The Most Eye-Catching Moments at Alcova Milano 2025, According to Dwell’s Visuals Editor
Impossibly stacked stone spires, on-site 3D printing, and more of the revelatory objects by emerging designers that stopped us in our tracks at this year's fair.
For the second year, Alcova, the fair focused on emerging designers that runs in tandem with Salone del Mobile, has set up shop at multiple venues in Varedo, Italy—about 15 kilometers north of Milan. This year, in addition to the 1940s modern Villa Borsani and the beautifully crumbling Villa Bagatti Valsecchi, Alcova has added a stunning abandoned factory and disused greenhouses.
All of the sites offer unconventional yet fitting backdrops for the experimental works on display. Touring the press preview with photographer Olga Mai, we were struck by the range of textures, materials, and ideas—from glazed lava and reappropriated wood to deeply conceptual and more socially charged installations.
While this was my first in-person visit, I sensed a slight tonal shift from years past. If you enter this edition of the fair thinking you’ll encounter only the weirdest of the weird, you’ll be surprised to discover plenty of minimalist (though forward-thinking) designs sprinkled throughout the showcase. Still, it’s pretty clear—at Alcova, creative risk certainly takes center stage.
Below, you’ll find a few of what we found to be this year’s highlights. By transforming spaces—whether revered or forgotten—into moments of radical expression, each of them offers a delightful and thought-provoking experience. They remind us that many of today’s most exciting designs are made, and shown, on the fringe.
The iconic Villa Borsani, designed by architect Osvaldo Borsani as a family home, is once again a primary location. This year, sculptures by the late ironworker Salvino Marsura, presented by London-based Béton Brut, sprinkle the front lawn.
Inside, you’re greeted by a lovely minimalist collaboration between Contem and designer Nick Ross, both Stockholm-based. The works are reminiscent of Donald Judd but in some ways more sustainable. All of the pieces have been constructed from large branches of historic linden trees on Kungshatt Island. The trees from which the wood has been sourced remain otherwise intact.
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What would it look like to nest elements of your in-home bar setup? Studio Musa’s Nova Bar answers that question—rather sexy. The design, inspired by 1970s pieces, is minimal and sophisticated–constructed of raw aluminum with deep violet accents that pop gorgeously. Form meets function, indeed.
Polish designer Mati Sipiora’s stainless steel Poodle armchair was one of the most stunning standalone pieces that I saw all day. This and his other works thoroughly deserved a more central exhibition space, but I’m so glad I discovered them regardless. Added to wishlist!
Soft Witness is based between New York and Florence, and you can feel the balance of global taste at work in founder Whitney Krieger’s designs. The Cono chair, debuting in this presentation, is upholstered in super soft camel-colored alpaca mohair and is luxuriously comfortable. Every piece in this display felt slightly unexpected, graceful, and well-constructed.
Resin lighting works by Objects of Common Interest, created in collaboration with inveterate Athens gallery The Breeder, were another fair favorite. We waited quite a while to get a view this clear of spectators. The wavy textures on the candy-colored pieces are inspired by rolling steel security doors used to lock up Athens storefronts. The pieces truly read like Jell-O in person and look good enough to eat.
Japan-based AtMa’s J39.5 is a series of chairs made from reassembled parts of the J39 chair, originally designed by Børge Mogensen. As studio cofounder Ayumi Koyama explained to me, the project all started with a vintage warehouse find. With damaged J39s so costly to repair, why not reconstruct badly damaged ones into something new? Every single aspect of the reconstruction sources from the original chairs. Broken legs or backs are converted into pulp, made into paper, and corded to create new seats.
Estudio Material’s Fragments collection seems unassuming at first, but time spent with the work opens one up to the pieces’ impressive construction. Foggy aluminum seamlessly meets beautiful cuts of stone for a meditative effect. It makes sense that the pieces are placed on a terrace—these sorts of designs feel perfectly suited for outdoors. That said, I wouldn’t mind placing one in my apartment.
One of Alcova’s newest spaces is a converted factory previously run by now defunct Italian manufacturing company SNIA. The structure is a phenomenal choice of location and was without a doubt my favorite of the fair. Upon entry, one can’t help but be struck by the crumbling surroundings. Black sculptural works by digital artist Quayola occupy the center of the first room.
Impressively large totems by Francesco Meda and David Lopez Quincoces are inspired by the iconic Torres de Satélite by Luis Barragán. The piece feels like a Richard Serra sculpture’s cooler younger sibling. Built entirely in glazed lava, the towers are a sight to behold—glossy, otherworldly, and absolutely beautiful.
