Tesori Lino bianco

florim > Wallcovering

East and West, a synthesis archieved through Italian taste. «My work often takes me to far-off lands, also remote in terms of their culture and traditions. Even without my being aware of it, I then metabolise these traditions and include them in the designs I subsequently produce.» Matteo Nunziati <p>"It is the architect's task to create a warm, livable space. Carpets are warm and livable. He decides for this reason to spread one carpet on the floor and to hang up four to form the four walls. But you cannot build a house out of carpets. Both the carpet and the floor and the tapestry on the wall required structural frame to hold them in the correct place. To invent this frame is the architect's second task."When Adolf Loos wrote his revolutionary essay on the "principle of cladding" in 1898, architecture was just entering the modern age. Building meant imagining structures capable of putting together different materials, but, Loos affirmed, it must also respect their individual characteristics. "Every material possesses a formal language which belongs to it alone and no material can take on the forms proper to another", the Austrian master therefore maintained. And there is no doubt that the spirit of these words extended throughout most Twentieth Century architecture, regardless of its location or style. When we look at Matteo Nunziati's designs for the CEDIT Tesori collection, we seem to be seeing geometrical purity and attention to detail at the service of a new "truth" of material. Because Matteo Nunziati views ceramics as a form of fabric.<br /> The woven patterns he imagines for the various styles in his collection "“ from Arabian to damask to more geometrical motifs "“ constantly seek to provide the soft, iridescent look of time-worn linen. In them, ceramics are raised from the status of poor relation of marble to become a luxury wall covering in their own right: almost a wallpaper, suitable however for both floors and walls, and an absolutely versatile material. No longer only for beautifying bathrooms, they can create new moods in every room of the house (and elsewhere) starting from the living-room. Naturally, the revolution has been mainly technological. The large slabs produced by CEDIT are more than 3 metres tall, and since they eliminate the serial repetition typical of conventional tiles, they generate a new relationship between the surface and its decoration. However, Nunziati does not use this to create, artist-like, a more eye-catching decorative composition that emphasises the slab's dimensions. Quite the opposite; the patterns he offers us attempt to break down what is left of the boundaries between substrates. In particular, the Arabian and damask styles, in the version with "timeworn" patterning, convey the idea of the ceramic slab as an abstract, almost non-existent material which melts into the decorative motif applied to it, in a kind of pure wall covering.<br /> Through the patient selection of geometrical motifs and tests to verify their suitability for application to ceramic slabs, Nunziati aims to achieve a new material rather than a mere decoration, making this clear by also exploring its tactile dimension, with gouged and relief motifs. His "principle of coverings" therefore relates to ceramics' essence rather than their image: highlighting the versatility which, as we all know, has made ceramics an absolute material, a kind of cement that incorporates structure and finish in a virtually infinite range of applications. This is clearly indicated by the reference to the mashrabiya, a term meaning place where people drink in Arabic, which in Arabian architecture originally referred to the kind of veranda where people used to meet and rest, and over time has come to mean the wooden gratings that screened these places from the sun. Inspired by his trips to the Middle East, for Nunziati the geometric patterns of the mashrabiya become both an outline of his method of work and the form of what in fact becomes the key element in a new idea of space: a real location conceived around a strong, livable surface in which physical substance and decoration overlap to the point where they merge.</p>

Araldica Base Grigio

florim > Wall Paint

The miscellany of bright, contrasting, pure colours. The manifest extroversion of decor. The solutions provided to complete the range are in a different tone: reflecting the desire to "stage" a clear contrast with the multicolour ceramic wall coverings, these slabs are in completely neutral shades, in the grey frequencies of concrete.<br /><br />«The collection is intended to create a struggle, a fight. Between something very stiff, which sees itself as governed by clear rules, and a variable, marbled paper, which aims to be completely free.»<br />Federico Pepe "Once upon a time, there was a Roman emperor who lived on a huge splinter in space, a spaceship of multi-coloured marble, where techno music played incessantly. That day he left his spaceship to go to dinner at the Sun King's home, riding his sinuous golden dragon with blood-red eyes."If there were a book with these opening words, Federico Pepe would have designed its cover. And if the book were made into a film, he would definitely be its writer and director. Federico is not an author, director or screenwriter, but this does not prevent him from drawing on his natural ability to create stories through flashes of imagination.Federico Pepe's career started in advertising, a family tradition, which he gradually transformed and built into many other things, in a constant, inevitable investigation of creativity in all its possible forms. He very soon understood that commission work was not enough for him, and he began to explore further afield. The first of these other fields was art, but the consolidated mechanisms on which galleries and gallery owners operate soon became a new limit from which he had to break free: this apparently expanding horizon turned out to be a restrictive cage, more a defining label than an infinite learning opportunity. And definitions are one of the things which least describe Federico: anyone trying to distil his work into two words would find its essence disappearing before their own eyes. He has occupied many roles and engaged in many professions to give shape to his ideas, and in all of them he has excelled, created and led teams, and won awards. Adman, creative director, graphic designer, printer, gallery owner, publisher, curator, performer, painter, designer, director: Pepe does, rather than is, all these.<br /> He works, builds and makes things happen because he is not led by instinct alone and does not succumb to idle whim; he does not rush aimlessly around and does not simply await the inspiration or idea of the century. Quite the opposite. His work comes about and produces results only thanks to strict self-discipline, a design method made up of constant verification, the precise sharing of tasks and roles, the compulsive exploration of unknown contexts, daily physical exercise, the carefully measured use of social media, and occasional spells of isolation in the mountains he loves. It is no coincidence that he created Le Dictateur, a dual-faced entity which may be both his child and his spiritual guide, both friend and boss, part madness and part dictator. Le Dictateur is not Federico's alter ego: it is his superpower. It is not a mask, since in it he actually transforms himself into an artistic project.Le Dictateur is both result and origin of Federico Pepe's work. "I think ideas are born from predisposition," Federico explained to me in 2014. "Not in the sense that "˜we are born predisposed,' but for daily preparation. In this domain I believe that discipline is pivotal. The real talents today are very rigorous people, those who work hard, exchange a lot, think a lot, and know how to apply and balance many different things." An approach which has made him the best-kept secret on the Italian creative scene, a fact well known not only to Pierpaolo Ferrari, Maurizio Cattelan, Nico Vascellari, Jacopo Benassi and Patricia Urquiola, but also to the companies, both large and small, which have turned to him over the years. He has worked and continues to work with them all, designing by laying the foundations of designs naturally expressed in episodes, in a serial pattern which not only gradually builds up Federico's own creative story, but also offers his clients designs so special that they would be virtually impossible without him.<br /> This self-discipline generates heat and energy in such quantities that "“ if it were not imprisoned within the geometrical grids of graphic design "“ it might generate a thermonuclear reaction. The blood running through the veins of his images is black as ink, red as sealing-wax, white as plaster and golden as lava. But there is more, too. His crystal-clear visions are able to break down the slender membrane which separates analogue from digital. He sees matter as absolutely central, but he makes it vibrate with an unusual two-dimensional quality. This can be seen in the way he carves marble with coloured squiggles, recollections of faces briefly sketched as vectors. It is discovered in the skill with which he invades plates and bowls of the finest, monitor-shiny porcelain with geometrical patterns. It becomes tangible in the love with which he brings to life the paper of his publishing projects, peopled with highly elegant, powerfully symmetrical, often kaleidoscopic graphics. It can be admired in the precision with which a metallic factory flooring becomes fabric on an ancient loom, after its resolution is decreased from 300 dpi to 8 bits. It is enjoyed in the hyperbolic repetition of faces and hands in acrylic on canvas in his painting studio, in which every work conserves copy and paste reminders of its predecessor. It amazes in the doors of exquisite metal sideboards, profane glass panels, hand-made but born through the glass of a screen.<br /> A career which has led almost naturally to an encounter with CEDIT, with whom he has created an aesthetically courageous collection, part punk and part aristocratic austerity. The Araldica project's very name evokes strength and nobility, and it is grounded in a past whose weight does not drag it backwards but rather catapults it forwards into the future. Here, Federico's digital geometries become the most solid of materials, taking shape in a graphic object, condensing stories and images into three or two dimensions. In Pepe's and CEDIT's space, Euclidean geometrical forms encounter the marble of Phidias, the intricate patterns of the floor of Milan Cathedral merge into the Baroque images of the marbles found in Roman art galleries, and private space opens out to the infinite space of a thousand possible universal histories.

BACCHETTE - Folding fabric chair with armrests _ Zilio A&C

Zilio A&C > Chair

Bacchette Chair by Zilio A&C – A Contemporary Take on the Classic Safari & Director’s Chair A Modern Interpretation of Timeless Folding Chairs Designed by Mentsen for Zilio A&C, the Bacchette Chair reimagines the classic safari chair and director’s chair for a contemporary audience. While maintaining their familiar charm and emotional resonance, Bacchette refines these typologies into a minimal, lightweight, and effortlessly elegant seating solution. With its floating beech wood backrest and armrests, supported by an almost invisible steel folding structure, Bacchette achieves a striking balance between form and function—offering both visual lightness and practical usability. Versatile for Indoor & Outdoor-Inspired Spaces Bacchette’s refined yet relaxed aesthetic makes it an excellent addition to various settings, particularly in hospitality, contract, and residential projects. Its folding function enhances its adaptability, making it a smart choice for: Boutique Hotels & Resort Lounges – Perfect for outdoor terraces, balconies, and casual indoor lounges. Restaurants & Cafés – A stylish, flexible seating option for semi-outdoor and indoor dining areas. Workspaces & Home Offices – A comfortable yet space-saving chair for meeting areas or home offices. Living Spaces – Works as an occasional chair in modern and Scandinavian interiors. The universal appeal of Bacchette lies in its ability to evoke warmth, relaxation, and nostalgia, making it an excellent choice for designers looking to enhance interiors with a sense of calm and informality. Refined Material Choices for Function & Tactility Mentsen carefully curated the materials of Bacchette to ensure functionality, durability, and sustainability: Beech Wood Backrest & Armrests – Light, warm, and subtly floating for a soft, organic contrast. Minimal Steel Tube Frame – A barely visible yet structurally sound folding mechanism. Fabric or Leather Seat – Offering a choice between casual comfort or refined elegance. These materials enhance Bacchette’s tactile appeal, making it pleasant to touch, sit in, and visually experience. Dimensions & Foldable Structure Designed to be compact and practical, Bacchette retains a spacious seat while remaining easy to move and store: Width: 595 mm Depth: 515 mm Height: 810 mm The folding mechanism ensures that Bacchette can be stowed away effortlessly, making it ideal for dynamic hospitality environments where flexibility is key. Why Choose the Bacchette Chair? ✔ Modern yet nostalgic – A contemporary reinterpretation of classic folding chair designs. ✔ Elegant materiality – A refined combination of wood, steel, and fabric/leather. ✔ Compact & functional – Foldable for easy storage and flexibility. ✔ Perfect for hospitality & residential spaces – Works in hotels, cafés, offices, and homes. ✔ Designed with sustainability in mind – Minimalist construction, durable materials, and timeless appeal. A Statement of Simplicity & Craftsmanship Bacchette is more than just a chair—it’s an invitation to slow down, sit back, and enjoy the moment. Its lightweight yet structured form makes it a timeless addition to any setting, whether used in hospitality, working spaces, or private residences. 📥 2D & 3D files available for download for seamless integration into interior projects. 🔗 Discover more at Zilio A&C. Search ChatGPT can make mistakes. Check important info.

