Fringe Interior

Pietre/3 limestone ash

florim > Floor tile-stone

A cultured and refined style distinguishes the choice of the natural shades The interpreter of a family and essential style, Pietre/3 is the fine porcelain stoneware collection that expresses itself through a wide range of decorative solutions for interior architecture, where a sophisticated combination of surfaces takes on new expressiveness. There is a wide range of sizes and finishes that continue an innovative journey aimed at highlighting the continuity between the interior and exterior environment, providing a simple and immediate class to the environment. All the surfaces are available in the sizes indicated in the catalog and are suitable for interior and exterior floor and wall application. Multiple shapes of mosaics and decorative strips allow the construction of the project to be varied without changing its inspiring essence.

Halo Ocean

R

refin-ceramic > Floor tile-stone

A way back to colorSize 6×24 cm (23/8″×97/16″), glossy finish, intense colours: eclectic and super-contemporary attitude for the Halo wall tiling, which alternates light and dark halos, including pinholes, has irregularities especially near the edges. Surface variability, a glazed effect, and bold tones help define a dynamic proposal that reflects light, creating compositions with a strong decorative impact. The collection is versatile in emphasising architectural volumes and furnishing elements, designing scenic backdrops that enrich different residential environments and give personality to retail and Ho.Re.Ca. premises.

Halo Cotton

R

refin-ceramic > Floor tile-stone

A way back to colorSize 6×24 cm (23/8″×97/16″), glossy finish, intense colours: eclectic and super-contemporary attitude for the Halo wall tiling, which alternates light and dark halos, including pinholes, has irregularities especially near the edges. Surface variability, a glazed effect, and bold tones help define a dynamic proposal that reflects light, creating compositions with a strong decorative impact. The collection is versatile in emphasising architectural volumes and furnishing elements, designing scenic backdrops that enrich different residential environments and give personality to retail and Ho.Re.Ca. premises.

Halo Basil

R

refin-ceramic > Floor tile-stone

A way back to colorSize 6×24 cm (23/8″×97/16″), glossy finish, intense colours: eclectic and super-contemporary attitude for the Halo wall tiling, which alternates light and dark halos, including pinholes, has irregularities especially near the edges. Surface variability, a glazed effect, and bold tones help define a dynamic proposal that reflects light, creating compositions with a strong decorative impact. The collection is versatile in emphasising architectural volumes and furnishing elements, designing scenic backdrops that enrich different residential environments and give personality to retail and Ho.Re.Ca. premises.

Safari Suspension Snooker

castrolighting > Ceiling lamp

The collection arose from exploring new worlds of inspiration for creative and unique designs. Ignited by the concept of journey, the Safari Collection embraces the aesthetic spirit of the savage animal world, unexplored and enigmatic, enticing atmosphere of serenity and midday summer heat of Savannah. Bronze and earthy tones bring the wild into high-class décor. A signature lighting design delivers a fresh approach to luxury and results in a refined retreat for every demanding interior. This majestic chandelier was designed to be contemplated and harmoniously allied to an elegant composition with a chair alongside wall light from the same Collection. Safari suspension is the newest addition to the Castro iconic designs. The key highlight of this lighting creation is rooted in its exclusive giraffe print handcrafted with the ultimate care to details by professional artisans. Each brass plate is a true design masterpiece that carries a bronze glass to soften the mesmerizing light effect. This lavish snooker version of this golden chandelier can be modelled in any sizes and visually complement a living space with its natural allure, creating an unusual ambience. Matching various styles of residential and commercial projects, this sophisticated design is perfect to shape modern classic, mid-century modern, or art deco interiors. VIEW FULL FAMILY

Safari Round Suspension

castrolighting > Ceiling lamp

The collection arose from exploring new worlds of inspiration for creative and unique designs. Ignited by the concept of journey, the Safari Collection embraces the aesthetic spirit of the savage animal world, unexplored and enigmatic, enticing atmosphere of serenity and midday summer heat of Savannah. Bronze and earthy tones bring the wild into high-class décor. A signature lighting design delivers a fresh approach to luxury and results in a refined retreat for every demanding interior. This majestic chandelier was designed to be contemplated and harmoniously allied to an elegant composition with a chair alongside wall light from the same Collection. Safari suspension is the newest addition to the Castro iconic designs. The key highlight of this lighting creation is rooted in its exclusive giraffe print handcrafted with the ultimate care to details by professional artisans. Each brass plate is a true design masterpiece that carries a bronze glass to soften the mesmerizing light effect. This lavish suspension can be modelled in any dimension and visually complement a living space with its natural allure, creating an unusual ambience. Matching various styles of residential and commercial projects, this sophisticated design is perfect to shape modern classic, mid-century modern, or art deco interiors. #moroccanriad

Marie Chair Safari Edition

castrolighting > Chair

The collection arose from exploring new worlds of inspiration for creative and unique designs. Ignited by the concept of journey, the Safari Collection embraces the aesthetic spirit of the savage animal world, unexplored and enigmatic, enticing atmosphere of serenity and midday summer heat of Savannah. Bronze and earthy tones bring the wild into high-class décorative pieces. A signature furniture design delivers a fresh approach to luxury and results in a refined retreat for every demanding interior. This majestic dining chair was designed to be contemplated and harmoniously allied to an elegant composition with a suspension alongside wall light from the same Collection. Marie chair safari edition is the newest addition to the Castro iconic designs. Composed of a top-quality combo of materials such as brass that frames the mesmerizing beige upholstery, Safari’s splendid design ensures divine comfort due to its curved backrest. The key highlight of this furniture creation is rooted in its exclusive brass giraffe print on the back handcrafted with the ultimate care to details by professional artisans. This lavish chair can visually complement any living space with its natural allure, creating an unusual ambience. Matching various styles of residential and commercial projects, this sophisticated design is perfect to shape modern classic, mid-century modern, or art deco interiors.

