Objects Mia Floor Lamp L - 2d files - 3d files

Penthouse

kettal > Sofa

Pavilion

kettal > Sofa

Pavilion H

kettal > Sofa

Pavilion L

kettal > Sofa

Lounge Pavilion

kettal > Sofa

Cottage

kettal > Bed frame

Daybed

kettal > Bed frame

Grand Bitta Dining Armchair

kettal > Chair

Eolias Outdoor Salina Chair

kettal > Chair

Eolias Outdoor Panarea Chair

kettal > Chair

Arc Dining armchair

kettal > Chair

Plumon Dining armchair

kettal > Chair

Ringer Dining chair

kettal > Chair

Giro Folding dining armchair

kettal > Chair

Giro Stackable Dining Armchair

kettal > Chair

Band Dining Chair Aluminium

kettal > Chair

Band Dining Chair Teak

kettal > Chair

Band Dining Armchair Aluminium

kettal > Chair

Band Dining Armchair Teak

kettal > Chair

Vimini Dining Armchair

kettal > Chair

Bitta Lounge Dining Armchair

kettal > Chair

Cala Dining Armchair

kettal > Chair

Cala Dining Armchair Teak Legs

kettal > Chair

Cala Stackable Dining Armchair

kettal > Chair

Riva Dining Armchair

kettal > Chair

Stampa Dining Armchair

kettal > Chair

Village Dining Armchair

kettal > Chair

Roll Dining Chair

kettal > Chair

Roll Bar Stool

kettal > Stool

Park Life Dining Armchair

kettal > Chair

Park Life Low Dining Armchair

kettal > Chair

Vieques Dining Armchair

kettal > Chair

Vieques Armchair Teak Armrest

kettal > Chair

Bitta Dining Armchair Bela Rope

kettal > Chair

Bitta Bar Stool Bela Rope

kettal > Stool

Bitta Counter Height Bar Stool Bela Rope

kettal > Stool

Maia Dining Armchair Aluminium Legs

kettal > Chair

Maia Dining Armchair Teak Legs

kettal > Chair

Maia Barstool

kettal > Stool

Net Dining Armchair

kettal > Chair

XSquare Vanity unit floorstanding

duravit > Washbasin cabinet

Number of pull-out compartments: 2, Without handle, Soft self-closing automatic with damping, Tip-on fitting, Profile: Chrome, High Gloss, Aluminum, Interior system Optional, Incl. support frame, Integrated height adjustment, Necessary articles: Washbasin Vero Air # 235070 Design by Kurt Merki Jr.