LAB - Square table _ Inno

Inno > Table

Lab Table 1100mm – Square Configuration Introduction The Lab Table 1100mm, designed by Harri Korhonen for Inno, is a standing-height table that combines modern aesthetics with functional design. This table is part of the Lab product family, which includes a wide range of chairs, tables, and sofas designed to bring comfort and coziness into everyday working environments. ​ archiproducts.com +4 1stdibs.com +4 archiproducts.com +4 inno.fi Square Table Dimensions The Lab Table 1100mm is available in various sizes, including square configurations suitable for diverse spatial requirements. The standard square dimensions are:​ 800 x 800 mm​ 900 x 900 mm​ 1000 x 1000 mm​ 1100 x 1100 mm​ franckly.com +11 1stdibs.com +11 inputinterior.com +11 1200 x 1200 mm​ archiproducts.com +3 architonic.com +3 1stdibs.com +3 1400 x 1400 mm​ These dimensions cater to various seating capacities and room sizes, ensuring flexibility in design and functionality. ​ Design and Aesthetics The Lab Table 1100mm features a minimalist design characterized by clean lines and a sleek silhouette. Its standing height promotes dynamic interactions and encourages movement, fostering a more engaging and health-conscious workspace. The table's understated elegance allows it to integrate seamlessly into various interior styles, from modern corporate offices to creative studios.​ Materials and Finishes Inno offers a diverse selection of materials and finishes for the Lab Table 1100mm, enabling customization to suit specific aesthetic preferences and functional requirements. Tabletop materials include natural woods such as birch, ash, maple, walnut, and oak, each providing a distinct texture and color. For a more contemporary look, laminate and nanolaminate options in black, white, and grey are available. These materials are not only visually appealing but also durable and easy to maintain, ensuring longevity in high-traffic areas.​ The table's base can be customized with different metal finishes, including crystal aluminium, silver aluminium, metallic grey, effect white, matte white, matte black, and effect black. This variety allows designers to create a cohesive look that aligns with the overall interior theme.​ Cable Management Understanding the importance of a clutter-free workspace, the Lab Table 1100mm is available with a range of cable management options. These features ensure that electronic devices can be connected seamlessly, maintaining a clean and organized appearance. This thoughtful design enhances the overall aesthetic and functionality of the workspace, contributing to increased productivity and focus.​ Versatility and Applications The Lab Table 1100mm's design and functionality make it suitable for a wide range of applications:​ Corporate Offices: Ideal for standing meetings, collaborative work sessions, and break areas, promoting a dynamic and engaging work environment.​ Educational Institutions: Suitable for seminar rooms, libraries, and study areas, offering a durable and functional workspace for students and faculty.​ Hospitality Settings: Enhances the ambiance of hotel lobbies, business centers, and dining areas, combining style with practicality.​ Residential Spaces: Serves as a stylish standing table or a large workstation in home offices, adapting to various interior design themes.​ Integration with Lab Product Family The Lab Table 1100mm is part of Inno's Lab product family, which includes a range of chairs, tables, and sofas designed to bring comfort and coziness into everyday working environments. This cohesive collection allows for harmonious interior design, enabling designers and architects to create unified spaces that promote productivity and well-being. The Lab product family has been granted the internationally recognized GOOD DESIGN™ 2015 Award, underscoring its excellence in design and functionality. ​ Conclusion The Lab Table 1100mm in its square configuration exemplifies Inno's commitment to quality craftsmanship, innovative design, and functional excellence. Its adaptability to various professional and residential environments, coupled with the recognition from prestigious design awards, makes it a standout choice for those seeking to enhance their interiors with stylish and practical furniture solutions.

Tesori Broccato bianco

florim > Wallcovering

East and West, a synthesis archieved through Italian taste. «My work often takes me to far-off lands, also remote in terms of their culture and traditions. Even without my being aware of it, I then metabolise these traditions and include them in the designs I subsequently produce.» Matteo Nunziati <p>"It is the architect's task to create a warm, livable space. Carpets are warm and livable. He decides for this reason to spread one carpet on the floor and to hang up four to form the four walls. But you cannot build a house out of carpets. Both the carpet and the floor and the tapestry on the wall required structural frame to hold them in the correct place. To invent this frame is the architect's second task."When Adolf Loos wrote his revolutionary essay on the "principle of cladding" in 1898, architecture was just entering the modern age. Building meant imagining structures capable of putting together different materials, but, Loos affirmed, it must also respect their individual characteristics. "Every material possesses a formal language which belongs to it alone and no material can take on the forms proper to another", the Austrian master therefore maintained. And there is no doubt that the spirit of these words extended throughout most Twentieth Century architecture, regardless of its location or style. When we look at Matteo Nunziati's designs for the CEDIT Tesori collection, we seem to be seeing geometrical purity and attention to detail at the service of a new "truth" of material. Because Matteo Nunziati views ceramics as a form of fabric.<br /> The woven patterns he imagines for the various styles in his collection "“ from Arabian to damask to more geometrical motifs "“ constantly seek to provide the soft, iridescent look of time-worn linen. In them, ceramics are raised from the status of poor relation of marble to become a luxury wall covering in their own right: almost a wallpaper, suitable however for both floors and walls, and an absolutely versatile material. No longer only for beautifying bathrooms, they can create new moods in every room of the house (and elsewhere) starting from the living-room. Naturally, the revolution has been mainly technological. The large slabs produced by CEDIT are more than 3 metres tall, and since they eliminate the serial repetition typical of conventional tiles, they generate a new relationship between the surface and its decoration. However, Nunziati does not use this to create, artist-like, a more eye-catching decorative composition that emphasises the slab's dimensions. Quite the opposite; the patterns he offers us attempt to break down what is left of the boundaries between substrates. In particular, the Arabian and damask styles, in the version with "timeworn" patterning, convey the idea of the ceramic slab as an abstract, almost non-existent material which melts into the decorative motif applied to it, in a kind of pure wall covering.<br /> Through the patient selection of geometrical motifs and tests to verify their suitability for application to ceramic slabs, Nunziati aims to achieve a new material rather than a mere decoration, making this clear by also exploring its tactile dimension, with gouged and relief motifs. His "principle of coverings" therefore relates to ceramics' essence rather than their image: highlighting the versatility which, as we all know, has made ceramics an absolute material, a kind of cement that incorporates structure and finish in a virtually infinite range of applications. This is clearly indicated by the reference to the mashrabiya, a term meaning place where people drink in Arabic, which in Arabian architecture originally referred to the kind of veranda where people used to meet and rest, and over time has come to mean the wooden gratings that screened these places from the sun. Inspired by his trips to the Middle East, for Nunziati the geometric patterns of the mashrabiya become both an outline of his method of work and the form of what in fact becomes the key element in a new idea of space: a real location conceived around a strong, livable surface in which physical substance and decoration overlap to the point where they merge.</p>

Tesori Lino grigio

florim > Wallcovering

East and West, a synthesis archieved through Italian taste. «My work often takes me to far-off lands, also remote in terms of their culture and traditions. Even without my being aware of it, I then metabolise these traditions and include them in the designs I subsequently produce.» Matteo Nunziati <p>"It is the architect's task to create a warm, livable space. Carpets are warm and livable. He decides for this reason to spread one carpet on the floor and to hang up four to form the four walls. But you cannot build a house out of carpets. Both the carpet and the floor and the tapestry on the wall required structural frame to hold them in the correct place. To invent this frame is the architect's second task."When Adolf Loos wrote his revolutionary essay on the "principle of cladding" in 1898, architecture was just entering the modern age. Building meant imagining structures capable of putting together different materials, but, Loos affirmed, it must also respect their individual characteristics. "Every material possesses a formal language which belongs to it alone and no material can take on the forms proper to another", the Austrian master therefore maintained. And there is no doubt that the spirit of these words extended throughout most Twentieth Century architecture, regardless of its location or style. When we look at Matteo Nunziati's designs for the CEDIT Tesori collection, we seem to be seeing geometrical purity and attention to detail at the service of a new "truth" of material. Because Matteo Nunziati views ceramics as a form of fabric.<br /> The woven patterns he imagines for the various styles in his collection "“ from Arabian to damask to more geometrical motifs "“ constantly seek to provide the soft, iridescent look of time-worn linen. In them, ceramics are raised from the status of poor relation of marble to become a luxury wall covering in their own right: almost a wallpaper, suitable however for both floors and walls, and an absolutely versatile material. No longer only for beautifying bathrooms, they can create new moods in every room of the house (and elsewhere) starting from the living-room. Naturally, the revolution has been mainly technological. The large slabs produced by CEDIT are more than 3 metres tall, and since they eliminate the serial repetition typical of conventional tiles, they generate a new relationship between the surface and its decoration. However, Nunziati does not use this to create, artist-like, a more eye-catching decorative composition that emphasises the slab's dimensions. Quite the opposite; the patterns he offers us attempt to break down what is left of the boundaries between substrates. In particular, the Arabian and damask styles, in the version with "timeworn" patterning, convey the idea of the ceramic slab as an abstract, almost non-existent material which melts into the decorative motif applied to it, in a kind of pure wall covering.<br /> Through the patient selection of geometrical motifs and tests to verify their suitability for application to ceramic slabs, Nunziati aims to achieve a new material rather than a mere decoration, making this clear by also exploring its tactile dimension, with gouged and relief motifs. His "principle of coverings" therefore relates to ceramics' essence rather than their image: highlighting the versatility which, as we all know, has made ceramics an absolute material, a kind of cement that incorporates structure and finish in a virtually infinite range of applications. This is clearly indicated by the reference to the mashrabiya, a term meaning place where people drink in Arabic, which in Arabian architecture originally referred to the kind of veranda where people used to meet and rest, and over time has come to mean the wooden gratings that screened these places from the sun. Inspired by his trips to the Middle East, for Nunziati the geometric patterns of the mashrabiya become both an outline of his method of work and the form of what in fact becomes the key element in a new idea of space: a real location conceived around a strong, livable surface in which physical substance and decoration overlap to the point where they merge.</p>

Araldica Base Azzurro

florim > Wall Paint

The miscellany of bright, contrasting, pure colours. The manifest extroversion of decor. The solutions provided to complete the range are in a different tone: reflecting the desire to "stage" a clear contrast with the multicolour ceramic wall coverings, these slabs are in completely neutral shades, in the grey frequencies of concrete.<br /><br />«The collection is intended to create a struggle, a fight. Between something very stiff, which sees itself as governed by clear rules, and a variable, marbled paper, which aims to be completely free.»<br />Federico Pepe "Once upon a time, there was a Roman emperor who lived on a huge splinter in space, a spaceship of multi-coloured marble, where techno music played incessantly. That day he left his spaceship to go to dinner at the Sun King's home, riding his sinuous golden dragon with blood-red eyes."If there were a book with these opening words, Federico Pepe would have designed its cover. And if the book were made into a film, he would definitely be its writer and director. Federico is not an author, director or screenwriter, but this does not prevent him from drawing on his natural ability to create stories through flashes of imagination.Federico Pepe's career started in advertising, a family tradition, which he gradually transformed and built into many other things, in a constant, inevitable investigation of creativity in all its possible forms. He very soon understood that commission work was not enough for him, and he began to explore further afield. The first of these other fields was art, but the consolidated mechanisms on which galleries and gallery owners operate soon became a new limit from which he had to break free: this apparently expanding horizon turned out to be a restrictive cage, more a defining label than an infinite learning opportunity. And definitions are one of the things which least describe Federico: anyone trying to distil his work into two words would find its essence disappearing before their own eyes. He has occupied many roles and engaged in many professions to give shape to his ideas, and in all of them he has excelled, created and led teams, and won awards. Adman, creative director, graphic designer, printer, gallery owner, publisher, curator, performer, painter, designer, director: Pepe does, rather than is, all these.<br /> He works, builds and makes things happen because he is not led by instinct alone and does not succumb to idle whim; he does not rush aimlessly around and does not simply await the inspiration or idea of the century. Quite the opposite. His work comes about and produces results only thanks to strict self-discipline, a design method made up of constant verification, the precise sharing of tasks and roles, the compulsive exploration of unknown contexts, daily physical exercise, the carefully measured use of social media, and occasional spells of isolation in the mountains he loves. It is no coincidence that he created Le Dictateur, a dual-faced entity which may be both his child and his spiritual guide, both friend and boss, part madness and part dictator. Le Dictateur is not Federico's alter ego: it is his superpower. It is not a mask, since in it he actually transforms himself into an artistic project.Le Dictateur is both result and origin of Federico Pepe's work. "I think ideas are born from predisposition," Federico explained to me in 2014. "Not in the sense that "˜we are born predisposed,' but for daily preparation. In this domain I believe that discipline is pivotal. The real talents today are very rigorous people, those who work hard, exchange a lot, think a lot, and know how to apply and balance many different things." An approach which has made him the best-kept secret on the Italian creative scene, a fact well known not only to Pierpaolo Ferrari, Maurizio Cattelan, Nico Vascellari, Jacopo Benassi and Patricia Urquiola, but also to the companies, both large and small, which have turned to him over the years. He has worked and continues to work with them all, designing by laying the foundations of designs naturally expressed in episodes, in a serial pattern which not only gradually builds up Federico's own creative story, but also offers his clients designs so special that they would be virtually impossible without him.<br /> This self-discipline generates heat and energy in such quantities that "“ if it were not imprisoned within the geometrical grids of graphic design "“ it might generate a thermonuclear reaction. The blood running through the veins of his images is black as ink, red as sealing-wax, white as plaster and golden as lava. But there is more, too. His crystal-clear visions are able to break down the slender membrane which separates analogue from digital. He sees matter as absolutely central, but he makes it vibrate with an unusual two-dimensional quality. This can be seen in the way he carves marble with coloured squiggles, recollections of faces briefly sketched as vectors. It is discovered in the skill with which he invades plates and bowls of the finest, monitor-shiny porcelain with geometrical patterns. It becomes tangible in the love with which he brings to life the paper of his publishing projects, peopled with highly elegant, powerfully symmetrical, often kaleidoscopic graphics. It can be admired in the precision with which a metallic factory flooring becomes fabric on an ancient loom, after its resolution is decreased from 300 dpi to 8 bits. It is enjoyed in the hyperbolic repetition of faces and hands in acrylic on canvas in his painting studio, in which every work conserves copy and paste reminders of its predecessor. It amazes in the doors of exquisite metal sideboards, profane glass panels, hand-made but born through the glass of a screen.<br /> A career which has led almost naturally to an encounter with CEDIT, with whom he has created an aesthetically courageous collection, part punk and part aristocratic austerity. The Araldica project's very name evokes strength and nobility, and it is grounded in a past whose weight does not drag it backwards but rather catapults it forwards into the future. Here, Federico's digital geometries become the most solid of materials, taking shape in a graphic object, condensing stories and images into three or two dimensions. In Pepe's and CEDIT's space, Euclidean geometrical forms encounter the marble of Phidias, the intricate patterns of the floor of Milan Cathedral merge into the Baroque images of the marbles found in Roman art galleries, and private space opens out to the infinite space of a thousand possible universal histories.