Safari Suspension

castrolighting > Ceiling lamp

The collection arose from exploring new worlds of inspiration for creative and unique designs. Ignited by the concept of journey, the Safari Collection embraces the aesthetic spirit of the savage animal world, unexplored and enigmatic, enticing atmosphere of serenity and midday summer heat of Savannah. Bronze and earthy tones bring the wild into high-class décor. A signature lighting design delivers a fresh approach to luxury and results in a refined retreat for every demanding interior. This majestic chandelier was designed to be contemplated and harmoniously allied to an elegant composition with a chair alongside wall light from the same Collection. Safari suspension is the newest addition to the Castro iconic designs. The key highlight of this lighting creation is rooted in its exclusive giraffe print handcrafted with the ultimate care to details by professional artisans. Each brass plate is a true design masterpiece that carries a bronze glass to soften the mesmerizing light effect. This lavish suspension can be modelled in any dimension and visually complement a living space with its natural allure, creating an unusual ambience. Matching various styles of residential and commercial projects, this sophisticated design is perfect to shape modern classic, mid-century modern, or art deco interiors. VIEW FULL FAMILY

Alvea L Bookcase

gautierFurniture > Cabinet

A true object of furniture, the Alvea bookcase combines the originality of asymmetrical graphic lines with the practicality of numerous integrated storage spaces. Its unique style, both understated and distinguished, will bring character and modernity to your interior. You can place it in the center of your room to separate it into two distinct spaces, lean it against a wall, or position it on a low piece of furniture. Whatever your choice, it will allow you to store your books and decorative objects. Available in 4 sizes and 6 different finishes, it will perfectly integrate into all interiors, regardless of your style.

Norr Shelf

fritzhansen > Cabinet

The Norr series in FSC-certified oak takes its cues from Scandinavian simplicity. Functional, well-crafted and beautiful designs for the home perfectly encapsulate the adage ‘less is more.’ A modern, rectangular interpretation of the pyramid shelf, the Norr shelf is defined by its simple FSC-certified oak frame, leather strap and brass mount. Whether used for extra storage or to display decorative objects, its open-back design enhances any wall.

Multiquartz

marazzigroup > Floor tile-stone

Outdoor Porcelain Stoneware Multiquarz, outdoor flooring tiles, by Marazzi offers porcelain slabs with a tactile look and strong shade variation, with surfaces perfect for outdoor use. Three colour variants made special by a variety of rectified sizes and two mesh-backed decorative motifs that allow an infinite variety of laying patterns. Multiquarz is ideal for outdoor use as a paving and wall covering in residential and light-traffic commercial contexts.

Alvea M Bookcase

gautierFurniture > Cabinet

A true object of furniture, the Alvea bookcase combines the originality of asymmetrical graphic lines with the practicality of numerous integrated storage spaces. Its unique style, both understated and distinguished, will bring character and modernity to your interior. You can place it in the center of your room to separate it into two distinct spaces, lean it against a wall, or position it on a low piece of furniture. Whatever your choice, it will allow you to store your books and decorative objects. Available in 4 sizes and 6 different finishes, it will perfectly integrate into all interiors, regardless of your style.

Plimatech Plimabeige/03

florim > Floor tile-stone

The inspiration for Florim's Plimatech Architectural design comes from high up in the Martell Valley of the Alto Adige region. The aesthetic heterogeneity characteristic of natural stone is captured in the collection through three graphic variants. 01, the most minimalist is softly veined and, especially in the large format, is particularly appropriate to confer character on architecture of more essential taste. 02 has a more variegated appearance, with slight shading tending towards white, designed to add a rough, textural touch to spaces. Finally, 03 is characterized by a high number of crystalline formations that give it a wavier line, ideal for design contexts that, between interior and exterior spaces, pursue a dialogue with the surrounding natural environment. In addition to this, the range of decorations is completed with the 30x60 wall module and 30x60 3D wall module, both proposed for the graphic variant 02 in all colors.

PAMPLONA

Rapsel > Washbasin

Crafted from Velvet®, an innovative and durable material, this basin offers a complete solution. It features a comfortable side support for user convenience, an integrated washbasin, a mixer tap, and a top edge that can be used as a decorative shelf for small items. The integrated metal frame within the countertop allows for easy and secure wall installation, providing exceptional stability and durability. The Pamplona basin comes complete with the Vola mixer tap, a design element that seamlessly complements the basin's elegance and sophistication.For those who crave a sophisticated and comfortable bathroom environment, Pamplona is the perfect choice. Every detail is meticulously crafted to provide an oasis of tranquility and luxury.The 1995 version features a beechwood frame and a stainless steel basin.

Plimatech Plimabeige/02

florim > Floor tile-stone

The inspiration for Florim's Plimatech Architectural design comes from high up in the Martell Valley of the Alto Adige region. The aesthetic heterogeneity characteristic of natural stone is captured in the collection through three graphic variants. 01, the most minimalist is softly veined and, especially in the large format, is particularly appropriate to confer character on architecture of more essential taste. 02 has a more variegated appearance, with slight shading tending towards white, designed to add a rough, textural touch to spaces. Finally, 03 is characterized by a high number of crystalline formations that give it a wavier line, ideal for design contexts that, between interior and exterior spaces, pursue a dialogue with the surrounding natural environment. In addition to this, the range of decorations is completed with the 30x60 wall module and 30x60 3D wall module, both proposed for the graphic variant 02 in all colors.