3D-printed chairs, along with a literal 3D printer in action, take center stage at Decibel’s presentation in the factory. This was an absolute hit for me and felt like a moment right out of Bladerunner. Each colorful model is placed on a large pedestal, soundtracked to the sounds of the robotic arm to its left.
French studio Warm Weekend’s 18 Drops of Sweat is an absorbing piece that feels strangely in place in the factory—as though an aspect of the original architecture. Presented in collaboration with Mathias Palazzi, Robinson Guillermet, and Galerie Boketto, the elevated structure was first designed as a hammam and has also served as a showering station for young refugee men.
Spread, a group founded by Haruna Yamada and Hirokazu Kobayashi, occupies its space in the factory with a lively installation of coated steel plates in various colors. The piece is meant to embody peace, love, and joy, and it brings delightful energy to a room currently sprinkled with graffiti.
I’m not afraid to say it—Habitare’s presentation, Materials and Objects, is one of the best of Alcova 2025. Various pieces by different companies and designers are presented alongside an (organized) onslaught of material samples. Viewers are encouraged to pick up and interact with the materials on display in a true design lover’s playground.
Very tall shelves line a long side wall and a large drafting table occupies the center of the room. Representatives from Habitare encourage viewers to pick up samples in the room to playfully create their own compositions. Each sample on display represents a currently available product. I could have spent hours in this room.
Leaving the factory and on to the next stop!
Villa Bagatti Valsecchi, making a repeat performance this year, in all its glory.
Beautiful light works by Roman artist Edoardo Cozzani, presented by Brooklyn-based gallery Zarolat, are a scene-stealer in Villa Bagatti Valsecchi. We were, surprisingly, encouraged to give them a light touch. The suspended glass pieces look remarkably organic—almost like jellyfish. These are not your typical living room lamps.
Design Signals is a long-term program started by Faber and curated by Martina Muzi. Each year, the project explores a key industrial sector within Timișoara, Romania, through the lenses of art, design, industry, and technology. Design Signals Snapshot, on display at Alcova this year, offers an overview of past editions. Synthia by Flora Lechner and Cristina-Sorina Stângaciu takes the form of an anthropomorphized automobile skeleton. Funky lighting sculptures by Théophile Blandet occupy the corner of the room.
Facing the opposite wall, wool textile works by Lavinia Ghimbasan and Studio Nalba provide commentary on the wool industry itself, which has declined in Romania in recent years.
In what is the most surprising discovery at the fair, Guatemala (yes—Guatemala, the country) has a booth at Alcova. Guatemala Diseña con las Manos, a presentation by the country, its tourism board, and various local design studios, invites visitors to explore its cultural heritage through material presentations. This large textile "pyramid" is by Idonika with architecture by Amarillo Studio, fabrics by Casa Edel, and immersive sound by Near Sound. It is inspired by Mayan architecture and is presented alongside local goods and designed objects.
Mexico City’s Sten Studio occupies a large room in Villa Bagatti Valsecchi with its new presentation, Cosmic Resonance. Each of the beautiful mixed-stone spires are incredible. Despite their assumed weight, they look stacked as easily as children’s blocks.
Occupying a large room, Material Bar is presented by the European Union and the Republic of Slovenia in partnership with the Centre for Creativity and Museum of Architecture and Design. The room, quite an attack on the senses, takes the form of a material and audiovisual mashup. Instead of drinks, this very blue bar serves materials. Viewers can interact with the various objects on display before taking a moment to sit with its accompanying publication.
Marlot Baus brings an eclectic mix of material, objects, and forms to Alcova this year. It was quite difficult to select one corner or object, but I kept coming back to this office set up on the back wall. The studio’s Canoa desk is a minimalist dream and its Mosaico chair has the appearance of neatly stacked wooden Lego bricks. The Cashew lamp (leftmost on the desk) feels very Alien, but it all strangely works together.
We nearly missed Ready to Hang’s booth at the very end of our tour and I’m so glad we didn’t. The New York studio creates beautiful collectible mirrors. The yellow cloth in its booth made for a sunny and warm presentation that highlighted the various shapes of each unique piece. It was a lovely place to end the day.
The brand’s Big Squeeze mirror has also made its way onto my ever-growing wishlist. I mean, just look at this simple beauty—need I say more?
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