of experience and the product’s ability to remain credible over time.

What is the difference between a mini pool and a hot tub?

Yes, there is a difference, and it mainly concerns the way the product is conceived and experienced. Online buying guides show that the term hot tub is often used broadly, while hydromassage mini pool tends to refer to more structured products, with larger capacity, more stable indoor or outdoor use and installations intended to remain in place. It is not only a matter of wording: in many cases the scale of the project changes, along with the relationship with outdoor space, the system weight and the permanence of the intervention. This is also why, in the language of designers, the mini pool now plays a different role from the occasional spa used purely for leisure.

L'articolo Luxury Garden Mini Spas: the new outdoor trend shaping wellness, privacy and design proviene da Archi & Interiors.

]]> https://www.archieinteriors.com/en/luxury-garden-mini-spa/feed/ 0 https://www.archieinteriors.com/en/accento-lighting-design-visual-comfort-and-smart-control-interview-with-gianluca-raineri-and-roberta-bonaiti/ https://www.archieinteriors.com/en/accento-lighting-design-visual-comfort-and-smart-control-interview-with-gianluca-raineri-and-roberta-bonaiti/#respond Thu, 26 Mar 2026 08:12:06 +0000 https://www.archieinteriors.com/accent-and-the-hu-li-philosophy-human-lighting-between-invisible-technology-and-architectural-lighting-%c2%96-double-interview-with-gianluca-raineri-and-roberta-bonaiti/ From the experience of Erresei, active since 1996 in the lighting sector, Accento was born—a Made in Italy brand that combines technological research and contemporary design. Light here is not just performance: it is atmosphere, perception, chromatic quality. At the center is visual comfort, together with intensity control designed to enhance residential spaces and contract …

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

]]> From the experience of Erresei, active since 1996 in the lighting sector, Accento was born—a Made in Italy brand that combines technological research and contemporary design. Light here is not just performance: it is atmosphere, perception, chromatic quality.

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.

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