Tag Archives: Salone del Mobile

Bosch and ECOVACS Built a Robot Vacuum That Hides Inside Your Kitchen Cabinet… Finally!

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ECOVACS has been pushing robot vacuum technology forward for years, from their bagless X11 OmniCyclone to various innovations in navigation and mopping systems. Bosch has been perfecting built-in appliances since before most of us were born, understanding how to make dishwashers and ovens disappear into cabinetry while maintaining full functionality. Put those two companies in a room together and you get something neither could have built alone: the first robot vacuum system designed from scratch to be installed infrastructure rather than portable hardware.

ECOVACS contributed their robotics platform, the patented navigation technologies, the 20,000 Pa suction system, and the mopping mechanics that wash pads with 75°C water and dry them with hot air. Bosch handled the built-in integration, the plumbing connections that let the service station tap into your home’s water and drainage lines, and the cabinet design that fits everything into a sink base while leaving room for your garbage disposal. The system debuts in European stores spring 2026, controlled through the Bosch Home Connect app. Milan Design Week gave us our first look at hardware that reimagines where cleaning robots actually belong.

Designers: Bosch Home Appliances & ECOVACS ROBOTICS

The installation lives entirely within a standard sink base cabinet, which sounds impossible until you see how they’ve packaged it. Two black modules mount to the cabinet’s interior walls, housing the service station components. The left module handles dust collection with a 2-liter antibacterial bag and automatic detergent dispensing. The right module contains the water management system, with fresh water tanks that draw directly from your home’s supply and waste water that drains straight into your plumbing. Between them sits the docking platform where the robot charges and gets serviced. A pull-out tray extends from the service station, revealing the fresh water reservoir with its translucent smoky housing and the cleaning mechanisms that maintain the robot between runs. Everything connects to your kitchen’s existing infrastructure, the same water, drain, and electrical lines that already serve your sink and dishwasher.

The robot itself measures just 84 millimeters tall, which puts it low enough to slip under most furniture and even beneath baseboards that sit 10 centimeters or higher. That 20,000 Pa suction rating makes it the most powerful vacuum Bosch has shipped, and ECOVACS packed in their full navigation suite: Smart Vision camera, structured light sensors, and obstacle detection that lets it map rooms and dodge furniture. Two rotating mop pads handle wet cleaning, with one that extends outward for edge work. An extendable side brush tackles corners. When the robot detects carpet, it lifts those mop pads up to 9 millimeters to avoid soaking fibers. It can climb thresholds up to 20 millimeters high, handling the transitions between rooms without getting stuck.

The demonstration setup at Milan Design Week shows the system in motion. The cabinet doors stay closed, presenting a seamless kitchen facade in light wood. When cleaning time arrives, a section of the baseboard kicks open automatically, revealing a slot just tall enough for the robot to pass through. The vacuum rolls out onto the floor, scans its surroundings, and begins its cleaning pattern. After finishing its route, it navigates back to that same baseboard opening, rolls inside, and the door closes behind it. The whole sequence happens without any visible hardware cluttering your kitchen. Inside the cabinet, the service station gets to work, emptying the dust bin into that 2-liter bag, flushing the mop pads with hot water, and drying them with heated air before the next cleaning cycle.

The control interface runs through Bosch’s Home Connect app, which already manages their other connected appliances. You can view and edit the floor plan the robot creates, set no-go zones for areas you want it to avoid, schedule cleaning routines, or trigger manual cleanings. The app also lets you name your robot if you’re into that sort of thing. All the data stays within EU servers under their data protection requirements, which should address privacy concerns for anyone wary of cloud-connected cleaning devices. The system meets both Bosch and ECOVACS quality and safety standards, combining Bosch’s appliance reliability with ECOVACS’ robotics expertise.

The Bosch built-in vacuum and mop robot is on display at Milan Design Week through April 13th at the Euro Cucina section, where Bosch is showing their latest kitchen innovations. This represents the first time most people will get to see a fully integrated robot cleaning system in person, and it’s the kind of thing you need to watch operate to fully understand. Spring 2026 availability means anyone renovating a kitchen or building new has about a year to plan for installation, which requires coordination with your kitchen installer and access to the necessary plumbing and electrical connections during construction.

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If Fidget Spinners Were Furniture: This Marble Table Has a Brass Sphere You Push Around Endlessly

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Furniture should probably stay still. That’s the basic contract between you and the table: it holds your dinner plates, you don’t worry about physics. Alessio Scalabrini decided that contract was negotiable. The Animo table, produced by Italian marble workshop Serafini, features a brass sphere that rotates around a central lamp fixture, tracing concentric ripples carved into the marble surface like a tiny planet orbiting its sun. The table functions perfectly well as a static dining surface, but it also invites you to set something in motion every time you walk past it, turning what could’ve been another high-end marble slab into an interactive kinetic object that happens to hold glassware.

