Pastis Armchair
hay > Chair
Designed for HAY by French designer Julien Renault Pastis Armchair is a wooden chair built on authenticity strength and high-quality craftsmanship with the intention of creating a timeless chair that would last for decades. Balancing a sturdy construction with elegant aesthetics Pastis offers a versatile armchair that emanates personality for enjoying life dining socialising and bringing a sense of warmth and vitality to its surroundings. Available in a variety of lacquered wood types and colours Pastiss durability and comfort makes it suited to many indoor spaces from dining rooms and kitchens in private homes to cafs and other public environments.
Andaluz Santa Barbara Andaluz: Merlot Gloss
casatile > Floor tile-stone
Santa Barbara ceramic tile collection evokes the California landscape, with a combination of vivid and subtle colors offset by neutrals and matte finishes. It is this combination of mattes and gloss finishes in a vast array of colors that our Santa Barbara ceramic tile becomes rich, vibrantly alive, and harmonious.Our ceramic tile is handcrafted and decorated by hand using an ancient method called Cuerda Seca that literally translates to dry cord. This technique has been used for centuries in Spain and other Mediterranean countries. The depth and richness of the colors are obtained by painstakingly applying every single drop of glaze by hand onto a delineated design.
Rituals 2
foscarini > Ceiling lamp
The Rituals ceiling lamps translate the luminous magic of Oriental rice paper lanterns into items of contemporary design, made of blown glass with a special processing on the surface. The Rituals 2 ceiling lamp has an imposing presence, casting a warm, vibrant glow.
Maija
santacole > Floor lamp
Maija conveys the feeling of light typical of Baltic cities, where the streets are barely illuminated, apart from the light that streams from the windows of homes and shops; from the inside outwards. A tower composed of stacked metal discs through which its inner light filters, vibrant and inviting conversation.
ARNE
Rapsel > Bathtub
With its vintage aesthetic and modern functionality, the Arne bathtub is a unique piece of furniture that adds a touch of style to your bathroom. A timeless relaxation experience that combines the charm of the past with the comfort of the present. Crafted from strong, ergonomic Titan resin, the bathtub's form seamlessly molds to your body, offering an unparalleled experience of relaxation. The backrest of the Arne bathtub is inspired by the iconic chairs of the 60s, a decade of creativity and innovation. Chairs from that era, designed by masters like Arne Jacobsen, were characterized by sinuous lines, enveloping curves, and vibrant colors.
Smoke Armchair
moooi > Armchair
Furniture finished with fire. The beauty and character of burned wood is now captured in a long lasting material creating the strange sensation of sitting on burnt furniture Maarten Baas interpreted his fascination for the element fire with a groundbreaking approach. Capturing the burning flames into the solidity of wood. Each chair is unique due to this exceptional production process. Just like the Phoenix the Smoke objects are reborn from their ashes gaining new vitality and beauty in a very unusual way.
Feluca Organic
infinitidesign > Chair
The Feluca family expands and welcomes the new Organic version. The chair’s silhouette remains the same as its predecessors, with an elegantly elliptical frame on which the seat and backrest rest delicately, without visible hooks. In this new version, however, the frame is made of solid natural or black-stained ash, while the seat and backrest are made of coloured polypropylene in vivid nuances. A paradigm shift that adds wonder and amazement: the material warmth of the wood, which dresses a chair with gentle, human-sized forms, further enhances the vibrant colour of the polypropylene, for a play of contrasts and harmony that surprises and intrigues.
Lawrence "Clan"
minotti > Sofa
With their well-defined shapes, the "Clan" elements lend themselves to compositions that express a more dynamic and informal interpretation of the living room. The one-piece seats feature stitching in graphic, modern square-shaped designs. This refined tailoring detail epitomizes the company’s skill in drawing upon tradition to bring new vitality to an ancient technique like embroidery, through an unhesitatingly contemporary interpretation of style.
Radio Rug
hay > Carpet
Designed for HAY by Clara Von Zweigbergk Radio Rug uses multiple coloured yarns woven together to create an intriguing contrast in patterns and textures. Hand-woven in India from a blend of New Zealand wool and cotton the weaving technique creates a graphic three-dimensional effect. The rugs natural warmth comfort and vibrance can be used to elevate most interior spaces. OEKO-TEX STANDARD 100 cert. No 22.HIN.10331.
