Baxter | Casa sul Lago 2026

LA CASA SUL LAGO 2026

THREE MOVEMENTS AND A VILLA

Casa sul Lago is reborn every year, faithful to its essence yet ready to transform into a new project. It is not just the stage for new products but the place where Baxter presents, each time, a complete vision, a complete furniture project that redefines spaces, relationships, and atmospheres.

The walls stand, silent guardians of memory, while the space is renewed in its entirety: layout, balance, pathways, colours.

The modernist architecture serves as a stable backdrop on which the collection comes to life, like a landscape that changes light but not horizon.

The project seems to listen to its surroundings. It enhances the intimate relationship with the landscape, letting natural light in as a living material, following its rhythm on the walls and volumes. The proportions of the villa — measured, harmonious — become the score on which the furniture arranges itself like notes. These are presences, not mere objects; they define pathways, suggest pauses, and draw invisible hierarchies. They guide the gaze without ever altering the original identity of the building.

Three chromatic moods run through the house like three movements of the same composition.

Upon entering, the space unfolds in a fluid sequence between the kitchen and the living area, where the threshold becomes a design element: a shiny metal frame opens the view towards the next space, creating a continuous harmony between environments, materials, and perceptions. It is the monolithic block of the onyx island — veined with honey and terracotta hues — that introduces a strong, almost sculptural material presence.

Meanwhile, in the main living room, cool tones dominate: a sea of Mousse and Botanique greens intertwines with the bold character of terracotta, in a dialogue made of contrasts and depth. The new Viktor Soft emerges as a visual focal point, immersed in a palette evoking shaded gardens, leaves, and sun-warmed earth. It is a space that breathes nature, but with a restrained, almost whispered elegance.

Ascending to the first floor, the atmosphere becomes more intimate and enveloping. The suites and living areas move in a range of deep, dusty blues that cover walls, fabrics, and furniture. The bed seems to rest on the floor like a textile island, framed by dark curtains that absorb the light and modulate its entry. Here, contrasts are played through subtraction: warm accents — in the burnt tones of the fabrics and the details of the furniture — emerge subtly, warming the overall atmosphere without disrupting its balance.

In the living spaces, the interaction between materials and surfaces becomes more intricate: deep leathers, the generous volumes of the Chicago modular sofa, and metallic surfaces create a layered domestic landscape, where natural light enters tangentially.

The dining area fits into the visual continuity but maintains its own identity: the large, light-coloured table, with its soft contours, interacts with sculptural seating and solid volumes, while in the background, the graphic motif on the wall introduces a lighter, more dynamic rhythm.

On the top floor, the music room transforms into a suspended retreat. Here, the new design of the Syd cabinet takes shape: not just a functional element, but an emotional experience. The imagined sound seems to already vibrate in the veins of the materials, in the taut and precise lines. Listening is trained here: to music, but also to the house itself. The light enters from above, filtered through skylights, and settles softly on the surfaces, creating areas of chiaroscuro that accompany the slow rhythm of the space. The tones warm up: terracotta, blush, and dusty pink build a material palette that converses with soft fabrics and matte surfaces. The furniture is arranged as low, welcoming presences — deep sofas, poufs, thick rugs — defining islands dedicated to resting and listening. The integrated bookshelves follow the inclined slope of the roof, transforming into a continuous backdrop that holds objects, books, vinyl records, and traces of life.

Between one floor and the next, the narrative opens into an interlude en plein air. From the terrace, the path continues up through the garden's terraces, between the scent of rosemary and helichrysum, in a slow, almost meditative sequence leading to the guest house: a custom-designed mini apartment that becomes the manifesto of bespoke configuration.

Aura, reinterpreted both in the sofa and in the bed, tells the story of the possibility to tailor each piece to a specific desire. It is an exercise in precision and freedom combined, where the project opens up to off-catalogue furniture, and customisation becomes a statement of identity. Outside, an exclusive and intimate space, suspended between garden and landscape. Low seating, tables, and terracotta surfaces converse with the vegetation — cacti, Mediterranean plants, hedges — building a secluded environment, yet open to the lake.

Outside, an exclusive and intimate space, suspended between garden and landscape. Low seating, tables, and terracotta surfaces converse with the vegetation — cacti, Mediterranean plants, hedges — building a secluded environment, yet open to the lake.

A few steps further, the greenhouse introduces another variation, a scenario that sits between the interior and the exterior. Light becomes the dominant material: it passes through the glass roof, fragments, and settles on surfaces, creating patterns in motion. Warm, natural tones — ochre, mustard, earth — alternate with tables and textured surfaces, while along the wall, the shelves punctuate the rhythm with a composition of objects and volumes. The space develops in depth, like a linear promenade that invites contemplation.

The path towards the pool area opens like a prelude, crossing a walkway immersed in wisteria: a collected, fragrant threshold that prepares for a shift in rhythm. The sequence unfolds in a double outdoor movement. The first develops around the water, where chaise longues and welcoming seating form a soft, relaxed composition made of pauses, stops, and slow tempos. In the centre, under the olive tree, the brazier introduces a warm accent that marks the space and extends its use into the evening hours. A few steps higher, among agaves and cacti, the second movement shifts in tone and opens up in a more collective key. The long dining table stretches parallel to the lake like a continuous line, around which the seating arranges itself with a regular rhythm, almost forming an ensemble. Here, the context becomes communal, orchestral: the individual presences harmonise into a larger composition, and the experience transforms into sharing. It is the moment when the previous variations find their synthesis and a full tension, before dissolving once again into the landscape.