Fringe Interior | SACCO POLIGONO6 GREIGE - Natural stone wall/floor tiles

Industrial Ivory

florim > Wallcovering

A cementitious material in its purest and most rigorous form The proposed decorative system defines balanced compositions of eye-catching organic shapes where the fragmentation of the material becomes an element of creative expression.

Matières Barrique

florim > Wall tile-stone-brick

A perfect balance of elegance and craftsmanship finds room in a collection with vast stylistic versatility <p>A perfect balance of elegance and craftsmanship finds room in a collection with vast stylistic versatility Matières is a perfect surface for modern and trendy environments, conserving all the class to adorn even the oldest and most memory-rich spaces.</p> </strong>The colour selection offers six modern shades which, combined with one another, suggest interesting decorative compositions. A wide range of large sizes extends the collection's range of applications both in traditional uses and in furnishing complements. A specific range for outdoor spaces provides two brand new sizes to allow decorative continuity between the indoor and outdoor spaces. A return to the small size with a rustic style and crafted edges returns the sense refinement and detail that is so characteristic of the ceramic tradition, modernising it in new uses such as, squares, public spaces and driveways.

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 Struttura

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 Sostanza

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.

ELLEPI - Brass robe hook _ INDA®

INDA® > Sanitary accessories

Here’s your rephrased and expanded product description, including a concise supplier overview and mention of the 3D file: **Product Description:** The *Clothes Hanger Ellepi* is part of a distinctive accessory series defined by its signature detail—a subtle notch on the corner of the pipe, which interrupts the straight line to accentuate direction changes and highlight the fold. Finishes are a key feature, with options including chrome, matte white, and matte black, as well as a sophisticated brushed nickel version with a chromed notch for added contrast. A downloadable 3D file of the product is available for design integration. For more details, visit the manufacturer’s page: [ELLEPI | Robe Hook INDA®](https://www.inda.net). **Supplier Overview:** INDA® is a renowned Italian interior design brand with decades of expertise, offering high-quality residential and commercial solutions, from bathroom accessories to customizable lighting and furniture. *(Note: I condensed the supplier details into a single sentence while preserving key info—origin, specialty, and market focus. Let me know if you'd like further adjustments!)*

RIFLESSI 7200 - Lead Crystal pendant lamp _ Patrizia Volpato

Patrizia Volpato > Ceiling lamp

Here’s the rephrased and expanded product description, including a concise supplier overview and mention of the 3D file: *"This elegant light fixture features a dual light source (2 x G9 halogen energy-saving or 2 x G9 LED bulbs), blending a sleek, modern design with antique-inspired shades. The bright, high-quality crystal, encased in a polished metal band, creates a striking contrast, offering a perfect balance of design, beauty, and craftsmanship. Ideal for elevating any space, it adds a touch of sophistication and uniqueness. Available in polished chrome, tortora, and brushed burnished finishes. A 3D file of this product is available for download. Manufactured by Patrizia Volpato, a renowned Italian lighting brand celebrated for its premium, contemporary designs since 1997."*

PAULI - Wall-mounted wooden coat rack _ Sancal

Sancal > Accessories

Here’s a rephrased and expanded product description, including a concise supplier overview and mention of the 3D file: *"Nachacht, a Berlin-based design studio, has crafted the PAULI coat hanger, a playful and interactive piece inspired by the modularity of Meccano toys. Featuring delicate marquetry, the hanger’s structure is made of natural oak, while the detachable hooks are crafted from colorful Polirey veneer, combining vibrant aesthetics with enhanced durability. Its adaptable shape allows for customizable configurations, adding a dynamic touch to any space. A 3D file of the product is available for download, offering further creative possibilities. Designed for Sancal—a renowned Spanish furniture brand celebrated for its innovative, high-quality designs since 1973—PAULI reflects their commitment to functional yet imaginative interiors."* (Note: I condensed the supplier details to one sentence while retaining key info about Sancal’s reputation and origin.)

GARDENIAS INDOOR - Small sofa _ BD Barcelona Design

BD Barcelona Design > Sofa

Here’s your rephrased and expanded product description, including a concise supplier overview and mention of the 3D file availability: *"Crafted from cast aluminium with extruded aluminium laminates, this piece features a durable powder coating in Alesta Anodic Black or high-gloss yellow RAL 1005 (on request), while the seat and backrest are upholstered in premium fabrics or leathers from BD Barcelona Design—a pioneering Spanish brand celebrated for its avant-garde furniture since 1972. Designed by Jaime Hayon, one of Spain’s most influential creatives, the Gardenias collection reflects his signature blend of playful elegance and versatility, offering refined silhouettes, luxurious finishes like velvet, and a palette of sophisticated hues (Blue Royale, Red Ming, Green Versailles, and Black Edo). Ideal for both residential and contract use, the collection balances artistic flair with functionality, and a 3D file of the product is available for download to facilitate seamless integration into your projects."* (Note: I condensed the supplier details to one sentence while retaining key credibility points—founding year, design ethos, and global reputation—to keep the focus on the product.)