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.
Rituals 1
foscarini > Wall lamp
The Rituals lamps are distinguished by special processing on the blown glass, with irregular lines engraved on its surface. The volume of Rituals 1 will not go unnoticed, since it features slight creases that create a warm, vibrant light. Like the pedestal of a work of art, the L-shaped support of the wall lamp version allows multiple solutions to be created: with the glass directed up or down, or in the version fitted with two diffusers.
https:Kandinsky Wing Chair
tetrad > Armchair
Compact and comfortable, the Kandinsky wing chair has a minimalist look which will complement any room. The sprung seat and back and feather filled cushions means you can relax in comfort for hours. The loose fabric cover is easily removable so the fresh and vibrant look can be maintained all year round. Perfect for: Contemporary living A busy lifestyle Creating a corner to relax in
Attach Coat Hook Set of 2
muuto > Styling
The Attach Coat Hook combines industrial and Scandinavian materialities for a playful yet refined take on the simple, modern coat hook, joined by its contrasting round and square forms. Use the design in linear formations for a simple, refined expression or in more vibrant layouts with various colors of the design.
Santa Barbara Ceramic Decorative Tile: Giralda Gloss
casatile > Floor tile-stone
Santa Barbara ceramic tile collection evokes the California landscape, with a combination of vivid and subtle colors offset by neutrals and matte finishes. It is this combination of mattes and gloss finishes in a vast array of colors that our Santa Barbara ceramic tile becomes rich, vibrantly alive, and harmonious.Our ceramic tile is handcrafted and decorated by hand using an ancient method called Cuerda Seca that literally translates to dry cord. This technique has been used for centuries in Spain and other Mediterranean countries. The depth and richness of the colors are obtained by painstakingly applying every single drop of glaze by hand onto a delineated design.
Miro Euro Pillow
abchome > Accessories
John simplified the design on this Miro Euro Pillow to let the colors shine. Hand printed. Hidden zipper closure. Printed on both sides. Created using traditional block printing methods of hand-carved blocks from teak tree trunks, hand-mixing dye to create the perfect colors, and block printing with extreme precision to perfectly align all the unique motifs within this textile. Featuring a distinct balance of bold and bright from old-world traditions and new-world style, John Robshaw displays an updated spin on traditional, handmade textiles with a vibrant mix of sophistication and romantic allure. Dying, printing, and experimenting alongside the artisans to create these unique fabrics, John Robshaw helps preserve traditional block printing, hand-stitching, hand-painting, and hand-quilting textiles in India.
Alison Rose Sfera Grafite Waterjet Mosaic
artistictile > Floor tile-stone
Sfera by Alison Rose posits circles upon circles - spheres that seem to bounce across the surface of the tile to create an “infinite” mosaic, with multiple stones placed randomly within the design. The combination of colors and circles is strikingly sophisticated in three timeless colorways. Verde combines Verde Aurora, a vibrant green polished quartzite with polished and honed Nero Marble. Lilac includes honed Lilac marble, polished Statuary, honed Calacatta Bluette, and honed Bianco Carrara. Grafite adds bittersweet chocolate Grafite marble into a blend with polished and honed Nero marble and honed Vanilla Onyx. Sfera is also available in a variety of other custom colorways via Artistic Tile’s “Tailored To” program.
Pastis Chair
hay > Chair
Designed for HAY by French designer Julien Renault Pastis Chair is built on authenticity strength and high-quality craftsmanship with the intention of creating a timeless chair that would last for decades. Balancing a sturdy construction with elegant aesthetics Pastis offers a versatile chair that emanates personality for enjoying life dining socialising and bringing a sense of warmth and vitality to its surroundings. Available in a variety of lacquered wood types and colours Pastiss durability and comfort makes it suited to many indoor spaces from dining rooms and kitchens in private homes to cafs and other public environments.
Santa Barbara Ceramic Decorative Tile: Santa Barbara
casatile > Floor tile-stone
Santa Barbara ceramic tile collection evokes the California landscape, with a combination of vivid and subtle colors offset by neutrals and matte finishes. It is this combination of mattes and gloss finishes in a vast array of colors that our Santa Barbara ceramic tile becomes rich, vibrantly alive, and harmonious.Our ceramic tile is handcrafted and decorated by hand using an ancient method called Cuerda Seca that literally translates to dry cord. This technique has been used for centuries in Spain and other Mediterranean countries. The depth and richness of the colors are obtained by painstakingly applying every single drop of glaze by hand onto a delineated design.
