
Going Straight to the Material: An Interview with Len Carella
What if the real shift is not what you make, but how you make it? Len Carella on clay, working by hand, and the California landscapes he returns to daily with his dog Renzo.
ISSUE 00 – OUT SEPTEMBER 2027

What if the real shift is not what you make, but how you make it? Len Carella on clay, working by hand, and the California landscapes he returns to daily with his dog Renzo.

Six decks, a pool, and a bathroom worth lingering in. Inside AMOR À VIDA, the details make you curious about the person who imagined it all.

What happens when the things you once took for granted begin to look different? Katia Langeard reflects on clay, memory, Soviet modernism and the landscape of Èze.

Daniel Heilig takes us through the first CURRENTS Berlin with the new Sigma BF, from university labs to emerging studios and German design icons, offering a personal snapshot of a scene finding its own stage.

Ebba Lindgren is interested in what happens when an idea is allowed to stay slightly unruly. From glass shoes to AI, she reflects on taste, touch, imperfection and the very human instinct to care about what we make.

Floral arrangements are becoming objects in their own right, with shape, tension and character. From Tableau to Tereza Kaspar, flowers are starting to occupy a room with the presence of design.

Palazzo Ca’ Donà briefly becomes a cultural space for ORBITA Venezia, bringing contemporary art and collectible design into a historic residence before it returns to private use.

A Chinese garden window, a hidden screw, a child pointing to something in the corner. Xiaotong Wang’s world is built from details that reveal themselves slowly, shaping a practice where memory and curiosity become form.

What happens when a material starts making decisions of its own? Dámaso Mayer, founder of Estudio Material, reflects on intuition, landscape and the unexpected turns that shape an object before it is finished.

Millaux treats bedding like fashion: something to dress, layer and change with your mood. Behind the playful bedclothes is a more intimate idea of home, memory and the rituals we return to every night.

Richard Snyder’s Round the World belongs to a time when furniture could still be strange, funny and difficult to explain. A cabinet, a sculpture, and a small argument for making things before taste has the chance to interfere.

What if the most interesting rooms are the ones that refuse to belong to a single moment? Dina Vierny’s Paris apartment shows how art, memory and new lives can accumulate without erasing what came before.

His objects ask you to assemble, rotate and look again. An interview with Thalis Nicolaou on simple geometries, hidden logic and staying close to the process.

For Kodai Iwamoto, design began long before design school: with fishing trips, repaired tools and the belief that making belongs to everyday life.

A tiny silver bird. A carved key. A hand hidden in the wood. The more I looked at Sawkille’s furniture, the more I realised I wasn’t looking at furniture anymore.

She almost gave up on design then one object changed everything. We sat down with Naama Hofman to talk about belonging, light, and finding a creative voice.

Silver furniture is making a quiet comeback. Once associated with futuristic interiors and polished minimalism, reflective metal pieces are returning in softer, more sculptural forms, bringing light, contrast and a touch of glamour to contemporary spaces.

Animal print interiors are quietly becoming sophisticated again. From zebra upholstery to tiger-striped walls, the new animalier feels less maximalist and more cinematic, sensual and emotionally charged.

Wallpaper is returning, but not quietly. From surreal woodgrain rooms to cinematic textures, the new wave of interiors is embracing atmosphere, tension, and walls with personality again.

In the days before Milan Design Week, everything exists in anticipation: fragments, signals, early impressions. This is not a guide, but a considered edit of what already feels interesting.

A cobalt cabinet that transcends function to become pure presence, Katarzyna Baumiller Studio’s work exists between sculpture and architecture, where repetition, material tension, and deliberate imbalance redefine space with quiet yet undeniable authority.
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A slow ritual in a fast world.