Candotto’s work proposes a new synthesis: not a rejection of technology, but a rebalancing. The use of the machine doesn’t replace the artisan but rather amplifies their vision. In this merging of the artificial and the crafted, we are able to take a glimpse at a future where design is defined not by sterile perfection, but by the tactile intelligence of the hand.

Mexican designer Sebastián Ángeles' Frequency collection translates the healing potential of sound into sculptural furniture and lighting, blending emotional resonance with tactile form. Each piece is inspired by specific sound frequencies known for their therapeutic properties, with designs shaped by cymatic patterns—in other words, visual representations of sound vibrations. Crafted in cast bronze, a material chosen for its rich texture and sonic responsiveness, the collection invites both touch and contemplation.

Taking its name from a frequency associated with harmony and spiritual balance, the 432Hz lounge chair features a three-legged base symbolizing the connection between body, mind, and spirit, and a curved, ergonomic seat that evokes the fluidity of sound waves. Another key piece, the 741Hz lamp is named after a frequency linked to purity and stability, creating a warm, meditative glow thanks to its bell-shaped shade. More than just design objects, these works are vessels of well-being, offering a multisensory experience where form, light, and sound converge in calming harmony.

Taiwanese designer Hsinhung Chou also challenges traditional design norms with Nimble, an office chair built for movement and adaptability. Featuring a simple yet effective mechanism, it supports dynamic sitting and encourages users to shift posture throughout the day. Designed for the flexible, collaborative spaces that are replacing traditional desk-centric environments, Nimble reflects the ever-changing nature of work and education, offering a more responsive and versatile alternative for modern settings.

Another minimal piece of ergonomic design that caught our eye was Anton Oberländer’s SMAL, a lightweight, foldable stool designed for neighbourhood encounters—easily hung on a hook by the door, ready to be taken outside to the street, square, or park. Marcus Götschl’s NEW GEN bed also stood out for its elegant simplicity—not only in aesthetics but in ethos. Designed with sustainability at its core, the bed’s simple production, flat-pack format, and use of replaceable components minimize resource consumption and challenge disposable culture while making quality design more widely accessible.

Another standout was Italian architect and designer Filippo Andrighetto’s furniture collection, a refined exercise in what he calls "soft futurism"—a design language where heritage and innovation meet in quiet harmony. Minimalist forms combine raw metals, stone, wood, and natural textiles to create tactile, enduring pieces reflecting time-honored techniques and a reverence for imperfection. A particular favorite was the Jenga drawer, a tall, sculptural storage unit composed of six drawers that open in alternating directions—front, side, front—each accessible from both sides. Visually playful and spatially clever, it’s an elegant solution for compact living that doubles as a functional centerpiece, merging utility and poetry with understated confidence.

Echoing the ephemeral wonder of Stir, Japanese designer Kai Nishihara’s trace of chair series transforms everyday interactions into fleeting imprints. Coated in photochromic paint that reacts to UV light, the chairs capture transient traces—of touch, shadow, and presence—that shift with time, space, and movement. These marks appear and fade like memories, as they are never repeated, offering a poetic meditation on impermanence. For Nishihara, light and shadow are not just effects but materials in their own right, used to quietly document the dialogue between people and objects.

Other projects that stood out for us included Roc H Biel’s Dust Order series of chairs crafted by compacting and stacking beech wood dust, Rodrigo Noriega Studio’s David Vases, a series of playfully disjointed ceramic objects inspired by the idea of interchangeable molds, and finally, Elevation Two by Kosmoform (Alexander Schul and Lukas Lüttgen) a limited-edition light object that turns light into a dynamic spatial tool. A cylindrical spotlight interacts with a suspended shade to cast a circular glow on the ceiling. By adjusting the shade along the cord, users can shift the ambiance—from direct to indirect or decorative light.

If SaloneSatellite is a glimpse into design’s near future, then this year’s edition suggests that it’s one rooted in material intelligence, emotional nuance, and poetic functionality. As sustainability shifts from buzzword to baseline, and tradition intertwines with tech, a new generation of designers is rewriting the playbook—quietly, boldly, and beautifully.