Santa Barbara Ceramic Decorative Tile: Salamanca
casatile > Floor tile-stone
Santa Barbara ceramic tile collection evokes the California landscape, with a combination of vivid and subtle colors offset by neutrals and matte finishes. It is this combination of mattes and gloss finishes in a vast array of colors that our Santa Barbara ceramic tile becomes rich, vibrantly alive, and harmonious.Our ceramic tile is handcrafted and decorated by hand using an ancient method called Cuerda Seca that literally translates to dry cord. This technique has been used for centuries in Spain and other Mediterranean countries. The depth and richness of the colors are obtained by painstakingly applying every single drop of glaze by hand onto a delineated design.
Pastis Coffee Table
hay > Coffee table
Designed for HAY by French designer Julien Renault Pastis Coffee Table is a wooden table built on authenticity strength and high-quality craftsmanship with the intention of creating a timeless coffee table that would last for decades. Featuring a round tabletop and four low legs the table balances a sturdy construction with elegant aesthetics offering a versatile coffee table that emanates personality for enjoying life dining socialising and bringing a sense of warmth and vitality to its surroundings. Available in a variety of wood types and colours with tabletop in veneer Pastiss compact size and durability makes it suited to many indoor spaces from private homes to cafs and other public environments.
Frammento
marazzigroup > Floor tile-stone
Venetian terrazzo in porcelain stoneware, 2 sizes of chips: Micro and Macro Frammento is the new Marazzi porcelain stoneware collection that reinterprets Venetian Seminato for contemporary taste, drawing on artificial intelligence to create colours and finishes not found in the original, traditional product. For the first time, this product’s patterning was developed using the patented DDGAN technology, which analyses the inspiration material, interprets its distinctive characteristics and employs artificial intelligence to generate completely new, totally reworked images for the products, while still maintaining the aesthetic of the original. The range comprises three colours and three chip dimensions, Micro and Macro inset into neutral backgrounds and in tones modulated to suit each shade. The result is an aesthetically vibrant material with excellent technical performance, perfect for use in both residential and commercial contexts.
Absolute White
marazzigroup > Wall tile-stone-brick
3D Structure White Wall Tiles With Absolute White, the use of white in wall coverings gains unprecedented expressive potential. Three 3D structures: Twist and Cube, in the gloss and satin versions, and Fiber, matt only, model the light, enhance colours and generate dynamic vibrations with design schemes.
Gaia earthmother.
terzani > Ceiling lamp
In Greek mythology, Gaia is the personification of the Earth and the mother of all life. Looking to capture the mythical and natural beauty of this Earth goddess, designer Jean-François Crochet has created the Gaia pendant light. Consisting of geometric frames of brass or raw metal reminiscent of the mountains Gaia created, the pendant uses led light to push light through the “cracks” formed. The resulting light creates a magical feeling, as if the lights peaking through were alive themselves. Also available in gold, nickel and wood finish and in custom configurations, Gaia adds a vibrancy and sacred light to any space. Design Jean-François Crochet. Made in Italy
Doris Chair 31007 InStock Brussels Powder Blue / Wood Base 32204 Custom Grade F / Wood Base 32205 Custom Grade I / Wood Base 32206 Custom Grade K / Wood Base 32207 Custom Grade L / Wood Base 32208 Custom Grade O / Wood Base 32209 Custom Grade S / Wood Bas
jonathanadler > Armchair
<p><b>Posh Perch.</b></p><p>Inspired by '40s Chinoiserie with a nod to Park Avenue, our Doris Chair is the primary punch that refreshes any room. The open arm detail and Ming-inspired base adds sculptural flair, but it's still a comfy perch for reading. Upholstered in bold blue velvet with a patterned trim or a fresh and vibrant shade, both with a bright white lacquer base for added impact.</p><p>Pop a pair in your parlor or add a chic seat to the corner of your boudoir.</p><p>See More About This Style for more customization options.</p><p><b>*Our shipping ETAs may be longer than usual, but safely delivering the looks you love is always our priority.</b></p>
Mews by Barber & Osgerby
mutina > Floor tile-stone
Mews, a term referring to the narrow alleys in London's historic centre with their unique and picturesque aesthetic, is inspired by urban landscape, history, and textures of the English capital. These details merge, creating pleasantly vibrant geometric compositions. The collection is the result of a long experimentation on colour, which led to the creation of a palette of nine shades: Chalk, Fog, Pigeon, Lead, Ink, Soot, Green, Light Blue and Pink, each of which is further divided into over 15 different tones, imparting a sense of depth and movement to the surfaces.