COSMO 1502 - 3 Seater: Contemporary Design with Ultimate Comfort

Et al. > Sofa

COSMO 1502 - 3 Seater: Contemporary Design with Ultimate Comfort The COSMO 1502 - 3 Seater sofa is a stylish and functional piece designed to elevate any interior. With its modern aesthetic and exceptional comfort, this sofa is perfect for a wide range of environments, including residential living rooms, hotel lounges, office waiting areas, and hospitality projects. Its clean lines, curved edges, and sleek metal base create a minimalist yet inviting appeal. Dimensions and Design The COSMO 1502 is designed with precision and practicality, featuring the following dimensions: Length: 237 cm Width: 88 cm Height: 80 cm Seat Height: 44 cm These dimensions make it spacious enough to seat three comfortably while maintaining a compact footprint that suits both large and smaller spaces. Its slightly inclined backrest and plush seating cushions offer the perfect balance of support and relaxation, making it an excellent choice for extended use. The tubular metal base, which raises the sofa slightly off the ground, adds an industrial touch to its modern aesthetic and creates a "floating" effect that enhances its lightweight look. Materials and Finishes The COSMO 1502 is crafted using premium materials that guarantee durability and style: Frame: Sturdy tubular metal, ensuring long-lasting stability while maintaining a sleek, contemporary profile. Upholstery: Choose from a variety of high-quality fabrics, including soft velvets, luxurious leathers, durable synthetic blends, and wools. These materials offer both tactile appeal and robust performance. Colour Options: Neutral tones like grey, cream, and taupe are ideal for minimalist and Scandinavian interiors. For bolder statements, vibrant colours like teal, mustard, or terracotta are available. The sofa's upholstery is expertly tailored, with removable covers that ensure easy maintenance and adaptability over time. Style and Versatility The COSMO 1502 seamlessly fits into various interior styles, such as contemporary, Scandinavian, and Japandi. Its rounded armrests, clean lines, and balanced proportions exude a refined elegance suitable for both casual and formal settings. The design is versatile enough to be the focal point of a living room or to complement other furniture in a larger lounge or lobby setup. Its lightweight yet durable construction also makes it an excellent choice for commercial spaces where heavy use is expected. The raised base allows for easy cleaning underneath, making it ideal for high-traffic areas. Applications and Uses The COSMO 1502 excels in a variety of environments: Residential Settings: Ideal for living rooms or family spaces, offering comfort and a contemporary design focus. Hospitality Projects: A standout piece for hotel lobbies, suites, and lounge areas. Office Spaces: Enhances reception areas and break-out zones with a sophisticated yet approachable aesthetic. Public Spaces: Durable enough for high-traffic areas such as libraries, art galleries, and healthcare facilities. Alternatives and Complements For smaller spaces, the COSMO collection includes a 2-seater option that retains the same elegant design but with more compact dimensions. Matching armchairs and ottomans from the COSMO range can also be added to create a cohesive and versatile seating arrangement. Key Features and Benefits A modern, minimalist design that integrates seamlessly into various interior styles. Customisation options in upholstery materials and colours to match specific design requirements. Tubular metal frame for a sleek, industrial look and lasting durability. 2D and 3D files are available for designers, making it easy to incorporate into design projects. Removable upholstery covers for hassle-free maintenance.

Cromatica Cobalto

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. 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».

COSMO 1505 Armchair: A Modern Seating Solution

Et al. > Armchair

COSMO 1505 Armchair: A Modern Seating Solution The COSMO 1505 armchair, designed by Philippe Tabet for Et al., combines sleek modern design with functional versatility. Its clean lines and understated elegance make it an excellent choice for residential, hospitality, and office spaces. Dimensions and Design The updated dimensions of the COSMO 1505 are: Width: 111 cm Depth: 88 cm Height: 80 cm Seat Height: 44 cm This armchair features a compact footprint while still providing exceptional comfort. The absence of armrests enhances its minimalist aesthetic and makes it easy to incorporate into diverse interiors. The slightly curved backrest and plush seat ensure optimal support and relaxation. Materials and Finishes The COSMO 1505 offers a wide range of customisation options to suit any interior design scheme: Frame Material: Durable steel tubing that ensures stability while maintaining a lightweight look. Upholstery Options: Available in premium fabrics such as wool, velvet, and leather, alongside a variety of synthetic and natural blends. Each upholstery option comes in a broad spectrum of colours, from neutral tones like grey and beige to bold hues like teal and mustard. Frame Finishes: Choose from a palette of classic and contemporary finishes, including matt black, white, and metallic shades, as well as brighter colour options to make a statement. Accessories For added functionality and comfort, the COSMO 1505 can be accessorised with: A lumbar cushion for additional support. Integrated USB and Schuko sockets, making it suitable for modern office or hospitality settings. A reading lamp for cosy corners and personal reading spaces. Applications and Versatility The COSMO 1505’s adaptability makes it ideal for a variety of spaces: Residential: A stylish and comfortable choice for living rooms, bedrooms, or reading corners. Hospitality: Perfect for hotel rooms, lounges, or lobby areas, offering a sleek yet welcoming vibe. Office Spaces: Enhances reception areas or breakout zones, blending aesthetics with practical features. Public and Commercial Areas: Its robust construction and elegant design make it a reliable and attractive choice for waiting areas, retail spaces, and more. Complementary Options To create a cohesive seating arrangement, pair the COSMO 1505 armchair with other pieces from the COSMO collection, such as the COSMO 1502 sofa or COSMO 1500 armchair with armrests. These options share the same design language and ensure a seamless look throughout your space. Key Features Compact yet spacious dimensions, perfect for various settings. Customisable upholstery and frame finishes to suit different styles. Accessory options for added functionality. Designed for comfort with a plush seat and ergonomic backrest. Durable steel frame for long-lasting use. 2D and 3D files are available for designers to incorporate into their projects. The COSMO 1505 armchair is a perfect balance of simplicity, elegance, and functionality. Whether you're looking to furnish a residential space or a commercial environment, this armchair delivers timeless style and adaptability. You said: last time you were more complete ChatGPT said: ChatGPT Thank you for pointing that out! Let me refine and expand the description to make it as complete and detailed as possible. COSMO 1505 Armchair: A Contemporary Icon of Design and Comfort The COSMO 1505 armchair, designed by Philippe Tabet for Et al., is a masterpiece of modern minimalism and versatility. Its sleek and understated design is perfectly suited for residential living rooms, hotel lounges, office receptions, and hospitality spaces. Combining elegant curves with robust functionality, this armchair is as practical as it is visually appealing. Dimensions and Design Details The COSMO 1505 has carefully considered dimensions to offer a balance of comfort and adaptability: Width: 111 cm Depth: 88 cm Height: 80 cm Seat Height: 44 cm These dimensions make it compact enough for smaller spaces yet spacious enough to provide exceptional seating comfort. The armchair’s distinctive feature is its armless design, which enhances its minimalist aesthetic while allowing for a freer range of motion. The gently curved backrest and plush seat ensure maximum comfort, while the raised tubular metal frame adds a touch of lightness to its overall profile. Materials and Finishes The COSMO 1505 is crafted with meticulous attention to quality and detail. It is available with several customisation options to suit any interior style: Frame Material: Made from high-strength tubular steel, the base is both durable and lightweight, ensuring longevity and ease of placement. Upholstery: Choose from a wide selection of high-quality fabrics, including: Velvet: For a luxurious, soft texture that exudes sophistication. Wool Blends: Durable and warm, perfect for creating cosy spaces. Synthetic Fabrics: High-performance, easy to clean, and ideal for high-traffic areas. Premium Leather: Adds timeless elegance and a touch of luxury. Colours: A rich palette is available, from understated neutrals such as beige, grey, and taupe to bold, vibrant hues like teal, mustard, and terracotta. Frame Finishes: The tubular metal frame can be customised in a variety of finishes, including matte black, white, metallic bronze, and even bright pops of colour like coral red and curry yellow, making the COSMO 1505 adaptable to modern or playful interior styles. Functional Accessories The COSMO 1505 is designed not just for aesthetics but also for enhanced functionality. Optional accessories include: Lumbar Cushion: For extra support and comfort, particularly in lounges and waiting areas. Integrated USB Socket: A modern convenience, perfect for offices, hospitality, or waiting rooms where charging devices is a priority. Reading Lamp: A sleek, built-in light for focused tasks or to add ambient lighting to the space. Schuko Socket: An additional power source, ideal for hospitality or office applications. Style and Versatility The COSMO 1505’s sleek silhouette and refined proportions make it a versatile addition to a variety of interiors. Its clean lines and minimalist design make it a perfect fit for contemporary, Scandinavian, and Japandi interiors, while its subtle industrial flair allows it to integrate seamlessly into urban loft-style spaces. The curved metal base not only enhances its modern aesthetic but also adds a sense of visual lightness to the armchair, making it ideal for both large and compact rooms. Applications and Ideal Settings The COSMO 1505’s versatility and durability make it suitable for a wide range of uses: Residential Spaces: Perfect for living rooms, bedrooms, or reading nooks, offering a stylish yet comfortable seating option. Hospitality Projects: A sophisticated choice for hotel lounges, lobbies, and guest rooms, creating a welcoming atmosphere for guests. Commercial and Public Spaces: Durable enough for high-traffic areas such as offices, galleries, and retail stores. Office Settings: Ideal for reception areas, breakout spaces, and private offices, blending comfort and functionality. Complementary Products The COSMO collection by Philippe Tabet offers a range of matching furniture pieces to create a cohesive design scheme. Pair the COSMO 1505 armchair with: COSMO 1502 Sofa: A three-seater option that shares the same sleek design language. COSMO 1500 Armchair with Armrests: For spaces that require varied seating options while maintaining a cohesive look. COSMO 1520 Modular Seating System: Ideal for creating larger, flexible configurations in public or commercial spaces. Key Features and Benefits Elegant Aesthetic: Minimalist design with modern and industrial influences. Customisation Options: Wide range of upholstery fabrics, colours, and frame finishes to suit any interior style. Functional Enhancements: Optional USB sockets, reading lamps, and power outlets add practicality. Compact and Comfortable: Dimensions ensure it fits seamlessly into both large and small spaces. 2D and 3D Files Available: Designers can easily download the files for seamless integration into their projects. Why Choose the COSMO 1505? The COSMO 1505 is more than just an armchair—it’s a statement of modern design. Its sleek lines, customisation options, and practical features make it a top choice for architects and designers seeking a balance of style and functionality. Whether it’s enhancing the comfort of a hotel lobby, adding a touch of luxury to a living room, or elevating the look of an office reception area, the COSMO 1505 delivers unparalleled quality and versatility.