WING

Rapsel > Washbasin

Soft lines blend with the purity of polished stainless steel or white titanic resin, creating a work of art that seems to float in your bathroom. The washbasin can be complemented with a towel rack and a side drawer in stainless steel, for an added touch of functionality and style. Originally available in two versions:Polished stainless steel: For a modern aesthetic with striking visual impact.White Titanic Resin: For a timeless elegance that complements any décor.Wing was the first bathroom furnishing product to win the Compasso d'Oro award in 1994. It is still part of the permanent exhibition at the ADI Museum in Milan.Wing is currently only produced in white titanium resin. The stainless steel model, while being the original from the 1990s, is no longer available.The Wing is designed for wall-mounted installation and features a pre-drilled countertop hole for faucet placement.

Infinity Mirror

paolocastelli > Styling

Infinity Mirror, a mirror rounded contours backlit to create unique design reflections. Infinity reinvents the mirror concept in a contemporary key, transforming it from a simple and functional object to an ornamental piece of furniture. The matt black nickel profiles are freed from the perimeter constraints of the frame, creating a play on perspective whereby the mirror seems to stretch out into infinity, illuminating and decorating the wall that houses it. MATERIALS Structure: metal Central body: mirror FINISHES Structure: black nickel Light source: LED Total power: 69W / Voltage: 220-240 V / Rated Luminus Flux: 2277 Lm / Colour temperature: 3000°K / Color Rendering Index: Standard CRI 90 / Dimmer function: Yes

Plimatech Plimawhite/01

florim > Floor tile-stone

The inspiration for Florim's Plimatech Architectural design comes from high up in the Martell Valley of the Alto Adige region. The aesthetic heterogeneity characteristic of natural stone is captured in the collection through three graphic variants. 01, the most minimalist is softly veined and, especially in the large format, is particularly appropriate to confer character on architecture of more essential taste. 02 has a more variegated appearance, with slight shading tending towards white, designed to add a rough, textural touch to spaces. Finally, 03 is characterized by a high number of crystalline formations that give it a wavier line, ideal for design contexts that, between interior and exterior spaces, pursue a dialogue with the surrounding natural environment. In addition to this, the range of decorations is completed with the 30x60 wall module and 30x60 3D wall module, both proposed for the graphic variant 02 in all colors.

Alvea S Bookcase

gautierFurniture > Cabinet

A true object of furniture, the Alvea bookcase combines the originality of asymmetrical graphic lines with the practicality of numerous integrated storage spaces. Its unique style, both understated and distinguished, will bring character and modernity to your interior. You can place it in the center of your room to separate it into two distinct spaces, lean it against a wall, or position it on a low piece of furniture. Whatever your choice, it will allow you to store your books and decorative objects. Available in 4 sizes and 6 different finishes, it will perfectly integrate into all interiors, regardless of your style.

Fabula

marazzigroup > Floor tile-stone

Marble effect porcelain stoneware: contemporary elegance for floors Marble is renowned as the embodiment of elegance and purity. Now its most neutral varieties, the whites with their sophisticated veining and the warmer beiges, are reinterpreted in contemporary style in a very tactile porcelain stoneware collection in which use of the 3D Ink technology makes every piece unique and gives the veins both depth and shine. The matching Fabula Wall selection of wall coverings features tactile decors and three-dimensional structures.

Square stair nosing trims in Stainless Steel: SQUAREJOLLY SJ

profilitec > Accessories

Square stair nosing trims in Stainless Steel: SQUAREJOLLY SJ The square, stainless steel SQUAREJOLLY SJ profile finishes and protects tile step edges from mechanical impact. The section of the SQUAREJOLLY SJ profile has two perpendicular sides that perfectly resolve the 90° corner of the stair. The minimal, modern design is ideal for commercial and residential applications. How SJ profiles can be used The SJ profile is a multipurpose profile that covers a wide range of applications: • Transition for floors on the same level • Making decorative strips • Protecting external edge of wall tiles • framing for doormats • Top finishing of ceramic edges and skirting boards • Profiles for steps

Roma Mirror

castrolighting > Styling

Roma Mirror is the elegant symbol of confidence and boldness. With an ambitious focus on simplicity, cleanlines, and raw materials, it celebrates a sleek modern design. Being embodied in the form of conceptually, visually, and artistically completed circle, this furniture feature suggests a fresh take on contemporary elegance. A well-balanced flowing shape of the rim highlights the essence of refinement taken to new heights. This aesthetic lifestyle decorative piece is handcrafted from rich materials and finished with polished brass. It is modelled to reflect a vibrant gleam and serenity in the interior space. This wall mirror is a leading-edge statement of simple charm yet a lasting legacy, displaying the finest design quality with luxurious accents. An excellent fit for entrances, hallways, living and dining rooms, as well as any other area your interior décor imagination allows. This is a pure minimalist twist reflected indouble rings of this design. Find a stylish solution for the exquisite space with Roma Mirror, granting any interior project a modern and sophisticated touch.

LISTEC LI 22 trims with chromatic effect for coverings

profilitec > Accessories

LISTEC LI 22 trims with chromatic effect for coverings LISTEC LI 22 is a profile that allows you to quickly create chromatic effects on ceramic walls, thanks to the shape and thickness of 6 mm. It is applied with the thin set, generally to create horizontal lines on the wall, regardless of the thickness of the tile. The particular shape of the aluminium strip facilitates and mechanically makes the fixing more efficient. Available in plastic, steel and in different decorative finishes of aluminium, it can be coordinated with the same chromatic bases of ROUNDJOLLY and KERAJOLLY.

Mirror VU

tonellidesign > Styling

The VU mirror is a project of Giovanni Tommaso Garattoni, a three-dimensional texture obtained by placing next to each other different thicknesses of glass slabs. Each element can be used individually or with other elements to create custom composition that can be adapted to any project’s necessities. Therefore, a furnishing element that leaves ample margin of interpretation. 22 are the extra clear glass modules of different thicknesses that compose the VU mirror, glued through UV lamps onto a mirrored base that allows the wall fixing. We are dealing with a mirror of great artistic value, that results specially adapt for the decoration of wide spaces such as lounges and offices or passageways.

