SUPPLIER: DOMINGO SALOTTI
COLLECTION: CLEIO
TYPE: FURNITURE
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LIZZY 2 - High fabric bench with fire retardant padding with back _ Domingo Salotti
Domingo Salotti > Bench
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A wide range of product from furniture to finishes to meet the desire of all designers.
Cromatica Cenere
florim > Synthetic Floor
A lexicon of colour shades for mixing. A large size and its submultiples. «This work represents a reflection on colour, and above all a proposal on how to transfer the multiplicity of shades typical of a hand-crafted piece into a project produced on a large scale.» Andrea Trimarchi & Simone Farresin Studio Formafantasma base their work in the design world on a strong vocation for research. Simone Farresin and Andrea Trimarchi view every project as an opportunity for study and the acquisition of new knowledge, and their love of speculation establishes a dialectic rapport with the situations offered by each new client. Whether it involves a material, a type or a production method, the first phase of their design process is the mapping of what the specific case places at their disposal. With Cedit, an analysis of the company's past and present was central to the inputs. Inevitably, since "Looking back to look forward" has been the design duo's mission statement for years. In this case, in particular, the company's history was a real treasure trove, a fine blend of memory and technology: on the one hand, the excellence of production technologies now extended with the added potential arising from the engineering of large-sized ceramic tiles, and on the other a wealth of experience build up with great designers of the past, from Zanuso to Noorda, through to <strong>Ettore Sottsass</strong>. Andrea and Simone decided to focus on Sottsass - who started designing for Cedit back in the late Seventies - and made an in-depth study of one of the colour charts he developed towards the end of the Nineties. A spread of colours which gave its name to the "41 Colors" collection, included in the catalogue of the period as a real alphabet for what has proved to be a lasting design language. Colour was much more than just a compulsory step in the dialogue between designer and producer, since Sottsass had already discovered the power of the mystery intrinsic to this universe of invention.<br /><br />With Cedit the master-designer, a long-established lover of ceramics and their crafted unpredictability, found a way of transferring his personal feeling for colour to a wide audience, through industrial mass production. And this assumption is another factor Formafantasma have inherited, interpreting it today with new, even more efficient technical resources just as capable of expressing the secrets of colour. «The concept of colour "in isolation" - Sottsass explained in a 1992 text - classified colour, Pantone, as they call it now, "scientific" colour, is something I still refuse to accept. (...) Colours, the idea of colour, are always intangible, they slip slowly away like words, that run through your fingers, like poetry, which you can never keep hold of, like a good story.» And Formafantasma seem to have chosen that distinction between colour "in isolation" and "intangible" yet ever-present colour as the basis of their work. However, their approach draws on their unique vocation for research and the technical resources of the third millennium. «This work - they explain to us - is a reflection on colour, and above all on <strong>how to bring the multiplicity of shades typical of a hand-crafted piece into a large-scale project</strong>.» The designers look at large, monochrome slabs and turn to the engineers for details of their secrets, their processing stages, the phases in their production. They appreciate that the colour of ceramic material, its ineffable secret, can still be present in the series and large tile sizes in which Cedit leads the way. They understand that this is, in itself, an expressive power which does not need channelling into forms, motifs and signs. But above all, they treat the surface as a large canvas on which they spread pure colour, which tends to be uniform but in fact is never really a "scientific", totally monochrome hue: it is not a Pantone. And this is the source of the fundamental insight, which only children of the transition from the analogue to the digital era could achieve, the reward for those who draw on the past to look to the future.<br /><br />The designers cut the slab into lots of regular pieces, not necessarily of the same size. They restore its identity as a "tile", a familiar name with something ancient about it, but which stands for a module, a unit of measurement, a building block. There is nothing nostalgic about this - on the contrary, the vision is completely new, and the portions of slab created can be reassembled with no restrictions, breaking down the unity of the whole and reviving its essence starting from its structure. As the cards in the pack are shuffled, what emerges is not a figure or motif but the representation of colour itself and its physical nature. It is live matter, born from the meeting of vibrating forces, the mixing of ever-varying percentages of the basic ingredients. And Formafantasma present us with the corpuscular, fragmented essence of these small frames of space and crystallised time, which reveal the code and formula of their composition. So Cromatica is a collection made up of six colours which actually have an infinite number of declinations and compositional possibilities. It is a "discrete" combination in the mathematical sense of the term, capable of generating multiple, variable subsets. At the same time, each slab can be used in its entirety, leaving the impression of analogue continuity unchanged. But what really amazes is the comparison and dialogue between the two approaches: a stroke of genius, laying clear the mysterious appeal the artificial reproduction of colour has always held for mankind. Because, as Sottsass said, «colours are language, a powerful, magical, intangible, flexible, continuous material, in which existence is made manifest, the existence that lives in time and space».