Santa Barbara Ceramic Decorative Tile: Avidan Black & Gray 1 Gloss
casatile > Floor tile-stone
Santa Barbara ceramic tile collection evokes the California landscape, with a combination of vivid and subtle colors offset by neutrals and matte finishes. It is this combination of mattes and gloss finishes in a vast array of colors that our Santa Barbara ceramic tile becomes rich, vibrantly alive, and harmonious.Our ceramic tile is handcrafted and decorated by hand using an ancient method called Cuerda Seca that literally translates to dry cord. This technique has been used for centuries in Spain and other Mediterranean countries. The depth and richness of the colors are obtained by painstakingly applying every single drop of glaze by hand onto a delineated design.
Matin Wall Lamp
hay > Wall lamp
Designed by Inga Semp the Matin Wall Lamp offers a contemporary yet poetic design with a construction that combines visual delicacy with physical robustness. The head of the lamp can be angled approximately 45 degrees both upwards and downwards to create an ambient uplight as well as directional downlight. The wall-mounted design consists of a steel wire bent frame finished in polished brass with matte black hardware and is paired with a pleated cotton shade in two sizes with a variety of vibrant colours. The light source is an integrated LED offering a diffused light which is accompanied by a digital in-line dimmer control to adjust the output of light if required.
Channel Rug
hay > Carpet
Designed for HAY by Clara Von Zweigbergk Channel Rug uses different coloured yarns woven together to create a visual and textural diagonal pattern. Hand-woven in India from a blend of New Zealand wool and cotton the tactile interplay of thicknesses and colours creates a graphic three-dimensional effect. The rugs natural warmth comfort and vibrance can be used to elevate most interior spaces. OEKO-TEX STANDARD 100 cert. No 22.HIN.10331.
Moiré movementwith pattern.
terzani > Ceiling lamp
A French term derived from silk with a rippled or “watered” appearance, moiré is an optical effect that results in the illusion of waves or the movement of water. This effect is achieved by having an opaque, ruled pattern overlaid over another. Designer Christian Lava’s studies of this effect have led to his latest design aptly titled, Moiré. Using overlapping grids of metal, this LED pendant light dynamically changes shape following the viewer’s gaze, practically coming to life with a vibrating energy. Moiré is a mesmerizing addition to any room. Available in gold plated and nickel finish. Design Christian Lava. Made in Italy.
Gaia earthmother.
terzani > Ceiling lamp
In Greek mythology, Gaia is the personification of the Earth and the mother of all life. Looking to capture the mythical and natural beauty of this Earth goddess, designer Jean-François Crochet has created the Gaia pendant light. Consisting of geometric frames of brass or raw metal reminiscent of the mountains Gaia created, the pendant uses led light to push light through the “cracks” formed. The resulting light creates a magical feeling, as if the lights peaking through were alive themselves. Also available in gold, nickel and wood finish and in custom configurations, Gaia adds a vibrancy and sacred light to any space. Design Jean-François Crochet. Made in Italy
TRAMETES
skema > Wallcovering
TRAMETES, is THE acoustic balancer of technological beauty. This acoustic balancing system is the best performing product on the market today in terms of sound absorption, the only one capable of exploiting all known acoustic absorption technologies and systems: absorption by porosity, by vibration, by diffraction and by exploiting the principle of Helmoltz resonators, all of which have been condensed into a single product: TRAMETES. Its different shapes, CIRCLE and SQUARE, in its various sizes and installations, and multiple combinations guarantee absorption in all speech frequencies with Class A performance. Trametes can be wall-mounted, ceiling-mounted or come in Freestanding and Treestanding configurations, in the iconic shape reminiscent of trees. It can also be customised in upholstery fabric and colour, matching the ever-changing moodboards of interior design.