Alvea XL Bookcase

gautierFurniture > Cabinet

A true object of furniture, the Alvea bookcase combines the originality of asymmetrical graphic lines with the practicality of numerous integrated storage spaces. Its unique style, both understated and distinguished, will bring character and modernity to your interior. You can place it in the center of your room to separate it into two distinct spaces, lean it against a wall, or position it on a low piece of furniture. Whatever your choice, it will allow you to store your books and decorative objects. Available in 4 sizes and 6 different finishes, it will perfectly integrate into all interiors, regardless of your style.

Ginger

marset > Ceiling lamp

Wood is a great ally of cozy lighting. It is a material that is hard to mold, a challenge that the Ginger collection neatly resolves. The combination of sheets of wood, paper and resins pressed together under high pressure achieves a laminate that appears almost entirely flat, which discreetly lights up spaces with indirect light.This collection has been expanding over time to provide a solution to different lighting needs: different sizes for the suspension, tabletop (including the portable version) and floor models, two wall versions with a movable arm, and four wall lamp sizes that are simple yet formal and that can be combined with one another. The Ginger is also available in metal, offering the same warm, reflected light with no glare that helps highlight spaces. This material is applied to some models in the collection with different finishes: brushed brass, black or white on the outside, and brushed brass or white on the inside. A lighter, more refined, almost sculptural option. With these two highly diverse materials –wood and metal– the Ginger turns into a versatile collection, rounding out the circle and offering a lamp for every lighting and decorating need.

Tesori Broccato grigio

florim > Wallcovering

East and West, a synthesis archieved through Italian taste. «My work often takes me to far-off lands, also remote in terms of their culture and traditions. Even without my being aware of it, I then metabolise these traditions and include them in the designs I subsequently produce.» Matteo Nunziati "It is the architect's task to create a warm, livable space. Carpets are warm and livable. He decides for this reason to spread one carpet on the floor and to hang up four to form the four walls. But you cannot build a house out of carpets. Both the carpet and the floor and the tapestry on the wall required structural frame to hold them in the correct place. To invent this frame is the architect's second task."When Adolf Loos wrote his revolutionary essay on the "principle of cladding" in 1898, architecture was just entering the modern age. Building meant imagining structures capable of putting together different materials, but, Loos affirmed, it must also respect their individual characteristics. "Every material possesses a formal language which belongs to it alone and no material can take on the forms proper to another", the Austrian master therefore maintained. And there is no doubt that the spirit of these words extended throughout most Twentieth Century architecture, regardless of its location or style. When we look at Matteo Nunziati's designs for the CEDIT Tesori collection, we seem to be seeing geometrical purity and attention to detail at the service of a new "truth" of material. Because Matteo Nunziati views ceramics as a form of fabric. The woven patterns he imagines for the various styles in his collection "“ from Arabian to damask to more geometrical motifs "“ constantly seek to provide the soft, iridescent look of time-worn linen. In them, ceramics are raised from the status of poor relation of marble to become a luxury wall covering in their own right: almost a wallpaper, suitable however for both floors and walls, and an absolutely versatile material. No longer only for beautifying bathrooms, they can create new moods in every room of the house (and elsewhere) starting from the living-room. Naturally, the revolution has been mainly technological. The large slabs produced by CEDIT are more than 3 metres tall, and since they eliminate the serial repetition typical of conventional tiles, they generate a new relationship between the surface and its decoration. However, Nunziati does not use this to create, artist-like, a more eye-catching decorative composition that emphasises the slab's dimensions. Quite the opposite; the patterns he offers us attempt to break down what is left of the boundaries between substrates. In particular, the Arabian and damask styles, in the version with "timeworn" patterning, convey the idea of the ceramic slab as an abstract, almost non-existent material which melts into the decorative motif applied to it, in a kind of pure wall covering. Through the patient selection of geometrical motifs and tests to verify their suitability for application to ceramic slabs, Nunziati aims to achieve a new material rather than a mere decoration, making this clear by also exploring its tactile dimension, with gouged and relief motifs. His "principle of coverings" therefore relates to ceramics' essence rather than their image: highlighting the versatility which, as we all know, has made ceramics an absolute material, a kind of cement that incorporates structure and finish in a virtually infinite range of applications. This is clearly indicated by the reference to the mashrabiya, a term meaning place where people drink in Arabic, which in Arabian architecture originally referred to the kind of veranda where people used to meet and rest, and over time has come to mean the wooden gratings that screened these places from the sun. Inspired by his trips to the Middle East, for Nunziati the geometric patterns of the mashrabiya become both an outline of his method of work and the form of what in fact becomes the key element in a new idea of space: a real location conceived around a strong, livable surface in which physical substance and decoration overlap to the point where they merge.