CANZONE - Upholstered armchair with armrests _ ERBA ITALIA

ERBA ITALIA > Armchair

Here’s the rephrased and expanded product description, including a concise supplier overview and mention of the 3D file: *The CANZONE armchair by Erba Italia features a beautifully rounded, enveloping design that combines comfort with timeless elegance. Crafted with a solid wood frame and multilayer wood construction, it ensures durability, while the sprung seat with elastic belts and polyurethane foam (CFC-free) offers exceptional support. The seat is padded with virgin natural goose feather and polyurethane foam, while the back is filled with 100% virgin goose feather for luxurious softness. Available in premium fabric or leather upholstery, this armchair adds sophistication to any interior. A 3D file of the product is available for download, allowing for seamless integration into design plans.* *Erba Italia, a renowned Italian luxury furniture brand since 1936, is celebrated for its craftsmanship and elegant designs.*

CONVERSATION - Sectional sofa _ ERBA ITALIA

ERBA ITALIA > Sofa

Here’s the rephrased and expanded product description, including a concise supplier overview and mention of the 3D file: *The CONVERSATION collection features modular sofas and sectional elements designed to seamlessly connect, offering versatility and elegance. Crafted with a solid wood and multilayer wood frame, the sofa incorporates an elastic webbing spring system for durability, padded with high-resilience polyurethane foam and luxuriously upholstered in Dacron Du Pont. The design includes non-visible feet for a sleek, floating appearance, while the backrest is supported by a metal frame, cushioned with non-deformable foam and wrapped in soft polyester fiber and velveteen. The back cushions are upholstered in 100% cotton fabric and filled with a premium blend of 70% natural goose feather and 30% polyester fiber HCS for plush comfort. Customization is effortless, as the covers are available in fabric or leather and can be removed (optional for cushions). For added convenience, a 3D file of the product is available for download, enabling precise visualization and planning. ERBA ITALIA, a renowned Italian luxury furniture brand since 1936, is celebrated for its exquisite craftsmanship and timeless designs, blending tradition with modern sophistication.*

SPAZIO - Recliner sectional sofa _ ERBA ITALIA

ERBA ITALIA > Sofa

**SPAZIO Sofa** – A modern, essential-design sofa featuring a reclining back mechanism for adjustable comfort. Its sturdy metal frame is complemented by an elastic belt springing system, padded with high-resilience polyurethane foam and polyester fiber for lasting support. The seat is luxuriously cushioned with natural goose feather and layered with multi-density polyurethane foam, while the reclinable back and plush arms are crafted with injected foam and *piumafill* (70% natural goose feather, 30% polyester fiber). The satin-matt chrome steel feet add a sleek finish, and the sofa can be customized with either premium fabric or leather upholstery. A downloadable 3D file of the product is available for design planning. **Supplier:** ERBA ITALIA, a prestigious Italian furniture brand since 1936, is celebrated for its refined craftsmanship and timeless luxury designs. Explore their collections at [www.erbaitalia.it](http://www.erbaitalia.it).

ICONA - Upholstered armchair with headrest _ ERBA ITALIA

ERBA ITALIA > Armchair

**ICONA** is a modern reinterpretation of the iconic *Red Baron* chair, featuring an elegantly hollowed-out backrest. Its striking design is highlighted by the sculpted metal back panel, adorned with an artistic arrangement of circles in varying sizes, making each piece truly unique. The seat is upholstered with high-density, non-deformable polyurethane foam that is C.F.C.-free, ensuring both comfort and sustainability. Available in premium fabric or leather, this chair blends sophistication with versatility. A downloadable 3D file of the product is also available for design planning. **Supplier:** *ERBA ITALIA* is a prestigious Italian design house, renowned since 1936 for its luxury furniture and refined craftsmanship. Explore their collections at [www.erbaitalia.it](http://www.erbaitalia.it).

VICEVERSA - 2 seater sofa _ ERBA ITALIA

ERBA ITALIA > Sofa

Here’s the rephrased and expanded product description, including a concise supplier overview and a mention of the 3D file availability: *"This elegant product combines timeless design with exceptional craftsmanship, offering a perfect blend of luxury and functionality for both residential and commercial spaces. Crafted from high-quality materials, it reflects sophisticated aesthetics suitable for contemporary, classic, or transitional interiors. A downloadable 3D file of the product is available for detailed visualization and planning. Supplied by ERBA ITALIA, a renowned Italian luxury furniture brand since 1936, known for its premium designs and global presence."* Let me know if you'd like any further refinements!