Objects Mia Floor Lamp L

kettal > Floor lamp

Cromatica Rosa

florim > Wall Paint

A lexicon of colour shades for mixing. A large size and its submultiples. «This work represents a reflection on colour, and above all a proposal on how to transfer the multiplicity of shades typical of a hand-crafted piece into a project produced on a large scale.» Andrea Trimarchi & Simone Farresin Studio Formafantasma base their work in the design world on a strong vocation for research. Simone Farresin and Andrea Trimarchi view every project as an opportunity for study and the acquisition of new knowledge, and their love of speculation establishes a dialectic rapport with the situations offered by each new client. Whether it involves a material, a type or a production method, the first phase of their design process is the mapping of what the specific case places at their disposal. With Cedit, an analysis of the company's past and present was central to the inputs. Inevitably, since "Looking back to look forward" has been the design duo's mission statement for years. In this case, in particular, the company's history was a real treasure trove, a fine blend of memory and technology: on the one hand, the excellence of production technologies now extended with the added potential arising from the engineering of large-sized ceramic tiles, and on the other a wealth of experience build up with great designers of the past, from Zanuso to Noorda, through to <strong>Ettore Sottsass</strong>. Andrea and Simone decided to focus on Sottsass - who started designing for Cedit back in the late Seventies - and made an in-depth study of one of the colour charts he developed towards the end of the Nineties. A spread of colours which gave its name to the "41 Colors" collection, included in the catalogue of the period as a real alphabet for what has proved to be a lasting design language. Colour was much more than just a compulsory step in the dialogue between designer and producer, since Sottsass had already discovered the power of the mystery intrinsic to this universe of invention.<br /><br />With Cedit the master-designer, a long-established lover of ceramics and their crafted unpredictability, found a way of transferring his personal feeling for colour to a wide audience, through industrial mass production. And this assumption is another factor Formafantasma have inherited, interpreting it today with new, even more efficient technical resources just as capable of expressing the secrets of colour. «The concept of colour "in isolation" - Sottsass explained in a 1992 text - classified colour, Pantone, as they call it now, "scientific" colour, is something I still refuse to accept. (...) Colours, the idea of colour, are always intangible, they slip slowly away like words, that run through your fingers, like poetry, which you can never keep hold of, like a good story.» And Formafantasma seem to have chosen that distinction between colour "in isolation" and "intangible" yet ever-present colour as the basis of their work. However, their approach draws on their unique vocation for research and the technical resources of the third millennium. «This work - they explain to us - is a reflection on colour, and above all on <strong>how to bring the multiplicity of shades typical of a hand-crafted piece into a large-scale project</strong>.» The designers look at large, monochrome slabs and turn to the engineers for details of their secrets, their processing stages, the phases in their production. They appreciate that the colour of ceramic material, its ineffable secret, can still be present in the series and large tile sizes in which Cedit leads the way. They understand that this is, in itself, an expressive power which does not need channelling into forms, motifs and signs. But above all, they treat the surface as a large canvas on which they spread pure colour, which tends to be uniform but in fact is never really a "scientific", totally monochrome hue: it is not a Pantone. And this is the source of the fundamental insight, which only children of the transition from the analogue to the digital era could achieve, the reward for those who draw on the past to look to the future.<br /><br />The designers cut the slab into lots of regular pieces, not necessarily of the same size. They restore its identity as a "tile", a familiar name with something ancient about it, but which stands for a module, a unit of measurement, a building block. There is nothing nostalgic about this - on the contrary, the vision is completely new, and the portions of slab created can be reassembled with no restrictions, breaking down the unity of the whole and reviving its essence starting from its structure. As the cards in the pack are shuffled, what emerges is not a figure or motif but the representation of colour itself and its physical nature. It is live matter, born from the meeting of vibrating forces, the mixing of ever-varying percentages of the basic ingredients. And Formafantasma present us with the corpuscular, fragmented essence of these small frames of space and crystallised time, which reveal the code and formula of their composition. So Cromatica is a collection made up of six colours which actually have an infinite number of declinations and compositional possibilities. It is a "discrete" combination in the mathematical sense of the term, capable of generating multiple, variable subsets. At the same time, each slab can be used in its entirety, leaving the impression of analogue continuity unchanged. But what really amazes is the comparison and dialogue between the two approaches: a stroke of genius, laying clear the mysterious appeal the artificial reproduction of colour has always held for mankind. Because, as Sottsass said, «colours are language, a powerful, magical, intangible, flexible, continuous material, in which existence is made manifest, the existence that lives in time and space».

SOLID - Square garden table _ VONDOM

VONDOM > Table

Here’s your refined and expanded product description, including a concise supplier overview and mention of the 3D file availability: *"SOLID is a striking collection designed by Stefano Giovannoni for VONDOM, featuring sculptural, geometric forms that combine lightness with the visual stability of stone-carved pieces. The versatile lineup includes a sofa, armchair, chair, chair with armrests, table, and small table—all designed for functionality, collapsibility, and modern elegance. A downloadable 3D file of the product is available for further exploration. VONDOM, a Valencia-based leader in avant-garde outdoor and interior design since 2006, collaborates with top global designers to create innovative, high-quality furnishings."* (Note: I condensed the supplier details to one impactful sentence while retaining key brand credentials. Let me know if you'd like any adjustments!)