Tesori Lino bianco

florim > Wallcovering

East and West, a synthesis archieved through Italian taste. «My work often takes me to far-off lands, also remote in terms of their culture and traditions. Even without my being aware of it, I then metabolise these traditions and include them in the designs I subsequently produce.» Matteo Nunziati "It is the architect's task to create a warm, livable space. Carpets are warm and livable. He decides for this reason to spread one carpet on the floor and to hang up four to form the four walls. But you cannot build a house out of carpets. Both the carpet and the floor and the tapestry on the wall required structural frame to hold them in the correct place. To invent this frame is the architect's second task."When Adolf Loos wrote his revolutionary essay on the "principle of cladding" in 1898, architecture was just entering the modern age. Building meant imagining structures capable of putting together different materials, but, Loos affirmed, it must also respect their individual characteristics. "Every material possesses a formal language which belongs to it alone and no material can take on the forms proper to another", the Austrian master therefore maintained. And there is no doubt that the spirit of these words extended throughout most Twentieth Century architecture, regardless of its location or style. When we look at Matteo Nunziati's designs for the CEDIT Tesori collection, we seem to be seeing geometrical purity and attention to detail at the service of a new "truth" of material. Because Matteo Nunziati views ceramics as a form of fabric. The woven patterns he imagines for the various styles in his collection "“ from Arabian to damask to more geometrical motifs "“ constantly seek to provide the soft, iridescent look of time-worn linen. In them, ceramics are raised from the status of poor relation of marble to become a luxury wall covering in their own right: almost a wallpaper, suitable however for both floors and walls, and an absolutely versatile material. No longer only for beautifying bathrooms, they can create new moods in every room of the house (and elsewhere) starting from the living-room. Naturally, the revolution has been mainly technological. The large slabs produced by CEDIT are more than 3 metres tall, and since they eliminate the serial repetition typical of conventional tiles, they generate a new relationship between the surface and its decoration. However, Nunziati does not use this to create, artist-like, a more eye-catching decorative composition that emphasises the slab's dimensions. Quite the opposite; the patterns he offers us attempt to break down what is left of the boundaries between substrates. In particular, the Arabian and damask styles, in the version with "timeworn" patterning, convey the idea of the ceramic slab as an abstract, almost non-existent material which melts into the decorative motif applied to it, in a kind of pure wall covering. Through the patient selection of geometrical motifs and tests to verify their suitability for application to ceramic slabs, Nunziati aims to achieve a new material rather than a mere decoration, making this clear by also exploring its tactile dimension, with gouged and relief motifs. His "principle of coverings" therefore relates to ceramics' essence rather than their image: highlighting the versatility which, as we all know, has made ceramics an absolute material, a kind of cement that incorporates structure and finish in a virtually infinite range of applications. This is clearly indicated by the reference to the mashrabiya, a term meaning place where people drink in Arabic, which in Arabian architecture originally referred to the kind of veranda where people used to meet and rest, and over time has come to mean the wooden gratings that screened these places from the sun. Inspired by his trips to the Middle East, for Nunziati the geometric patterns of the mashrabiya become both an outline of his method of work and the form of what in fact becomes the key element in a new idea of space: a real location conceived around a strong, livable surface in which physical substance and decoration overlap to the point where they merge.

Tesori Broccato bianco

florim > Wallcovering

East and West, a synthesis archieved through Italian taste. «My work often takes me to far-off lands, also remote in terms of their culture and traditions. Even without my being aware of it, I then metabolise these traditions and include them in the designs I subsequently produce.» Matteo Nunziati "It is the architect's task to create a warm, livable space. Carpets are warm and livable. He decides for this reason to spread one carpet on the floor and to hang up four to form the four walls. But you cannot build a house out of carpets. Both the carpet and the floor and the tapestry on the wall required structural frame to hold them in the correct place. To invent this frame is the architect's second task."When Adolf Loos wrote his revolutionary essay on the "principle of cladding" in 1898, architecture was just entering the modern age. Building meant imagining structures capable of putting together different materials, but, Loos affirmed, it must also respect their individual characteristics. "Every material possesses a formal language which belongs to it alone and no material can take on the forms proper to another", the Austrian master therefore maintained. And there is no doubt that the spirit of these words extended throughout most Twentieth Century architecture, regardless of its location or style. When we look at Matteo Nunziati's designs for the CEDIT Tesori collection, we seem to be seeing geometrical purity and attention to detail at the service of a new "truth" of material. Because Matteo Nunziati views ceramics as a form of fabric. The woven patterns he imagines for the various styles in his collection "“ from Arabian to damask to more geometrical motifs "“ constantly seek to provide the soft, iridescent look of time-worn linen. In them, ceramics are raised from the status of poor relation of marble to become a luxury wall covering in their own right: almost a wallpaper, suitable however for both floors and walls, and an absolutely versatile material. No longer only for beautifying bathrooms, they can create new moods in every room of the house (and elsewhere) starting from the living-room. Naturally, the revolution has been mainly technological. The large slabs produced by CEDIT are more than 3 metres tall, and since they eliminate the serial repetition typical of conventional tiles, they generate a new relationship between the surface and its decoration. However, Nunziati does not use this to create, artist-like, a more eye-catching decorative composition that emphasises the slab's dimensions. Quite the opposite; the patterns he offers us attempt to break down what is left of the boundaries between substrates. In particular, the Arabian and damask styles, in the version with "timeworn" patterning, convey the idea of the ceramic slab as an abstract, almost non-existent material which melts into the decorative motif applied to it, in a kind of pure wall covering. Through the patient selection of geometrical motifs and tests to verify their suitability for application to ceramic slabs, Nunziati aims to achieve a new material rather than a mere decoration, making this clear by also exploring its tactile dimension, with gouged and relief motifs. His "principle of coverings" therefore relates to ceramics' essence rather than their image: highlighting the versatility which, as we all know, has made ceramics an absolute material, a kind of cement that incorporates structure and finish in a virtually infinite range of applications. This is clearly indicated by the reference to the mashrabiya, a term meaning place where people drink in Arabic, which in Arabian architecture originally referred to the kind of veranda where people used to meet and rest, and over time has come to mean the wooden gratings that screened these places from the sun. Inspired by his trips to the Middle East, for Nunziati the geometric patterns of the mashrabiya become both an outline of his method of work and the form of what in fact becomes the key element in a new idea of space: a real location conceived around a strong, livable surface in which physical substance and decoration overlap to the point where they merge.