Rilievi Lido

florim > Wall Paint

The alternation and symbiosis between concave and convex, recessed and raised. <p>Rilievi is a work of design balanced between different historic periods: while the volumetric relief tile modules are inspired by artistic experiments conducted in Italy during the Sixties and Seventies, the large slabs are the outcome of research into materials and technology that has only come to fruition in very recent times. The shadow effects generated on the surfaces of the slabs by the light striking the projecting parts of the modules create an unusual impression of architectural depth found virtually nowhere else in ceramic coverings, laying the bases for a new decoration interior design language.</p> This project simply embodies perfection - a term which certainly sets the bar high in a description of a new product for launch on the market. But when an enlightened manufacturer is capable of encapsulating a designer's personal research in a product to be added to its range, the outcome is a perfect synthesis. A perfect synthesis between untrammelled creativity and market trends. CEDIT had the insight needed to perceive, identify and rework the immense potential of Practice Practice Practice "“ a self-produced project by Zaven (Enrica Cavarzan and Marco Zavagno "“ and realised that its sophisticated design, originated by pure, pristine input (unadulterated by external factors except the noblest of them all, research) could provide the basis for an innovative, successful collection. I might add, a collection unique of its kind. Zaven is also a name that comes with guarantees; the two partners are good at what they do. Their work always starts from personal curiosity and investigations, the study of other stories (as in this case inspiration was drawn from the output of artist and activist Nino Caruso) and individual interests, which are broken down, developed, optimised and prepared for transformation into something fresh.Enrica Cavarzan and Marco Zavagno have a masterly ability to transform their own wishes and passions into design work of the greatest breadth and, as we see here, the widest, richest application. Their use of ceramics as a material is clearly outstanding and reflects a method precisely founded on the desire to look at things from an unusual viewpoint, under a different light. And to be daring. Zaven have an unconventional approach to convention. In the specific case of the Rilievi collection, the "modules" created for CEDIT seem to explode off the walls; in fact, they are constructed by combining the two-dimensional slab with its three-dimensional decor.Rilievi seems to be seeking space. More space. Even though these modules have actually established a dialogue with the wall from which they are born. At the same time, they hypnotise us with their tight sequence of lines, the pattern that is always different although its root is the same, and the intriguing, unusual colours that add another vital factor to the finished product. Their firm grounding in graphic design (and here we have come back to two-dimensional effects, of the kind most often associated with a wall covering) easily evolves into a facade which seems to have been carved with a chisel - although this is not the case. These modules are conceived to convey an impression of movement, and the three models, in seven colour combinations, create a powerful effect on a surface, which is never passive but rather an organic contributor to the forms and colours involved in the fascinating combinations. The slab is very much present and has the same worth and status as the relief pattern associated to it. In the light of this dichotomy between the linear and the sculpted, expressed through the skilfully balanced visual expedients, the use of repetition adds vigour to the module's intrinsic meaning. As we have seen, a rejection of facile, superficial creative dynamics in favour of an investigation reaching above and beyond has always been a central, clearly recognisable feature of this Venice-based duo, who already have impressive international partnerships to their credit, including the London Design Festival, the Kalmar Konstmuseum, the Paris Designer Days, Ca' Foscari University, the Venice Biennale, the Sandretto Re Rebaudengo Foundation, the Sindika Dokolo Foundation and the V-A-C Foundation, and also won the 2018 Wallpaper Design Award. Graphics, advertising and product design: the pair have always opted for a type of design closely linked to the observation of everyday items, followed by their reinterpretation in a version applied to experimentation with materials. This duality, combined with their energetic yet elegant visual language, forms Enrica and Marco's primary code, experienced in this specific context through serial carvings. On walls.

VOLUME - Ceramic 3D Wall Tile _ gruppo bardelli

gruppo bardelli > Wall tile-stone-brick

Volume by Ceramica Bardelli: A Bold Play of Light, Shadow, and Form The Volume collection, designed by Storagemilano for Ceramica Bardelli, redefines interior cladding with its dramatic three-dimensionality and architectural elegance. These innovative strips transform walls into striking design elements, creating dynamic plays of light and shadow while adding depth and movement to any space. Design and Features Volume is crafted from white paste monoporous ceramic and features an extra-glossy finish, enhancing its ability to reflect light and accentuate its three-dimensional form. Each strip is sized at 10x40 cm (4"x16") with a substantial thickness of 1.8 cm (45/64"), creating a bold and sculptural aesthetic. The design’s simplicity and versatility make it a "wall object" capable of elevating spaces with its scenographic impact. The collection is available in six glossy colours, ranging from white to dove grey, grey, and blue. These shades provide a versatile palette for designing both classic and contemporary interiors. For even greater creative freedom, Volume is fully combinable with Ceramica Bardelli’s Cromia collection, allowing for unique and personalised compositions. Transformative Potential Volume is more than a wall covering—it is a decorative tool that transforms empty surfaces into architectural focal points. Its ability to play with light and shadow adds dimension and character, making it an ideal choice for feature walls, accent areas, and high-impact design statements. Whether used individually or in combination with solid colours, Volume infuses spaces with a bold yet refined aesthetic. Applications Perfect for both contract projects and domestic interiors, Volume adapts seamlessly to a wide range of settings, from modern homes to hospitality and commercial environments. Its combination of functionality and artistry makes it a versatile choice for designers seeking to create walls that stand out with texture and visual intrigue. About Ceramica Bardelli Ceramica Bardelli is a part of the renowned Gruppo Bardelli, celebrated for its excellence in Italian ceramic design and innovation. With production facilities in Cerrione and Oderzo, the Group embodies the finest traditions of Italian craftsmanship while embracing cutting-edge techniques. The Volume collection exemplifies Ceramica Bardelli’s dedication to merging aesthetics and functionality. To facilitate design planning, downloadable 3D files are available, ensuring seamless integration into projects. With its sculptural design and rich colour palette, Volume is a transformative element for walls, bringing spaces to life with movement, light, and artistic sophistication.

CONEK - Modular fabric pouf _ Mobboli

R

Mobboli > Pouf

The Conek Modular Seating Collection from Mobboli serves as contract furniture for hospitality venues and workspaces and applies to public and commercial settings as well as residential and hotel interiors. Introducing the Conek Collection by Mobboli The Conek collection produced by Mobboli features modular seating solutions designed by famous designer Gabriel Teixidó which fit perfectly into contemporary interior spaces. Conek offers armchairs and poufs that combine perfect form with function and sustainability so designers can create tailored seating solutions for various spaces including hotels and offices as well as residential and hospitality settings. Conek remains adaptable and adjusts instinctively to meet modern interior design needs. The smooth modular design of Conek allows for easy adaptation to both straight and curved layouts which delivers essential flexibility for versatile spaces. The collection's understated elegance establishes it as a flexible choice for spaces that appreciate minimalism along with modern features and practical luxury. Elegant, Minimalist Style and Design The Conek collection presents a modern minimalist design with smooth lines that create a sophisticated look suitable for various spatial applications. Seating modules utilize carefully determined proportions to blend seamlessly into interior spaces without dominating existing decorative elements. The combination of delicate rounded corners and precise upholstery work creates a refined appearance which highlights luxury and comfort while maintaining visual simplicity. The Conek modular collection features an advanced interconnectivity system which simplifies both attachment and rearrangement of its pieces. Configurations in the Conek modular collection can include intermediate tables which provide practical surfaces for work as well as relaxation and interaction purposes. The improved functionality enhances user experience which allows Conek to function in both sophisticated waiting areas and modern workspaces. Premium Materials and Luxurious Finishes High-quality craftsmanship and sustainable practices stand as key principles behind the Conek collection from Mobboli. The upholstered components deliver unmatched comfort through their structure of rubber bands which vary in density. The design maintains ergonomic support and durability under constant use in heavy-traffic areas. The Conek collection features eco-friendly upholstery options like FELICITY which is made from 100% recycled plastic bottles. The sustainable fabric selections come in modern shades such as terracotta, dry blood red, sophisticated navy, and subtle light grey. The combination of soft textures and strong compositions provides both visual and tactile benefits along with outstanding durability to meet the tough requirements of hospitality and commercial settings. Every frame benefits from robust yet well-proportioned construction made of round steel tubing which receives a finishing coat of high-quality epoxy paint. Designers have the flexibility to create harmony or contrast between project elements because the frames come in numerous modern colors that enhance the appearance of the upholstery. Dimensions of Conek Seating Elements The Conek collection contains two fundamental seating components which provide maximum comfort through their design while optimizing space efficiency. Armchair Dimensions: Width: 686 mm Height: 640 mm Depth: 663 mm Seat Height: 390 mm Pouf Dimensions: Width: 686 mm Height: 390 mm Depth: 663 mm Seat Height: 390 mm The Conek collection's compact yet spacious dimensions allow it to fit comfortably into multiple interior layouts without losing either functional capacity or comfort features. Ideal Applications and Versatile Usage The Conek collection demonstrates adaptability across multiple settings because of its flexible design and modern appearance. Hospitality and Hotels: The Conek collection delivers sophisticated seating solutions for hotel lobbies, lounges, and guestrooms that create welcoming environments for relaxation. Restaurants and Bars: Establishments can use Conek's modular design to establish seating arrangements for both personal discussions and big group interactions which improves guest comfort with its fashionable design. Offices and Collaborative Working Spaces: Conek offers dynamic seating solutions that enhance corporate interiors and coworking spaces equally for formal meetings and casual collaboration areas. Residential Interiors: This collection brings minimalist elegance to residential spaces and offers adaptable seating that meets diverse requirements from hosting guests to daily life comfort. Public and Commercial Projects: The combination of durable building techniques with flexible design features positions Conek as the top choice for waiting areas and lounges in airports and public institutions that need seating combining sturdiness with contemporary looks. Sustainability and Environmental Responsibility Mobboli demonstrates its commitment to environmental stewardship through the sustainable design of its Conek collection. Through their utilization of recycled upholsteries and components that can be recycled completely Mobboli demonstrates their support for a circular economic model. Conek's sustainable credentials and responsible production methods make it an excellent choice for interior designers who prioritize eco-friendly products. Alternative Modular Seating Collections Mobboli offers other modular seating solutions for interior designers who wish to expand their options while maintaining similar functionality. Split Collection: The Split Collection modular sofa system delivers modern versatility for public spaces and hospitality settings through cosmopolitan elegance and straightforward design. Track Collection: The Track series delivers more customizable options through its modern modular design which makes it perfect for contract projects that need both stylish aesthetics and adaptability. 2D and 3D Files Available Designers and architects who select the Conek collection can access comprehensive 2D drawings as well as 3D models for their projects. The system enables detailed project planning and smooth integration into design processes while supporting visualization and specification needs for projects regardless of size.

ARKAD - Modular fabric pouf _ Zilio A&C

R

Zilio A&C > Pouf

Arkad S by Zilio A&C – A Playful and Modular Pouffe for Contemporary Spaces A Soft Interpretation of Architectural Forms Designed by Note Design Studio for Zilio A&C, the Arkad S pouffe draws inspiration from the classic portico, transforming architectural geometry into a playful yet elegant seating solution. With its soft, rounded form and compact dimensions, Arkad S works as a standalone graphic accent or as part of a modular seating system when combined with other pieces from the Arkad collection. Versatility for Residential & Commercial Interiors The Arkad collection is designed to bring flexibility and personality to modern interiors, making it an excellent choice for: Hotel Lobbies & Lounge Areas – A stylish, informal seating option that enhances social and relaxation zones. Co-Working & Office Spaces – Adds a soft and inviting element to collaborative work environments. Retail & Exhibition Spaces – Functions as a display piece or interactive seating in creative settings. Residential Interiors – Works as an accent stool, ottoman, or occasional seating in living rooms and bedrooms. Thanks to its sculptural yet minimal design, Arkad S seamlessly integrates into Scandinavian, contemporary, Japandi, and eclectic interiors. Compact, Comfortable & Fully Upholstered With a fully upholstered body, Arkad S offers both aesthetic appeal and seating comfort. Its soft, rounded edges create a welcoming look, while its compact size makes it easy to move and rearrange. The available fabric finishes allow for customization to suit different interior styles—ranging from neutral, understated tones for modern minimalism to bold, vibrant hues for playful contract settings. Dimensions & Modularity Arkad S is compact yet impactful, making it ideal for small and large spaces alike: Width: 550 mm Depth: 550 mm Height: 450 mm Designed as part of the Arkad series, it can be used alone or combined with other Arkad pieces, such as longer seating units and corner elements, to create unique configurations. Why Choose the Arkad S Pouffe? ✔ Architectural inspiration – A modern take on the classical portico. ✔ Flexible use – Perfect as a standalone accent piece or part of a modular seating system. ✔ Fully upholstered – Provides both comfort and aesthetic appeal. ✔ Compact yet functional – Ideal for residential, hospitality, and commercial spaces. ✔ Customizable fabric options – Suitable for a wide range of interior design schemes. A Modular Statement Piece for Dynamic Interiors Whether used individually or combined into a larger composition, Arkad S is a versatile, stylish, and engaging seating solution that enhances modern interiors with playfulness and sophistication. 📥 2D & 3D files available for download for easy specification in interior projects. 🔗 Discover more at Zilio A&C.

Original Night blue With Stitch headboard in Reflect / Royal blue

auping > Bed frame

The Original is a minimalist bed with strong lines. The steel frame with aluminium legs gives an elegant look. This variation in Night blue with 1 motor electric adjustable mesh base and Stitch headboard in Reflect / 884 Royal blue completes your bedroom.  The bed was inspired by one of Auping's very first designs, the Cleopatra, and is available in ten colours. So chances are your favourite colour is among them.   Designed in 2007, the Original is part of a family of iconic beds. The design was inspired by the Cleopatra, one of Auping's first design classics. In 2014, the Auping Original was awarded the Good Industrial Design (GIO) award. Besides design, this award is mainly about function, originality and innovation. In addition to this, the design must also be made with respect for people and the environment. Would you like to know more about the Original? Check out the Original lookbook.  Have a look at the Original   The Original is available with all our mattresses, make your choice in the configurator. Need help making a choice? In the configurator, go to the mattress selector for advice. Our collection consists of 5 beds that you can put together entirely as you wish. Choose your own colours, materials and accessories. In total, there are 2.8 billion possibilities in our online configurator. Looking for inspiration for your own bedroom or want to know more about our beds? Then take a look at the online lookbooks.  

