Art curation project for UNNA, Philippines, by VV Interior Home. Our contribution is exclusively dedicated to the curation of the artworks, encompassing their selection, contextualization, and integration within the project. The architecture, interior design, and decoration were conceived independently, with the authorship of each discipline respectfully preserved.

Stone spheres in a concrete courtyard. A wall struck open by its own visitors. Twenty-two pages that refuse to be hung. At Dib Bangkok, three works redrew the distance between looking and being moved — and asked something different of my body each time.

What Remains brings together artists from Spain, Japan and Switzerland around a single conviction: that beauty is not a surface effect but a consequence of integrity. Stone, pigment, clay and linen — materials that are deepened, rather than consumed, by time. A curated exhibition by Valeria Viollaz, 7 November – 2 December 2026.

I went for the roofline, not the menu. A gabled roof interrupts a soi of cut wires and concrete; inside, a paper-clad cabin nests within the room, a kakejiku holds its own quiet time, and matcha is whisked to a fine green foam. Architecture led the visit — the bowl simply proved the room had been right all along.

A morning spent simply observing a herd live at its own pace — no performance, no pose, no photograph staged for the visitor. At a hillside sanctuary above a jungle stream, restraint replaces spectacle, offering a quiet counterpoint to conventional elephant tourism. The third entry in VV Interior Home’s Conscious Living series.

A boutique hotel on Koh Phangan's quiet northeast coast, where a cave at the rear of the plot decided the shape of every room before the architects did. Ozone Cave by baan puripuri, wood, local stone, cross-ventilation working alongside the essentials, is a study in restraint fifty minutes from the island's louder half.

A curated journey through Japan by Valeria Viollaz — from the silence of CYCL Sauna at the foot of Mount Fuji to the ten-generation craft of Kondaya Genbei in Kyoto and the sacred stillness of Ise Jingu. An editorial meditation on conscious living, told through the places and makers that embody it.

A 1957 drawing in which Picasso set his own photographed eyes inside the outline of an owl — a rare fusion of collage and line, made for his friend David Douglas Duncan — becomes the lens through which to read his five portraits of Angela Rosengart, painted across twelve years. A visit to Museum Sammlung Rosengart the day after her passing, and a meditation on the gaze that carried through all of it.

A Crans-Montana apartment by Riccardo Rossi, accompanied from its earliest stages by a curated selection of art, objects and furnishings. A dialogue where architecture and curation become one quiet language.

What remains after Art Basel is not what was seen, but what could not be unseen — a thousand Edo-period vessels carrying centuries of survival, airplane windows that open onto nothing, and a Cy Twombly that stopped time in the middle of the market.

There are objects you acquire and objects that stay. The EA 116 — designed by Charles and Ray Eames in 1958, found second-hand, kept six years — has never left Valeria Viollaz's studio in Lucerne. A curator who keeps what she selects. A visit to Vitra Design Museum that was not research, but return. What the museum confirmed is what the object already knew.

There are objects that do not style a scene. They authorise it. A Victorian silver hand mirror, a pavé diamond ring by Tiffany & Co., a letterpress invitation by Lisa Brüning of Mille-Feuille Studio: three objects from three different centuries, held together by a single conviction. That the most considered detail is always the one that contains time.

Valeria Viollaz travelled from Lucerne to Lisbon — on the same day, there and back — to personally deliver an antique plaster female torso sculpture, curated by VV Interior Home, for the inauguration of Estúdio Omer Gilony. A meeting of two sensibilities that share the same language: the conviction that an object does not merely occupy a space — it completes it.

Hiroshi Aoki has worked since 2010 with a single concept: how memory and time affect objects. His hand-built ceramics — glazed, fired, and deliberately reworked — carry the permanent traces of heat and process embedded in the clay body. In What Remains, his work enters into dialogue with stone, wax, and century-old linen.

At MACA, Museo de Arte Contemporáneo de Alicante, Eusebio Sempere's gift to his city — Miró, Tàpies, Picasso, Giacometti — asks something rare of the visitor: not to study, but to stay. A curation by Valeria Viollaz · VV Interior Home · Lucerne, Switzerland.

There are textiles that cannot be reproduced — not because the technique has been lost, but because the material itself no longer exists. Muta Lux works with antique fabrics from France, Spain, and Italy. Nothing wasted. Nothing forced. A curation by Valeria Viollaz · VV Interior Home · Lucerne, Switzerland.

In their June 2026 issue, ELLE Decoration UK features VV Interior Home in an editorial titled The Art of Living Calmly — a documentation of a space curated by Valeria Viollaz where a Carol Moreno painting, a Hiroshi Aoki ceramic vessel, an antique travertine table and linen by Atelier Brun come together not as decoration, but as a considered act of living. An interior that does not age. One that deepens.

Carol Moreno presents Forest Reverie, the central work of What Remains. A large-scale painting that does not document a place — it opens one. Standing before it, the viewer is invited not to look but to enter: into the silence between the trees, into the light that dissolves at the edges, into a landscape that holds time without naming it.

Aline Brun of Atelier Brun, Sursee, reupholsters a vintage Minotti sofa — sourced and curated by VV Interior Home — in antique linen of approximately one hundred years of age. A textile already inhabited by time. In What Remains, the sofa becomes an invitation to pause, to sit, and to feel the works that surround it.

Anna Urata works with wax as a language for what materials hold and surrender. Her practice — submersing organic matter until it hardens, crystallises, and carries the record of what it passed through — enters What Remains in dialogue with stone, fired clay, and century-old linen.