marmoleum decibel Caribbean
forbo > Synthetic Floor
Within our linoleum flooring range, Marmoleum Decibel provides the highest impact sound reduction of 18dB. This sustainable acoustic flooring consists of 2.5 mm Marmoleum laminated onto a 1 mm layer of polyolefin foam. Available in 27 colors selected from the Marmoleum Marbled and Solid collections.
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.
CH008 Coffee Table
carlhansen > Coffee table
The CH008 coffee table was designed by Hans J. Wegner in 1954. The understated and elegant three-legged design has since become one of his most popular pieces.
DRAWINGS Prestige - Uva e Mirtilli - Natural stone Air freshener dispenser _ IWISHYOU
IWISHYOU > Accessories
ECLISSE-84-2 - Rectangular stainless steel contract table _ Vela Arredamenti
Vela Arredamenti > Table
Skynest Suspension
flos > Ceiling lamp
Diffuse lighting hanging appliance. The dome is a combination of luminous and dark elements arranged into a network and formed of core structures covered with a thin interwoven colourful tubular mesh made from recycled and recyclable fabric produced from polyester. Every single luminous element is powered by special micro-connectors located at the top of the dome and is covered with a two-tone mesh, while the side facing the inside of the dome is always white in order to allow for optimal light emission from the LED module.The appliance is fitted with a built-in balancing system at the top of the dome which helps adjust its balance, making it perfectly stable. The bottom of the dome is completed by an aluminium ring that keeps the domes entire network structure in place through a simple snap-fit system. The product is assembled with absolutely no glue so it can be fully separated to be recycled in the future and in case of any repairs or replacements.Available lamp finishes: Blue Tourmaline, Almond, Anthracite or Brick Red.Plastic ceiling rose painted with the same finish as the lamp, fitted with built-in electronics that allow for the use of different dimmer systems: 0-10V / 1-10V / DALI / PUSH."
D-Neo Furniture washbasin with vanity unit
duravit > Washbasin cabinet
Number of pull-out compartments: 1, Number of drawers: 1, Lay-in compartment Optional, Incl. faucets: No Design by Bertrand Lejoly
typewriter grey
egecarpets > Carpet
Ege CircleBack is a unique carpet recycling program where we offer to take back your used carpets in Europe for recycling. We divide the used carpets into 3 fractions. The yarn and glue/coating are used again in our own products and the last fraction is used to produce recycled plastic. Read more details about Ege CircleBack here. The program covers the qualities Highline 1100 and Highline 910 with the woven textile backing (WT).
Linkfloor Empire Light Grey 9"X71"
porcelanosa > Carpet
gray wood effect vinyl. Size 9x71 in, suitable for interior floor.
Hi-Wood Walnut oak
florim > Floor tile-stone
A new luster fills the home with the natural elegance of a timeless material. <p>From almond to gray and warm hues of walnut, Hi-Wood offers a deliberately limited range - two sizes and a single thickness - to emphasize the clean lines of the collection, perfectly suited to simple and minimal rooms. The range, which is extremely functional, will be available in five colors, two finishes (natural and glossy), two sizes and only one thickness of 9 mm.Hi-Wood is an understated, essential series whose uniqueness lies in the presence of a unique light variant, to date the only polished wood in the range.</p>
FOGLIA LARGA - Washable vinyl wallpaper _ Carta da Parati Artistica
Carta da Parati Artistica > Wallpaper
BASKET KBQ - Countertop rattan hand towel dispenser _ DECOR WALTHER
DECOR WALTHER > Sanitary accessories
MAGNETO GOLD - Porcelain stoneware wall/floor tiles _ Fiandre Architectural Surfaces
Fiandre Architectural Surfaces > Wall tile-stone-brick
Record Living
infinitidesign > Table
Record is an innovative design table, which combines style and versatility through the combination of simple lines. Legs and footrest intersect without screws, giving an impressing and appealing touch to the details. The table top is available in a wide range of dimensions and finishes, that is why it fits well both in domestic and in contract environments. The oval version of Record living shows all the elegance of its lines. The monochrome version, then, is the right choice for a striking look.
EQUATORE MEDIUM
fontanaarte > Table lamp
Equatore is a contemporary reinterpretation of the classic lamp with a glass shade. While the traditional abat-jour uses the shade to contain the light source within, in this family of lamps the shade is paradoxically and suggestively empty, with the light being generated by two luminous discs placed inside a central metal band, visible on the shade, that evokes the line of the equator. The light produced by the Leds, thanks to internal screens arranged in layers, is distributed regularly across the surface of the discs, magically illuminating them. The bottom disc directs the light output downward, the upper one illuminates the glass cap for a soft, diffused light. Available in table, floor and ceiling models, in two sizes and two colors: a cooler version in gray with a dark chrome frame, and a warmer version with a transparent dove gray cap and a copper-colored frame.
Beat LED Range Linear Pendant System
tomdixon > Ceiling lamp
Beat is an extraordinary linear chandelier featuring two Beat Tall, two Beat Fat and two Beat Wide ceiling lights. Each Beat light is made from hand spun brass sculpted by artisan craftsmen in Northern India. The creation of the Beat light is part of an ancient process that takes four days to complete and its beaten interior is re-purposed to refract and reflect a soft and warm luminosity. More Information Bearing the mark of its maker, Beat is a celebration of the beauty of things created by hand. Hand-raised, welded, beaten and finally skimmed on a lathe, the Beat shades retain hammer marks from their forming. The collection includes Wall, Floor, Table and Ceiling lights.The LED module offers three key benefits - longer life expectancy, energy efficiency and improved performance including dimmability and light control. Our integrated LED module is fully serviceable and replacement components and individual drivers are available if needed.