Raphael

minotti > Sofa

The characteristic light and sophisticated style trait of Italian-Danish duo GamFratesi inspires Raphael: a new way of designing the living space thanks to the use of single furnishing pieces with refined tailoring, capable of becoming protagonists of the space, and expressing the same comfort as traditional modular seating systems.  Three sofa variants, four types of armchairs, two dining little armchairs and two footstools, all conceived as adaptable to smaller domestic contexts, while still meeting the high demands of decorators and interior designers. Organic forms, with generous and cosy proportions, are enhanced by sophisticated upholstery that masterfully interprets its distinctive sinuous lines.  The Raphael sofas and armchairs stands on the floor on modern feet in die-cast Bronze or polished Pewter aluminium or Licorice-stained ash, the design of which adapts to the morphology of the seating shapes. The result is a furnishing piece with classic forms reinterpreted in a modern key. The armchairs are also available with a swivel four-spoke die-cast aluminium base in Bronze or polished Pewter.  Each individual element of the family has its own identity and silhouette. The sofas are available in three variants: linear, semi-curved and asymmetrical semi-curved, the latter animated by the series of sinuous lines given by the backrest, punctuated by a gentle change of heights. The armchairs are characterised by their comfortable seating, not only in the larger model, but also in the smaller version and in the dining version, which is available both fixed, with legs in Licorice-coloured ash, and with a swivel four-spoke die-cast aluminium base in Bronze or polished Pewter.  The details, shapes and overall aesthetics of Raphael make it a contemporary furnishing piece with a timeless character, designed to meet the different situations of everyday life: from moments dedicated to relaxation to those conceived for conviviality, from hospitality occasions to the more intimate ones of domestic life. 

Hamilton

minotti > Sofa

Elegance, uniqueness and innovation. Hamilton embodies timeless Minotti design. This wide range of modular seating systems by Rodolfo Dordoni offers great fl exibility and many customisation options, guaranteeing original interior design and highly versatile use. Its minimal linear design, compact volumes and characteristic metal base sitting close to the floor are the factors that have made Hamilton such a huge worldwide success since its launch in 2004. Its unmistakable metal base in particular, like a frame outlining the perimeter of the elements, has become one of Minotti’s distinctive features and subsequently appeared in other forms and fi nishes, setting a real sector trend. The Hamilton family of seats has never stopped evolving with time, hand in hand with the ongoing study of function, ergonomics and materials promoted by the company and highlighting its strong vocation for tailoring, inherent in the brand’s DNA. There are three versions available in the collection, making Hamilton totally versatile: Hamilton, Hamilton Sofà and Hamilton Modulo. Over the years, Hamilton has become an icon, the perfect protagonist of living areas with both traditional and more modern interior, thanks to its modular fl exibility and wide range of upholstery. A system attentive to aesthetic and function evolutions in contemporary lifestyles, which see living areas invested with a wide range of functions, such as relaxing, working, entertaining, and conversation.

Palosanto

marset > Floor lamp

Subtle without going as far as minimalism, the new Palosanto collection lamp is an extremely flexible, versatile solution for direct illumination outdoors. Available as a wall lamp and also as a bollard in three heights: 30, 60 and 90 cm. The 30- and 60-cm lamps include one spotlight, while the taller version can have one or two. In every version, the spotlight can be placed at the chosen height along the stem. This enables the position of the light to adapt to the growth of surrounding vegetation.As well as providing illumination, each spotlight also gives protection and reflection: a honeycomb grille captures peripheral light and prevents glare, while at the same time part of the light emitted is reflected and released through the back of the lamp, gently illuminating the body of the diffuser. This creates an interplay of lights to form a decorative halo, echoing the warmth of the interior light. In addition, the spotlights on this bollard lamp can be rotated manually by up to 360 degrees, while the cable remains fully visible, an aesthetic detail that provides the freedom to decide on the desired height and direction of the light. The angle of opening of each spotlight is 32 degrees, and the colour temperature is 2700 K. For Christophe Mathieu, the design process consists first and foremost of observing and creating an object with wide-ranging possibilities that will be timeless in its use. That was his thinking behind this new bollard lamp, which can use its light to accentuate the outdoors, reveal architectural details, light a path or spotlight a tree. His new design is compact, flexible, and hard-wearing, even in tough climatic conditions. It is the epitome of simplicity, easy to install, and can be integrated into any landscaping project, whether residential or contract. Palosanto also offers a range of filters to soften the light, dim it towards the shadow, and adjust it to the surroundings. This leads to greater control over the lighting it can provide. What more could you ask for?  

Superblocks

minotti > Cabinet

Superblocks is the design by Marcio Kogan / studio mk27 inspired by the rationalism of lines, shapes, proportions and materials typical of the Brazilian studio’s work.  It is conceived as a true piece of architecture, with the storage element in wood or glossy lacquer, available in different finishes, resting on polished Brandy metal blades. A furnishing piece that is not only decorative, but also functional, designed to blend into different types of environments also thanks to configurations and accessories that adapt to multiple and specific functions. For example, in the living and dining versions it can accommodate a brushed marble element with a strong identity, designed for storing objects. Another interesting accessory is the refined black saddle-hide cutlery tray, ideal for dining areas. On the other hand, in the configuration designed for the night area, Superblocks presents an elegant jewellery drawer with a screened glass top.  The extreme simplicity of its design is enhanced by the richness of its details, for a rigorous style that dialogues perfectly with all the shapes in the Minotti collection, from the more linear and clear-cut to the softer, most sinuous ones.

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».

KINOKO - Fabric small sofa _ Zilio A&C

Zilio A&C > Sofa

Zilio A&C Kinoko Sofa – A Smart, Versatile Seating Solution for Contract & Residential Spaces Introduction to the Kinoko Sofa The Kinoko Sofa, designed by Mentsen in 2020, is an elegant two-seater that expands on the Kinoko armchair collection, first launched by Zilio A&C in 2019. Inspired by Japanese minimalism with a touch of architectural boldness, this sofa combines a strong structural frame with soft, inviting upholstery, making it a perfect fit for hospitality, commercial, and residential interiors. With its contrasting visual elements—a robust ash wood base and plush upholstered seat—the Kinoko Sofa delivers both style and functionality, bringing warmth and sophistication to lounges, hotel lobbies, private offices, and living rooms. Design & Key Features A fusion of bold structure and soft curves, balancing architectural strength with organic comfort. Wide armrests that double as functional surfaces for books, drinks, or small decorative items. Crafted with a solid ash base, offering both durability and aesthetic warmth. Initially available in ash wood, with a steel frame version to be introduced later. Designed for both contract and residential use, ensuring versatility across various environments. Dimensions & Specifications Width: 1670 mm Depth: 805 mm Height: 740 mm Seat Material: Upholstered with high-quality textile, non-removable cover Base Material: Solid ash wood (natural or stained) Material & Finish Options The Kinoko Sofa is designed with premium materials that enhance both its aesthetic appeal and long-term durability: Base Finishes: Natural Ash – A light, organic wood finish for a Scandinavian-inspired look. Stained Ash – A darker, richer tone for a more classic or moody aesthetic. Upholstery: Plush, high-quality textile upholstery, adding a layer of softness and warmth. Non-removable cover for a streamlined, tailored look. Where to Use the Kinoko Sofa? The Kinoko Sofa’s refined yet cozy design makes it suitable for a wide range of settings, including: Hospitality & Lounge Areas – Ideal for hotel lobbies, airport lounges, and executive waiting areas. Commercial Spaces & Offices – Provides a comfortable yet structured seating option for private offices, coworking spaces, and breakout areas. Residential Interiors – A compact yet stylish sofa for modern apartments and homes. Retail & Boutique Showrooms – Adds a touch of sophistication while maintaining a welcoming ambiance. Alternative Options For designers looking for similarly structured yet soft seating, consider: Andreu World Dado Sofa – A modular alternative with a contemporary look. Muuto Outline Sofa – A sleek, Scandinavian-style option with a minimal frame. HAY Arbour Sofa – A refined, eco-friendly choice with deep seating.

Sendai "dining"

minotti > Chair

Named after the city of trees, Sendai, this line of furnishing pieces consists of a small sofa, an armchair, a lounge armchair and dining and lounge little armchairs. Like slender trunks, the elegant, polished legs, in Canaletto walnut solid wood stained Light Brown, or Licorice lacquered ash, rest on the ground, lifting the enveloping upholstered body and creating a soft rhythm of vertical lines. The possibility of having the armchair, the dining little armchair and the lounge armchair also in the 360° swivel version with return (base in polished Bronze-coloured varnished metal, with sheathed spokes in solid ash with an open-pore  Licorice-coloured lacquer, or in solid Canaletto walnut with Light Brown stain) makes the Sendai seats particularly comfortable for both residential and hospitality environments. The compact and well-proportioned silhouette of both the seats and the small sofa, opens up to a new way of using the dining space: as a living room within the living room, a hybrid situation, such as when dinner is served on a large table, while guests meet and socialise round a lounge table. A new, more intimate way of opening up new visual and proportional horizons of the living space, both in homes and in hospitality veues. In 2023, the elegant and airy Sendai family of seats expands, with a new enveloping sofa, a comfortable swivel armchair with armrests and a footstool. The design of the armchair, with its upholstered frame resting on a 360° swivel base with return mechanism, also stems from the desire to have a larger seat whose comfort is ensured by a higher backrest and the presence of comfortable armrests, perfect for ensuring a satisfying sensation of relaxation, especially when used in combination with the footrest.

Raphael "Dining"

minotti > Chair

The characteristic light and sophisticated style trait of Italian-Danish duo GamFratesi inspires Raphael: a new way of designing the living space thanks to the use of single furnishing pieces with refined tailoring, capable of becoming protagonists of the space, and expressing the same comfort as traditional modular seating systems.  Three sofa variants, four types of armchairs, two dining little armchairs and two footstools, all conceived as adaptable to smaller domestic contexts, while still meeting the high demands of decorators and interior designers. Organic forms, with generous and cosy proportions, are enhanced by sophisticated upholstery that masterfully interprets its distinctive sinuous lines.  The Raphael sofas and armchairs stands on the floor on modern feet in die-cast Bronze or polished Pewter aluminium or Licorice-stained ash, the design of which adapts to the morphology of the seating shapes. The result is a furnishing piece with classic forms reinterpreted in a modern key. The armchairs are also available with a swivel four-spoke die-cast aluminium base in Bronze or polished Pewter.  Each individual element of the family has its own identity and silhouette. The sofas are available in three variants: linear, semi-curved and asymmetrical semi-curved, the latter animated by the series of sinuous lines given by the backrest, punctuated by a gentle change of heights. The armchairs are characterised by their comfortable seating, not only in the larger model, but also in the smaller version and in the dining version, which is available both fixed, with legs in Licorice-coloured ash, and with a swivel four-spoke die-cast aluminium base in Bronze or polished Pewter.  The details, shapes and overall aesthetics of Raphael make it a contemporary furnishing piece with a timeless character, designed to meet the different situations of everyday life: from moments dedicated to relaxation to those conceived for conviviality, from hospitality occasions to the more intimate ones of domestic life. 

Criade Warm grey

auping > Box spring

The Criade, with its slender lines and refined details, is a sleek box spring with a distinctive design. The steel frame carries the design and the horizontal line connects the two box springs. This variant in Deep black with electric adjustable mesh base, topper and Cushion headboard in Facet / Dark grey is a real eye-catcher in your bedroom. The refined legs give the Criade's design an airy feel while the steel frame provides a solid base. Head and footboard are placed directly on the frame, leaving the floor free. The use of the different materials creates the design characteristic of Auping. The Criade is a richly padded box spring: the box contains a mesh base and pocket springs. The Auping mesh base is eighty percent open and therefore the box spring ventilates very well. The pocket springs in both the box spring and the mattress ensure that you can turn easily at night and have good support during your sleep. View the Criade box spring   This Criade box spring includes Comfort mattress and Comfort topper. Want to make a different choice? The Criade box spring is available with all our mattresses and toppers, change your choice in the configurator. Our collection consists of 4 box springs that you can put together exactly as you wish. Choose your own colours, materials and accessories. In total, there are 2.8 billion possibilities in our online configurator. Looking for inspiration for your own bedroom or want to know more about our beds? Then take a look at the online lookbooks.

