large.jpg

What It’s Like to Do an Eight-Hour Sprint Through Milan Design Week

A Ligne Roset sofa that isn’t a Togo, copious cork, really big beds—and more of what Dwell’s visual media producer loved in Italy.

If you had just one day at design week in Milan, how would you spend it? That’s the question I posed to myself when I landed in the city for its 63rd edition. The answer turned out to be: See 11 exhibitions, attend two dinners, shake upwards of 50 hands, take more than 1,100 photos, and set a new personal record for most steps taken in a day at 23,532. (Take that, Duncan Nielsen!)

Between a room made entirely from cork, a maze wrapped in faux fur, and a decrepit space with loose floorboards underfoot, photographer Olga Mai and I were able to cover a lot of ground—more than eight miles worth. Here’s everything we saw on Thursday last week as we zigzagged across Milan.

Nilufar Depot (10:00-10:40 a.m.)

On Thursday morning, we were off to a late start because someone
missed the train. But I was able to catch up with Olga around 10:20 a.m. just outside of Nilufar Depot, a Milanese gallery and staple of Milan Design Week that’s known for its juxtapositions of older icons and newer designs. To celebrate the 10th anniversary of the depot (Nilufar Gallery proper has been around since 1979), Nilufar designed its presentation to function as something of a walking theater, unfolding as five acts across its three floors. When walking through the space, it almost felt like exploring an impeccably curated vintage store, as familiar floor lamps, tables, and chairs stood against brand new designs. The effect was a fantastic tasting menu of where we’ve come from in furniture design, and where we might be headed.

Upon entering the space, we were greeted by a fur-lined maze with an emphasis on metal furniture, all co-curated by Fosbury Architecture. Within it, corners were populated by well-known works like Mario Bellini’s Chiara floor lamp and contemporary counterparts like Studioutte’s Armadillo Low table, both shown above.
An entirely red room by Objects of Common Interest occupied a corner of the second floor, adding a nice surprise within Nilufar Depot’s bright atrium. Last year, they went all in on purple. Perhaps we’re moving through the spectrum and can expect an orange-drenched exhibition in 2026.
An emerald nook full of amber-hued pieces certainly caught my eye. Along with beautifully carved wood seating and storage units, marble stools and side tables created a pleasing mix of materials.

See the full story on Dwell.com: What It’s Like to Do an Eight-Hour Sprint Through Milan Design Week
Related stories:

large.jpg

There’s a Garden on Every Level of This Renovated ’70s Beach House

A floor-to-ceiling slider connects the primary bedroom to one, while another surrounds a covered patio off the living space.

Houses We Love: Every day we feature a remarkable space submitted by our community of architects, designers, builders, and homeowners. Have one to share? Post it here.

Project Details:

Location: Brunswick Heads, Australia

Architect: Fraser Mudge Architects / @frasermudge

Footprint: 2,131 square feet

Builder: Morada Build

Structural Engineer: Phillip Wallace

Landscape Design: Cooke Landscape Architecture

Lighting Design: LO-FI

Interior Design: Fraser Mudge Architects with We Are Triibe

Photographer: Tom Ross / @tomross.xyz

From the Architect: “The project recomposes an original Brunswick Heads beach cottage, providing a modern addition to a classic ’70s Australian coastal streetscape. A new half level is added above and below the existing (raised) split-level home, leaving four split levels connected via a central staircase.

“The house was designed for a family of four interested in living in an unconventional but small building footprint. Each half level has its own personal connection to a series of gardens, including roof gardens and a garden void that provides each level with it’s own unique atmosphere.

“The covered outdoor area is pushed out from the building, not only defining the garden void but allowing winter sun to pass over the single-story kitchen/living wing and fall into the space.

“The primary en suite is designed as an outdoor space, without any windows, which defines a direct connection to the roof garden. Hinged timber screens can be adjusted to control light and privacy to the area.”

