by Eleonora | May 26, 2026 | Custom interior Decoration
The evolution of contemporary living requires an increasingly deep fusion between architectural design and excellent craftsmanship. The project signed by Saglietti Group in Alassio perfectly embodies this synergy by translating into a custom-made interior design intervention where the structural constraints of the building site are transformed into key elements of spatial aesthetics. Born from the ongoing collaboration withArchitect Giorgio Domenino and coordinated by the technical expertise of Daria Bergese, this path was developed in two distinct temporal phases redefining an original dwelling of about 60 square meters and integrating it, in 2025, with an extension of an additional 23 square meters.
Wood as structure and design language
The material core of the entire apartment is birch plywood. Far from being a simple choice of finish, this material was elected as a true architectural language because of its inherent stability and visual cleanliness. Unlike standard commercial plywood, normally finished on one side only, special panels with a high-quality laminated finish on both sides were engineered and produced for this realization. This technical choice made it possible to ensure uniform surfaces even in double-sided, multi-sided furniture elements. In keeping with this quest for formal purity, all cabinet openings exclude traditional handles in favor of grooves carved directly into the wood.
“Without Walls” interior architecture: the wall-furnishings and the technical core
The initial challenge of the construction site was radical as the accommodation was completely devoid of internal partitions. The design choice was not to erect wall partitions but to entrust the compartmentalization of the rooms entirely to the custom-made wall-furnishings separating the entrance from the bathrooms and fluidly distributing the living area and bedrooms. The real engineering fulcrum lies in the gray lacquered MDF ceiling. Integrated within it is a custom engineered beam system that serves a triple function: it houses the plenums and aeraulic ducts for air conditioning, supports the tracks of the sliding doors, and provides the substructure for attaching the closing panels. The result is an invisible plant integration that does not compromise with the formal cleanliness of the architecture.
Millimeter solutions for space optimization
When working on geometrically dense floor plans, millimeter precision becomes a prerequisite for solving structural constraints such as non-removable concrete pillars. In the guest bathroom, conceived as a true three-dimensional puzzle, a custom paneling wraps around the central pillar. On one side of the structure, a folding door conceals a column laundry room and a full-height trapezoidal compartment; on the other, the same thickness encases the adjacent kitchen refrigerator column. The kitchen area is developed around a peninsula with a top in bromine gray Fenix, a high-strength soft-touch matte finish. Here the structural pillar is absorbed by the countertop, which extends at the back to generate a snack top. To allow standard-height seating and avoid high stools, the base was set on a 12-cm raised platform, improving overall ergonomics. Smoke evacuation also required a timely study by routing the vent from the integrated hood directly into the front plinth of the kitchen.
The fusion of art, carpentry and oriental graphisms
Interior design dialogues directly with contemporary art through the involvement of Japanese artist Tomoko Nagao. In the living room, a storage unit only 30 cm deep houses three large sliding doors on which the artist has painted the work “Narcissus”. For this occasion, the historic woodworking shop in Narzole (just during the move to the new factory in Novello) was transformed into an ad hoc workshop. The technical team performed numerous tests to identify a specific protective clear coating formulated to stabilize acrylic pigments and avoid adverse chemical reactions by sealing the artwork within the furniture finishing cycle. A second work on canvas by the artist, the “Mona Lisa Green Ribbon Black Dotts”, was later framed in plywood and suspended on the partition wall of the master bedroom. The graphic theme of the apartment is strongly influenced by oriental geometric motifs. The access doors to the sleeping area were made by coupling two layers of numerically controlled pantographed wood with an inner core of opal plexiglass that diffuses light evenly, transforming the doors into scenic light elements. This pattern is repeated in the master bedroom where the closet doors feature non-passing millings lacquered in butter color (color evolution of the previous Tiffany shade defined in 2025). The concept finds maximum customization in the boys’ room: here the headboards of the single beds, equipped with large lower drawers, feature the names of the young occupants engraved in Morse code through greenish-colored millings.