Kiruna Deep black

auping > Box spring

The Kiruna box spring is the most luxurious box spring. This is distinguished by the rich appearance and the use of natural materials. As soon as you lie down, you experience it for yourself. This adjustable 2-person Kiruna box spring 1M Deep black with Unik mattress and Unik headboard in Reflect / Black grey gives a luxurious look to your bedroom. For the Kiruna box spring you can choose from 95 different fabrics. They each differ in colour and structure. In our stores you can see, feel and give you advice on which one fits best on the box spring of your choice. There are five fabric groups. The luxurious Kiruna box spring has a refined design with attention to every detail and very high-quality finish. There are two headboards for the Kiruna: the slender and stylish Sami and the classic Unik. Or combine with one of the headboards of our Original box spring. To subtly add colour to the Kiruna box spring and your bedroom, you can choose 1 of the ten Auping colours for the legs.  Discover the Kiruna box spring The unique Kiruna mattresses have no less than 7 zones so that your body is perfectly supported and you lie comfortably. The Sami mattress has a sleek finish, while the Unik mattress has an extra rich look due to graceful handles, a piping all around and refined side stitching. Our collection consists of 5 beds and 4 box springs that you can put together completely according to your wishes. Choose your own colours, materials and accessories. In total, there are 2.8 billion possibilities in our online configurator. Looking for inspiration for your own bedroom or do you want to know more about our Box springs? Then take a look at the online lookbooks.

JOLI - Upholstered fabric chair with armrests _ Zilio A&C

Zilio A&C > Chair

Joli Chair by Zilio A&C – A Soft, Inviting Dining Chair for Hospitality & Residential Spaces A Dining Chair Designed with Visual Elegance in Mind Designed by Note Design Studio for Zilio A&C, the Joli Chair is a refined yet playful seating solution that prioritizes comfort, silhouette, and versatility. With a focus on how a chair is perceived from behind—often the first view when placed around a table—Joli features a soft, voluminous backrest that creates an inviting and welcoming expression from every angle. Its combination of solid beech wood construction and plush upholstery makes Joli a perfect choice for dining settings, hospitality projects, and elegant residential spaces. Versatility for Hospitality & Residential Interiors Joli seamlessly adapts to a variety of interiors, from modern restaurants and boutique cafés to stylish hotel dining areas and home dining rooms. The chair’s curved backrest and upholstered seat ensure both comfort and visual softness, making it an ideal choice for: Restaurants & Cafés – A stylish, comfortable seating option for extended dining experiences. Hotels & Hospitality Spaces – Perfect for breakfast lounges, private dining rooms, and guest areas. Residential Dining Rooms – Brings warmth and elegance to Scandinavian, contemporary, and Japandi interiors. Workspaces & Meeting Areas – Adds a soft, approachable touch to modern office settings. Materiality: A Balance of Craftsmanship & Comfort The Joli Chair is built with a solid beech wood frame, ensuring durability and longevity, while the fully upholstered seat and backrest provide exceptional comfort. The voluminous backrest not only enhances the seating experience but also contributes to Joli’s charming and friendly personality. The available upholstery options allow for customization to fit different aesthetics, from neutral and natural tones for a minimalist look to vibrant fabrics for a playful, contemporary feel. Why Choose the Joli Chair? ✔ Designed for visual impact – A dining chair that looks good from every angle. ✔ Perfect balance of structure and softness – Solid beech frame with plush upholstery. ✔ Versatile for hospitality & residential spaces – Ideal for restaurants, hotels, and dining rooms. ✔ Welcoming aesthetic – A gentle, voluminous form that enhances comfort and style. ✔ Crafted for durability – Built with high-quality materials for long-term use. An Elegant Addition to Hospitality & Dining Spaces Joli is more than just a chair—it’s a seating experience designed to enhance the atmosphere of any dining setting. Whether used in a stylish restaurant, an upscale hotel, or a contemporary home, Joli’s balance of craftsmanship, comfort, and aesthetic appeal makes it a standout choice for designers and architects. Joli Chair 3D file available for download for easy specification in projects. 🔗 Discover more at Zilio A&C.

UPON - Stackable wood veneer chair with integrated cushion _ Zilio A&C

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Zilio A&C > Chair

Upon Chair by Zilio A&C – A Minimalist and Ingenious Stacking Chair for Versatile Spaces A Pure, Expressive Design with a Hidden Innovation Designed by Sylvain Willenz for Zilio A&C, the Upon Chair is a study in understated elegance and intelligent engineering. What makes Upon truly unique is its seamless backrest connection—as if by magic, the form-pressed veneer backrest sits on the contrasting metal frame with no visible fixings, thanks to a hidden internal joint. This precision-engineered detail not only enhances the chair’s aesthetic purity but also ensures it is lightweight, strong, and stackable, making it ideal for both commercial and residential interiors. Versatile for Home, Hospitality & Office Settings With its clean lines, refined proportions, and practical stackability, Upon adapts effortlessly to a variety of spaces: Cafés & Restaurants – A stylish, durable chair that allows for easy stacking and storage. Workspaces & Offices – A minimal yet comfortable seating solution for meeting rooms and collaborative spaces. Modern Dining Rooms – A sculptural, contemporary chair that complements Scandinavian and Japandi aesthetics. Hotel & Hospitality Projects – Perfect for lobbies, conference areas, and guest spaces. The upcoming armchair version and optional upholstered seat further expand Upon’s possibilities, allowing designers to customize it for enhanced comfort and style. Materiality: A Balance of Strength & Lightness Upon is designed with a mix of materials that emphasize both functionality and refined aesthetics: Form-Pressed Veneer Backrest – Tapers to just 6mm at the edges, offering a light, floating appearance while maintaining strength. Contrasting Metal Frame – Ensures structural durability while keeping the chair light and visually effortless. Optional Upholstered Seat – Adds extra comfort, making it suitable for longer seating durations in work and hospitality environments. Dimensions & Stackability Upon’s compact yet ergonomic proportions make it a functional choice for both small and large spaces: Width: 500 mm Depth: 505 mm Height: 785 mm Its stackable design allows for efficient storage, making it an excellent solution for flexible and adaptable environments. Why Choose the Upon Chair? ✔ Innovative design – Hidden joint creates a seamless, floating backrest effect. ✔ Lightweight & stackable – Ideal for contract and hospitality use. ✔ Minimal yet strong – A refined balance of form, function, and durability. ✔ Versatile for multiple settings – From homes and cafés to offices and hotels. ✔ Optional upholstery & armchair version – Customizable for enhanced comfort. A Contemporary Seating Solution for Modern Interiors With its elegant simplicity, functional stackability, and precise craftsmanship, Upon by Zilio A&C is a timeless seating solution that brings sophistication to any setting. Whether used as a stylish dining chair, a practical workspace seat, or a sleek hospitality solution, Upon merges technical innovation with design purity. 📥 2D & 3D files available for download for seamless integration into interior projects. 🔗 Discover more at Zilio A&C. Search ChatGPT can make mistakes. Check important info.

Chimera Ritmo Azzurro

florim > Wallcovering

 In <em>Chimera,</em> Elena Salmistraro merges rigour with self-expression, in a graphic grammar laden with symbolic meaning.  <em>Empatia </em>speaks to the emotions with graphics that interpret, through a highly individual abstract code, the stage make-up of a clown, with the aid of superimposed geometric forms and images. <em>Radici </em>is a tribal statement, a tribute to primitive ritual custom, evoked by the interplay between a sequence of triangles and rectangles and a set of figurative fragments. <em>Ritmo</em> is inspired by fabrics, suggesting the rhythmic alternation of woven yarns through a largely linear pattern. In <em>Colore, </em>the upheaval of a background of small isolated spots generated by a parametric digital program is combined with densely packed repeated forms. "The Chimera collection is rather like a book with four different chapters: I set out to differentiate these graphic motifs to create four totally different stories."<br></br>Elena Salmistraro  It all starts with drawing. A <em>passion</em> for drawing. An <em>obsession</em> with drawing. Drawings like spider-webs, obsessively filling spaces, in a kind of manual choreography or gymnastics, a continuous flow. Elena Salmistraro draws all the time. She draws everywhere. Mostly on loose sheets or random surfaces. First and foremost with pen and pencil. Her drawings only acquire colour at a later stage. Often - just like Alessandro Mendini used to do - she draws "monsters": fascinating yet disturbing, subversive forms. The denser, more contorted the shape, the more obvious its underlying truth. For Elena, drawing is an intimate act. It is relaxing. And therapeutic. With an unrivalled communicative strength. Because drawing gives shape to ideas: you both give form to the world and reveal yourself. This passion, combined with natural graphic talent, has guided Elena Salmistraro in her project for Cedit: an experimental series of ceramic slabs produced using a high-definition 3D decorative technique. The explicit aim is to transform surfaces beyond their original flatness so that a new, visual and tactile, three-dimensional personality emerges, sweeping aside the coldness and uniformity that ceramic objects often inevitably convey.Elena Salmistraro has always viewed ceramics as a democratic material, in view of their accessibility, and the infinite potentials for shaping matter that they provide. She began working and experimenting with ceramics very early in her career, just after she graduated from the Milan Politecnico in 2008. She came into contact with small artistic craft firms specialising in smallproduction lots, and cut her teeth on projects that demanded the hand-processing of every detail, and finishes of high artistic value, for the high end of the market. The large corporations and galleries came later, but here again Elena kept faith with her desire to make mass-produced pieces unique, and to combine artistic value with specifically industrial characteristics. The monkey-shaped <em>Primates</em> vases reflect this method and intention, aiming to excite, surprise and charm. Antiminimalist and hyper-figurative, playful, ironic and a rich image-maker, often drawing on anthropology and magic, over the years Salmistraro has built up her own fantastic universe, inhabited by ceramic bestiaries, painted jungles and a cabinet like a one-eyed cyclops , always finding inspiration and inputs in nature and always aiming to reveal the extraordinary in the everyday. Given this background, it was almost inevitable she would work with Cedit: constantly seeking new talents and new approaches, as well as designs that break down the boundaries of ceramics and release them into the realm of art and innovation, the Modena company has recognised Elena Salmistraro as a leading contemporary creative spirit and involved her in a project intended to experiment with fresh ideas in materials and synaesthetics.Salmistraro's collection for Cedit is entitled <em>Chimera</em> and consists of large ceramic slabs, which can be enjoyed not only visually, through their patterns and colours, but also on a tactile level. Like the chimera in the "grotesque" tradition, monstrous in the etymological sense of the word with its merging of hybrid animal and vegetable shapes, the Cedit project attempts to originate a synaesthetic form of ceramics, through a three-dimensional development that exactly reproduces the texture of leathers and fabrics, creating an absolutely new kind of layered effect, with a tactile awareness that recalls the passion of grand master Ettore Sottsass for "surfaces that talk". And the surfaces of the slabs Salmistraro has created really seem to talk: in <em>Empatia </em>clown faces add theatricality to the cold gleam of marbles, interspersed with references to Art Déco graphics; <em>Radici</em> uses the textures of leathers and hide as if to re-establish a link between ceramics and other materials at the origins of human activity and creativity; in <em>Ritmo</em> the texture of cloth dialogues with pottery, almost in homage to the tactile rationalism of warp and weft, of which Bauhaus pioneer Anni Albers was one of the most expressive past interpreters ; finally, <em>Colore</em> has a spotted base generated by computer to underline the contrast between analogue and digital, the graphic sign and the matter into which it is impressed. It is an aesthetic of superimposition and mixing, and especially of synaesthesia: as in her drawings, in the <em>Chimera </em>slabs Elena Salmistraro's art is one of movement and acceleration. A process not of representation but of exploration. Of the world and of oneself. Almost a kind of Zen, for distancing oneself from the world to understand it more fully. In every sense. 

Courage

mitab > Table

SOFA COURAGE Courage is a modular based system with seating elements and backrests that can be endlessly combined. The graphic simplicity comes from the design brief asking for an archetypal product based on the golden ratio.  The different elements have 2 sections of fabric, creating a “bottom line” which is intended to bond the different parts together, yet allowing for the upper part to be selected in different colours or fabrics creating a varied interior. Courage have a base frame of metal, different parts for different elements. There is no visible fittings or damage when Courage is built together. ADD ELECTRICS To support connected users on the move Courage can be specified with integrated electrical power outlets neatly fitted into the seat and easily accessible. PAIR WITH ORBIT The Orbit swivelling table perfectly compliments Courage’s form and function and has been designed to be natively mounted to Courage’s seat modules. VERSATILE MODULARITY Courage’s modular design comprising numerous elemental forms enables it to be configured in an almost infinite number of compositions. From small geometric islands to sprawling landmasses of comfort, Courage provides a much needed stopping place. COMMITTED Courage has been independently certified by Möbelfakta a widely respected certification scheme that assess and validate the sustainability credentials of furniture and products so consumers can make more informed choices. Modular sofa system with several seat, back and arm units. Base frame and connection fittings in powder coated metal frame in standard RAL (black). Seat with wood base and cold foam upholstered in standard fabrics or c.o.m. Backrests with optional one or two soft sides. Arm units with table top in ash natural. Multiple fabric configuration and electrical outlets available as add-on. (Electrical outlets is not possible with seats in H.36cm)

Revive Dark grey

auping > Box spring

The Auping Revive gives your sleep and your bedroom a real upgrade. The Auping Revive is a bed with the looks of a box spring and is available in two variants. This variant has a flat mesh base with an upholstered box spring mattress and a top mattress. The combination of the Revive mattress and the Auping mesh base ensure optimal ventilation, the open structure of the mesh base ensures optimal ventilation, allowing your mattress to breathe easier and last longer, and for you to step out of bed every day feeling refreshed. Are you a hotel manager and do you consider the Auping Revive for in your hotel? Please visit this page. The bed base of the Auping Revive consists of a mesh base with wheels under the front legs and a cover around the frame. The cover makes the bed look like a box spring, but without the heaviness, so it’s easy to move and has plenty of useful storage space underneath. The bed's wheels and light weight also make it easy to slide apart (not applicable for the 140 cm width), so that you can clean properly under the bed. Learn more about the Revive boxspring Our collection consists of 4 box springs. The Original, Criade and Kiruna can be designed completely to your whishes. Choose the colour, fabrics and accessories you like. There are 2,8 billion configurations available in our dream bed configurator. Looking for inspiration for your bedroom or do you want to learn more about one of our box springs? Take a look at our box spring pages.

