Superstudio Design at Milan Design Week 2026

_presented by Superstudio Design

_location: Milan Design Week in Milan, Italy
_when: 20 - 26 April 2026

In recent years, architecture has increasingly shifted from the design of isolated objects toward the orchestration of systems, atmospheres, and relationships. Rather than producing singular landmarks, contemporary practice engages with distributed spatial conditions, forming networks of interventions that unfold across territories and scales. This reflects a broader cultural transition. The city is no longer understood as a fixed composition, but as an evolving field of interactions where design, technology, and social practices intersect. Within this context, exhibitions emerge as architectural devices, temporary yet effective frameworks for constructing narratives, directing movement, and testing new forms of inhabitation.

Within this expanded architectural paradigm, a major design initiative presented during Milan Design Week 2026 takes shape. Marking the transition from the long-established Superdesign Show to the newly positioned Superstudio Design, the project reflects a broader curatorial shift: rather than functioning only as an exhibition container, it proposes a more strategic and interconnected platform for contemporary design. Conceived as a “diffused map,” it moves beyond the traditional district-based logic of the Fuorisalone and unfolds across three distinct exhibition spaces located in different urban areas of Milan: SuperNova at Superstudio Più in Tortona, SuperCity at Superstudio Maxi in Barona, and SuperPlayground at Superstudio Village in Bovisa. Spanning over 30,000 square meters and bringing together 70 projects, 91 brands, and designers from 19 countries, the initiative establishes a multilayered experience with both global reach and local specificity.

Each site develops a distinct curatorial approach. At SuperNova large-scale installations and temporary architectures by international brands generate immersive environments that combine technological experimentation with spatial storytelling. At SuperCity, curated by Giulio Cappellini, a curated “ideal city” takes form within an open, scenographic landscape where architecture, design, and art coexist without physical partitions. Domestic and public spaces are suggested through visual cues rather than enclosed, producing a continuous spatial narrative that reflects on new models of living.

At SuperPlayground a former industrial setting is reactivated as a platform for emerging designers and experimental practices. The space operates as a contemporary agora, structured around exchange, where installations, workshops, and performances engage with themes of sustainability, social design, and material innovation. The focus shifts toward processes and collective practices, expanding the role of the exhibition format.

Together, these three trajectories, monumental, curatorial, and experimental, articulate a composite vision of contemporary design. The project functions as an urban device that temporarily reconfigures Milan, where architecture is articulated through sequences, interactions, and shared experiences.

To deepen the perspective, we had the chance to speak with Laura Vella, Head of Superstudio Design, who shared her insights on the conception process and this year’s edition.

1. This year marked a new phase for Superstudio Design, expanding across three venues and identities. Could you walk us through the curatorial process behind shaping this multi-site experience and ensuring a cohesive narrative across such different contexts?

What guided the curatorial approach of Superstudio Design for Milano Design Week 2026 was the breadth of possibilities offered by its spaces. The key imperative was to work across the three venues not as a mere expansion of exhibition square meters, but as activators of opportunities for different audiences and brands — each bringing a distinct cultural offering. The idea was to develop vertically differentiated focuses: major brands, a museum-like experience at the intersection of art, design, and architecture, and emerging proposals with a fresher, less institutional approach. All of this unfolds within a broader framework, unified by a single defining principle — the pursuit of quality, regardless of context.

2. Compared to previous editions of Milan Design Week, what shifts, whether in audience behavior, participation, or the role of design itself, felt most significant in the 2026 edition?

While the most significant changes can truly be assessed over the long term, I believe that, compared to previous editions, the most notable shift has been the transition from a “centralized” mode of consumption to a more distributed and intentional experience. Audiences are no longer simply following established flows, but are instead shaping their own paths, driven by greater awareness and curiosity. This results in visitors who are less passive and more selective, paying attention not only to events but to the quality of content.

Superstudio Design, and particularly SuperPlayground, is a clear reflection of this shift: the activation of the Bovisa venue with new and more experimental proposals proved to be a real success, both in terms of public attendance and — according to the survey results we are currently collecting — critical reception.

3. This edition emphasized the intersection between design, art, architecture, and performance. How do you see this interdisciplinary approach influencing the future of design events?

I would say that this choice is no longer an experiment, but a clear indication of direction. The interdisciplinary approach redefines the very format of design events: no longer static exhibition spaces, but experiential environments where different languages — art, architecture, performance — intertwine to create a deeper connection with the audience. This makes the experience less predictable and more immersive, shifting the focus from mere observation to active participation.

In the future (which may already be the present), design events are likely to increasingly become hybrid platforms, where projects are not simply displayed, but staged, interpreted, and even performed.

At the same time, this openness makes design more accessible, as it speaks through multiple languages and engages a broader range of sensibilities. The challenge will be to maintain coherence and quality, ensuring that interdisciplinarity does not become merely an aesthetic overlay. However, if carefully developed and curated, this approach can transform design events into true contemporary cultural spaces — places where new forms of expression are explored and future models of cultural production are anticipated.

_article written by Daniela Moreira da Silva
_images by Riccardo Diotallevi and Rocco Soldini