The 2025 Expansion: connecting two housing units
In 2025, the project faced a new development with the purchase of the adjacent apartment requiring unification work on an area of 23 square meters. After the survey carried out in mid-March and the demolition of the old entrance doors by the construction company to create a single central access, the installation phase was completed in July. A large eight-door cabinet was installed in the new hallway, incorporating an existing pillar and accommodating a central sliding door to separate rooms. To allow the door to disappear within the niche created behind the master bathroom cabinet, the designers had to engineer an exclusively side-fixing system for the suspended washbasin, freeing the back wall from constraints and anchors. To maintain visual consistency between the two accommodations, it was necessary to connect the old plant ceiling with the new one by making several structural adjustments and filings in place to compensate for misalignments in elevations. The intervention concludes in the new master bathroom where a full-height column cabinet dialogues with the washbasin top and window sill, both clad in a single block of Emperador marble, inserting a natural and refined material accent that enhances the essentiality of the birch plywood. Outdoor appurtenances also received attention: at an intermediate stage (2022), the cellar on the ground floor was equipped with a bilaminate bench-changing room raised on a blue metal structure designed for marine equipment.
Saglietti Group confirms itself as a strategic partner for designers who consider space a challenge of sartorial precision, demonstrating how invisible structures and advanced technical detail are the true drivers of a project’s aesthetic success.
by Eleonora | Apr 30, 2026 | Museum layouts and exhibition spaces
It is a pleasure to find ourselves, just over two months later, once again involved in a project that we had already loved bringing to light at the end of last year. The multimedia and interactive exhibition Intelligènzæ returns in a new guise: not a replica, but a profound transformation that keeps the heart of the project intact, exploring one of the most fascinating questions in science: what is intelligence?
A new format: the exhibition becomes traveling
This edition marks a major paradigm shift: new content, new venue, and above all a rethought design to make the exhibition itinerant and replicable. The challenge was to transform an immersive and complex exhibit into a modular and transportable system. Fundamental was the concept of architect Stefano Grande, who together with our technical and production work shaped an exhibition system “on wheels.”
7 chests and a modular narrative pathway
The new layout consists of seven main caissons plus one final element, designed as autonomous narrative units but part of a single system. Made of okumé, they are designed for strength, lightness and repeatability in transport. Each module opens with different geometries-symmetrical and asymmetrical-creating a dynamic exhibition rhythm.
The interiors, lacquered in light blue, recall the previous edition, while each caisson houses interactive elements such as monitors, digital devices and control systems, creating distinct but coherent experiential micro-environments.
Reuse and design continuity
The final element of the itinerary introduces a key principle: reuse.
An exhibition rack was in fact made from a structure of the previous edition, transformed and repurposed to become a vertical support for a new graphic panel. A gesture that combines memory and design, maintaining continuity between the different stages of the project.
Engineering and technical solutions
Behind the formal neatness is articulate engineering work driven by transportability, safety and durability.
Each caisson is a self-contained system with integrated wheels for handling and a structure designed to distribute loads, reducing stress on hinges and opening points. Plant systems are fully integrated and accessible via removable panels, with ventilation and technical hatches to ensure maintenance and reliability. Dimmable LED lighting is an integral part of the design, helping to define spaces without altering their formal cleanliness.
Industrial language as visual identity
The boxes echo theaesthetics of industrial transport crates, inspired by professional flight cases. A language that is not decorative, but part of the design narrative: logistics becomes visual storytelling.
An interdisciplinary project
Intelligènzæ was born from a network of expertise that combines design, research, and communication.
A central role is played by Taxi1729, a Turin-based organization specializing in science popularization, together with figures such as. Vincenzo Guarnieri and the concept of architect Stefano Grande.
Our contribution focuses on engineering and production, transforming the concept into a concrete, modular and transportable system. Special thanks to Federico Verdi and Davide Di Polito for the technical development of the most complex elements.
Conclusion
Intelligènzæ is not an exhibition to be observed, but an experience to be walked through.
Each element is designed to activate the visitor and turn the visit into a process of discovery.
You leave with more questions than you had upon entering. And that is what the project is all about: an intelligence that is constantly evolving, like the design that houses it.
Photo credits: Paolo Saglia – GiustiEventi
by Eleonora | Apr 17, 2026 | Museum layouts and exhibition spaces
Water, even before being a natural resource, is a true cultural infrastructure. This perspective inspired the design of the new headquarters for the Consorzio Canale Sarmassa, which was inaugurated on March 22, 2025, in the hamlet of Podio, Bene Vagienna.
The Canale Sarmassa, documented as far back as 1596, crosses the Cuneo plain, connecting territories, communities, and agricultural systems along a route that still irrigates approximately 3,000 hectares today. It is a historic infrastructure that is not merely technical but also a defining element of identity. The interior and exhibition design project interprets precisely this dimension, transforming the consortium headquarters into a hybrid space that combines administrative functions, a training center, and a museum dedicated to the memory of water.