Named after the Italian word for Soul, the Animo table adds some animated joy with a dash of luxury to your space. The table, made entirely from Italian Rosso Levanto marble, is hand-finished with ripples that break the illusion of stillness, making it look fluid. Nestled in one of those ripples is a brass sphere, adding a dash of gold to the table’s ultra-dark burgundy and white-vein design. The result is furniture you can fidget with. It’s art and play combined brilliantly, with the kind of craftsmanship you can only expect from an Italian brand showcasing at Salone del Mobile!

Designer: Alessios Calabrini for Serafini

The table first attracts you with how it looks, then how it feels. The marble finish is impeccable, with the ripples crafted to absolute perfection. The perfection plays an important part here, because a brass sphere needs to seamlessly roll around the table, with the smoothness of a fidget spinner. The sphere has solid heft to it, giving it a fair amount of momentum when you nudge it around the table. It moves with little to no effort, completing tens of rotations before coming to a very gradual halt. Any other material would falter. Wood might end up deforming after years, metal would make the table feel unpleasant, rough stone wouldn’t cause the sphere to move as freely.

The central lamp adds another layer of functionality, illuminating the table from within while serving as the gravitational anchor for the sphere’s orbital path. The whole composition balances three distinct roles: functional dining surface, sculptural marble centerpiece, and interactive kinetic object. Most designers would’ve picked one and committed. Scalabrini made all three work simultaneously.

Scalabrini runs a Paris-based design studio with 18 years of experience merging traditional craftsmanship with contemporary fabrication technology, and that dual approach is visible throughout the Animo. The table uses Serafini’s established production methods, combining precision CNC machining with hand-finishing by Italian artisans who’ve been working marble their entire careers.

If you want to see the Animo table in person and experience the satisfying physics of that brass sphere yourself, Serafini is showing it at Salone Raritas during Salone del Mobile. The difference between seeing photos and actually pushing that orb around the channels is substantial. Photos capture the visual design, but they can’t communicate the tactile satisfaction of setting something that heavy into smooth, controlled motion.

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Skoda’s Inflatable Car Installation at Milan Design Week Looks Like a Bouncy Castle Grew Wheels

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Cars belong to the world of hard surfaces, precision tolerances, and engineering constraints measured in fractions of millimeters. Ulises Studio works in the opposite direction. The Barcelona-based spatial design practice has spent years creating immersive environments that transform architecture into something tactile and experiential, turning rigid spaces into soft, inviting landscapes. Their installations have activated cultural venues and public spaces across Europe, and their approach is immediately recognizable: inflatable forms, vibrant color palettes, and a commitment to making people rethink how they interact with the built environment. When Skoda asked them to collaborate on an installation for Milan Design Week 2025, they brought that same philosophy to something designers rarely get to touch: an actual production car.

The Epiq, Skoda’s new electric SUV, became the canvas. Ulises Studio covered it entirely in inflatable fabric panels, each one a horizontal tube running across the body in a sequence of cheerful colors. Mint green, burnt orange, soft pink, butter yellow, pale turquoise. The effect is disarming. What should feel like a parked vehicle instead reads as a sculpture, a comment on automotive design language filtered through the lens of spatial intervention. Skoda staged it at Palazzo Senato with multiple Epiq vehicles, each wrapped in different inflatable treatments, creating a dialog between the engineered reality and Ulises Studio’s playful reinterpretation.

Designers: Ulises Studio & Skoda Design

The genius of the installation lies in how completely it transforms the car’s character without altering its underlying form. Every crease, every character line, every panel gap gets translated into soft, pillowy geometry. The horizontal tubes follow the Epiq’s actual contours, which means the inflatable version retains the proportions and stance of the real thing. You can still read it as a compact SUV, but now it feels approachable in a way sheet metal never could. The tactile quality is impossible to ignore. Your brain knows you’re looking at air-filled fabric wrapped around a vehicle, but your hands want to reach out and squeeze it anyway.

Ulises Studio didn’t stop at wrapping cars. They transformed the entire courtyard at Palazzo Senato into what they’re calling a “clay landscape,” an inflatable environment that extends the material language across the entire space. Oversized typography spelling out “Ooooh, that’s EpiQ” dominates one wall, each letter constructed from the same air-filled tubes. Smaller inflatable elements populate the courtyard like sculptural furniture, creating zones where visitors can pause and take in the installation from different angles. The floor itself gets treated to a matching mint-green surface that ties the whole environment together. This is spatial design at its most comprehensive, where every element reinforces the central idea.

