Resting Cat - 2d files - 3d files

Styling > Styling

PRODUCT DESCRIPTION

Numerous works by the creative duo Front are devoted to the systematic observation of sleeping or hibernating animals. This fascination inspired their design of a group of slumbering creatures – Resting Animals – whose poses exude a serene tranquillity. The Resting Cat is an ornamental ceramic figure with a peaceful presence that goes beyond the decorative to communicate a deep sense of contentment.

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vitra > Cabinet

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vitra > Styling

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vitra > Sofa

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vitra > Stool

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vitra > Chair

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vitra > Styling

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vitra > Sofa

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vitra > Chair

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vitra > Styling

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vitra > Table

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vitra > Styling

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vitra > Styling

Numerous works by the creative duo Front are devoted to the systematic observation of sleeping or hibernating animals. This fascination inspired their design of a group of slumbering creatures &#8211; Resting Animals &#8211; whose poses exude a serene tranquillity. The Resting Birds are ornamental ceramic figures in two different sizes. Their peaceful presence goes beyond the decorative to communicate a deep sense of contentment.

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vitra > Chair

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vitra > Styling

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vitra > Chair

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vitra > Styling

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vitra > Stool

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vitra > Sofa

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vitra > Chair

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vitra > Styling

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vitra > Coffee table

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vitra > Chair

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vitra > Table

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vitra > Styling

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vitra > Chair

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vitra > Chair

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vitra > Styling

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vitra > Styling

Numerous works by the creative duo Front are devoted to the systematic observation of sleeping or hibernating animals. This fascination inspired their design of a group of slumbering creatures &#8211; Resting Animals &#8211; whose poses exude a serene tranquillity. The Resting Cat is an ornamental ceramic figure with a peaceful presence that goes beyond the decorative to communicate a deep sense of contentment.

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gerflor > Floor tile-stone

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florim > Wall tile-stone-brick

Recurring geometries, combinations of figures. Marble and marmorino plaster: comparison and dialogue. The collection is completed by a linear listello tile with the motif of a sequence of vertical rectangular blocks, which can be combined with the slabs to further enrich compositions involving continuous ceramic surfaces cladding.<br /><br />"Another reference is the use of Italian marbles on the verge of extinction, rare marbles such as Rosa Valtoce, the marble used in Milan Cathedral."<br />Cristina Celestino Cristina Celestino's smartphone contains a folder of images entitled "Milan". Photographs that are more like notes. Photographs of architectural features, materials or details of shapes encountered by chance during a walk, but they cannot be described as merely a vague "source of inspiration". This filing system, created in response to a fleeting instinct, is an integral part of the method of work adopted by the architect and designer, who starts off without preconceptions "“ or "free", as she puts it before drawing inputs from a vast world of references, from Hermès scarves to the works of the great Masters (in the specific case of Policroma). This accumulation, partly spontaneous and party the outcome of in-depth historical knowledge and study, naturally activates a process of synthesis and personal interpretation common to all Cristina Celestino's output.<br /><br /><br />The wall covering collection designed for Cedit was no exception, although in this case the designer was dealing with a project with variable dimensions, reaching up even to the architectural scale. In her own distinctive way, she combined a variety of references. Adolf Loos's passion for coloured types of marble, and Cipollino in particular. Carlo Scarpa's angular metal frames and Marmorino plaster in Venice. The French fashion house's square silk scarves. The entrance halls of Milan palazzos, Gio Ponti, the city's Cathedral. All expressed in the designer's own language: well balanced geometrical forms, subtle colours (shades similar to those of Scarpa himself), an effortless, almost restrained, playful elegance. The mood is that of the homes of the enlightened bourgeoisie who shaped the history of Milan, Celestino's adoptive city and an endless source of inputs. She has worked its interiors, including some of the least expected a 1928 tram, the historic Cucchi confectionery store hybridising her own style with the existing context. An imitative effect which is also the key to the meaning of the new Policroma collection: the marble varieties replicated using the Cedit technology are all from Italian quarries that are virtually "worked out". This revives an increasingly rare material as a "living" presence, in a different form which makes no claim to replace the natural original. Quite the contrary, Celestino immediately states her intention to imitate, by combining marble and Marmorino plaster in some variants with a contrasting frame (a typical feature for her, just as it was for Scarpa), and evoking the centuries-old marble-imitating scagliola plasterwork with a contemporary formula.<br /><br /><br />The types of marble chosen are central to the project's character. Verde Alpi, a favourite with Gio Ponti and often found in Milan entrance halls, features tightly packed patterning. Breccia Capraia, still found in a very few places in Tuscany, has a white background with just a few veins. Cipollino, in the special Ondulato variety in green and red, is patterned with spirals. Rosa Valtoce, on the other hand, was used by the "Veneranda Fabbrica" guild to build Milan Cathedral. It is an iconic stone with dramatic stripes, popular in the past; it is now sourced from one very small quarry in Piedmont which has been virtually abandoned.<br /> The many different elements that make up the Policroma collection all reflect the importance of craftsmanship to Cristina Celestino's design style: the modules can be freely mixed and combined, for example to create a concave or convex semicircle, or for the large-scale replication of small features initially conceived as trims, functional details transformed into a dominant motif.There is a return to the theme of the interior, a large or small protected space, conceived as suspended in space and time yet also reassuring and protective. It is designed through its coverings in a stark yet not minimalist way, with intelligence and with no overreaching artistic ambitions. An understated space and an extremely stylish declaration. In Milan style, of course.

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vitra > Styling

The Vitra Design Museum has been crafting meticulously detailed miniature replicas of iconic furniture designs for over two decades, encapsulating the evolution of industrial furniture design from Historicism and Art Nouveau to Bauhaus, Radical Design, Postmodernism, and contemporary styles. Each miniature, scaled to one-sixth the size of the original, faithfully reproduces every detail, from construction and materials to color and even the natural grain of wood, making them highly sought-after collector’s items and valuable educational tools for universities, design schools, and architects. A 3D file of the product is also available for download, offering further versatility for design enthusiasts. Vitra, the Swiss family-owned company behind this collection, has been a pioneer in furniture design since 1950, renowned for its innovative, timeless creations that blend functionality with aesthetics, crafted in collaboration with legendary designers like Charles and Ray Eames, George Nelson, and Verner Panton.

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hay > Chair

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hay > Table

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AMSTERDAM - Wooden sideboard with doors and drawers _ Bontempi Casa

Bontempi Casa > Cabinet

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OLD MAZANDARAN GELIM 2 - Rectangular wool rug _ Zollanvari

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UTOPÍA - Painting _ ICI ET LÀ

ICI ET LÀ > Styling

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SENSO URBAN 6' - Vinyl floor tiles with wood effect _ Gerflor

gerflor > Synthetic Floor

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LINEA TOUCH - Handrail _ Gerflor

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PUBLIC AREA - Stainless steel Toilet paper dispenser _ coram

coram > Sanitary accessories

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