SUPPLIER: SFORZIN
COLLECTION: FIFTY
TYPE: LIGHTING
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Melt LED Gold Trio Round Pendant System
tomdixon > Ceiling lamp
A round chandelier featuring one Melt and three Melt Mini pendant lights in a modern Gold finish. Featuring our intergrated LED module, this ceiling light creates a mesmirizing melting hot-blown glass effect when on and a mirror-finish effect when off. Made in Germany using a high tech manufacturing technique to achieve the perfect melted orb. More Information The range is blow moulded and vacuum metalised - techniques we have developed over several years, working with German engineering and manufacturing experts. The LED module offers three key benefits - longer life expectancy, energy efficiency and improved performance including dimmability and light control. Our integrated LED module is fully serviceable and replacement components and individual drivers are available if needed. Melt also comes as a chandelier, table, floor, pendant and surface light. Available in a contemporary Copper, Chrome and Smoke finish.
Dinah Swivel Counter Stool
lexington > Stool
Mid-century modern design as an upholstered swivel seat sitting on tapered brushed stainless steel legs. Available in standard fabric Rockport 2263-11, a misty gray indoor performance fabric with a linen weave constructions and soft hand.
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.
TERESA KUOIO - Tanned leather armchair with armrests _ Meridiani
Meridiani > Armchair
The Teresa Kuoio is a sophisticated leather armchair featuring a solid oak structure available in black, light, tobacco, and white finishes. It boasts a padded seat and back upholstered in premium leather, with an optional removable back cushion filled with feather and polyurethane foam in varying densities. The design is accentuated by enlarged double stitching exclusive to the collection's leathers and complemented by gray Teflon feet. This piece embodies a harmonious blend of comfort and aesthetics, with two distinct versions: the "soft" version offers a plush, inviting feel with fabric or leather upholstery, while the "kuoio" version presents a bold, structured look with a saddle leather shell that seamlessly integrates with the oak frame, creating a suspended seat that exudes elegance and precision. The Teresa Kuoio collection is versatile, adapting effortlessly to any living space, with its design evoking different moods based on the chosen finish and color. A 3D file of the product is available for download, allowing for a detailed preview of its design. Meridiani, the Italian supplier behind this exquisite piece, is renowned for its contemporary furniture and home accessories, blending timeless elegance with modern functionality since its founding in 1996 by Laura Ferraro Crosti and Andrea Parisio.
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A wide range of product from furniture to finishes to meet the desire of all designers.
Calm Wall Lamp
muuto > Wall lamp
Calm Wall Lamp offers a new perspective on lighting altogether, with a rare blend of atmospheric lighting and sculptural qualities. While it is inherently functional, it is also a work of art in its own right. Its textile surface gently diffuses the light, forming a gradient from its edge to the central light source. The ability to adjust the lighting temperature allows the user to create calm, atmospheric light according to their own preferences and needs. A matte rubber band frames Calm Wall Lamp, lending a crisp edge to the softness of the organic design.
Rime Wall Lamp
muuto > Wall lamp
The Rime Wall Lamp brings an elegant perspective to the glass light through its semi-transparent glass that has been sandblasted for a refined expression. The design features a characteristic form, inspired by the shape of acorns, complemented by the geometric shape of its arm. The Rime Wall Lamp features a dimmability light source, allowing for its user to adjust the light intensity to their individual needs, be it in the home, a restaurant or a hotel room.
Milo 300 Gloss Glaze White
astro > Wall lamp
This stylish wall light provides atmospheric mood lighting, casting a generous wash of light upwards and downwards.Carefully finished by hand, Milo's restrained design allows it to blend in anywhere. Use one wall light to gently illuminate a dark corner, a cluster to form atmospheric pools of light, or a row to draw the eye along a corridor, hallway or staircase.
Versailles 400 Phase Dimmable Bronze
astro > Wall lamp
Our Versailles 400 wall light is inspired by classic 1930s designs, updated with a modern dimmer function. It's intended primarily for bathrooms, but the streamlined design complements any space. Made from individual glass rods with bronze end caps, it provides functional, glare-free task lighting that exudes vintage glamour.
Caserta Bronze
astro > Wall lamp
You are currently viewing our Caserta wall light. The compatible shades available are sold separately and can be added below using our shade chooser.
Lima Bronze
astro > Wall lamp
You are currently viewing our Lima wall light. The compatible shades available are sold separately and can be added below using our shade chooser.
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