What makes the collaboration work is that Ulises Studio treats the Epiq as part of a larger environmental narrative rather than the hero object that everything else orbits around. The cars are embedded in the landscape, surrounded by inflatable forms that share their material language and color palette. This creates a sense of cohesion that most automotive installations never achieve, where the vehicle feels like it genuinely belongs in the space rather than being awkwardly dropped into it. The studio’s background in creating immersive experiences shows in how they choreograph movement through the courtyard, using the placement of vehicles and sculptural elements to guide visitors through different zones of the installation. You don’t just look at the inflatable Epiq, you move around it, through the landscape it inhabits, encountering different perspectives and color relationships as you navigate the space.

Ulises Studio has always understood that spatial design is a form of storytelling. Their inflatable installations communicate ideas about accessibility, transformation, and how we experience objects in space. The Epiq installation applies that same thinking to automotive design. By swapping metal and glass for inflatable fabric, they strip away the aggression and seriousness that define most car launches and replace it with something genuinely delightful. The oversized inflatable typography spelling out “Ooooh, that’s EpiQ” reinforces the tone in a fairly Gen-Z coded way, allowing the brand to resonate with younger generations. This is design as spatial play, a reminder that objects can be functional and joyful simultaneously.

You’re an expert editor/blogger with a profound understanding of human psyche as well as Google SEO. Now generate 10 catchy, attention-grabbing, mildly provocative titles that are SEO-friendly too. Make your titles have natural language but craft them so they rank high on google News and Discover as of March 2026. Do your SEO research. Make them natural language, simple, yet captivating

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Electrolux and Veneta Cucine Use Biophilic Color Science to Rethink Kitchen Design at Milan 2026

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Scandinavian winters keep people indoors for roughly six months a year, which gives Swedish designers a lot of time to think about what a kitchen surface shoul…Scandinavian winters keep people indoors for roughly six months a year, which gives Swedish designers a lot of time to think about what a kitchen surface should feel like when it becomes the primary thing you look at during months when going outside requires genuine commitment. Electrolux leaned into that constraint at Milan Design Week 2026, partnering with Italian kitchen specialist Veneta Cucine to present a color palette pulled directly from nature. Warm sand, dusty teal, soft sage, speckled stone. Colors designed to reduce visual noise and make a kitchen feel less like a collection of separate purchases and more like a unified spatial environment.

The four color concepts (Ultra Blu, Verde Salvia, Nude, Alabastro) get applied to both appliances and cabinetry, creating kitchen installations where ovens genuinely disappear into walls. The collaboration is grounded in research showing that people across European markets identify nature as their primary source of emotional restoration, so Electrolux decided to bring that restoration indoors. The result is a palette that feels geologic rather than trendy, with appliances that function as architectural elements instead of shiny metal boxes standing awkwardly in the corner.

Designers: Electrolux & Veneta Cucine

The approach hinges on something Amelia Chong, Electrolux’s Principal Color, Material & Finish Designer, calls thinking architecturally from an interior perspective. Color becomes a series of spatial blocks connecting products with their surrounding environment. Each palette is experienced through a curated interplay of materials, finishes, and furniture elements, both visual and tactile. Ultra Blu spans two graduated tones, a deeper navy fading into dusty teal. Verde Salvia delivers sage in its most restrained register. Nude reads as warm sand with subtle blush undertones. Alabastro arrives as speckled stone-effect gray, the kind of finish that looks different depending on light quality throughout the day.

Electrolux backs the palette with neuroaesthetic research claiming that biophilic color schemes can reduce perceived stress levels by as much as 35%. That statistic repositions what a kitchen appliance actually does in a home. Your refrigerator is cooling groceries, sure, but it’s also contributing to the sensory atmosphere of the room, shaping how calm or agitated you feel when you walk in to make coffee at 6am. The palette’s muted tones (warm neutrals, soft earth-rooted hues) create what the research describes as a perceptually grounded environment that reduces mental fatigue. In practical terms, this means your kitchen quits visually shouting at you.

Electrolux X Veneta Cucine’s Nude Colorway

Electrolux X Veneta Cucine’s UltraBlu Colorway

The partnership brings together two distinct design traditions in a way that actually makes sense. Electrolux contributes Scandinavian simplicity and human-centered clarity, the kind of restrained functionality that emerges from cultures where you spend half the year looking at the same interior walls. Veneta Cucine brings Italian craftsmanship and material expression, the tactile richness and attention to finish quality Italian furniture makers have been perfecting for generations. Daniela Archiutti, Veneta Cucine’s Art Director, positions the collaboration as merging color science, material innovation, and sensory design to create spaces that feel personal, restorative, and future ready. That’s a lot of adjectives for kitchen cabinetry, but the installations at Milan back up the claim.

