© CasaVitra at Fuorisalone, Foto: Eduardo Perez © Vitra
Amid the hundreds if not thousands of installations on show at Milan’s annual Salone del Mobile many stood out for their sophistication and ingenuity. Some were hi-tech or boasted big budgets, while others went for a more theatrical or ethereal approach using lighting and sound or minimal materials to make a big impression.
Memorable examples of the latter included German lighting designer Ingo Maurer’s transformation of Milanese architectural icon Torre Velasca into a glowing red beacon for car brand Audi, Japanese architect Sou Fujimoto’s responsive forest of dappled and moving light in an abandoned 1930s theatre for fashion brand COS and Japanese watchmaker Citizen’s mesmerizing take on the passing of time with a dazzling suspended installation of 120,000 glittering watch parts.
Perhaps more interesting however was the way well-established furniture brands chose to innovate with their fair stands and exhibition spaces and approach the temporary structure as proper architecture. 2016 marked the ascent of the architectural installation. (Giovanna Dunmall)
Memorable examples of the latter included German lighting designer Ingo Maurer’s transformation of Milanese architectural icon Torre Velasca into a glowing red beacon for car brand Audi, Japanese architect Sou Fujimoto’s responsive forest of dappled and moving light in an abandoned 1930s theatre for fashion brand COS and Japanese watchmaker Citizen’s mesmerizing take on the passing of time with a dazzling suspended installation of 120,000 glittering watch parts.
Perhaps more interesting however was the way well-established furniture brands chose to innovate with their fair stands and exhibition spaces and approach the temporary structure as proper architecture. 2016 marked the ascent of the architectural installation. (Giovanna Dunmall)