Photo by Tom Ross

Photo by Tom Ross

Photo by Tom Ross

See the full story on Dwell.com: There’s a Garden on Every Level of This Renovated ’70s Beach House
Related stories:

this-multitiered-residence-in-the-pasadena-hills-was-completed-while-its-architect-william-kesling-was-behind-bars-at-san-quentin.jpg

This $1.9M Streamline Moderne Home Just Surfaced in Shipshape Condition

The multitiered residence in the Pasadena hills was completed while its architect, William Kesling, was behind bars at San Quentin.

This multitiered residence in the Pasadena hills was completed while its architect, William Kesling, was behind bars at San Quentin.

Location: 412 Glen Holly Drive, Pasadena, California 

 Price: $1,895,000

Year Built: 1938

Architect: William Kesling

Footprint: 2,106 square feet (3 bedrooms, 3 baths)

Lot Size: 0.14 Acres

From the Agent: A rare 1938 streamline moderne home prominently anchored in the cherished Poppy Peak Hills area of Pasadena. Kesling’s unquestionable creativity and design talents were only superseded by his apparent financial misdeeds—while serving in San Quentin for fraud in 1937, he allegedly allowed the John L. Hudson Construction Company to oversee and sign off on the completion of the home. The uppermost level has direct access to the living room, dining area, galley kitchen (with a newer dishwasher and Sub-Zero refrigerator), and a half bath. A broad outdoor deck, reminiscent of a steamliner’s bow, provides effortless alfresco entertaining and captivating hillside views. The primary bedroom offers a full bath with dual vanity sinks and a walk-in closet. Two additional bedrooms, a complimentary full bath with a step-in shower, and an adjacent balcony complete the middle level. The garage, laundry, and storage can be found on the lower level.”

Cameron Carothers

The corner lot promises double-exposure views.

The corner lot provides double-exposure views.

Cameron Carothers

A reverse floorplan means you enter this home on the top floor.

The layout places the entrance, common areas, and primary bedroom on the top floor.

Cameron Carothers

See the full story on Dwell.com: This $1.9M Streamline Moderne Home Just Surfaced in Shipshape Condition
Related stories:

the-master-bedroom-incudes-closet-doors-and-a-floating-shelf-cupboard-combo-clad-with-polished-plywood.jpg

Almost Every Furnishing in This Multigenerational Flat Was Designed From Scratch

In India, architect Abhishek Patel works with local manufacturers to create marble, brass, and plywood furniture perfectly tailored to his family’s needs—at a lower cost than high-end retail.

The master bedroom incudes closet doors and a floating shelf-cupboard combo clad with polished plywood.

Although the Indian city of Rajkot is located in the west-coast state of Gujarat, it’s far enough inland that its climate is hot, with daytime highs averaging over 90 degrees for eight months a year, and over 100 from April through June. That’s why, when moving into an apartment tower there, architect Abhishek Patel and his family (including his wife and parents) chose a west-facing unit on the top floor, 14 stories up, to take advantage of cooling evening breezes.

Architect Abhishek Patel's apartment for his family was designed to be what he calls "a light, airy and minimalistic environment that is both functional and easy to maintain."

While designing his family home, architect Abhishek Patel sought to create “a light, airy and minimalist environment that is both functional and easy to maintain.”

On the Move Island

Because the tower is located next to Saurashtra University, with its lower-slung buildings and a large cricket field, “It’s a seamless view,” Abhishek says. “I can enjoy sunsets and even cricket matches from my balcony.”

Located on the top floor of a 14-story apartment building, the home's living room extends onto a balcony, where the residents can socialize or drink their morning tea.

The apartment is located on the top floor of a 14-story building, and the living room extends onto a balcony, where the residents can socialize or drink their morning tea.

On the Move Island

The home is filled with custom furniture, including this living room sectional sofa with wall-mounted back rests, and a coffee table clad in two shades of marble.

The home is filled with custom furniture, including this sectional sofa with a wall-mounted back rest, and the coffee table clad in two shades of marble.

On the Move Island

See the full story on Dwell.com: Almost Every Furnishing in This Multigenerational Flat Was Designed From Scratch
Related stories:

large.jpg

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.
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.