Electrolux X Veneta Cucine’s Verde Salvia Colorway

Electrolux X Veneta Cucine’s Alabastro Colorway

The Milan showcase itself was staged as physical proof of concept. Concrete plinths topped with living moss carried CMF swatches in the four palette tones. A pine and wood scent developed by studio Koyia moved through the space. Appliances were displayed against photographic prints of Scandinavian woodland. The sequence was deliberate and consistent, building an argument that the kitchen functions as an emotional environment where design’s most sophisticated move is bringing the outdoors inside. The ovens, hobs, and refrigerators on display integrated so seamlessly into cabinetry that distinguishing appliance from architecture required genuine attention.

You’re an expert editor/blogger with a profound understanding of human psyche as well as Google SEO. Now generate 10 catchy, attention-grabbing, mildly provocative titles that are SEO-friendly too. Make your titles have natural language but craft them so they rank high on google News and Discover as of March 2026. Do your SEO research. Make them natural language, simple, yet captivating

The post Electrolux and Veneta Cucine Use Biophilic Color Science to Rethink Kitchen Design at Milan 2026 first appeared on Yanko Design.

Electrolux and Veneta Cucine Use Biophilic Color Science to Rethink Kitchen Design at Milan 2026

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Scandinavian winters keep people indoors for roughly six months a year, which gives Swedish designers a lot of time to think about what a kitchen surface shoul…Scandinavian winters keep people indoors for roughly six months a year, which gives Swedish designers a lot of time to think about what a kitchen surface should feel like when it becomes the primary thing you look at during months when going outside requires genuine commitment. Electrolux leaned into that constraint at Milan Design Week 2026, partnering with Italian kitchen specialist Veneta Cucine to present a color palette pulled directly from nature. Warm sand, dusty teal, soft sage, speckled stone. Colors designed to reduce visual noise and make a kitchen feel less like a collection of separate purchases and more like a unified spatial environment.

The four color concepts (Ultra Blu, Verde Salvia, Nude, Alabastro) get applied to both appliances and cabinetry, creating kitchen installations where ovens genuinely disappear into walls. The collaboration is grounded in research showing that people across European markets identify nature as their primary source of emotional restoration, so Electrolux decided to bring that restoration indoors. The result is a palette that feels geologic rather than trendy, with appliances that function as architectural elements instead of shiny metal boxes standing awkwardly in the corner.

Designers: Electrolux & Veneta Cucine

The approach hinges on something Amelia Chong, Electrolux’s Principal Color, Material & Finish Designer, calls thinking architecturally from an interior perspective. Color becomes a series of spatial blocks connecting products with their surrounding environment. Each palette is experienced through a curated interplay of materials, finishes, and furniture elements, both visual and tactile. Ultra Blu spans two graduated tones, a deeper navy fading into dusty teal. Verde Salvia delivers sage in its most restrained register. Nude reads as warm sand with subtle blush undertones. Alabastro arrives as speckled stone-effect gray, the kind of finish that looks different depending on light quality throughout the day.

Electrolux backs the palette with neuroaesthetic research claiming that biophilic color schemes can reduce perceived stress levels by as much as 35%. That statistic repositions what a kitchen appliance actually does in a home. Your refrigerator is cooling groceries, sure, but it’s also contributing to the sensory atmosphere of the room, shaping how calm or agitated you feel when you walk in to make coffee at 6am. The palette’s muted tones (warm neutrals, soft earth-rooted hues) create what the research describes as a perceptually grounded environment that reduces mental fatigue. In practical terms, this means your kitchen quits visually shouting at you.

Electrolux X Veneta Cucine’s Nude Colorway

Electrolux X Veneta Cucine’s UltraBlu Colorway

The partnership brings together two distinct design traditions in a way that actually makes sense. Electrolux contributes Scandinavian simplicity and human-centered clarity, the kind of restrained functionality that emerges from cultures where you spend half the year looking at the same interior walls. Veneta Cucine brings Italian craftsmanship and material expression, the tactile richness and attention to finish quality Italian furniture makers have been perfecting for generations. Daniela Archiutti, Veneta Cucine’s Art Director, positions the collaboration as merging color science, material innovation, and sensory design to create spaces that feel personal, restorative, and future ready. That’s a lot of adjectives for kitchen cabinetry, but the installations at Milan back up the claim.