Casablanca Suspension
castrolighting > Ceiling lamp
The classical collection of Casablanca does justice to its name, being inspired by the 40’s romantic drama directed by Michael Curtiz. In order to give this collection a mysterious and classy touch, all details are worked in the most meticulous way. The detailing on the crystal plates that hold the lights, the detailing on the different arms that compose the lamp, as well as the exquisite hanging Crystals, give this collection a unique look, making every feature the perfect statement. Being included in the most traditional interiors, the Casablanca Suspension brings out the existing love drama from the movie but keeps a harmonious balance a classic chandelier requires. This collection is an unforgettable one, taking us back to great stories and unique memories, giving interiors an imposing and majestic personality. VIEW FULL FAMILY #hotelrooms
Matrice Traccia
florim > Wallcovering
An atlas of modular signs to be combined in a wide variety of layouts. «We love concrete as a material, its versatility and its plain, austere look. We have completed our carefully designed surfaces with graphic patterning inspired by the human actions of weaving and embroidering.» Barbara Brondi & Marco Rainò To appreciate the profundity of the design project undertaken by Barbara Brondi and Marco Rainò for Cedit, it is both necessary and explanatory to start from the title the collection bears. In modern usage the term Matrice, in Italian, refers to a die or mould used to reproduce an object, but its origins are much more remote, with a meaning closer to the English “matrix”, meaning the underlying basis of something. The root of the word is related to Mater or mother: the name Matrice thus relates to the origin or cause of something. This dichotomy is expressed in several levels within the work of these architects, who study the world from a sophisticated conceptual approach and then transform it into a design. Starting from the idea of ceramic coverings, which have always been a tool not so much of architecture as of interior design, the artists work back to the origin of the surface and its decoration within their own discipline: they look at what we used to call the modern age, where modernity has also brought an uncompromising brutality, and where the use of bare concrete became the statement of an attitude to life with no time to spare for manners. Concrete is originally a liquid material, intended for shaping, which can therefore absorb and retain any type of mark created by the material and mould used to form it. Architects midway between rationalism and brutalism have used the rough-and-ready language of concrete combined with a last, elegant, anthropic decorative motif impressed on the material, that makes the concept of covering superfluous, because its place, in its older meaning of decoration rather than functional cladding, is taken by the regular patterning created in the material itself. There are therefore various grounds for believing that, in this collection, the artists are once again working in architectural terms. Firstly, with a simplicity typical of BRH+, they reduce the initial concepts to their minimal terms. So although this is a collection of coverings for walls, indoor floors, outdoor pavings and curtain walls, a great deal of time was spent on destructuring the idea of the ceramic covering itself. Unfortunately, nowadays there is no space in the contemporary construction sector for the radical approach of the past, so the cladding designed for the building actually lays bare the interior, using the choice of material – accurately interpreted (with shade variation) on the basis of an assortment of various types – to restore visual elegance and a fundamental severity. Attention to scale is another architectural feature: Matrice offers modules with architectural dimensions and different sizes through the development of “large slabs”, eliminating the visual regular grid effect. Thanks to this visual reset, geographic forms are perceived to emerge from dense, grey concrete surfaces decorated as in bygone days by special processes and by weathering during drying. The various types of slab, each an atlas of subtle, vibrant signs on the surfaces, comprise finishes that reproduce the visual effect of reinforced concrete – with the aggregates in the cement more clearly visible, of formwork – with the signs impressed on the concrete by the timber used, of a structured surface resembling bare cement plaster, of ridged and streaked surfaces – with patterning resembling some kinds of linear surface finishing processes – and finally a smooth, or basic version, over which Matrice exercises the dichotomy referred to earlier. It is on these surfaces that Brondi and Rainò have imagined additional design reverberations, a figurative code that rejects the concept of the grid, previously inseparable from that of the module: by means of a vocabulary of graphic marks cut into the slabs with a depth of 3 mm (the width of the gap left between modules during installation), they provide a framework for infinite combinations of possible dialogues. Just as in embroidery, which is based on grids of stitches and geometric repetitions, and where every stitch is at right-angles to another one to construct forms and decorations. Also taken from embroidery is the idea of introducing a degree of “softness” to reduce the stiffness of intentionally deaf surfaces. There is the impression of patterns that can continue for infinity, as in textile weaving, and a scale that, unlike the surface being worked on, is imagined as suspended and lightweight. They may not admit it, but BRH+ know a lot about music, including electronic music, and it appears to me that this organised tangle of infinite signs – unidentifiable without an overview – is rather like the representations of synthesized sounds. Sounds that are produced by machines, and thus “woven” by sampling and overlapping sounds of the most unlikely origins, combined to form jingles which, once heard, are imprinted indelibly on the brain. This may be why I am so interested in the space between this “melodic film” and its deaf, damp substrate. The eyes can navigate this suspended reality without fear of disturbance. So we are faced with different surfaces, different sizes and different graphic signs. But only one colour (surprise!) to prevent a cacophony not just of signs but also of possible interpretations: the artists retain their radical principles (and their generosity), and as curators, a role in which they are skilled, they leave the players (architects and installers) to add their own interpretations. In their hands this colour, expressed in Matrice, will produce motifs on surfaces in living spaces for someone else. This stylish covering and its workmanship will be left to the hands of someone who will probably never read this, but will be on a building site, with the radio playing on a stereo system, concentrating on installing the very pieces we describe. So a radical, apparently silent, design project like this has repercussions for the real world we live in. Matrice has no form of its own but merely acquires the ornamentation drawn on its surfaces by a second group of artists. And here this routine action, standardised by the form approved for production and workmanlike efficiency, is the origin and cause of change, generating a variability of choices and interpretations, on that dusty building site where music plays and mortar flows.