5/22/2026
A wall of books isn't fill-in: it's a vertical landscape with its own climate.
Cramming too many identical spines, ruler-straight, produces a "catalogue wall". Alternating heights, gaps, objects that break the rhythm (a bust, a ceramic, a narrow frame) restores breath. A library conceived as thought accepts emptiness as part of the argument — like an essay that needs punctuation and line breaks.

AI Generated Content
Spine colour, theme, author: any criterion is valid if chosen, not endured.
Pure alphabetical order belongs in an office; at home, often not. Grouping by affinity (travel, contemporary fiction, reference that keeps returning) builds a mental map for whoever lives there. What matters is that the rule is shared with the people who use the room — otherwise the shelves become a passive message, not a dialogue.
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AI Generated Content
Real reading asks for lateral shadow, not only a spotlight raining on spines.
A tall floor lamp, a low wall washer, a window that slices the wall diagonally: solutions that make books work even when switched off. Designing a library without designing reading light means confusing container and content. The joinery is frame; the scene is the body that reads.
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AI Generated Content
Domestic editorial care: fewer titles, more presence.
Editing down isn't snobbery: it makes room for the editions that matter, the beautiful covers, the books you return to. A "slimmed" library often tells more than a wall of impulse buys. It's the same principle as quiet luxury: don't display everything; display what holds a life.
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AI Generated Content
In a showroom, a library doesn't sell books: it sells the pleasure of a wall that supports a mind. An IDW project can gauge shelves, thicknesses, loads — but the real measure is this: how much intellectual life that wall carries without collapsing under the weight of appearances.
Further reading
On the IDW blog: Choose the bookcase to furnish or divide a room — materials, modularity and compositions to find the right shelving for every space.
Partner: Pianca — Italian-designed day zone storage and bookcases: modular systems, quality finishes and tailored solutions for a book wall built to last.
Interior Designer since 1985
CEO & Founder, Italian Design in the World
In September the house takes back what summer had borrowed. The hours return between the walls, and the rooms we crossed in a hurry ask to be looked at again.
In summer we live on the threshold. Loggia, porch, veranda: the strip between indoors and out becomes the most lived-in room of the house, and deserves to be designed as one.
In August many homes are left behind. Shutters half closed, still air, light crossing the rooms with no one to watch it. It is worth asking what stays beautiful when no one is there.
The table is the only piece of furniture where you eat, work, play, argue and make up. Yet it gets chosen as if it were just a horizontal surface.
For a long time, interior design spoke mainly to the eye. Color palettes, shapes, surfaces, composition. A space was judged — and often rewarded — for how well it appeared: cleaner, more photogenic, more “resolved”.Today, that logic is starting to show its limits. Because a home is not an image. It is an environment we inhabit for hours every day — a continuous system of stimuli that affects focus, energy, mood, and the quality of rest.