Electrolux X Veneta Cucine’s Verde Salvia Colorway

Electrolux X Veneta Cucine’s Alabastro Colorway

The Milan showcase itself was staged as physical proof of concept. Concrete plinths topped with living moss carried CMF swatches in the four palette tones. A pine and wood scent developed by studio Koyia moved through the space. Appliances were displayed against photographic prints of Scandinavian woodland. The sequence was deliberate and consistent, building an argument that the kitchen functions as an emotional environment where design’s most sophisticated move is bringing the outdoors inside. The ovens, hobs, and refrigerators on display integrated so seamlessly into cabinetry that distinguishing appliance from architecture required genuine attention.

You’re an expert editor/blogger with a profound understanding of human psyche as well as Google SEO. Now generate 10 catchy, attention-grabbing, mildly provocative titles that are SEO-friendly too. Make your titles have natural language but craft them so they rank high on google News and Discover as of March 2026. Do your SEO research. Make them natural language, simple, yet captivating

The post Electrolux and Veneta Cucine Use Biophilic Color Science to Rethink Kitchen Design at Milan 2026 first appeared on Yanko Design.

Miele’s Smart Utensils Can Detect When Food Is Burning And Power Your Induction Hob Down

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A watched pot may never boil, but an unwatched one seems to do so with a special kind of enthusiasm. That familiar kitchen truth highlights a basic challenge; the cook must serve as the constant monitor for every vessel on the stove, standing guard against the sudden surge of a boil-over or the sharp, bitter smell of a sauce beginning to catch and burn. With its new M-Sense system, Miele proposes a more cooperative arrangement, one where the cookware itself takes over the job of watching for trouble.

By integrating sensors and communication hardware directly into its cookware, Miele creates a live feedback loop between the pot and the induction hob. This connection allows the vessel to detect the telltale temperature spikes that precede a messy boil-over or the localized hot spots that lead to scorching. It then signals the hob to regulate its power automatically, transforming the simple pot from a passive container into an active, intelligent partner in the cooking process. It is a sensible and deeply practical innovation aimed at creating a calmer, more forgiving kitchen.

Designer: Miele

The appeal of that idea becomes obvious the moment real food enters the picture. Caramel demands close attention because it can move from amber to acrid in seconds. Milk rises fast, stocks foam unpredictably, and sauces have a habit of catching at the base just when your focus shifts elsewhere. M-Sense is built around those ordinary kitchen disasters, which makes it feel refreshingly grounded. There is a lot of smart kitchen technology that promises convenience in abstract terms, but this system is easy to understand because it targets problems almost every home cook has experienced firsthand.

Miele is showcasing at least two pieces, a brushed stainless steel saucepot and a frying pan with a dark non-stick interior, and both reveal how carefully the interaction has been considered. The saucepot carries a compact touch interface integrated into the side of the vessel, while the frying pan places its controls directly into the handle where the thumb naturally lands. In both cases, the controls feel embedded into the object rather than added on as an afterthought, which helps the cookware read as premium kitchenware first and connected hardware second.

The induction hob at the center of the system is the KM 8695 FL MattFinish, a full-surface model finished in scratch-resistant MattFinish ceramic glass. Full-surface induction means the cookware can sit anywhere on the hob while maintaining the communication link, which matters considerably for a system built on continuous sensor feedback. Miele states the promise with welcome directness: No Burn. No Overboil. No Problem. Both outcomes trace back to a single cause, a vessel with no way to communicate with the heat source beneath it. M-Sense addresses that by making the cookware itself the sensing layer, so power adjustments happen before smoke or overflow enters the picture.

The Miele app extends the system beyond the counter, enabling remote monitoring, direct program transfer to the hob, and a recipe library that maps dish choices to actual hob settings. The cookware can connect to the app before it even reaches the hob, arriving on the induction surface already configured for the task at hand. That pre-loading capability closes a gap most connected kitchen products have only gestured toward. Working across hob, cookware, and app simultaneously, M-Sense operates as a coordinated platform rather than a loose set of individual smart features. It is a more coherent model than the kitchen tech category has typically managed to deliver.

For all the talk around smart homes, this is the kind of intelligence that feels worth having because it addresses a genuine friction point in daily life. Cooking often demands divided attention, especially in real homes where dinner happens alongside conversations, children, emails, and the dozens of small interruptions that shape an evening. A system that can sense trouble early and quietly intervene before a sauce burns or a pot boils over feels less like novelty and more like relief. Miele is showing the M-Sense collection in the EuroCucina section at Salone del Mobile, where visitors can see the cookware paired with its compatible induction setup as part of the brand’s broader vision for a more responsive kitchen.