See the full story on Dwell.com: The Most Eye-Catching Moments at Alcova Milano 2025, According to Dwell’s Visuals Editor

the-exterior-of-the-home-is-clad-in-norway-spruce-all-of-the-windows-are-from-velfac-with-the-sliders-from-schuco.jpg

The Green Roof on Their Icelandic Cabin Blends With the Forest Floor

A family’s country retreat is designed to further blur into its setting with walls of windows and natural wood finishes.

The exterior of the home is clad in Norway spruce. All of the windows are from Velfac, with the sliders from Schuco.

Wanting an occasional break from the city, Hákon and Lilja started looking for a place they could escape to. “It was important for us to have a retreat where we could disconnect from the fast pace of urban life and immerse ourselves in nature,” Hákon says. The Reykjavík residents imagined something in the countryside where they could relish Iceland’s short-but-sweet summers, and in colder months, peer out from wide windows. “Somewhere we could experience the changing seasons from our living space,” adds Lilja.

The exterior of the home is clad in Norway spruce. All of the windows are from Velfac, with the sliders from Schuco.

Reykjavíc residents Hákon and Lilja built a cabin outside the city that provides them with a slower pace. The exterior is Norway spruce, the windows are from Velfac, and the sliders are from Schuco.

Photo by Nanne Springer

The "bird's nest

“The nest,” what the Gláma-Kím team calls the home’s glass-wrapped second level, sits directly above the living room.

Photo by Nanne Springer

In the living room, an Artek daybed is covered in Helios dark green fabric from Johanna Gullichsen.

In the living room, an Artek daybed is covered in Helios dark green fabric from Johanna Gullichsen.

Photo by Nanne Springer

See the full story on Dwell.com: The Green Roof on Their Icelandic Cabin Blends With the Forest Floor
Related stories:

japan-3d-printed-a-train-station-in-just-six-hours.jpg

Japan 3D-Prints a Train Station in Six Hours—and Everything Else You Need to Know About This Week

In the news: E-bikes stir up controversy in Ohio Amish country, Airbnb buys influence in NYC elections, unfair labor practices drive contractors out of work, and more.

Japan 3D-printed a train station in just six hours.
  • In Ohio’s Amish country, E-bikes are zipping past horse-drawn buggies, as if the future is lapping the past. Now the divided community has to decide whether the bikes are a modern convenience or a threat to tradition. (The Wall Street Journal)
  •  Japan built the world’s first 3D-printed train station in just six hours—offering a fast, cost-cutting solution to rural rail challenges amid a shrinking population. Here’s how they did it. (The New York Times)

  • Locked out of New York City by strict, short-term rental laws, Airbnb is pouring $5 million into a SuperPAC to back election candidates who support loosening those restrictions—and the city’s powerful hotel industry is not happy. (Gothamist)

The other sofa in the collection is made of cotton/linen, leather and solid pine.

One of the sofas from the 40th anniversary release of Ikea’s Stockholm Collection is made of cotton/linen, leather, and solid pine.

Courtesy of Ikea

  • Contracting work has devolved into a ruthless grind of cut-rate bids and illegal labor practices, driving even the most skilled workers out of the industry. One Connecticut homebuilder shares just how bad things have become. (The New York Times)

  • Dwell’s executive editor, Kate Dries, visited Stockholm recently to preview the 40th anniversary of Ikea’s Stockholm Collection, which was just released. While there, she asked the company’s designers which items they keep for themselves. (Dwell)

Top image courtesy of Serendix Inc./neuob Inc.

chip-detweilers-1974-residence-is-an-ode-to-tropical-brutalismand-its-been-meticulously-restored-down-to-the-original-deep-blue-shade-of-its-garage-door.jpg

An Architect’s Historic Home Overlooking Honolulu Just Hit the Market for $3.5M

Chip Detweiler’s 1974 residence is an ode to tropical brutalism—and it’s been meticulously restored down to the original deep-blue shade of its garage door.

Chip Detweiler’s 1974 residence is an ode to tropical brutalism—and it’s been meticulously restored down to the original deep-blue shade of its garage door.