REPORT - Corner armchair with armrests _ ERBA ITALIA

ERBA ITALIA > Armchair

Here’s the refined product description with an expanded yet concise supplier detail and the addition of the 3D file availability: *"REPORT – A sleek little armchair designed for minimalist spaces, featuring a durable metal frame with a satin matt chrome finish, an elastic webbing spring system, and high-resilience polyurethane foam padding topped with polyester fiber for comfort. The chair offers customizable covers in fabric or leather, and a 3D file of the design is available for download. Crafted by ERBA ITALIA, a renowned Italian luxury furniture brand since 1936, known for its timeless elegance and premium craftsmanship."* This keeps the supplier description brief while highlighting their legacy and expertise. Let me know if you'd like any further adjustments!

DAVID - Sectional fabric sofa with chaise longue _ ERBA ITALIA

ERBA ITALIA > Sofa

Here’s the rephrased and expanded product description, including a concise supplier overview and mention of the 3D file: *"This sofa features modern, asymmetrical lines, blending originality with elegant refinement, making it a striking centerpiece for spacious lounges or open-plan areas. Its generous armrests and sleek metal legs complement the bold design, while the solid and multilayer wood frame ensures durability. The seat cushion combines polyurethane foam with a goose feather wrap for plush comfort, and the back cushions and backrest are fully filled with natural goose feather for a luxurious feel. Available in premium fabric or leather, this sofa balances style and sophistication. A downloadable 3D file of the model is also available for design planning. Crafted by ERBA ITALIA, a renowned Italian luxury furniture brand since 1936, known for its timeless craftsmanship and high-end materials."*

GLEEZE - Porcelain stoneware wall tiles _ Ragno

Ragno > Wall tile-stone-brick

**GLEEZE** is a captivating collection of porcelain stoneware wall tiles from **Ragno**, a renowned Italian ceramic and porcelain tile manufacturer with a legacy of craftsmanship and innovation since 1949. Part of the **Storie** series, these tiles celebrate the beauty of imperfections, featuring subtle variations, hand-crafted textures, and artisanal details like rust drips, chipping, and relief imperfections for a uniquely natural aesthetic. Available in five elegant shades—Bianco, Beige, Turchese, Giada, and Grigio—the collection offers three modular sizes (10x10 cm, 5x15 cm, and 7.5x20 cm) with straight edges for versatile installations. The super-glossy concave and convex surfaces, combined with 3D structures, create dynamic visual and tactile appeal. A downloadable 3D file of the product is available for design planning. Explore more at [Ragno’s website](http://www.ragno.it).

FINO - Wall-mounted steel coat rack _ Rosconi

Rosconi > Accessories

Here’s the rephrased and expanded product description, including a concise supplier overview and mention of the 3D file availability: --- The **Fino coat rack** combines a sleek wall-mounted design with a practical coat rail, available in two elegant finishes: full stainless steel or powder-coated vertical tubes with T-feet. Known for its timeless appeal and durable construction, the Fino series features high-quality materials and a robust build, ensuring long-lasting performance. Customize your storage with versatile hook options—single, double, or triple hooks, along with hat and coat hooks—maximizing capacity without compromising style. For added convenience, a **3D file of the product is available for download**, allowing for seamless integration into design plans. **Supplier Overview**: Rosconi, a renowned German-based interior design supplier, specializes in premium furniture and decor for both commercial and residential spaces, blending functionality with contemporary aesthetics. For more details, visit the manufacturer’s page: [FINO | Wall-mounted coat rack – Rosconi](https://www.rosconi.com/). --- This version keeps the supplier description brief while highlighting key details about the product and its 3D file availability. Let me know if you'd like any further refinements!

LINA TT - Wall-mounted stainless steel coat rack _ Rosconi

Rosconi > Accessories

Here’s your refined and expanded product description, including a concise supplier overview and mention of the 3D file: *The LINA TT wall-mounted coat rack combines minimalist elegance with smart functionality, offering a space-saving solution for modern interiors. Its telescopic rods extend on both sides, accommodating up to ten jackets or coats—perfect for unexpected guests. When not in use, the design stays sleek by allowing clothing to hang parallel to the wall, showcasing its premium polished stainless steel tube. Two integrated hooks provide extra storage for bags or scarves, while the optional HAPPY stainless steel hanger complements the system seamlessly. A 3D file of the product is available for download, enabling easy integration into design plans. Crafted by Rosconi, a renowned German supplier of high-quality interior solutions, the LINA TT reflects their commitment to contemporary design and functionality.*

KODAMA - Pine coat stand _ Askia

Askia > Accessories

Here’s the rephrased and expanded product description, including a concise supplier overview and mention of the 3D file: *"Coming home and hanging up your coat can be a small but soothing ritual—Kodama, a minimalist coat rack, turns this everyday act into a warm welcome. Inspired by the free-flowing forms of the Kodama spirits from *Princess Mononoke*, its elegant design features three slender wooden legs joined at a central equilibrium point, blending functionality with poetic simplicity. Crafted from pine wood, this freestanding piece balances visual lightness with sturdy practicality. A 3D file of the design is available for download, offering flexibility for customization or digital integration. Designed by Oana Iacob and supplied by Askia, a trusted Romanian-based interiors brand known for its curated selection of functional and stylish furniture."* (Kept the supplier description to one sentence while highlighting their relevance.)