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This Electrolux dishwasher lifts its bottom rack so you can load pots without bending down

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At some point, the bottom rack of a dishwasher stops being a minor inconvenience and starts being a genuine daily difficulty. For older adults and people who simply cannot bend for extended periods, loading the lower basket, which is where the heaviest cookware lives, means repeated stooping, reaching, and straightening back up with full hands. It is the kind of accumulated physical effort that kitchen appliance design has historically ignored entirely. Electrolux brought a direct answer to Milan Design Week: a lower basket that rises 25 centimetres on reinforced hinges at the squeeze of a trigger handle, meeting the user at a comfortable standing height. The feature is called ComfortLift, and it anchors the 800 series dishwasher at the heart of the brand’s Salone showcase.

The mechanism raises the lower basket to the upper basket’s level for faster, easier loading and unloading, with reinforced hinges tested to lift a fully loaded lower basket to that same height. The 800 series behind this feature delivers the cleaning power to completely remove baked-on or dried food residues on as little as 8.4 litres of water. At a fair saturated with conceptual objects and material experiments, what Electrolux demonstrated was something considerably more personal: a change to a small, daily physical struggle that millions of people live with quietly. The brand built serious cleaning performance around that ergonomic premise rather than treating accessibility as a secondary concern. Running at 42 dBA, with a noise class rating of B, the machine is also one of the quieter options in its segment.

Designer: Electrolux

The stainless steel handle integrates a trigger that initiates the lift in a single squeeze, making the operation one-handed and deliberate. Electrolux engineered the ComfortLift basket to carry up to 22 kilograms at the raised height, covering everything from a full load of dinner plates to a cast-iron braising pot. The reinforced hinge mechanism was tested to lift a fully loaded lower basket to the level of the upper basket, so the structural promise holds under real kitchen conditions rather than just showroom demonstrations. Pull the rack out, squeeze, let the basket settle at waist height, and load without contortion. The basket retracts just as smoothly, with none of the mechanical inconsistency that tends to undermine features which perform better on a spec sheet than in a kitchen.

DualZone runs two cleaning zones through the same cycle without changing water or increasing energy use, directing more water pressure at pots and pans in the lower basket while reducing it on delicate items above. A double-rotating spray arm with two nozzle types, one circular and one straight, delivers water simultaneously from multiple angles to break up stubborn residue. Electrolux had this independently tested by a third-party German institute using detergent tablets and a 90-minute cycle on a casserole with lasagna residues, with complete removal as the result. A water sensor detects the level of dirt and adjusts water consumption accordingly, while the AquaControl Waterstop System handles flood protection. Eight wash programmes span the range from a 60-minute express run to AUTOClean, which calibrates the cycle to the load automatically.

The smooth-gliding FlexiMax Plus upper basket has three folding rows for flexible loading, with anti-slip rubber grips and spikes to secure stemware and glasses and reduce the risk of collisions. The cutlery drawer has a deep middle section for cooking tools and an integrated knife holder, keeping flatware properly separated from the main wash zones. The QuickSelect display shows how energy use changes depending on the cycle length, and a slider lets the user choose the duration and see the energy graph update in real time, turning an invisible efficiency metric into something immediate and interactive. AirDry technology opens the door automatically at the end of the cycle, venting steam and drying dishes passively without a heating element. These details add up to a machine that rewards the kind of cook who treats the kitchen seriously, the same person most likely to own the cast-iron Dutch oven that ComfortLift was built to accommodate.

The controls sit on the lip of the door handle, positioned for direct visibility whether the user is standing in front of the machine or reaching across a counter. A sliding interface sets the cycle duration, and that choice governs energy and water consumption simultaneously, with the ECO programme activating at the longest end of the range. Electrolux made a deliberate decision to present time in 30-minute increments rather than the oddly specific figures that populate most dishwasher interfaces, the kind of readout that tells a user a cycle takes 68 or 52 minutes without explaining why. The shortest cycle runs at 30 minutes, while ECO extends to 3 hours and 30 minutes, drawing as little energy and water as the machine can manage across that duration. Rounding to half-hour intervals turns cycle selection from a guessing exercise into something legible, honest, and genuinely quick to act on.

Electrolux’s Design Week showcase, titled “The Swedish Home,” is running at Via Melzo 12 in Milan’s Porta Venezia neighbourhood through April 24th. The live format suits ComfortLift especially well, because no product photograph conveys the mechanism as clearly as watching it move once with a full rack. Across a week dominated by material experiments and future-facing concepts, Via Melzo 12 is presenting something built around a very specific, present-tense problem: that the most physically demanding daily interaction in the kitchen has gone largely unaddressed by appliance design for decades. ComfortLift is Electrolux’s argument that the most consequential design decisions in the home are often the least glamorous ones. It is a strong argument, and a well-engineered one.