Location: 2244 Round Top Dr, Honolulu, Hawaii

Price: $3,495,000

Year Built: 1974

Architect: Chip Detweiler

Renovation Designer: Rick Kinsel

Footprint: 2,064 square feet (2 bedrooms, 2 baths)

Lot Size: 0.23 Acres

From the Agent: “This tropical brutalist home, designed by architect Chip Detweiler, is a striking example of minimalist design that perfectly integrates with its natural surroundings. With open-screen windows inviting the tropical elements inside, the home embodies the principles of passive architecture. Detweiler’s use of concrete, wood, and stone creates a clean, honest aesthetic that highlights simplicity and functionality. The bold structure, paired with deep ocean-blue accents, reflects the essence of tropical brutalism, offering a timeless connection to the Pacific landscape. Detweiler’s design not only captures the beauty of the environment but also delivers a space where luxury and functionality meet, enhancing the experience of living both indoors and out.”

Chip Detweiler designed many homes across Hawaii, with this being his personal residence. It won him an American Institute of Architects Award when it was originally designed.

Chip Detweiler designed many homes across Hawaii, and this one was his personal residence. The project received an award from the American Institute of Architects when it was originally built.

Mariko Reed

Before: A view of the home’s original living area.

Add credit

Mariko Reed

Before: A portrait of architect Chip Detweiler in his Honolulu home.

See the full story on Dwell.com: An Architect’s Historic Home Overlooking Honolulu Just Hit the Market for $3.5M
Related stories:

large.jpg

My Dream Sofa, the Couch Doctor, and Me

When I bought a couch from a friend, I had no idea I’d have to pay someone to take it apart.

Welcome to Sofa Sagas—stories about the circuitous search for a very important and occasionally fraught piece of furniture.

When I moved into my Brooklyn apartment in 2020, there was already a couch in the living room—far too wide to be removed, I was told, and very comfortable. Because I’d just spent the equivalent of one month’s paycheck on the things I’d need to live in this apartment, the couch was fine. Aesthetically, not my taste, yes, but comfortable enough for me to sit on and watch TV for hours in silence. After a year or so living with this sofa, which was large, brown, overstuffed, and sort of hideous, it became the target of my decor-related ire. I did not like the couch; crucially, I didn’t pick out the couch, and so, because of that reason specifically, it had to go.

Buying a new couch is a fraught and stressful decision for reasons we enumerate frequently at this publication—the furniture you choose to live with says what you don’t about who you are, and often, nice things cost big money. The couch of my dreams is a Maralunga, specifically the one I saw once on Chairish in prissy lilac leather. It cost around $4,000 and needed to be shipped from Italy, both factors that put it far out of budget and practicality. I pivoted my search towards a spate of your standard Instagram furniture purveyors, lured in by the prospect of being able to get what I wanted when I wanted it, and how. And, for reasons I still don’t understand, the next sofa I wanted was to be green—not quite olive and not quite emerald, but a green that, perhaps, only existed in my head.

Armed with these requirements, I found a couch that I liked enough: an olive-pine green three seater with a vaguely midcentury feel, with a bench cushion, a decision that would come to haunt me in the future. The price was right (under $2,000 and financed over a year with no interest), it could be delivered to me in a reasonable amount of time, and came in flat boxes that I could reasonably get into my apartment myself.

 A couple of days before the new couch was set to arrive, two men removed the big brown one from my living room, a treacherous process that took out one banister post from the stairs and I fear nearly killed the men I’d hired for this task. I tipped them generously and enjoyed sitting on the floor of my empty living room until my new couch was delivered. When it arrived, I very politely asked one of my sisters to help me drag the boxes up the stairs; once she left, it took me about 20 minutes to assemble the new sofa and shove it into place. It is at this point where I realized that I’d made two mistakes, neither of which were particularly grave at the time, but would later contribute to the couch’s eventual downfall. One, the couch itself was not nearly as comfortable as I’d anticipated; and two, more importantly, the bench cushion I selected for aesthetics, did look good, but wasn’t the most long-lasting solution.

The furniture you choose to live with says what you don’t about who you are, and often, nice things cost big money.