Lawson "Dining"

minotti > Chair

With the fluid line of its shapes and the equilibrium of its soft volumes, the Lawson seating system explores different types of chairs, offering innovative solutions that push out the traditional style boundaries, ranging from small lounge armchairs to the larger easy chair, and even sofas.    The design features a look based on the juxtaposition of materials: on one side there is leather, which follows the curve of the enveloping backrest, in turn becoming an armrest and on the other side there is the fabric of the cushions, with its haute couture feel.   The many different layouts of the system, with its interesting range of alternating depths, mean it is perfect for creating both small, intimate spaces, as well as arrangements featuring several elements, all fit to occupy larger spaces with grace.  With its natural elegance, Lawson is ideal for residential interiors, but also reveals a strong vocation for the hospitality sector, thanks to its versatile modularity. Sofas and armchairs sit on metal feet with a chrome or polished Pewter finish, a jewel-detail that adds a touch of sophistication to the piece. The wide variety of elements in the Lawson family also includes an armchair with legs in Moka-coloured ash wood or covered in leather, a detail that also characterises the lounge armchair and dining chair. Each piece can be used in a wide range of potential combinations of materials and colours. And while the impression made by Lawson oozes with Seventies style if the arrangement includes pieces with black leather, structured fabric upholstering and feet with a chrome finish, instead, a more decorative spirit shines through if the option chosen features velvet and chenille.

Rilievi Nebbia

florim > Wall Paint

The alternation and symbiosis between concave and convex, recessed and raised. <p>Rilievi is a work of design balanced between different historic periods: while the volumetric relief tile modules are inspired by artistic experiments conducted in Italy during the Sixties and Seventies, the large slabs are the outcome of research into materials and technology that has only come to fruition in very recent times. The shadow effects generated on the surfaces of the slabs by the light striking the projecting parts of the modules create an unusual impression of architectural depth found virtually nowhere else in ceramic coverings, laying the bases for a new decoration interior design language.</p> This project simply embodies perfection - a term which certainly sets the bar high in a description of a new product for launch on the market. But when an enlightened manufacturer is capable of encapsulating a designer's personal research in a product to be added to its range, the outcome is a perfect synthesis. A perfect synthesis between untrammelled creativity and market trends. CEDIT had the insight needed to perceive, identify and rework the immense potential of Practice Practice Practice "“ a self-produced project by Zaven (Enrica Cavarzan and Marco Zavagno "“ and realised that its sophisticated design, originated by pure, pristine input (unadulterated by external factors except the noblest of them all, research) could provide the basis for an innovative, successful collection. I might add, a collection unique of its kind. Zaven is also a name that comes with guarantees; the two partners are good at what they do. Their work always starts from personal curiosity and investigations, the study of other stories (as in this case inspiration was drawn from the output of artist and activist Nino Caruso) and individual interests, which are broken down, developed, optimised and prepared for transformation into something fresh.Enrica Cavarzan and Marco Zavagno have a masterly ability to transform their own wishes and passions into design work of the greatest breadth and, as we see here, the widest, richest application. Their use of ceramics as a material is clearly outstanding and reflects a method precisely founded on the desire to look at things from an unusual viewpoint, under a different light. And to be daring. Zaven have an unconventional approach to convention. In the specific case of the Rilievi collection, the "modules" created for CEDIT seem to explode off the walls; in fact, they are constructed by combining the two-dimensional slab with its three-dimensional decor.Rilievi seems to be seeking space. More space. Even though these modules have actually established a dialogue with the wall from which they are born. At the same time, they hypnotise us with their tight sequence of lines, the pattern that is always different although its root is the same, and the intriguing, unusual colours that add another vital factor to the finished product. Their firm grounding in graphic design (and here we have come back to two-dimensional effects, of the kind most often associated with a wall covering) easily evolves into a facade which seems to have been carved with a chisel - although this is not the case. These modules are conceived to convey an impression of movement, and the three models, in seven colour combinations, create a powerful effect on a surface, which is never passive but rather an organic contributor to the forms and colours involved in the fascinating combinations. The slab is very much present and has the same worth and status as the relief pattern associated to it. In the light of this dichotomy between the linear and the sculpted, expressed through the skilfully balanced visual expedients, the use of repetition adds vigour to the module's intrinsic meaning. As we have seen, a rejection of facile, superficial creative dynamics in favour of an investigation reaching above and beyond has always been a central, clearly recognisable feature of this Venice-based duo, who already have impressive international partnerships to their credit, including the London Design Festival, the Kalmar Konstmuseum, the Paris Designer Days, Ca' Foscari University, the Venice Biennale, the Sandretto Re Rebaudengo Foundation, the Sindika Dokolo Foundation and the V-A-C Foundation, and also won the 2018 Wallpaper Design Award. Graphics, advertising and product design: the pair have always opted for a type of design closely linked to the observation of everyday items, followed by their reinterpretation in a version applied to experimentation with materials. This duality, combined with their energetic yet elegant visual language, forms Enrica and Marco's primary code, experienced in this specific context through serial carvings. On walls.

Palosanto

marset > Wall lamp

Subtle without going as far as minimalism, the new Palosanto collection lamp is an extremely flexible, versatile solution for direct illumination outdoors. Available as a wall lamp and also as a bollard in three heights: 30, 60 and 90 cm. The 30- and 60-cm lamps include one spotlight, while the taller version can have one or two. In every version, the spotlight can be placed at the chosen height along the stem. This enables the position of the light to adapt to the growth of surrounding vegetation.As well as providing illumination, each spotlight also gives protection and reflection: a honeycomb grille captures peripheral light and prevents glare, while at the same time part of the light emitted is reflected and released through the back of the lamp, gently illuminating the body of the diffuser. This creates an interplay of lights to form a decorative halo, echoing the warmth of the interior light. In addition, the spotlight of this wall fixture can be rotated manually by up to 360 degrees, while the cable remains fully visible, an aesthetic detail that provides the freedom to decide direction of the light. The angle of opening of each spotlight is 32 degrees, and the colour temperature is 2700 K. For Christophe Mathieu, the design process consists first and foremost of observing and creating an object with wide-ranging possibilities that will be timeless in its use. That was his thinking behind this new collection, which can use its light to accentuate the outdoors, reveal architectural details, light a path or spotlight a tree. His new design is compact, flexible, and hard-wearing, even in tough climatic conditions. It is the epitome of simplicity, easy to install, and can be integrated into any landscaping project, whether residential or contract. Palosanto also offers a range of filters to soften the light, dim it towards the shadow, and adjust it to the surroundings. This leads to greater control over the lighting it can provide. What more could you ask for?

Rilievi Terra

florim > Wall Paint

The alternation and symbiosis between concave and convex, recessed and raised. <p>Rilievi is a work of design balanced between different historic periods: while the volumetric relief tile modules are inspired by artistic experiments conducted in Italy during the Sixties and Seventies, the large slabs are the outcome of research into materials and technology that has only come to fruition in very recent times. The shadow effects generated on the surfaces of the slabs by the light striking the projecting parts of the modules create an unusual impression of architectural depth found virtually nowhere else in ceramic coverings, laying the bases for a new decoration interior design language.</p> This project simply embodies perfection - a term which certainly sets the bar high in a description of a new product for launch on the market. But when an enlightened manufacturer is capable of encapsulating a designer's personal research in a product to be added to its range, the outcome is a perfect synthesis. A perfect synthesis between untrammelled creativity and market trends. CEDIT had the insight needed to perceive, identify and rework the immense potential of Practice Practice Practice "“ a self-produced project by Zaven (Enrica Cavarzan and Marco Zavagno "“ and realised that its sophisticated design, originated by pure, pristine input (unadulterated by external factors except the noblest of them all, research) could provide the basis for an innovative, successful collection. I might add, a collection unique of its kind. Zaven is also a name that comes with guarantees; the two partners are good at what they do. Their work always starts from personal curiosity and investigations, the study of other stories (as in this case inspiration was drawn from the output of artist and activist Nino Caruso) and individual interests, which are broken down, developed, optimised and prepared for transformation into something fresh.Enrica Cavarzan and Marco Zavagno have a masterly ability to transform their own wishes and passions into design work of the greatest breadth and, as we see here, the widest, richest application. Their use of ceramics as a material is clearly outstanding and reflects a method precisely founded on the desire to look at things from an unusual viewpoint, under a different light. And to be daring. Zaven have an unconventional approach to convention. In the specific case of the Rilievi collection, the "modules" created for CEDIT seem to explode off the walls; in fact, they are constructed by combining the two-dimensional slab with its three-dimensional decor.Rilievi seems to be seeking space. More space. Even though these modules have actually established a dialogue with the wall from which they are born. At the same time, they hypnotise us with their tight sequence of lines, the pattern that is always different although its root is the same, and the intriguing, unusual colours that add another vital factor to the finished product. Their firm grounding in graphic design (and here we have come back to two-dimensional effects, of the kind most often associated with a wall covering) easily evolves into a facade which seems to have been carved with a chisel - although this is not the case. These modules are conceived to convey an impression of movement, and the three models, in seven colour combinations, create a powerful effect on a surface, which is never passive but rather an organic contributor to the forms and colours involved in the fascinating combinations. The slab is very much present and has the same worth and status as the relief pattern associated to it. In the light of this dichotomy between the linear and the sculpted, expressed through the skilfully balanced visual expedients, the use of repetition adds vigour to the module's intrinsic meaning. As we have seen, a rejection of facile, superficial creative dynamics in favour of an investigation reaching above and beyond has always been a central, clearly recognisable feature of this Venice-based duo, who already have impressive international partnerships to their credit, including the London Design Festival, the Kalmar Konstmuseum, the Paris Designer Days, Ca' Foscari University, the Venice Biennale, the Sandretto Re Rebaudengo Foundation, the Sindika Dokolo Foundation and the V-A-C Foundation, and also won the 2018 Wallpaper Design Award. Graphics, advertising and product design: the pair have always opted for a type of design closely linked to the observation of everyday items, followed by their reinterpretation in a version applied to experimentation with materials. This duality, combined with their energetic yet elegant visual language, forms Enrica and Marco's primary code, experienced in this specific context through serial carvings. On walls.

Raphael

minotti > Armchair

The characteristic light and sophisticated style trait of Italian-Danish duo GamFratesi inspires Raphael: a new way of designing the living space thanks to the use of single furnishing pieces with refined tailoring, capable of becoming protagonists of the space, and expressing the same comfort as traditional modular seating systems.  Three sofa variants, four types of armchairs, two dining little armchairs and two footstools, all conceived as adaptable to smaller domestic contexts, while still meeting the high demands of decorators and interior designers. Organic forms, with generous and cosy proportions, are enhanced by sophisticated upholstery that masterfully interprets its distinctive sinuous lines.  The Raphael sofas and armchairs stands on the floor on modern feet in die-cast Bronze or polished Pewter aluminium or Licorice-stained ash, the design of which adapts to the morphology of the seating shapes. The result is a furnishing piece with classic forms reinterpreted in a modern key. The armchairs are also available with a swivel four-spoke die-cast aluminium base in Bronze or polished Pewter.  Each individual element of the family has its own identity and silhouette. The sofas are available in three variants: linear, semi-curved and asymmetrical semi-curved, the latter animated by the series of sinuous lines given by the backrest, punctuated by a gentle change of heights. The armchairs are characterised by their comfortable seating, not only in the larger model, but also in the smaller version and in the dining version, which is available both fixed, with legs in Licorice-coloured ash, and with a swivel four-spoke die-cast aluminium base in Bronze or polished Pewter.  The details, shapes and overall aesthetics of Raphael make it a contemporary furnishing piece with a timeless character, designed to meet the different situations of everyday life: from moments dedicated to relaxation to those conceived for conviviality, from hospitality occasions to the more intimate ones of domestic life. 