FIRST - Fabric chair with removable cover _ Magis
Magis > Chair
Here’s the rephrased and expanded product description with a concise supplier overview and mention of the 3D file: *"This chair features a comfortable polyurethane foam construction with a removable fabric cover made from Kvadrat’s premium ‘Divina’ textile. For additional details, refer to the manufacturer’s information on FIRST by Magis. A downloadable 3D file of the product is available for design and visualization purposes. Magis, a renowned Italian design brand established in 1976, is celebrated for its innovative, high-quality furniture and collaborations with leading designers."* (Kept the supplier description to one sentence while highlighting key points.)
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A wide range of product from furniture to finishes to meet the desire of all designers.
Wrap Lounge Chair
muuto > Armchair
Wrap is a soft Lounge Chair with a blanket-like textile wrapped around its shell, allowing a deep sense of comfort with a strong sense of character. While its design is guided by the search for ultimate comfort, its generous shape is supported by a light steel frame creating a contrasting image of airy lightness. The draped upholstery is a result of extensive research and development as well as craftsmanship and knowhow. The Wrap Lounge Chair is simple, yet refined, combining a sense of ease with a strong design language.
Doze Lounge Chair Tube Base
muuto > Armchair
Designed with extensive comfort and a modern expression through the vibrant lines and folds of its back and armrests along with an embracing seat, the Doze Lounge Chair join together the ideas of Scandinavian design with the lines of 1970's furniture for a contemporary perspective on the archetypal lounge chair. Use the Doze Lounge Chair on its own or with the Doze Ottoman.
Outline Chair
muuto > Armchair
The Outline Series adds new perspectives to the classic Scandinavian design sofas of the 1960's, marrying the ideals of simplicity and function into one. With the design taking its name from its strong outline of a sofa, the Outline Series is clean and elegant on the outside with a deep seat and soft cushioning on its inside. The Outline Series has an expression that is at once elegant yet timeless, elevated by its lines referencing architectural shapes alongside its curved armrests, giving the design a distinct appearance across various sizes and variants. The Outline Series also includes Studio versions of the Sofa and Chair, being compact versions with slimmed-down proportions for smaller spaces within the home, hotel rooms, work settings and more. The Outline Studio Sofa and Chair have a smaller depth of 76 cm / 29.9”.
Outline Studio Chair
muuto > Armchair
The Outline Studio Series adds new perspectives to the classic Scandinavian design sofas of the 1960's, designed in slimmed-down proportions for smaller spaces such as apartments, hotel rooms, workplaces and more. With the design taking its name from its strong outline of a sofa, the Outline Series is clean and elegant on the outside with a deep seat and soft cushioning on its inside. The Outline Series has an expression that is at once elegant yet timeless, elevated by its lines referencing architectural shapes alongside its curved armrests, giving the design a distinct appearance across various sizes and variants.
Kudo
leolux > Armchair
It all started with a single detail: the way in which the generously proportioned seat cushion contrasts against the frame. Designers Florian Kallus and Sebastian Schneider, of Studio KaschKasch, decided that this should be the basis of their first lounge chair for Leolux. The result combines simplicity with versatility and relaxed comfort. Welcome to Kudo!