An open and collaborative design process
The project was not developed according to a traditional construction drawing, but through an open and iterative process, carried out in close collaboration with architect Michele Bossio (A&T Progetti srl). The continuous dialogue between design and production made it possible to define spatial and technical solutions iteratively, starting from essential guidelines and progressively transforming them into concrete elements of the installation. This approach enabled very direct control over the details and a strong integration between concept and execution. Construction, which began in January 2025 following the site survey in October 2024, was completed in an extremely short timeframe, maintaining design consistency and precision of execution throughout all phases.
Three rooms, one narrative
The exhibition is divided into three distinct yet closely interconnected spaces, designed as a single narrative system that guides visitors from the institutional dimension through the educational dimension to the historical memory.
Conference Hall
The conference hall serves as the primary operational and institutional space. Here, the design focuses on a minimalist and restrained aesthetic, centered around a three-meter-long custom-made lacquered MDF counter, conceived as a continuous volume without visual interruptions. This design choice addresses the need to convey an orderly and authoritative image, in which technology and functionality are fully integrated into the design. The 12-centimeter-high raised platform, constructed with a metal frame and laminate finish, serves an exclusively ergonomic function, improving visibility of the speakers and incorporating accessibility and safety features without compromising the clean lines of the space. The space is completed by modular informational panels that allow for the reconfiguration of content over time.
Study Room
The study room introduces a more open and flexible space dedicated to training and teaching. The bright space, visually connected to the conference room via an internal balcony, features tables, seating, and display systems consistent with the lower level. The central element is a custom-designed reversible whiteboard, made of ABET metal laminate on both sides. It is not merely a teaching aid, but a hybrid technical device that combines a writable surface with a magnetic board, capable of rotating thanks to a specially designed metal structure. Its engineering ensures stability, durability, and great flexibility of use, making it a true work tool as well as a piece of furniture.
Water Museum Hall
The Water Museum Hall serves as the narrative heart of the project. Here, the exhibition design takes on a more technical and conservation-oriented approach, featuring a large custom-built cabinet made of lacquered MDF designed for the management and protection of historical maps and cartographic artifacts. The main challenge was managing the wide-span drawers, which was solved by incorporating metal stiffening elements and a slight structural counter-curvature to control deformation over time. The system incorporates multiple locks and discreet technical solutions that ensure security and functionality without compromising the clean aesthetic. Next to it, an interactive table with an integrated touchscreen introduces a digital dimension to the experience of the content, making the museum space dynamic and accessible.
Materials and Continuity in Design Language
One of the central aspects of the project is the material consistency that runs through all the galleries. Lacquered MDF, melamine-faced panels, technical laminates, and graphic surfaces are not used as isolated elements, but as parts of a single design language. Even the display elements and frames for the historical artifacts are designed to ensure visual continuity, with solutions that combine protection, durability, and clarity of presentation. This attention to detail is never merely decorative but serves the purpose of creating an environment that must simultaneously meet institutional, educational, and museum requirements, while always maintaining a strong overall coherence.
Design as Cultural Infrastructure
The design of the new headquarters for the Consorzio Canale Sarmassa serves as an example of how interior design can become a tool for interpreting the local area. The design does not merely organize functional spaces but constructs a continuous narrative that connects historical memory, contemporary use, and cultural identity. In this sense, the project transcends the logic of traditional furnishing or interior design to approach a form of narrative architecture, in which every element contributes to the creation of a coherent and layered spatial experience.
Collaboration and shared process
The project is the result of a collaborative effort, in which dialogue between the design team, the production team, and the client played a decisive role. The collaboration with architect Michele Bossio and the operational team made it possible to address complex technical challenges, transforming them into solutions that are seamlessly integrated into the overall design, while consistently maintaining alignment between the vision and its execution.
by Eleonora | Mar 25, 2026 | Design Hub Projects
Some projects arise from a practical need, others from a hunch. The Astra project stems from both.
In this project, the Saglietti Group applied its approach through Design Hub, a space where design, engineering, and production work together to transform ideas into tangible products, ready for industrial-scale production.
Design Hub represents the intersection of creativity and technology. It is not merely a design space, but a working method that allows us to oversee every stage of product development, from the initial concept to the physical realization.
Translated with DeepL.com (free version)
Architects, designers, and companies are supported throughout the entire process, with the goal of translating real needs into concrete solutions while ensuring consistency between the aesthetic vision and production feasibility.