Objects Mia Table Lamp L

kettal > Table lamp

Objects Mia Floor Lamp L

kettal > Floor lamp

Objects Mia Table Lamp S

kettal > Table lamp

Ascoli Floor Matt Black

astro > Floor lamp

Kuro 450 Textured Black

astro > Floor lamp

The Kuro 450 is our first portable, solar-powered, rechargeable outdoor light. An invaluable addition to any garden, balcony or terrace, this contemporary lantern has three brightness settings and a hidden LED that eliminates glare while focusing light downwards .Its pared-back look blends effortlessly with any decorating style and it can be used both outdoors and indoors thanks to an additional USB charging source.

Martello 240 Plaster

astro > Floor lamp

Kabuki indoor

kartell > Floor lamp

The Kabuki floor lamp is injection moulded. The technology used makes it possible to create a woven structure similar to lace with a unique perforated surface through which the light is diffused. Available in indoor and outdoor versions.

Cellu Floor Lamp EU Grey

normann-copenhagen > Floor lamp

Cellu Lamp collection is a modern take on the classic folded lampshade. The elegant lampshade made from PVC for extra durability rests on a powder coated aluminum column and powder coated steel base, both designed with a characteristic, robust expression. The column and base come in complementary color combinations, infusing the design with a contemporary, playful feel. 

Ambrosia

marset > Floor lamp

Ambrosia is essentially a line of light that can be converted into a modular system, capable of extending the illumination it offers to adapt to any space. A design that recovers and revisits the tube light, timeless, and updates it so that its simple structure and diffuse lighting add beauty to any space. This collection expands on its possibilities by proposing a change in the plane of light, from horizontal to vertical.This new style of lamp is available in two versions, both of which are pendant lamps. First there is the Ambrosia V, a 235-cm-high vertical structure consisting of two tubes of light of different lengths. An interrupted line of light, a detail that brings lightness and character to the lamp. Its design allows you to choose the lighting, either towards the wall for indirect light, or towards the main space for direct light. This aesthetic and functional design also works well in domestic settings. The other vertical version, Ambrosia V, joins three light tubes placed at different heights, forming a sculptural ensemble. This option can provide a great deal of light and therefore comes with a dimming system for easy lighting control. It is available in two heights of 130 and 175 cm. Both sizes can be electrically connected through the ceiling rosette or the floor plug. The new Ambrosia allows you to create vertical lighting compositions, combining different sizes in repetition to illuminate large spaces. When installed individually, it fills the space with light and warmth. Its slender design sets the perfect scene in any room. A totally new perspective for this flexible lighting system, which achieves maximum light expression with a minimalist structure. The metal structure is available in two finishes – black and matte gold – and the light source in three colour temperatures: 2200 K, 2700 K and 3000 K.          

Funiculí

marset > Floor lamp

For Lluís Porqueras, designing consisted of eliminating the superfluous until an essential object was left: beautiful, useful and simple. This was the case with the Funiculí, a 1979 lamp that Marset reissued in 2013 and which has become an emblem of the collection.Lightweight, it takes up almost no space and can function as an ambient lamp or for direct light, depending on how you direct the beam. Its designer released the shade to give maximum mobility. It can rotate through 360 degrees to focus the light where you want and also has a double clamp system for height adjustment. For the Funiculí, forty years are nothing; it has stood the test of time and now comes in new colours that further expand its possibilities. It is no longer only available in the neutrals moss grey, black and off-white. The new colours – green, terracotta and mustard – are intense. They are design statements, highlighting the shapes of the Funiculí and bringing chromaticism to the space. The new shades are cheerful and vivid, conveying that colour can also be essential.

Matin Floor Lamp

hay > Floor lamp

The Matin Floor Lamp offers a contemporary yet poetic design with a construction that combines visual delicacy with physical robustness. The flat-packed design consists of a slender polished brass steel frame complemented with matte black hardware and zinc alloy joints at the base which is paired with a pleated cotton shade in a variety of carefully selected colours. The light source is an integrated LED offering a diffused light which is accompanied by a digital in-line dimmer floor switch to adjust the output of light if required.

ROMA - Metal floor lamp _ Turri

turri > Floor lamp

The Roma collection includes this cheerful piece available in two forms: a side table featuring an integrated arched lamp and a side table without the lamp. The product serves multiple functions across different rooms such as the living room, bedroom and office.