In Trento, the exhibition “Hit List 80. Design, interface, colour” revisits the 1980s through Memphis and a local scene where design, architecture, and image converge—revealing how our contemporary understanding of objects took shape.
From sensory memory to material reconstruction, Memo. Souvenirs du futur stages a form of design that moves between loss and repair, turning the climate crisis into a field of action.
At Collect art fair in London, ceramics, textiles, and jewelry highlight how craftsmanship is emerging as a conscious alternative to accelerated production and instant culture.
Sound systems move into museums, boutiques and even brutalist churches, shifting listening from background to space. We set out to understand what this shift really means.
Amid experimental galleries and radical objects, Collectible Brussels reveals a still-elusive collectible design, where the boundaries between art, craft, and research grow increasingly fluid and hard to define.
From the return of color to the end of minimalism: how emotional design and the promise of wellbeing are redefining domestic interiors.
At Triennale Milano, the exhibition “Lella and Massimo Vignelli. A language of clarity” reconstructs a “biography through projects” that goes beyond style: from visual systems for companies and institutions to the grids that now structure interfaces and information, their method continues to organize the way we read the world.
From Pratone to Strum to the Piper-Pluriclub, a shared cultural matrix emerges: a Turin that functioned as a laboratory where design first took shape as experience rather than object.
At Triennale Milano, Andrea Branzi by Toyo Ito. Continuous Present does not attempt to bring the author into the present, but makes visible the distance he comes from: a time when design could be theory, critique, and the construction of imaginaries.
At Milan’s Castello Sforzesco, an exhibition retraces the work of Gianfranco Frattini through iconic furniture, glass pieces, and new editions produced by companies such as Cassina, Gubi, and Poltrona Frau.
Defying the reigning minimalism, the new Chief Design Officer tells Domus how to restore cultural density, a plurality of forms, and the centrality of the human being to technology.
At the Paris fair Matter and Shape, limited-edition design experiments with new materials and new typologies: from red mycelium to repairable light bulbs.