Tesori Lino grigio

florim > Wallcovering

East and West, a synthesis archieved through Italian taste. «My work often takes me to far-off lands, also remote in terms of their culture and traditions. Even without my being aware of it, I then metabolise these traditions and include them in the designs I subsequently produce.» Matteo Nunziati "It is the architect's task to create a warm, livable space. Carpets are warm and livable. He decides for this reason to spread one carpet on the floor and to hang up four to form the four walls. But you cannot build a house out of carpets. Both the carpet and the floor and the tapestry on the wall required structural frame to hold them in the correct place. To invent this frame is the architect's second task."When Adolf Loos wrote his revolutionary essay on the "principle of cladding" in 1898, architecture was just entering the modern age. Building meant imagining structures capable of putting together different materials, but, Loos affirmed, it must also respect their individual characteristics. "Every material possesses a formal language which belongs to it alone and no material can take on the forms proper to another", the Austrian master therefore maintained. And there is no doubt that the spirit of these words extended throughout most Twentieth Century architecture, regardless of its location or style. When we look at Matteo Nunziati's designs for the CEDIT Tesori collection, we seem to be seeing geometrical purity and attention to detail at the service of a new "truth" of material. Because Matteo Nunziati views ceramics as a form of fabric. The woven patterns he imagines for the various styles in his collection "“ from Arabian to damask to more geometrical motifs "“ constantly seek to provide the soft, iridescent look of time-worn linen. In them, ceramics are raised from the status of poor relation of marble to become a luxury wall covering in their own right: almost a wallpaper, suitable however for both floors and walls, and an absolutely versatile material. No longer only for beautifying bathrooms, they can create new moods in every room of the house (and elsewhere) starting from the living-room. Naturally, the revolution has been mainly technological. The large slabs produced by CEDIT are more than 3 metres tall, and since they eliminate the serial repetition typical of conventional tiles, they generate a new relationship between the surface and its decoration. However, Nunziati does not use this to create, artist-like, a more eye-catching decorative composition that emphasises the slab's dimensions. Quite the opposite; the patterns he offers us attempt to break down what is left of the boundaries between substrates. In particular, the Arabian and damask styles, in the version with "timeworn" patterning, convey the idea of the ceramic slab as an abstract, almost non-existent material which melts into the decorative motif applied to it, in a kind of pure wall covering. Through the patient selection of geometrical motifs and tests to verify their suitability for application to ceramic slabs, Nunziati aims to achieve a new material rather than a mere decoration, making this clear by also exploring its tactile dimension, with gouged and relief motifs. His "principle of coverings" therefore relates to ceramics' essence rather than their image: highlighting the versatility which, as we all know, has made ceramics an absolute material, a kind of cement that incorporates structure and finish in a virtually infinite range of applications. This is clearly indicated by the reference to the mashrabiya, a term meaning place where people drink in Arabic, which in Arabian architecture originally referred to the kind of veranda where people used to meet and rest, and over time has come to mean the wooden gratings that screened these places from the sun. Inspired by his trips to the Middle East, for Nunziati the geometric patterns of the mashrabiya become both an outline of his method of work and the form of what in fact becomes the key element in a new idea of space: a real location conceived around a strong, livable surface in which physical substance and decoration overlap to the point where they merge.

Tesori Anelli grigio

florim > Wallcovering

East and West, a synthesis archieved through Italian taste. «My work often takes me to far-off lands, also remote in terms of their culture and traditions. Even without my being aware of it, I then metabolise these traditions and include them in the designs I subsequently produce.» Matteo Nunziati "It is the architect's task to create a warm, livable space. Carpets are warm and livable. He decides for this reason to spread one carpet on the floor and to hang up four to form the four walls. But you cannot build a house out of carpets. Both the carpet and the floor and the tapestry on the wall required structural frame to hold them in the correct place. To invent this frame is the architect's second task."When Adolf Loos wrote his revolutionary essay on the "principle of cladding" in 1898, architecture was just entering the modern age. Building meant imagining structures capable of putting together different materials, but, Loos affirmed, it must also respect their individual characteristics. "Every material possesses a formal language which belongs to it alone and no material can take on the forms proper to another", the Austrian master therefore maintained. And there is no doubt that the spirit of these words extended throughout most Twentieth Century architecture, regardless of its location or style. When we look at Matteo Nunziati's designs for the CEDIT Tesori collection, we seem to be seeing geometrical purity and attention to detail at the service of a new "truth" of material. Because Matteo Nunziati views ceramics as a form of fabric. The woven patterns he imagines for the various styles in his collection "“ from Arabian to damask to more geometrical motifs "“ constantly seek to provide the soft, iridescent look of time-worn linen. In them, ceramics are raised from the status of poor relation of marble to become a luxury wall covering in their own right: almost a wallpaper, suitable however for both floors and walls, and an absolutely versatile material. No longer only for beautifying bathrooms, they can create new moods in every room of the house (and elsewhere) starting from the living-room. Naturally, the revolution has been mainly technological. The large slabs produced by CEDIT are more than 3 metres tall, and since they eliminate the serial repetition typical of conventional tiles, they generate a new relationship between the surface and its decoration. However, Nunziati does not use this to create, artist-like, a more eye-catching decorative composition that emphasises the slab's dimensions. Quite the opposite; the patterns he offers us attempt to break down what is left of the boundaries between substrates. In particular, the Arabian and damask styles, in the version with "timeworn" patterning, convey the idea of the ceramic slab as an abstract, almost non-existent material which melts into the decorative motif applied to it, in a kind of pure wall covering. Through the patient selection of geometrical motifs and tests to verify their suitability for application to ceramic slabs, Nunziati aims to achieve a new material rather than a mere decoration, making this clear by also exploring its tactile dimension, with gouged and relief motifs. His "principle of coverings" therefore relates to ceramics' essence rather than their image: highlighting the versatility which, as we all know, has made ceramics an absolute material, a kind of cement that incorporates structure and finish in a virtually infinite range of applications. This is clearly indicated by the reference to the mashrabiya, a term meaning place where people drink in Arabic, which in Arabian architecture originally referred to the kind of veranda where people used to meet and rest, and over time has come to mean the wooden gratings that screened these places from the sun. Inspired by his trips to the Middle East, for Nunziati the geometric patterns of the mashrabiya become both an outline of his method of work and the form of what in fact becomes the key element in a new idea of space: a real location conceived around a strong, livable surface in which physical substance and decoration overlap to the point where they merge.

