Two Dwell Staffers Debate the Best of Salone del Mobile

Salone del Mobile, held at the Rho Fiera Milano Fairgrounds in Milan, Italy, is the largest design event of its kind in the world, both by size and attendance and because of this, it can be an overwhelming experience. If you haven’t yet been, we’ll put it simply: this trade show is damn huge.

Spanning 16 pavilions, Salone, as most call it, is a truly global design event for industry folks and design lovers alike. And while it feels impossible to see everything on your list, there’s still the thrill of the chase when looking for the next direction design will take.

For Dwell’s visual media producer, Ian Zunt, and visuals editor, Alex Casto, it was their first time at the fair, and they were on a mission to see everything they could during their one day wandering the halls. Below, you’ll find a brief selection of the objects and presentations that got them talking the most—along with their relatively unfiltered thoughts.

Leuchte 47 by Niklas Rechfelden

For the University of the Arts Berlin presentation in the fair’s emerging designers section, Rechfelden took a closer look at one of the most utilitarian objects out there: rain gutters, reimagined as floor lamps. The lights are constructed from Formfleece, an extremely moldable (and recyclable) material that takes on a felt-like quality without losing its shape.

Ian Zunt: Alex felt so negatively about these lamps that I had to basically beg her to let us include them here. But thankfully, this is about what moved us, no matter which direction. And maybe it’s my Seattle origins, but I felt very connected to the clear utilitarian inspiration behind these lamps, and I’ll give Rechfelden points for using a warm bulb.

Alex Casto: I really don’t love these lamps! I’m probably being overly dramatic, but there is something about the material choice (and seams) that looks unfinished. I suppose sustainability really is the point here, though, so my respect to Rechfelden for being far less picky than I.

The Memphis Room by Memphis and (AB)NORMAL

Memphis’s immersive display at the fair found itself in balance between the concepts of archive and renewal. For the fair, the brand introduced several never-before-seen pieces, and placed them into a remarkably groovy living room.

IZ: While navigating the 16 pavilions that comprise Salone, I was on the hunt for commitment, and (AB)NORMAL, the architecture firm that designed The Memphis Room, delivered. The setting was well-developed, making impressive use of graphic plywood, which allowed the furniture to stand out as definitively cool.

AC: Ian, I’m so glad you flagged this as a must-see. While I’m not the biggest fan of Memphis style myself, I have such great respect for the absolute originality of the pieces that comprised this space. It’s quite rare to witness this many at once and it was a thrill to visually absorb.

Orionte

Santiago Orionte’s eponymous brand presentation featured sleek lighting from his Aura and Balance collections. The piece that divided Dwell most was this vertically suspended model.

AC: I appreciate the visual impact of this lamp, but I’m finding its impracticality off-putting. Functionality needn’t always be a concern, but this piece seems like a pain to install, much less to clean. If purchasing from this collection, I’d go for a more traditional tabletop model—I swear that I do like lamps!

IZ: What I like about it might actually be that inflexibility. Much like the Parentesi Suspension Lamp, Orionte’s lamp requires commitment. This lamp is not for renters, and a boy can dream of someday experiencing that lifestyle!

The 442 Chair by Marlon Wilde

Wilde’s 442 Chair is framed by a single stainless steel tube, bent using CNC technology, and uses soft PVC film for the seat.

AC: I’m a real sucker for a wonderfully weird chair, so I obviously loved this. Future collecting goals aside, I love the minimal use of material in this design and found it to be surprisingly comfortable.

IZ: It simply isn’t my taste, I fear. I have a hard time embracing plastics in a room, though I do appreciate being able to see the metal frame so clearly.

Marset

Spanish brand Marset brought their new collection to the fair’s Euroluce lighting showcase with a warm and wood-heavy installation and many, many glowing models.

IZ: These were delightful. Proportionally, they appeared perfect, and after we flipped the switches enough times I think we can both agree that the user experience was pretty flawless. My favorite piece was that wall-mounted version in the back left.

AC: I had a feeling Marset would present something beautiful, but I was even more engrossed by this than I thought I might be. The wooden displays worked quite well with the warm light emanating from the various pieces, which all felt quite sturdy but gracefully so. It was all quite calming.

Kintoun Kits by Studio Minomushi

Designer Taishi Sugiura’s "participatory furniture-making kits" are aimed at engaging the younger generation. By providing various animalistic forms as bases, the kits encourage children to explore furniture production through polyurethane foam.

AC: I find these little sheep-inspired forms so delightful. I was obsessed with all sorts of "kits" as a child, whether it be a Chia Pet or Sea-Monkey. I loved my various Chia Pets, but the latter were obviously and fundamentally horrible. This kit seems like a tasteful compromise. I am in full support of long- lasting collectibles that adults and their little collaborators will cherish (and hopefully hand down).