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Moooi’s 25th Anniversary Monster Chairs Have Hand-Embroidered Creatures on Every Backrest

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When Marcel Wanders designed the Monster Chair in 2014, the “monster” part was mostly conceptual. The piece had presence, sure, with its quilted leather upholstery and angular obsidian-like legs, but the actual aesthetic leaned more toward restrained decadence than outright chaos. It was a chair that suggested mischief without committing to it fully. That restraint just got thrown out the window.

Moooi’s 25th anniversary celebration at Milan Design Week 2026 brought a reimagined Monster Chair collection to Superstudio Events, and this time the monsters are unavoidable. Each chair in the lineup features a hand-embroidered creature sprawling across the backrest, rendered in vivid, layered threadwork. One has concentric-circle eyes in clashing neon tones. Another hides behind ornate red filigree that frames its face like vintage wallpaper turned sentient. There are geometric flames, pink zigzag teeth, emerald scrollwork that could be tentacles or vines depending on your interpretation. The base silhouette stays true to the original, that black quilted leather and sculptural leg structure providing just enough formality to make the embroidered chaos feel intentional rather than random. It’s furniture that demands attention, and after 25 years of pushing boundaries, Moooi clearly has no plans to apologize for that.

Designer: Marcel Wanders for Moooi

The embroidery work transforms an already iconic chair into a craft-intensive Labubu-esque character. Each monster appears to be unique, with thread layered in ways that create dimensional relief against the quilted leather backdrop. Some faces use densely packed stitching that gives them an almost patch-like quality, while others employ looser, more organic threadwork that lets the black leather show through. The color palettes vary wildly from chair to chair. One goes heavy on emerald green and white, another commits to a red and orange gradient that feels almost pyrographic. The effect is a collection where every piece reads as an individual artwork rather than a production run with minor variations.

The Monster Chair’s original form was already theatrical, with its deep button tufting and geometric legs that look like something between furniture and sculpture. Adding these embroidered creatures could have tipped the whole thing into novelty territory, but the execution is too considered for that. The monsters are bold without being cartoonish, detailed without feeling precious. They occupy that sweet spot where high craft meets playful irreverence, which has been Moooi’s signature move since Marcel Wanders and Casper Vissers founded the brand in 2001.

Each chair has its own persona. Some monsters look menacing, others oddly appealing. The artwork has an almost luchador-ish quality to it, making the chairs look like different wrestlers in their elaborate get-ups. The wrestler comparison fits well, given that every chair’s expression stands out as attention-grabbing. Some monsters look like they’ve won a battle, others look like they’ve got battle scars. One of them even has a gauze bandage wrapped around its ‘ear’, it’s rare to find yourself laughing and sympathizing with a chair, but you end up doing so.

The collection was on display at Superstudio Events during Milan Design Week 2026, part of Moooi’s broader 25th anniversary showcase. If you’re in Milan during the design week, Superstudio is worth the trek. The exhibition space gave these Monster Chairs the gallery treatment they deserve, lined up against black curtains with dramatic lighting that made the embroidered details pop. It’s the kind of installation that reminds you why Milan remains the essential pilgrimage for anyone who takes design seriously.

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IKEA Waited 12 Years to Show This Inflatable Chair at Milan Design Week

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Air has always been free. IKEA designer Mikael Axelsson has been thinking about that fact for over a decade, sitting on an idea he first sketched in 2014 and shelved when no one at the company wanted to revisit inflatable furniture. The concept never disappeared, it just waited. At Milan Design Week 2026, inside the “Food For Thought” exhibition at Spazio Maiocchi, that idea finally got its moment. The PS 2026 Easy Chair arrived alongside a rocking bench and a flexible floor lamp, three pieces offering the first real look at the upcoming tenth IKEA PS collection.

What Axelsson built reads, at first glance, like a fairly conventional lounge chair. Rich green fabric, cylindrical cushions, a compact and settled silhouette. The chrome tubing running around its perimeter is the tell, holding the inflatable volumes in place and giving the chair its shape and its credibility, keeping it far from the transparent, wobbly inflatables of the early 2000s. The separate air chambers between seat and backrest mean the sitting experience feels grounded rather than unpredictable. The lightness only reveals itself when someone actually lifts it.