Santa Barbara Ceramic Solid Tile: Charcoal Green Matte
casatile > Floor tile-stone
Santa Barbara ceramic tile collection evokes the California landscape, with a combination of vivid and subtle colors offset by neutrals and matte finishes. It is this combination of mattes and gloss finishes in a vast array of colors that our Santa Barbara ceramic tile becomes rich, vibrantly alive, and harmonious.Our ceramic tile is handcrafted and decorated by hand using an ancient method called Cuerda Seca that literally translates to dry cord. This technique has been used for centuries in Spain and other Mediterranean countries. The depth and richness of the colors are obtained by painstakingly applying every single drop of glaze by hand onto a delineated design.
Santa Barbara Ceramic Solid Tile: Jade Gloss
casatile > Floor tile-stone
Santa Barbara ceramic tile collection evokes the California landscape, with a combination of vivid and subtle colors offset by neutrals and matte finishes. It is this combination of mattes and gloss finishes in a vast array of colors that our Santa Barbara ceramic tile becomes rich, vibrantly alive, and harmonious.Our ceramic tile is handcrafted and decorated by hand using an ancient method called Cuerda Seca that literally translates to dry cord. This technique has been used for centuries in Spain and other Mediterranean countries. The depth and richness of the colors are obtained by painstakingly applying every single drop of glaze by hand onto a delineated design.
Santa Barbara Ceramic Solid Tile: Toasted Chestnut Matte
casatile > Floor tile-stone
Santa Barbara ceramic tile collection evokes the California landscape, with a combination of vivid and subtle colors offset by neutrals and matte finishes. It is this combination of mattes and gloss finishes in a vast array of colors that our Santa Barbara ceramic tile becomes rich, vibrantly alive, and harmonious.Our ceramic tile is handcrafted and decorated by hand using an ancient method called Cuerda Seca that literally translates to dry cord. This technique has been used for centuries in Spain and other Mediterranean countries. The depth and richness of the colors are obtained by painstakingly applying every single drop of glaze by hand onto a delineated design.
Santa Barbara Ceramic Decorative Tile: Alba 2
casatile > Floor tile-stone
Santa Barbara ceramic tile collection evokes the California landscape, with a combination of vivid and subtle colors offset by neutrals and matte finishes. It is this combination of mattes and gloss finishes in a vast array of colors that our Santa Barbara ceramic tile becomes rich, vibrantly alive, and harmonious.Our ceramic tile is handcrafted and decorated by hand using an ancient method called Cuerda Seca that literally translates to dry cord. This technique has been used for centuries in Spain and other Mediterranean countries. The depth and richness of the colors are obtained by painstakingly applying every single drop of glaze by hand onto a delineated design.
Santa Barbara Ceramic Decorative Tile: Cordova
casatile > Floor tile-stone
Santa Barbara ceramic tile collection evokes the California landscape, with a combination of vivid and subtle colors offset by neutrals and matte finishes. It is this combination of mattes and gloss finishes in a vast array of colors that our Santa Barbara ceramic tile becomes rich, vibrantly alive, and harmonious.Our ceramic tile is handcrafted and decorated by hand using an ancient method called Cuerda Seca that literally translates to dry cord. This technique has been used for centuries in Spain and other Mediterranean countries. The depth and richness of the colors are obtained by painstakingly applying every single drop of glaze by hand onto a delineated design.
Santa Barbara Ceramic Decorative Tile: Point Loma
casatile > Floor tile-stone
Santa Barbara ceramic tile collection evokes the California landscape, with a combination of vivid and subtle colors offset by neutrals and matte finishes. It is this combination of mattes and gloss finishes in a vast array of colors that our Santa Barbara ceramic tile becomes rich, vibrantly alive, and harmonious.Our ceramic tile is handcrafted and decorated by hand using an ancient method called Cuerda Seca that literally translates to dry cord. This technique has been used for centuries in Spain and other Mediterranean countries. The depth and richness of the colors are obtained by painstakingly applying every single drop of glaze by hand onto a delineated design.
