March 2025 | DESIGN & INTERIORS
MEET the FOUNDERS of ALCOVA
VALENTINA CIUFFI & JOSEPH GRIMA
words Onur Baştürk
portrait photo Piergiorgio Sorgetti
Alcova, launched by Valentina Ciuffi and Joseph Grima during Milan Design Week in 2018, will return this year for its ninth edition from April 7–13, 2025. In addition to Villa Borsani and Villa Bagatti Valsecchi in Varedo, Alcova introduces two new venues this year: the former SNIA Factory and the Pasino Glasshouses. In our EXCLUSIVE INTERVIEW with Valentina and Joseph, we discussed Alcova’s DNA, its criteria, and the platform’s future vision.
ALCOVA HAS MULTIPLE LAYERS IN ITS DNA
In your previous interviews, you mentioned that Alcova is conceptually nomadic—indeed, its venues used to change every year. However, this year—as with last year—Villa Borsani and Villa Bagatti Valsecchi are once again serving as Alcova exhibition spaces. Yes, in addition to Borsani and Valsecchi, there are two new venues, yet it still appears that Alcova is shifting towards a more fixed setup. What are your thoughts on this?
We believe the premise of this question is incorrect. Alcova is a nomadic platform but does not change location every year. Since the beginning—starting with the former panettone factory—we have moved every two years. We spent two years there (2018-19), then two years at the former military hospital, and only in the case of the former slaughterhouse did we stay for just one year due to the start of a construction project. For Villa Bagatti and Villa Borsani, we are staying for two years, as per Alcova’s usual practice. Additionally, as you correctly noted, we are introducing two new locations: the Pasino Glasshouses where orchids were originally cultivated, and the large modernist factory of Snia. These locations are very close to those you visited last year, Villa Bagatti and Villa Borsani. But nothing has changed in Alcova’s format—our standard approach has always been to change locations every two years, not every year.
What is in Alcova’s DNA? What motivates you?
Alcova has multiple layers in its DNA. One of them is certainly being an independent fair that takes place in unconventional spaces—sites never before open to the city—which we interweave with contemporary design narratives. This approach allows objects, exhibitions, and installations to engage in a meaningful dialogue with architecture, creating a unique and compelling context. We have followed this path since the very beginning.
But perhaps the most crucial aspect of Alcova’s DNA is its role as a platform for showcasing design research. While we have grown significantly in recent years, we have never stopped highlighting independent designers and experimental practices, alongside startups, galleries, museums, schools, and various institutions that come to present their work.
WE BELIEVE ALCOVA HAS GROWN ORGANICALLY
Since its debut in 2018, how do you think Alcova has evolved? Have there been any changes along the way?
We believe Alcova has grown organically. As we mentioned, the core formula has not changed—we remain focused on showcasing design research and independent designers. This year, we are working across a vast area, spanning four locations, but that doesn’t necessarily mean Alcova will always operate on this scale. Next year, for instance, it could take place in a more compact space. In Miami, where we debuted in 2023, we work with more limited spaces. What matters to us is the quality and profile of the exhibitors, along with the strength of the architecture and the location. This kind of evolution is natural for a project that has gained a solid reputation over the years, becoming more widely recognized and, as a result, increasingly capable of attracting interest.
From exhibiting the work of 20 designers in 2018, you now have many more participants and a similarly larger audience. Does this growth intimidate you?
No, as we mentioned in response to the previous question, we are not intimidated by something that is entirely natural, normal, and healthy. A project that began more than seven years ago has to grow—otherwise, it would stagnate. The key is to continue evolving in a way that makes sense, gaining greater visibility and reaching a broader audience. What matters most, and what we are focusing on, is enhancing the experience for those who visit Alcova. This is not always easy during Salone del Mobile, given the sheer number of visitors and the fact that some of our spaces are quite small.
WE SEEK INNOVATION IN MATERIALS, DESIGN, AND PRODUCTION
How did you discover the two new venues added this year—the former SNIA Factory and The Pasino Glasshouses? As far as I know, both of you often enjoy wandering around Milan and uncovering the city's abandoned, forgotten spots, right?
As you said, it is part of our practice to investigate the urban fabric of Milan and its surroundings in search of architecturally significant sites—places with an iconic value that are ready to be reactivated but would otherwise be difficult for the public to access. We approached Varedo in the same way. Even though one of the sites, Villa Borsani, is perfectly preserved and visitable by appointment, our approach remains consistent.
As for the Pasino’s Glasshouses and the former Snia factory, the decision was quite straightforward since they are located on the same road as Villa Bagatti and Villa Borsani. Naturally, after activating these two locations last year, we walked this route many times, and these two architectural gems did not escape our notice. In fact, we had already discovered them last year, but due to timing constraints, we weren’t able to open them to the public. This year, however, these two major additions will make the trip to Varedo even more worthwhile.
Although the exhibition spaces at Alcova are rented, the criteria for selecting designers is always discussed. What criteria do you use to evaluate the proposals you receive from designers?
Yes, although Alcova’s spaces are rented, there are clear selection criteria that guide us in choosing from the large number of applications we receive. Innovation, experimentation, and research are at the core of our interests. We look for innovation in materials, in design language, and in production methods—these are all key themes for us. Design that explores social issues is equally important in shaping the ideal mix for an exhibition like ours.
Another crucial factor in our selection process is the ability of exhibitors to engage with the spaces they are assigned. When applicants express a preference for a specific location, we always request a project proposal that demonstrates an understanding of the site and an ability to create an experience for visitors. We strongly believe that objects can communicate more effectively when they are presented in a compelling, well-executed display that interacts meaningfully with the surrounding architecture.
ALCOVA WILL ALWAYS STAY TRUE TO ITS ESSENCE
How do you envision Alcova’s future? Do you have any plans, or is the evolution of this platform unfolding naturally?
We hope that Alcova will always stay true to its essence. We also hope this journey will take us to new places around the world. As you know, we took our first step in this direction with Miami, and there may be more locations in the future. That said, Milan and Salone del Mobile’s week remain not only our place of origin but also our most significant appointment. We look forward to returning and continuously raising the bar at this pivotal event for the international design scene. At the same time, we will soon be exploring new exhibition formats within Milan’s design landscape.