Mimas
leolux > Armchair
The Mimas armchair will put a smile on your face, for two reasons. Firstly because with a little imagination it reminds you of a smile, and secondly because it’s so comfortable and comes with so many practical options.
Anton
leolux > Armchair
Throughout its long design history, Leolux built unique collections, year after year. The Anton armchair, named after one of the founders of Leolux, is loosely based on that storied legacy. The design is a reference to the past, to the artisanally crafted, top-quality products that earned Leolux its reputation.
Cream
leolux > Armchair
For the Leolux Cream swivel armchair, Studio Truly Truly has combined the loveliest natural materials to create an armchair with unprecedented comfort and elegance. The wooden shell in curved walnut or oak takes centre stage, covered with soft fabric or leather upholstery. The aluminium swivel base gives you even more options to personalise Cream, which can be finished in any colour for the ideal look.
Scylla
leolux > Armchair
Gerard Vollenbrock ontwierp Scylla met herinneringen aan ‘De Stijl’. Hij voorzag het ontwerp van een schitterend buisframe dat helemaal achter de rug doorloopt en stoere beklede armsteunen. Het zijn de kleine details en de perfectionistische afwerking die zorgen dat dit ontwerp ook na vele jaren gemakkelijk elke toets doorstaat.
Lloyd
leolux > Armchair
This is Lloyd. A beacon of design. Sturdy and yet so inviting. With supple, almost nonchalant upholstery and traditional detailing, like decorative piping that highlights the powerful shape. Lloyd merges two different worlds – the Leolux commitment to comfort, cast in Gino Carollo's distinctive Italian design.
Kikko
leolux > Armchair
Kikko will surprise you at first glance. Is it a chaise longue? Yes, but this multifunctional piece offers even more possibilities. By slightly lifting the back, it turns 90 degrees left or right. This turns the chaise longue into a comfortable seat with an extra seat next to it.
Jill
leolux > Armchair
This design is a reference to the past, inspired by luxury 19th-century hotel interiors. You can see Edward van Vliet's classic style in the armchair and chaise longue. He combines a touch of nostalgia with contemporary comfort, charming curves and elegant details.
K-wait armchair bouclè
kartell > Armchair
The comfort of an embrace: the K-WAIT upholstered collection by Rodolfo Dordoni plays with the contrast between the formal simplicity of rigorous volumes and soft, rounded lines. The division between habitat and contract solutions is increasingly blurred in this collection too. The keyword is versatility. The wide range of delightful upholstery includes warm velvety fabrics, bouclé and other fabrics that, though plainer, always stand out for their striking weave. All fabrics are certified for contract use.
Bubble club armchair
kartell > Armchair
Bubble Club is the industrial sofa in which rotational moulding technology has enabled Kartell to mass produce. A large two-seater sofa, characterised by the soft line of the armrests which contrast with the more rational line of the backrest; an essentia
Enzo Lounge chair
sofacompany > Armchair
Enzo is an armchair with a very modern and classic Scandinavian design. Here, focus is on simplicity, clean lines, and natural materials. The armchair has an wooden frame, loose soft cushions, and paper cord as an extra design wise detail.
Judi Lounge chair
sofacompany > Armchair
Judi is a cool lounge chair inspired by the early James Bond movies. The chair is named after actor Judi Dench, who plays M. Judi is a glamorous and cool chair with fine, round shapes. The empty space in the backrest makes the design less bombastic and even more elegant.
Oscar Lounge chair
sofacompany > Armchair
Oscar is a small and light armchair with attractive curves and contrasts. The shell is wide and framed by the dark piping that set off the simple design of the chair. A cool chair with a rather elegant masculine look.
Otis Lounge chair
sofacompany > Armchair
With Otis the idea was to scale down the look of an old-school armchair to accommodate the small living tendency. This chair fulfills the need for a soft and embracing chair. With its round shape and low height, it looks welcoming and super cute.
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