Over time the couch got more comfortable but really only in one spot, my preferred corner, which positioned me with the best vantage point to watch TV while reading a book. I flipped the cushion; I tried sitting on the other side a bunch. But after five years or so, I realized that there was nothing more I could really do—the couch was lumpy now, and worse, the green that I’d selected with such care was now the only thing I could think about when spending any time in my living room.

The other couch I wanted to buy that wasn’t the expensive Italian one was a less-expensive Danish one: the Teddy by Omhu, a big squishy pile of foam anchored by two Corbusier-adjacent chrome bars. I found it in a store in my neighborhood and sat on it multiple times; I measured my very narrow living room in an attempt to see if this large and wide boy would fit. Various people in my life who were privy to my obsession tried to tell me that this couch would be too large; I listened but did not necessarily hear their warnings. And honestly, if I had followed the impetuous demon that occasionally grabs ahold of my credit card, I think that I’d be disappointed now. But luckily, the couch I would soon truly love was the couch I didn’t even know I needed—and getting it was a labor of love and an awful lot of money. 

After much discussion, a friend bought a sofa on Facebook Marketplace, a low-slung, vintage three-seater, in a nubby cattlehair blend fabric, resting on a rectangular mirrored base, made by Eppinger Furniture., a company based on the Upper East Side in New York that made custom office furniture in the 1960s that wouldn’t be out of place in a well-appointed home now. (This burlwood and chrome desk is ready for the boardroom of a Madison Avenue ad agency, and yes, is heavily inspired by Milo Baughman’s work.) I loved it; she loved it, until she got it, lived with it in her house for a bit, and realized that it was not her style at all. I sat on the sofa and found it comfortable. I wanted the sofa to be mine. And $600 later, it was.

Thankfully, because it is 2025 and the task economy is booming, it was very easy for me to get the sofa from her house, which is at the other end of Brooklyn from mine. Two men again came to my apartment in the early hours of the morning and removed my old couch for donation. Two different men drove to my friend’s house, loaded the sofa into their truck, and brought it up the stairs to me. Once they made it up the two twisty, narrow landings, and into the hallway directly outside my apartment, it became clear pretty immediately that there was no way this couch was going to get through the door.

After fifteen minutes of trying to, I don’t know, shove the sofa in myself, I realized that 1) the men who brought it up here were charging by the minute and 2) there was no way in hell this would work. “You might have to call someone,” one man said to me, as he gathered his moving blankets. “Like maybe the Couch Doctor.”

Couch doctors—or surgeons, your preference—are services that will disassemble and reassemble your furniture item so that it can fit through the door and get into your home. There is something terrifying about what they do—how can a sofa be sawn in half like a magician’s assistant and then reassembled as if it never happened in the first place? A part of me never wanted to find out firsthand, but when faced with the sofa I loved (and purchased), standing at attention in my narrow hallway, I did what I had to do.

In a state of mild distress, as I assume all who use this service are, I texted the number on NYC Couch Doctor’s website and explained the situation. A third, different, set of men showed up about 45 minutes later and after a brief examination, explained what would have to happen. Sawing the thing in half and shoving it through the door was not in the cards—the rectangular base, attached to the bottom of the sofa so that it appears to be floating, was the problem. After about 20 minutes, I emerged from the bedroom and found the sofa being put back together in my living room. The men had removed the base, reattached it, and placed the couch where I wanted it to go. I sent them on their way, and after a 15 minute period of relaxing and reassessing my financial situation in light of this $950 task, I felt something akin to peace. All told, between the sofa itself, the multiple movers, and the couch doctors, I spent around $2,000. The couch I loved was now mine—and, given the effort it took to get it in here, will be mine forever, or as long as I decide to stay in my apartment. To get the thing out of my house again will require the same service. It’s a price I might be willing to pay in the future, but for right now, my sofa and I are happy.

Illustration by Franz Lang

Related Readimg:

My Big-Box Store Sofa Does Exactly What My DTC Sofas Didn’t

My Wayfair Sofa Is Perfectly Fine—and That’s Good Enough for Me