The Astra Project
Astra, a Tuscan company operating in the fashion and luxury sector, approached us with a very specific request: to design a drawer unit capable of holding 1,200 spools of thread, perfectly organized, visible, and easily accessible, without any overlap.
The challenge was to develop a technical object—but also an everyday work tool—that was functional, sleek, and consistent with the company’s identity.
From the comparison to the 3D model
The first step was direct communication with the client. In collaboration with the sales department and the engineering office, every requirement was analyzed and translated into a comprehensive 3D model, including all system components.
Starting from this digital model, the second engineering department developed the machine programs, precisely defining all necessary machining operations. Every production phase was studied in detail, from cutting to milling, through drilling, and to the correct positioning of the hardware, with the goal of ensuring maximum precision and repeatability.
Materials and Construction
The chest of drawers is made entirely of white laminated MDF, a material chosen for its stability, durability, and aesthetic appeal. The unit consists of ten drawers, each designed to hold 120 beech pegs, for a total of 1,200 pieces.
The pegs, with precise dimensions of 90 mm in height and 8 mm in diameter, are positioned at perfectly equal distances. This design choice is not random but responds to the need to ensure order, accessibility, and true functionality in daily use.
Visibility and functionality
To allow for an immediate view of the spools, a transparent plexiglass panel has been integrated. Two circular holes have been cut into this panel for each drawer, enabling convenient access without compromising the clean lines and continuity of the design.
The finishes have also been carefully designed: the base and top have been chamfered using an edge-banding machine, resulting in a clean, uniform surface without the addition of applied edges.
Production and Prototyping
Now that the design and planning phases are complete, the project has entered the pilot production phase. Each chest of drawers was assembled in-house, with components labeled to ensure order and control at every stage. To date, thirty units have been produced. However, the value of the project lies not in the quantity, but in the process that led to its completion.
Un approccio orientato all’industrializzazione
The Astra project is a perfect example of the Design Hub’s approach: an environment where ideas don’t remain mere concepts, but become tangible prototypes that are tested and ready for mass production.
It is a process that enables the development of scalable products, while consistently maintaining a balance between design quality, production efficiency, and attention to detail.
Conclusion
That is why the Design Hub was created: to transform complex needs into tangible solutions, guiding each project from the initial sketch through to production. This same approach has guided the development of projects such as StarsBOX and the Home Office collection, reaffirming the Saglietti Group’s role as a bridge between design and industry, between vision and reality.
Because an idea is the starting point.
But it is only when it takes shape, becomes precise, and can be replicated that it can truly enter the world.
by Eleonora | Mar 12, 2026 | Museum layouts and exhibition spaces
Designing a museum exhibit means finding a balance between artifact preservation, scientific storytelling and visitor experience. It is from this principle that the intervention created by Saglietti Group for the Archaeological Museum of Bene Vagienna, where we oversaw the installation of two new rooms dedicated to the civil basilica of ancient Augusta Bagiennorum.
The museum, housed in the 18th-century Lucerna Palace in Rorà, tells the story of one of the main urban centers of southern Piedmont in the imperial age, founded under Augustus at the end of the first century BC. The expanded exhibition space is part of the cross-border project P.E.P.A. – Patrimoine Environnemental / Environmental Heritage., dedicated to the enhancement of archaeological and landscape heritage.
The staging project
The work involved two new exhibition halls on the second floor of the museum, opening in June 2024. The project was developed in collaboration with architect Michele Bossio (A&T Progetti srl), through a constant dialogue between architectural and exhibition design.
Room A introduces visitors to the excavation activities and construction of the basilica. The space is organized around a large double-sided vitrine that visually connects the two rooms, flanked by infographic walls and a partition wall with an integrated monitor that creates an area dedicated to stopping and exploring. One of the main design challenges was the presence of a pillar and a difference in height between the rooms, which was solved with custom-made furniture capable of integrating both elements and restoring continuity to the path.
Room B, on the other hand, delves into the architectural finishes of the basilica and the objects of daily life. Here the vitrine continues with a taller plexiglass dome to house larger artifacts, while in the center of the room a freestanding vitrine narrates the ceramic and metal materials found during the excavation. The tour concludes with afloor installation that collects fragments of the basilica floor under a large laminated safety glass.
A team project
The intervention resulted from the joint work between designers, museum and technical team. Special thanks go to architect Michele Bossio for the design comparison and to the Archaeological Museum of Bene Vagienna for the trust and vision with which it chose to invest in an exhibit capable of bringing archaeology and contemporary design into dialogue.
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