Santa Barbara Ceramic Decorative Tile: Santa Monica
casatile > Floor tile-stone
Santa Barbara ceramic tile collection evokes the California landscape, with a combination of vivid and subtle colors offset by neutrals and matte finishes. It is this combination of mattes and gloss finishes in a vast array of colors that our Santa Barbara ceramic tile becomes rich, vibrantly alive, and harmonious.Our ceramic tile is handcrafted and decorated by hand using an ancient method called Cuerda Seca that literally translates to dry cord. This technique has been used for centuries in Spain and other Mediterranean countries. The depth and richness of the colors are obtained by painstakingly applying every single drop of glaze by hand onto a delineated design.
Rituals 3
foscarini > Table lamp
The Rituals lamps speak the language of beauty and poetry. They are made with hand-blown glass marked by thin engravings which recall the art of grinding resulting from skilled craft-based workmanship. Rituals 3 is distinguished by a small volume that makes its use more versatile, with the creased surface that diffuses a warm, vibrant light.
Chantel Table Lamp
castrolighting > Table lamp
Chantel is a smooth symphony of shapes and geometry, paired with precious materials and a sharp-lined structure. Having a duality idea in its design, this contemporary table lamp reflects its top and base like a reflected image, granting a special magnetism to this piece. Chantel’s structure is made of glitzy brass, paired with a cylindrical estremoz white marble. The exceptionally elegant and creative table lamp makes it easy to uplift the interior design with a new aesthetic in decorative lighting. The charismatic and geometrical silhouette of this handmade table lamp will complement a contemporary or transitional interior design style. It is a modern statement that will be a great addition to any room. VIEW FULL FAMILY TWO MAIN VERSIONS #vibranthome
Constellation White Out Marble Waterjet Mosaic
artistictile > Floor tile-stone
The silent pulse of stars in the night sky inspires Constellation, our visually stunning new pattern. Radiant stars in contrasting stone repeat across the surface, their delicate rays beaming through a smooth natural stone background. The night sky has inspired us for millennia. Constellation brings that fascination indoors, in a pattern vibrant as the stars.
Constellation Blackout Marble Waterjet Mosaic
artistictile > Floor tile-stone
The silent pulse of stars in the night sky inspires Constellation, our visually stunning new pattern. Radiant stars in contrasting stone repeat across the surface, their delicate rays beaming through a smooth natural stone background. The night sky has inspired us for millennia. Constellation brings that fascination indoors, in a pattern vibrant as the stars.
Proust Geometrica
cappellini > Armchair
A further evolution of the icon created by Alessandro Mendini in 1978 for the Palazzo dei Diamanti in Ferrara, the Proust Geometrica armchair incorporates the heritage of the original in this revised technicolour version. A cult object in the design world, the Proust armchair has been reinterpreted here with a fixed cover made of bright multi-coloured fabric designed by Mendini himself. Hand-crafted as always, Proust Geometrica is an armchair that catches the eye with its vibrant colour blocks and uncompromising comfort: a piece that exemplifies the ideal fusion between functionality, formal attention to details and aesthetic research.
Angie "Dining"
minotti > Chair
A saddle-hide or leather element designs a wing that embraces the armchair, sustaining the frame like a sculptural bustier, characterised inside by the inviting softness of the seat and backrest. Behind the apparent simplicity of the design lies an advanced technological process used to make both the padding with different textures of foam and the saddle hide or leather bustier, made using two different Baydur® moulds, which perfectly follows the curved line of the armchair. The GamFratesi studio, signing the design, worked on the idea of contrast, emphasising it and juxtaposing the stiff frame of the saddle hide or leather element with the softness of the upholstered part, which can also be seen on the back, so setting the scene for interesting colour combinations of saddle hide and fabric. The legs are in Pewter-coloured die-cast aluminium and a unique bow-shaped frame connects the feet at the rear, emphasising the curve of the saddle hide or leather body. The family of products includes an armchair, accompanied by a footstool, and a dining little armchair, both with the same features and in different sizes, now joined by the Angie Cover version upholstered entirely in fabric or leather. The presence of saddle hide is not only a distinctive feature of the GamFratesi studio’s involvement in the creative team of Minotti, but also breathes new vibrancy into a piece with classic forms, offering a palette of different shades.
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.