MARCO - Low cork stool _ Askia

Askia > Stool

Here’s a refined and expanded product description, including a concise supplier overview and mention of the 3D file availability: **Product Description:** The Marco collection is a striking and versatile addition to any space, blending durability with sleek design. Available in multiple finishes—including Black, Yellow metal, Red metal, Turquoise metal, White metal, and Blue metal—the Marco series is compact yet highly functional, ideal for both residential and public settings. The chair features a comfortable seat with softly rounded edges, crafted from natural cork or upholstered options, and rests on solid turned legs with cylindrical metal joint reinforcements in a variety of lacquered shades. Built from premium materials, Marco is not only long-lasting but also easy to maintain. For added convenience, a 3D file of the product is available for download, allowing for seamless integration into design plans. **Supplier Overview:** Askia is a trusted interior design supplier based in Romania, offering a curated selection of high-quality furniture and decor for modern living and commercial spaces. Let me know if you'd like any further adjustments!

TIPRO - Stackable cork chair _ Askia

Askia > Chair

Here’s the rephrased and expanded product description, including a concise supplier overview and mention of the 3D file: *The Tipro chair, designed by Dragos Motica, showcases the versatility of modern furniture with its modular and customizable design. Available in black, ash, oak, or walnut structures—or a combination of two—it offers multiple finish options: a cork seat, a cork seat with an upholstered back, or an upholstered seat with a cork back. Crafted entirely from wood, its components are easily disassembled without sacrificing durability, while the interchangeable seat and backrest modules allow for personalized styling. The chair’s elastic backrest ensures exceptional comfort, and its lightweight yet sturdy construction makes it both elegant and easy to transport. A 3D file of the product is available for download, enabling seamless integration into design projects. Tipro is supplied by Askia, a renowned Romanian-based interior design brand known for its high-quality furniture and decor.*

CHELSEA - Metal wall lamp _ Abrissi

Abrissi > Wall lamp

Here’s the rephrased and expanded product description, including a concise supplier overview and mention of the 3D file availability: *The Chelsea is a sleek metal wall lamp available in multiple finishes, designed to complement both modern and classic interiors. It accommodates LED candle bulbs (not included), with specifications tailored for different regions—supporting 220V E27 (UK) or 120V E26 (USA) bulbs at 40W max (6W LED recommended). CE-certified and IP44-rated for damp environments, it ensures safety and durability. A 3D file of the lamp is available for download, ideal for designers and architects. Manufactured by Abrissi, a trusted U.S.-based supplier of premium interior design solutions, the Chelsea reflects their commitment to quality and style. For details, visit http://abrissi.com.*

IPOT 2X_N - Aluminium plant pot _ iPot

iPot > Accessories

**Product Description:** The **iPot** is an innovative modular system that offers limitless design possibilities, adapting effortlessly to any space or function. Its flexible structure allows you to create partition walls, indoor or outdoor green islands, bookcases, display stands, and more, with the help of versatile accessories. Whether you need a compact unit for a single plant or an elaborate multi-tiered setup, the iPot can be customized to fit perfectly. Each **iPot Kit** includes a base structure and accessories, with options to personalize the structure’s color and the materials or finishes of the add-ons. For added convenience, a **3D file of the product is available for download**, enabling you to visualize and plan your ideal configuration. **Supplier Description:** iPot is a renowned Italian interior design brand specializing in stylish and functional decor solutions for homes and offices, with a global presence. Explore their collection at [ipotdesign.it](https://ipotdesign.it).

IPOT 6X6_N - Bookcase _ iPot

iPot > Cabinet

**iPot** is an innovative modular system that offers limitless design possibilities, allowing you to create anything from a partition wall to a lush indoor or outdoor green island, a stylish bookcase, or an eye-catching display stand. Its adaptable structure and wide range of accessories provide exceptional compositional and functional flexibility, making it perfect for any space—whether you need a compact single-pot holder or a large, intricate configuration. Each **iPot Kit** includes a structure and accessories, with customizable options for structure color and accessory materials and finishes. Additionally, a **3D file of the product is available for download**, enabling you to visualize and plan your design effortlessly. **Supplier Description:** iPot is a renowned Italian interior design brand specializing in modern, functional decor solutions for homes and offices, with a global presence. Explore their collection at [ipotdesign.it](https://ipotdesign.it).