Armoured Boar - 2d files - 3d files
PRODUCT DESCRIPTION
Wallcovering with gauze and Japanese paper, representing the shiny coat of the Armoured Boar. The upper part of its body was covered in black and golden scales, which gave it an ornamental appearance.
SUPPLIER: ARTE-INTERNATIONAL
TYPE: FINISHES
LIST OF FILES:
Spec sheet - MO2111
Care & maintenance - MO2111
Fire certificate EU - 2.-Wallcovering-with-natural-materials.pdf
Fire certificate US - US---Fire-Certificate---T2.pdf
Hanging instructions - 5-Natural-wallcoverings---moisten-strips.pdf
Declaration of Performance EU - DOP_Moooi-Wallcovering-Extinct-Animals_EU.pdf
Declaration of Performance UK - DOP_Moooi_UK.pdf
and more ...
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Riverbank
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Papillon
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La Perle
arte-international > Wallcovering
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arte-international > Wallcovering
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La Dérive
arte-international > Wallcovering
Lose yourself in the magic of this enthralling design. In French, dérive is synonymous with a spontaneous journey, where the traveller leaves their ordinary life behind for some time, choosing instead to let the landscape and architecture be their guide – in the same way that you may be inspired by this embroidered wallcovering.
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arte-international > Wallcovering
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Mauna
arte-international > Wallcovering
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arte-international > Wallcovering
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Ege CircleBack is a unique carpet recycling program where we offer to take back your used carpets in Europe for recycling. We divide the used carpets into 3 fractions. The yarn and glue/coating are used again in our own products and the last fraction is used to produce recycled plastic. Read more details about Ege CircleBack here. The program covers the qualities Highline 1100 and Highline 910 with the woven textile backing (WT).
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Armoured Boar
arte-international > Wallcovering
Wallcovering with gauze and Japanese paper, representing the shiny coat of the Armoured Boar. The upper part of its body was covered in black and golden scales, which gave it an ornamental appearance.
Cromatica Opale
florim > Wall Paint
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. 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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. 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allura decibel 0.35 wood summer harvest oak (100x16.6 cm)
forbo > Floor plank
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Moroso > Table
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Jannelli&Volpi > Wallpaper
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Jannelli&Volpi > Wallpaper
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ARTELINEA > Washbasin cabinet
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LINEA CALI' > Finishes accessories
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mutina > Wall tile-stone-brick
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Vetrocolor > Wall tile-stone-brick
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Alma
calicowallpaper > Wallpaper
– Panel pricing– Non-repeating mural– Class A fire-rating– Four-week lead time– International shipping
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arte-international > Wallcovering
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arte-international > Wallcovering
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