A collection of complex maps made up of words, doodles, anecdotes, and drawings that portray the cities represented, but also the author himself, who reflects his personal experiences, interests, and critiques on them. The extraordinary meticulousness and small size of each drawing makes the details hardly noticeable from the distance, _x005F_x000D_ left to be discovered only from up close.

The career of brothers Ronan (1971) and Erwan (1976) Bouroullec gained renown steadily from its early stages. Italian designer Cappellini discovered them in 1997, and after working with Galerie Kreo, Issey Miyake, or Rolf Fehlbaum (Vitra Chairman), prominent firms like Alessi, Hansgrohe, or Samsung started commissioning designs from them. Despite this they keep running their studio of around six collaborators, developing a variety of works, from jewelry to larger architectural interventions. In either small pieces of craftsmanship or industrialized works, color, originality, and inventiveness are their signature features.

Ever since he started out in his small tavern Aponiente, Ángel León has developed a cuisine with strong ties to the sea. This earned him the popular title of ‘Chef of the Sea’ and two Michelin stars that go with him to his new premises, a large warehouse that was once a tide mill, on a salt pan by the marshes of Cádiz. With the same team and the same ideas, he now works to continue growing (though maintaining the same number of diners), and in a future fill the salt pan with vegetable gardens and animals, generating a self-sufficient system that he ironically envisages as the Disney World of cuisine.

After the opening of Fondazione Prada, the Armani/Silos and the Expo, Milan’s efforts to be the center for architecture and design are going stronger than ever. The capital of Lombardy also holds Milan Design Week, which has become its most anticipated event. Countless exhibitions are held around the city to compete with the overwhelming cast of firms that display their products at the Fiera designed by Fuksas. The new trade fair complex hosts the Salone Internazionale del Mobile, which has celebrated its 55th anniversary this year with a record attendance: close to 400,000 people have visited the 270,000-square-meter complex.

For the occasion of the 2017 Salone del Mobile, Studio Formafantasma has been invited to occupy and re-open the Milanese venue Spazio Krizia, after several years of vacancy. Known as one of the most prominent locations of the ‘Fuorisalone’, the space has previously hosted presentations from designers such as Ingo Maurer and Ron Arad.

While the finished objects are formally developed and define a new, more industrial direction for the studio, the experiments (concisely named by the designers as ‘tests’ and numerically divided) demonstrate the duo’s intuitive and research-based process. Designed as three-dimensional sketches, these tests are instinctively, yet carefully assembled, using stationary (pencils and erasers) and standard industrial materials (steel rods, bricks and insulation material). LED strips are left visible and unfiltered, embracing the punctuated light as an opportunity, rathen than a limitation. The result is a meticolous investigation into the components of light – reflection, shadow, color, space – and the use of optics, mirrors and glass to shape it. 

Elements which at first appear sculptural, reveal a specific intent on closer inspection. Responding to the lack of colour saturation during the winter months, the designers created three objects which cast brightly-tinted reflections on walls, through the use of layered dichroic glass. Another object, fitted with a crystalline, polycarbonate lens suspended under a LED light source, is designed to cast a perfect round reflection on the floor. When using the very symbol of sculptural materials -bronze- the designers apply its most basic characteristics: weight and reflectiveness. In this way, ‘Foundation’ highlights the studio’s consistent focus on rethinking object typologies through material investigations.

Conceived in a timeless style, ‘Madera Meets Dekton’ is a unique sideboard or credenza more than 2.5 meters long, 0.7 high, and 0.46 wide. The furniture piece presents a Dekton structure (in the ultrabright black Spectra tone) attached to two solid pieces of walnut wood. 
The walnut wood worked by Riva 1920 comes from American reforestation zones, and its curvature is obtained through the use of cutting-edge machinery. Natural-based oils and waxes are applied to the wood as a finish. The result is testimony to all the research, innovation, and experimentation that is part of the DNA of Riva 1920. The assemblage of drawers integrated into the credenza is executed through the typical fitting method called dovetailing, whereby two complementary parts of pieces are joined by pressure.

Daniel Germani es el director creativo y fundador de Daniel Germani Designs. Nació y creció en Buenos Aires, Argentina. Tras completar sus estudios como arquitecto, Daniel pasó ocho años viviendo y trabajando en Europa en diversos proyectos creativos y empresariales. Reside en Phoenix, Arizona, donde su trabajo está enfocado en el diseño de muebles personalizados y la renovación arquitectónica. La estética de Daniel está influenciada por Bauhaus, Oscar Neimeyer, Le Corbusier, Mies y Frank Lloyd Wright, y su filosofía es simple: el buen diseño siempre debe ser honesto e inspirador.

Vases that float like jellyfish in the water. 30 vases of various sizes are placed in a 1800 mm aquarium filled with water and the strength and direction of the water’s current is carefully adjusted so that they undulate moderately. The vases are made out of ultrathin transparent silicon that has been dyed twice to give the impression that what is floating in the water is but a gradated silhouette of colours. 
The design was to redefine the conventional roles of flower, water, and vase by making the water inconspicuous, with an ensemble of both flowers and vases floating inside the filled water, as opposed to simply showing off flowers in a water-filled vase.

At the Cosentino City Milan, located in the heart of the city at Piazza Fontana 6, Cosentino presents the latest colour collection, Silestone Eternal, a dazzling, new range of colours which pay homage to the most sought-after, exotic marbles in the natural stone sector.

Cosentino City Milan also host a singular project, “Madera Meets Dekton”, developed together by Cosentino and Riva 1920 and designed by Daniel Germani. A timeless credenza of more than 2.5 meters long, 0.7 meters high and 0.46 meters wide. The art piece includes a splendid architectonical case of the ultracompact surface Dekton®, fabricated in its shiny black hue Spectra XGloss, which is embraced by two charming fragments of solid walnut wood. (Press preview: April 3rd, 11am).

In addition, at the Milanese collective exhibition Ladies & Gentleman  (room#1, Via Cesare Correnti, 14), Cosentino and the design studio Apparatu, lead by Xavier Mañosa, present “Dektonclay”, a new project which explores the versatility of the material Dekton®, exploring the idea of the kitchen by creating a collection of pieces that gathers cooking and eating through one material. Attracted by the idea of using the same material in every part of the kitchen, he presents a collection of table and kitchenware, furniture pieces and even a kitchen itself. The ovens, the kitchen top, the structure and the handles are created with handcrafted Dekton®. (Press event: April 4th, 6-8 pm).

There are over 650 Google web fonts available for free. Problem is, pairing typefaces isn’t easy. And, many of the fonts in Google’s library don’t work well when applied to typical webpage (desktop) layouts. Using passages from the Project Gutenberg transcript of Æsop’s Fables, this collaborative, ongoing project helps provide typographic inspiration for using Google’s free web fonts.

Cyl was originally conceived for the home as a table programme, but soon we sensed the potential to turn it into a system with a larger range of typologies. It was an important step to realise that its domestic qualities are interesting in the office landscape. We think the simplicity of Cyl responds to a demand for clarity and fosters a welcoming atmosphere in the office world.