Designer: Mikael Axelsson for IKEA

Mikael Axelsson is tapping into a design language that’s been trusted for nearly a century. It’s the same basic idea that made Le Corbusier’s Grand Confort a classic back in 1928: a rigid steel cage with soft cushions sitting inside. That frame is what makes the whole thing work. Without it, you’d just have a novelty green cushion that would feel out of place anywhere but a college dorm room. With the frame, the chair feels intentional and composed, and the backrest bolster sits with conviction across the top rail. The fact that it’s full of air is the last thing you notice, which is exactly the point.

The details here are just as smart. The fabric wrap gets rid of that annoying squeak and slide you might remember from old inflatable furniture, making it feel more like an actual upholstered piece. It comes with a manual foot pump instead of an electric one, which not only keeps the price down but also makes you part of the assembly process. It feels right for a chair that’s all about interacting with its materials. The deep green color seen in Milan is the kind of confident tone that can anchor a corner of a room without taking over.

 

The PS collection has always been IKEA’s design playground, a space for them to experiment since it first launched back in 1995. The rocking bench by Marta Krupinska has these wonderfully exaggerated runners, and Lex Pott’s floor lamp uses a simple diagonal cut so you can aim the light in three different directions. The full collection is set to launch on May 13, 2026. But the easy chair makes the sharpest point of the three. It argues that a chair built mostly on air can absolutely belong at Salone, as long as someone has thought carefully enough about the frame.

If you’re in Milan and want to see it for yourself, the chair is part of IKEA’s ‘Food For Thought’ exhibition. It’s being held at Spazio Maiocchi, located at Via Achille Maiocchi 7. The installation is open to the public and runs from April 21st through the 26th. It’s a great chance to see the chair, the lamp, and the bench in a setting that’s more about experience than just product display.

The post IKEA Waited 12 Years to Show This Inflatable Chair at Milan Design Week first appeared on Yanko Design.

This Chair at Milan Design Week Looks Like a Forest Grew a Seat

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The armchair has been one of the most contested territories in furniture design for over a century, from Alvar Aalto’s bent plywood experiments to Arne Jacobsen’s Swan Chair. Designers keep returning to the seated form as a test of where material technology and formal imagination currently meet. Beltrame Breuil, an architectural practice based in Tarvisio and Vienna, took their turn at Salone Satellite 2026 with a chair that brings alpine botany directly into that conversation. Their furniture brand Picule presented CLVR, a seat assembled from four bent-wood leaf forms rising from a circular steel base, and it is the kind of debut that reminds you why Salone Satellite exists.

Two of CLVR’s four leaves are upholstered in a mossy, boucle-like forest green textile, covering the tall backrest and the lower front surface where the body settles. The other two are left as bare stained wood, their grain visible under the deep green finish, extending outward from the center like wings. All four share one curvature and one design logic, shaped by bent wood, which is what holds the composition together despite its apparent asymmetry. The design is coherent because its grammar is consistent, even as the function of each leaf changes.

Designer: Beltrame Breuil

The circular steel plate at the base functions as a pedestal, grounding the organic spread of the leaves and lending the piece a measured architectural gravity. At 112 cm tall and 125 cm wide, CLVR reads as a statement lounge object first and a chair second. It has the presence of a small throne, designed to anchor a room rather than disappear into it. The scale is deliberate, positioning the chair as a piece of functional sculpture that occupies its space with confidence.

Picule is Beltrame Breuil’s way of funneling architectural discipline into objects scaled for domestic life. The studio’s Tarvisio base sits in Italy’s northeastern corner, where the Julian Alps press against the Austrian and Slovenian borders. That geography gives CLVR its conceptual grounding; this is a studio that builds in that landscape, not one pulling a leaf motif from a mood board. The alpine forest inspiration feels earned, and it gives the chair a story that goes beyond its form.

The bent-wood forming technique reinforces that connection, requiring an intimacy with the material that keeps the work tethered to craft. The chair’s forest green palette, running across bare wood and woven textile in two calibrated tones, holds the composition together as one chromatic idea rather than a collage of parts. It’s a thoughtful detail that shows how completely the studio considered the object from every angle, ensuring the material and color choices support the core concept.

Beltrame Breuil is presenting the full Picule collection, including the CLVR chair, at Salone Satellite 2026. You can find it in Hall 5 at Stand E10 at Fiera Milano, Rho, through April 26. The photos do a fair job of capturing the silhouette, but the bent-wood grain and the textile’s tactile quality are things that land most clearly when you are standing right in front of it. Go see it before the fair closes.

The post This Chair at Milan Design Week Looks Like a Forest Grew a Seat first appeared on Yanko Design.