Tesori Anelli bianco

florim > Wallcovering

East and West, a synthesis archieved through Italian taste. «My work often takes me to far-off lands, also remote in terms of their culture and traditions. Even without my being aware of it, I then metabolise these traditions and include them in the designs I subsequently produce.» Matteo Nunziati "It is the architect's task to create a warm, livable space. Carpets are warm and livable. He decides for this reason to spread one carpet on the floor and to hang up four to form the four walls. But you cannot build a house out of carpets. Both the carpet and the floor and the tapestry on the wall required structural frame to hold them in the correct place. To invent this frame is the architect's second task."When Adolf Loos wrote his revolutionary essay on the "principle of cladding" in 1898, architecture was just entering the modern age. Building meant imagining structures capable of putting together different materials, but, Loos affirmed, it must also respect their individual characteristics. "Every material possesses a formal language which belongs to it alone and no material can take on the forms proper to another", the Austrian master therefore maintained. And there is no doubt that the spirit of these words extended throughout most Twentieth Century architecture, regardless of its location or style. When we look at Matteo Nunziati's designs for the CEDIT Tesori collection, we seem to be seeing geometrical purity and attention to detail at the service of a new "truth" of material. Because Matteo Nunziati views ceramics as a form of fabric. The woven patterns he imagines for the various styles in his collection "“ from Arabian to damask to more geometrical motifs "“ constantly seek to provide the soft, iridescent look of time-worn linen. In them, ceramics are raised from the status of poor relation of marble to become a luxury wall covering in their own right: almost a wallpaper, suitable however for both floors and walls, and an absolutely versatile material. No longer only for beautifying bathrooms, they can create new moods in every room of the house (and elsewhere) starting from the living-room. Naturally, the revolution has been mainly technological. The large slabs produced by CEDIT are more than 3 metres tall, and since they eliminate the serial repetition typical of conventional tiles, they generate a new relationship between the surface and its decoration. However, Nunziati does not use this to create, artist-like, a more eye-catching decorative composition that emphasises the slab's dimensions. Quite the opposite; the patterns he offers us attempt to break down what is left of the boundaries between substrates. In particular, the Arabian and damask styles, in the version with "timeworn" patterning, convey the idea of the ceramic slab as an abstract, almost non-existent material which melts into the decorative motif applied to it, in a kind of pure wall covering. Through the patient selection of geometrical motifs and tests to verify their suitability for application to ceramic slabs, Nunziati aims to achieve a new material rather than a mere decoration, making this clear by also exploring its tactile dimension, with gouged and relief motifs. His "principle of coverings" therefore relates to ceramics' essence rather than their image: highlighting the versatility which, as we all know, has made ceramics an absolute material, a kind of cement that incorporates structure and finish in a virtually infinite range of applications. This is clearly indicated by the reference to the mashrabiya, a term meaning place where people drink in Arabic, which in Arabian architecture originally referred to the kind of veranda where people used to meet and rest, and over time has come to mean the wooden gratings that screened these places from the sun. Inspired by his trips to the Middle East, for Nunziati the geometric patterns of the mashrabiya become both an outline of his method of work and the form of what in fact becomes the key element in a new idea of space: a real location conceived around a strong, livable surface in which physical substance and decoration overlap to the point where they merge.

Tesori Monile bianco

florim > Wallcovering

East and West, a synthesis archieved through Italian taste. «My work often takes me to far-off lands, also remote in terms of their culture and traditions. Even without my being aware of it, I then metabolise these traditions and include them in the designs I subsequently produce.» Matteo Nunziati "It is the architect's task to create a warm, livable space. Carpets are warm and livable. He decides for this reason to spread one carpet on the floor and to hang up four to form the four walls. But you cannot build a house out of carpets. Both the carpet and the floor and the tapestry on the wall required structural frame to hold them in the correct place. To invent this frame is the architect's second task."When Adolf Loos wrote his revolutionary essay on the "principle of cladding" in 1898, architecture was just entering the modern age. Building meant imagining structures capable of putting together different materials, but, Loos affirmed, it must also respect their individual characteristics. "Every material possesses a formal language which belongs to it alone and no material can take on the forms proper to another", the Austrian master therefore maintained. And there is no doubt that the spirit of these words extended throughout most Twentieth Century architecture, regardless of its location or style. When we look at Matteo Nunziati's designs for the CEDIT Tesori collection, we seem to be seeing geometrical purity and attention to detail at the service of a new "truth" of material. Because Matteo Nunziati views ceramics as a form of fabric. The woven patterns he imagines for the various styles in his collection "“ from Arabian to damask to more geometrical motifs "“ constantly seek to provide the soft, iridescent look of time-worn linen. In them, ceramics are raised from the status of poor relation of marble to become a luxury wall covering in their own right: almost a wallpaper, suitable however for both floors and walls, and an absolutely versatile material. No longer only for beautifying bathrooms, they can create new moods in every room of the house (and elsewhere) starting from the living-room. Naturally, the revolution has been mainly technological. The large slabs produced by CEDIT are more than 3 metres tall, and since they eliminate the serial repetition typical of conventional tiles, they generate a new relationship between the surface and its decoration. However, Nunziati does not use this to create, artist-like, a more eye-catching decorative composition that emphasises the slab's dimensions. Quite the opposite; the patterns he offers us attempt to break down what is left of the boundaries between substrates. In particular, the Arabian and damask styles, in the version with "timeworn" patterning, convey the idea of the ceramic slab as an abstract, almost non-existent material which melts into the decorative motif applied to it, in a kind of pure wall covering. Through the patient selection of geometrical motifs and tests to verify their suitability for application to ceramic slabs, Nunziati aims to achieve a new material rather than a mere decoration, making this clear by also exploring its tactile dimension, with gouged and relief motifs. His "principle of coverings" therefore relates to ceramics' essence rather than their image: highlighting the versatility which, as we all know, has made ceramics an absolute material, a kind of cement that incorporates structure and finish in a virtually infinite range of applications. This is clearly indicated by the reference to the mashrabiya, a term meaning place where people drink in Arabic, which in Arabian architecture originally referred to the kind of veranda where people used to meet and rest, and over time has come to mean the wooden gratings that screened these places from the sun. Inspired by his trips to the Middle East, for Nunziati the geometric patterns of the mashrabiya become both an outline of his method of work and the form of what in fact becomes the key element in a new idea of space: a real location conceived around a strong, livable surface in which physical substance and decoration overlap to the point where they merge.