Earthtech OUTBACK_FLAKES
florim > Wall tile-stone-brick
From an ancient past to a responsible future <p>The collection injects new life into the earth through a sustainable production process, with a strong focus on green management, to offer the architect an exceptional technical and aesthetic performance in compliance with the socio-environmental context and the latest eco-friendly building needs. With EARTHTECH earth becomes “technical earth” with a highly innovative content, offering new solutions to green architecture and fulfilling the new frontiers of circular economy in construction, guaranteeing a sustainable future. <br />EARTHTECH offers a choice of organic textures to observe and touch, thanks to the wide range of finishes (Comfort, Glossy-Bright and structured) which add a tactile and unexpected perceptive dimension for use in all types of application. <br /><a class="btn arrow" href="https://www.florim.com/en/surfaces/the-new-comfort-surface/"> Discover the new Comfort surface </a></p> <p>EARTHTECH/ is also a return to the origins of the Florim brand through a full body technical product that blends surface and thickness and derives from the spontaneous mixing of carefully pre-selected fragments and pigments of different shades which give the material a unique, one-of-a-kind visual effect in each slab, mimicking the amazing variety of colours and elements in nature. The result is a composite product with a textured design, in which the flakes and aggregate grains create an original mélange effect that is vitrified during firing, producing a robust, high-quality and exceptionally strong and wear-resistant product; one which can be used in any type of building setting and weather conditions, even the harshest.</p>
Earthtech SAVANNAH_GROUND
florim > Wallcovering
From an ancient past to a responsible future <p>The collection injects new life into the earth through a sustainable production process, with a strong focus on green management, to offer the architect an exceptional technical and aesthetic performance in compliance with the socio-environmental context and the latest eco-friendly building needs. With EARTHTECH earth becomes “technical earth” with a highly innovative content, offering new solutions to green architecture and fulfilling the new frontiers of circular economy in construction, guaranteeing a sustainable future. <br />EARTHTECH offers a choice of organic textures to observe and touch, thanks to the wide range of finishes (Comfort, Glossy-Bright and structured) which add a tactile and unexpected perceptive dimension for use in all types of application. <br /><a class="btn arrow" href="https://www.florim.com/en/surfaces/the-new-comfort-surface/"> Discover the new Comfort surface </a></p> <p>EARTHTECH/ is also a return to the origins of the Florim brand through a full body technical product that blends surface and thickness and derives from the spontaneous mixing of carefully pre-selected fragments and pigments of different shades which give the material a unique, one-of-a-kind visual effect in each slab, mimicking the amazing variety of colours and elements in nature. The result is a composite product with a textured design, in which the flakes and aggregate grains create an original mélange effect that is vitrified during firing, producing a robust, high-quality and exceptionally strong and wear-resistant product; one which can be used in any type of building setting and weather conditions, even the harshest.</p>
Matrice Forma
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.
Matrice Rilievo
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.
Earthtech CARBON_FLAKES
florim > Wall tile-stone-brick
From an ancient past to a responsible future <p>The collection injects new life into the earth through a sustainable production process, with a strong focus on green management, to offer the architect an exceptional technical and aesthetic performance in compliance with the socio-environmental context and the latest eco-friendly building needs. With EARTHTECH earth becomes “technical earth” with a highly innovative content, offering new solutions to green architecture and fulfilling the new frontiers of circular economy in construction, guaranteeing a sustainable future. <br />EARTHTECH offers a choice of organic textures to observe and touch, thanks to the wide range of finishes (Comfort, Glossy-Bright and structured) which add a tactile and unexpected perceptive dimension for use in all types of application. <br /><a class="btn arrow" href="https://www.florim.com/en/surfaces/the-new-comfort-surface/"> Discover the new Comfort surface </a></p> <p>EARTHTECH/ is also a return to the origins of the Florim brand through a full body technical product that blends surface and thickness and derives from the spontaneous mixing of carefully pre-selected fragments and pigments of different shades which give the material a unique, one-of-a-kind visual effect in each slab, mimicking the amazing variety of colours and elements in nature. The result is a composite product with a textured design, in which the flakes and aggregate grains create an original mélange effect that is vitrified during firing, producing a robust, high-quality and exceptionally strong and wear-resistant product; one which can be used in any type of building setting and weather conditions, even the harshest.</p>