IZ: Initially, I loved these forms and their ability to give a modern edge to a children’s product without losing the necessary playfulness. What I struggle with here—and perhaps it’s rooted in the over-DIYed nature of pandemic-era foam furniture—is the material choice. When I see polyurethane foam or resin, all I can think about is its inability to biodegrade, so I’d love to see this project develop with a more responsible material choice.

Gufram and (AB)NORMAL

Gufram’s colorful presentation at Salone del Mobile included famous pieces by the brand, including Bocca, Pratone, and Cactus. Like The Memphis Room, it was showcased within (AB)NORMAL's Italian Radical Design booth.

AC: Now this is art. What I find so rewarding about Gufram’s designs is that they present so strikingly in both homes and traditional gallery spaces. While I can't say I’d jump on a purchase of this kind, the avant-garde sensibility behind each of these works still feels radical today.

IZ: This isn’t my style, but I can get behind it if the energy is right at the end of the day. My apartment just isn’t big enough to even consider these in application.

Acquaforte

Acquaforte, a Milan-based design studio, produces a range of concrete-and-steel lamps while aiming to repurpose urban waste.

AC: I don’t mean to speak ill of us both, Ian, but I think our collective trend-forward brains got the best of us here. I’d jump on these pieces in a heartbeat—they just feel so casually cool and playful. In my not so humble opinion, the mint-green piece (shown at the top of this article) should have been manufactured in classic titanium white.

IZ: The sounds we made when we saw these should be cause enough for concern. Over the past few years, an unexpected terrazzo placement has lost its edge, but there’s something really pleasing about the proportions of this line of lighting and the palette of repurposed materials like concrete and aluminum. But we both agree: the mint green skews a bit too pastel-core.

When Light Challenges Perception by Ingo Maurer

Ingo Maurer might not need an introduction, but we’ll give you one anyway. The late German designer, nicknamed the "poet of light," is best known for his impressive ability to marry playfulness and simplicity. For this year’s Euroluce lighting pavilion his legacy was on full display with reissues and new introductions.

AC: From the vintage Fiat to the dinner plates, wow, what a fun display. This presentation was so appealing. While I’m familiar with the brand, this felt fresh and seductive. Ingo Maurer, please take my money?

IZ: Unfortunately, I had high hopes for this one. While my obsession with the paper Lampampe lamp shows no signs of stopping, the work felt uncohesive against the setting, though it was a delightful surprise to spot a Lucellino lamp through the rearview window.

Luis Marie

Luis Marie is a collaboration between Fenna Marie van der Klei and Patricio Luis Nusselder. The studio’s work investigates the connectedness of traditional European craftsmanship and technological design. At its foundation, the brand interprets exquisite craftsmanship into modern forms.

IZ: I have to say, that coffee table was the best thing I saw at Satellite (the emerging designer section of Salone). The pleasing color palette was simple color theory, but I was inspired by the perfect technical execution of weaving solid wood. No wonder Luis Marie won a SaloneSatellite award this year. I could have told you they would ;)

AC: It took a moment for me to really appreciate the craftsmanship in this booth. I was sold when Patricio explained that the Elepé table lamp is constructed of a single sheet of aluminum. The brand’s Petit table eventually reminded me of Carlos Cruz-Diez’s work as well, which I deeply admire.

Knoll

As perhaps the biggest name that we encountered at Salone this year, Knoll had a reputation to uphold. For the third year in a row, the furniture brand’s pavilion was designed by Belgian architecture practice OFFICE, and the work it showcased ranged from reissues of classics to brand new collaborations.

IZ: Listen… Knoll knocked it out of the park. The setting, the new pieces introduced—each time I successfully walked through a partition without hitting a glass wall was a delight, because I got to live another moment to see more. From Willo Perron’s Perron Pillo Sofa to Jonathan Muecke’s dining set, there was a lot to see in Knoll’s corner of the fair, and absolutely all of it was great. Points to the design team for considering sustainable material practices when building the structure, as well.

AC: Walking into this setup felt like being transported into a midcentury Southern California dream house—the palms were such a nice touch. While many of the designs on display are already quite well known, there’s always something exciting about seeing an iconic design tweaked just enough. Only Knoll can make the Wassily chair feel fresh again by simply making it all red.

Bitossi Ceramiche

Italian brand Bitossi Ceramiche brought a wide variety of products to their showcase at the fair. Dwell’s team found themselves focusing on a blue-green vase designed by Patricia Urquiola.

AC: Call me ignorant, but I was unfamiliar with Bitossi Ceramiche until we stumbled upon their booth. There are some ceramics here that I feel are a bit too kitschy, but the simpler executions feel very strong. I was happy to hear that Ian and I both picked the Urquiola as our favorite—like a stellar painting in a group show, sometimes you just know which work is best.

IZ: Agreed. It was a great moment to take time to process all of the work just to turn to Alex, ask her which was her favorite piece, and have her point at exactly the vase I was prepared to vouch for.

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