Ginger

marset > Table lamp

Wood is a great ally of cozy lighting. It is a material that is hard to mold, a challenge that the Ginger collection neatly resolves. The combination of sheets of wood, paper and resins pressed together under high pressure achieves a laminate that appears almost entirely flat, which discreetly lights up spaces with indirect light.This collection has been expanding over time to provide a solution to different lighting needs: different sizes for the suspension, tabletop (including the portable version) and floor models, two wall versions with a movable arm, and four wall lamp sizes that are simple yet formal and that can be combined with one another. The latter boast extraordinary structural simplicity, and can be combined with each other to great effect. Thanks to a rechargeable lithium-ion battery, the new portable table version of Ginger allows spaces to be lit independently with utter freedom, and with no need for wires. The version of Ginger in metal offers the same reflected, warm, glare-free light that helps to accentuate spaces. This material is applied to some models of the collection with different finishes: gold, black and white outside and gold and white inside. A new, lighter option that’s refined, almost like a sculpture. With these two highly diverse materials –wood and metal– the Ginger turns into a versatile collection, rounding out the circle and offering a lamp for every lighting and decorating need.

Tesori Monile grigio

florim > Wallcovering

East and West, a synthesis archieved through Italian taste. «My work often takes me to far-off lands, also remote in terms of their culture and traditions. Even without my being aware of it, I then metabolise these traditions and include them in the designs I subsequently produce.» Matteo Nunziati "It is the architect's task to create a warm, livable space. Carpets are warm and livable. He decides for this reason to spread one carpet on the floor and to hang up four to form the four walls. But you cannot build a house out of carpets. Both the carpet and the floor and the tapestry on the wall required structural frame to hold them in the correct place. To invent this frame is the architect's second task."When Adolf Loos wrote his revolutionary essay on the "principle of cladding" in 1898, architecture was just entering the modern age. Building meant imagining structures capable of putting together different materials, but, Loos affirmed, it must also respect their individual characteristics. "Every material possesses a formal language which belongs to it alone and no material can take on the forms proper to another", the Austrian master therefore maintained. And there is no doubt that the spirit of these words extended throughout most Twentieth Century architecture, regardless of its location or style. When we look at Matteo Nunziati's designs for the CEDIT Tesori collection, we seem to be seeing geometrical purity and attention to detail at the service of a new "truth" of material. Because Matteo Nunziati views ceramics as a form of fabric. The woven patterns he imagines for the various styles in his collection "“ from Arabian to damask to more geometrical motifs "“ constantly seek to provide the soft, iridescent look of time-worn linen. In them, ceramics are raised from the status of poor relation of marble to become a luxury wall covering in their own right: almost a wallpaper, suitable however for both floors and walls, and an absolutely versatile material. No longer only for beautifying bathrooms, they can create new moods in every room of the house (and elsewhere) starting from the living-room. Naturally, the revolution has been mainly technological. The large slabs produced by CEDIT are more than 3 metres tall, and since they eliminate the serial repetition typical of conventional tiles, they generate a new relationship between the surface and its decoration. However, Nunziati does not use this to create, artist-like, a more eye-catching decorative composition that emphasises the slab's dimensions. Quite the opposite; the patterns he offers us attempt to break down what is left of the boundaries between substrates. In particular, the Arabian and damask styles, in the version with "timeworn" patterning, convey the idea of the ceramic slab as an abstract, almost non-existent material which melts into the decorative motif applied to it, in a kind of pure wall covering. Through the patient selection of geometrical motifs and tests to verify their suitability for application to ceramic slabs, Nunziati aims to achieve a new material rather than a mere decoration, making this clear by also exploring its tactile dimension, with gouged and relief motifs. His "principle of coverings" therefore relates to ceramics' essence rather than their image: highlighting the versatility which, as we all know, has made ceramics an absolute material, a kind of cement that incorporates structure and finish in a virtually infinite range of applications. This is clearly indicated by the reference to the mashrabiya, a term meaning place where people drink in Arabic, which in Arabian architecture originally referred to the kind of veranda where people used to meet and rest, and over time has come to mean the wooden gratings that screened these places from the sun. Inspired by his trips to the Middle East, for Nunziati the geometric patterns of the mashrabiya become both an outline of his method of work and the form of what in fact becomes the key element in a new idea of space: a real location conceived around a strong, livable surface in which physical substance and decoration overlap to the point where they merge.