Architectural Cases

During Milan Design Week 2026, a captivating collaboration between the esteemed design studio Snøhetta and USM Modular Furniture has culminated in an immersive installation titled “Renaissance of the Real.” This artistic endeavor, situated in the tranquil gardens of Fondazione Luigi Rovati, challenges conventional perceptions of space and material. It skillfully merges the structured elegance of modular systems with the soft, inviting qualities of fabric, creating an environment that encourages visitors to engage their senses and reconsider their relationship with their surroundings.

Renaissance of the Real: An Ethereal Landscape in Milan

In the spring of 2026, at the prestigious Milan Design Week, the architectural firm Snøhetta joined forces with USM Modular Furniture to present an exceptional installation named “Renaissance of the Real.” This visionary project unfolded within the picturesque garden of Fondazione Luigi Rovati. From April 20th to 24th, 2026, visitors were invited to experience a constructed landscape that seamlessly integrated USM’s iconic modular grid with Snøhetta’s innovative use of soft textile membranes. The exterior featured USM’s recognizable green panels arranged in low platforms and open frameworks across the lawn, filtering sunlight and allowing the garden’s natural beauty to shine through. This permeable scaffolding guided movement and framed the existing architecture. Inside, a large, white textile form, designed by Snøhetta, gently expanded and contracted, held within the precise steel framework of the USM Haller system. This deliberate contrast between the rigid, geometric lines of steel and the fluid, organic curves of the inflated volume created a compelling tension, inviting observers to contemplate the interplay of form and perception. As guests transitioned from the structured exterior to the ethereal interior, the change in light, acoustics, and tactile sensations was subtle yet profound. The textile surfaces diffused daylight into a soft, even glow, while the shadows of surrounding trees danced across the curved walls, transforming the space into a dynamic, sensory experience. Modular blocks formed the seating and flooring, echoing the external grid but softened by the ambient environment. The installation also incorporated subtle sound frequencies, evocative scents, and tactile cues, alongside daily vinyl listening sessions, to heighten sensory awareness and foster a deeper connection between individuals and their immediate environment. Anne-Rachel Schiffmann described the USM grid as an invitation, filtering the external world and drawing attention inward toward light and human connection, demonstrating how engineered order and physical softness can harmoniously coexist.

This groundbreaking installation offers a profound contemplation on the nature of reality and perception. By juxtaposing rigid modularity with soft, flowing forms, Snøhetta and USM invite us to question the boundaries between structure and fluidity, the tangible and the ephemeral. The deliberate recalibration of sensory input—through diffused light, subdued sound, and inviting textures—highlights the importance of our immediate environment in shaping our experiences. It encourages a mindful engagement with space, reminding us that true immersion often comes from a subtle orchestration of elements rather than overt declarations. Ultimately, “Renaissance of the Real” serves as a poignant reminder that beauty and understanding can emerge from the harmonious interplay of seemingly opposing forces, enriching our perception of the world around us.

The Visteria Foundation proudly presents its latest exhibition, "Polish Modernism: A Struggle for Beauty," at Milan Design Week 2026. This captivating showcase, held on the 16th floor of Milan’s iconic Torre Velasca from April 20 to 26, delves into the inherent strength and innovative spirit of Polish design. Curated by the insightful duo Federica Sala and Anna Maga, the exhibition masterfully intertwines historical design achievements with contemporary creations, illuminating how Poland's rich and often tumultuous past fostered a distinctive modernist movement.

This exhibition is not merely a chronological display of design evolution; it is a profound conceptual exploration. The narrative is shaped by the scenography of Zofia Wyganowska Studio, which thoughtfully interacts with the Brutalist architecture of the Torre Velasca. The display features significant works from acclaimed Polish artists such as Władysław Strzemiński, Edward Krasiński, and Katarzyna Kobro. Additionally, it includes rare loaned items from the National Museum in Warsaw, spotlighting furniture from Jan Kurzątkowski and Bohdan Lachert, alongside Teresa Kruszewska’s famous Muszella chair.

A dedicated section of the exhibition highlights the "IWP (IID)_Design Repository_2.0" project, where modern designers reimagine classic pieces. This initiative takes archival icons, such as the 'meblościanka' (wall unit) and 'amerykanka' (convertible armchair), and transforms them into experimental prototypes. These reinterpretations demonstrate how modernist principles can be applied to current production standards, extending beyond simple reconstruction to embody the enduring logic of modernist thought.

The exhibition’s title draws inspiration from Irena Krzywicka’s 1948 writings, positing modernism not merely as a stylistic preference but as a powerful act of cultural resilience. For Poland, this movement represented a comprehensive effort to forge a national identity. Eschewing the conventional dichotomy of form and function, Polish designers embraced modernist principles to push creative and technical boundaries, aiming to benefit ordinary citizens and enhance daily life.

Under the leadership of founder Kataryna Jordan, the Visteria Foundation champions Polish design as a crucial "competence for the future." This perspective is deeply rooted in the legacy of the Institute of Industrial Design (IWP), established in 1950 by Wanda Telakowska. As one of Europe's oldest design institutions, the IWP operates on the fundamental belief that beauty is a universal right, not a luxury reserved for a few. This ethos continues to inspire and guide the foundation’s vision.

The curatorial approach for "Polish Modernism: A Struggle for Beauty" deliberately contrasts the rigorous functionalism of early modernism with later postmodern interpretations. This juxtaposition reveals a continuous return to modernist ideals as a dynamic response to societal and cultural shifts. For the foundation's president and the curators, a central question underpins the entire exhibition: in an age grappling with overproduction and climate crisis, what does it truly mean to be modern, and what are the essential needs of contemporary society?

Bridging historical periods, the exhibition also showcases newly commissioned works from notable designers including Tomek Rygalik, Maria Jeglińska-Adamczewska, Paweł Olszczyński, Igor Polasiak (Craftica Gallery), and Maja Ganszyniec. These artists have created pieces specifically for this event. Additionally, works by Mati Sipiora, Marek Bimer, Aleksandra Hyz, Monika Patuszyńska, and Małgorzata Markiewicz are featured, reflecting how modernist concepts continue to influence current design. Their contributions symbolize a contemporary understanding of the "struggle for beauty" as a pursuit for an improved quality of life amidst present-day uncertainties.

Following its showing at Milan Design Week, the exhibition is scheduled to move to the Visteria Foundation’s headquarters at the Gawroński Villa in Warsaw in September 2026, extending its reach and impact.