Cromatica Verde

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. 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».

Original Warm grey With Straight headboard and Warm grey table

auping > Bed frame

The Original is a minimalist bed with strong lines. The steel frame with aluminium legs gives an elegant look. This variation in Warm grey with 1 motor eletric adjustable mesh base, Straight headboard and a matching Warm grey table completes your bedroom.  The bed is inspired by one of Auping's very first designs, the Cleopatra, and is available in ten colours. So chances are your favourite colour is among them. Designed in 2007, the Original is part of a family of iconic beds. The design was inspired by the Cleopatra, one of Auping's first design classics. In 2014, the Auping Original was awarded the Good Industrial Design (GIO) award. Besides design, this award is mainly about function, originality and innovation. In addition to this, the design must also be made with respect for people and the environment. Would you like to know more about the Original? Check out the Original lookbook.  Have a look at the Original   The Original is available with all our mattresses, make your choice in the configurator. Need help making a choice? In the configurator, go to the mattress selector for advice. Our collection consists of 5 beds that you can put together entirely as you wish. Choose your own colours, materials and accessories. In total, there are 2.8 billion possibilities in our online configurator. Looking for inspiration for your own bedroom or want to know more about our beds? Then take a look at the online lookbooks.  

Patio

minotti > Sofa

Having explored the use of woods, such as iroko and teak, with Patio, designed by Italian-Danish studio GamFratesi, Minotti proposes an unexpected mix of different materials: aluminium, wood, stone, cord. The outdoor seating system, with its highly versatile modularity, is conceived as a dynamic mosaic, composed of tesserae in simple geometric shapes, which can be pieced together as desired, and reconfigured to suit the available space and the mood to be created. The design of the sofa base structure enables the back elements to be arranged in various set positions all along the perimeter, to design conversation, relaxation, and vis-à-vis areas, spacing out the seats with coffee tables, and complementing them with ottomans and benches. A solution capable of meeting the requirements of both small metropolitan terraces, and extensive outdoor spaces, thanks to the two depths: 83 and 98 cm. The variety of potential compositions becomes even more interesting when the selected materials are masterfully combined: the extruded aluminium base with matt finish in the shades of Ecru and Dark Brown is accompanied by steel backrests, covered in woven polypropylene cord in the same shades, according to a Scandinavian-type geometric design. Some of the seating elements feature a handy tray in Dark Brown stained solid mahogany or in natural teak, with grooves for draining water, attached to the structure. Patio offers an interesting range of furnishing accessories, from coffee tables with top in brushed fine-grain Basaltina stone, benches, and square and rectangular ottomans with extruded aluminium base, in a creative mix of materic textures and sophisticated, natural colours. The system offers a rich variety of sofas in different measurements and configurations, in addition to central and end units, armchairs, loveseat, sunbeds and double daybeds. All the elements share the same feet and the same joints at the back in die-cast aluminium, varnished with a refined polished, anti-touch Bronze finish.

1119 Brickell Dark

gerflor > Floor plank

The 12 traditional and vintage colours in Gerflor's Senso 20 Lock range will bring an authentic and rustic touch to any home interior. The bevelled straight edges give Gerflor's Senso Lock planks a rustic look to create the impression of softwood planks that have been painstakingly crafted by a skilled joiner. This simple yet sleek range fluctuates between natural wood designs with grey reflections of time-worn patina, chic and stylish light wood designs like "Dew Beige" that conjure up images of energising birch floorboards, and sleek and sophisticated imitation stone and ceramic tiles like "Tuscan" and "Travertin".The PVC planks and tiles in the Senso 20 Lock collection are fitted with an interlocking system that is revolutionary in terms of its simplicity and speed. Forget all about the headache of trying to fit the flooring by tilting planks in every direction. With Gerflor's Senso 20 Lock range, simply line up one plank against another and press to snap them together. There is no need for a saw when it comes to cutting. A utility knife will do the job! Not only is this range easy to fit, but it is also extremely easy to clean with just some soapy water.The perfectly waterproof Senso 20 Lock range can be fitted in every room of the home, such as dining rooms, kitchens and even bathrooms and toilets! The flooring is designed to withstand frequent foot traffic as the home's occupants go about their everyday lives. With its 0.20 mm wear layer and PU surface treatment, Gerflor Senso 20 Lock is not only moisture-resistant, but also compatible with underfloor heating systems. Featuring an abrasion group T rating, antistatic design and non-slip surface, Gerflor Senso 20 Lock is extremely hard-wearing and comes with aSenso 20 Lock planks and tiles are 100% recyclable as part of the brand's determination to protect the environment, which includes upcycling offcuts (click here to find out more).

Chimera Empatia Nero

florim > Wall tile-stone-brick

 In <em>Chimera,</em> Elena Salmistraro merges rigour with self-expression, in a graphic grammar laden with symbolic meaning.  <em>Empatia </em>speaks to the emotions with graphics that interpret, through a highly individual abstract code, the stage make-up of a clown, with the aid of superimposed geometric forms and images. <em>Radici </em>is a tribal statement, a tribute to primitive ritual custom, evoked by the interplay between a sequence of triangles and rectangles and a set of figurative fragments. <em>Ritmo</em> is inspired by fabrics, suggesting the rhythmic alternation of woven yarns through a largely linear pattern. In <em>Colore, </em>the upheaval of a background of small isolated spots generated by a parametric digital program is combined with densely packed repeated forms. "The Chimera collection is rather like a book with four different chapters: I set out to differentiate these graphic motifs to create four totally different stories."<br></br>Elena Salmistraro  It all starts with drawing. A <em>passion</em> for drawing. An <em>obsession</em> with drawing. Drawings like spider-webs, obsessively filling spaces, in a kind of manual choreography or gymnastics, a continuous flow. Elena Salmistraro draws all the time. She draws everywhere. Mostly on loose sheets or random surfaces. First and foremost with pen and pencil. Her drawings only acquire colour at a later stage. Often - just like Alessandro Mendini used to do - she draws "monsters": fascinating yet disturbing, subversive forms. The denser, more contorted the shape, the more obvious its underlying truth. For Elena, drawing is an intimate act. It is relaxing. And therapeutic. With an unrivalled communicative strength. Because drawing gives shape to ideas: you both give form to the world and reveal yourself. This passion, combined with natural graphic talent, has guided Elena Salmistraro in her project for Cedit: an experimental series of ceramic slabs produced using a high-definition 3D decorative technique. The explicit aim is to transform surfaces beyond their original flatness so that a new, visual and tactile, three-dimensional personality emerges, sweeping aside the coldness and uniformity that ceramic objects often inevitably convey.Elena Salmistraro has always viewed ceramics as a democratic material, in view of their accessibility, and the infinite potentials for shaping matter that they provide. She began working and experimenting with ceramics very early in her career, just after she graduated from the Milan Politecnico in 2008. She came into contact with small artistic craft firms specialising in smallproduction lots, and cut her teeth on projects that demanded the hand-processing of every detail, and finishes of high artistic value, for the high end of the market. The large corporations and galleries came later, but here again Elena kept faith with her desire to make mass-produced pieces unique, and to combine artistic value with specifically industrial characteristics. The monkey-shaped <em>Primates</em> vases reflect this method and intention, aiming to excite, surprise and charm. Antiminimalist and hyper-figurative, playful, ironic and a rich image-maker, often drawing on anthropology and magic, over the years Salmistraro has built up her own fantastic universe, inhabited by ceramic bestiaries, painted jungles and a cabinet like a one-eyed cyclops , always finding inspiration and inputs in nature and always aiming to reveal the extraordinary in the everyday. Given this background, it was almost inevitable she would work with Cedit: constantly seeking new talents and new approaches, as well as designs that break down the boundaries of ceramics and release them into the realm of art and innovation, the Modena company has recognised Elena Salmistraro as a leading contemporary creative spirit and involved her in a project intended to experiment with fresh ideas in materials and synaesthetics.Salmistraro's collection for Cedit is entitled <em>Chimera</em> and consists of large ceramic slabs, which can be enjoyed not only visually, through their patterns and colours, but also on a tactile level. Like the chimera in the "grotesque" tradition, monstrous in the etymological sense of the word with its merging of hybrid animal and vegetable shapes, the Cedit project attempts to originate a synaesthetic form of ceramics, through a three-dimensional development that exactly reproduces the texture of leathers and fabrics, creating an absolutely new kind of layered effect, with a tactile awareness that recalls the passion of grand master Ettore Sottsass for "surfaces that talk". And the surfaces of the slabs Salmistraro has created really seem to talk: in <em>Empatia </em>clown faces add theatricality to the cold gleam of marbles, interspersed with references to Art Déco graphics; <em>Radici</em> uses the textures of leathers and hide as if to re-establish a link between ceramics and other materials at the origins of human activity and creativity; in <em>Ritmo</em> the texture of cloth dialogues with pottery, almost in homage to the tactile rationalism of warp and weft, of which Bauhaus pioneer Anni Albers was one of the most expressive past interpreters ; finally, <em>Colore</em> has a spotted base generated by computer to underline the contrast between analogue and digital, the graphic sign and the matter into which it is impressed. It is an aesthetic of superimposition and mixing, and especially of synaesthesia: as in her drawings, in the <em>Chimera </em>slabs Elena Salmistraro's art is one of movement and acceleration. A process not of representation but of exploration. Of the world and of oneself. Almost a kind of Zen, for distancing oneself from the world to understand it more fully. In every sense. 

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. 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».

LAB MEETING ZXLB - Height-adjustable fabric office chair with armrests with 5-Spoke base _ Inno

R

Inno > Chair

Lab Meeting L ZXLB – A Sleek and Functional Meeting Chair for Modern Workspaces Ergonomic Comfort Meets Contemporary Aesthetics The Lab Meeting L ZXLB is a modern, high-quality meeting chair designed to bring comfort, elegance, and flexibility to professional environments. As part of a versatile office seating collection, it blends contemporary design with ergonomic functionality, making it an excellent choice for conference rooms, co-working spaces, hospitality lounges, and private offices. With a refined yet approachable look, it elevates workplace interiors without compromising on comfort. Minimalist Design with a Professional Appeal The clean lines and balanced proportions of the Lab Meeting L ZXLB make it a seamless fit for both corporate and creative spaces. Its modern silhouette exudes sophistication, while the quilted seat upholstery adds an extra layer of elegance. The chair’s design strikes the perfect balance between professional formality and relaxed comfort, making it suitable for both formal meetings and informal collaborative sessions. With a fully upholstered seat and backrest, the chair provides excellent cushioning and support, ensuring that users stay comfortable even during extended meetings. The high-quality stitching and soft contours contribute to its inviting aesthetic, making meeting spaces feel warm and approachable rather than overly rigid or sterile. Durable Materials and Custom Finishes The chair is available in a range of high-quality fabric and leather upholstery options, allowing for complete customisation based on aesthetic preferences and functional needs. From subtle neutral tones to bold accent colours, the upholstery choices make it adaptable to different workplace environments and branding schemes. The frame and base come in various metal finishes, including matte black, metallic grey, silver aluminium, and white variants, providing flexibility in design coordination. Whether integrating into a monochrome minimalist office or a vibrant creative workspace, the chair’s customisation options ensure a perfect fit. Ergonomic Features for Comfort and Productivity The Lab Meeting L ZXLB is designed with ergonomic principles in mind, ensuring maximum comfort and support throughout the workday. The soft, padded seat is contoured to promote good posture, reducing strain on the back and shoulders. The gently curved backrest provides adequate lumbar support, making long hours of sitting more comfortable. A height-adjustable mechanism allows users to modify the seating position to match different table heights, making it adaptable to various workspace configurations. The swivel function ensures easy mobility, while the five-star base with smooth-rolling castors provides effortless movement across different floor types. This combination of features makes it an ideal chair for dynamic work environments, where users need flexibility and ease of movement. Versatile Applications Across Different Work Environments The Lab Meeting L ZXLB is a multi-purpose chair suitable for a wide range of professional settings, including: Corporate Offices and Conference Rooms For executive boardrooms, team meeting areas, and private offices, this chair adds a touch of sophistication while maintaining a comfortable and functional seating experience. Its polished design ensures that meeting spaces feel both professional and inviting. Co-Working Spaces and Startups In fast-paced, open-plan work environments, flexibility is key. The chair’s mobile base and ergonomic design make it a practical choice for co-working spaces, where users may need to switch between workstations, collaboration zones, and lounge areas. Hospitality and Public Spaces Beyond traditional office settings, this chair works well in hotel business lounges, client meeting rooms, and reception areas. Its sleek yet comfortable design allows guests to relax while maintaining an upright posture, making it perfect for areas that require both style and functionality. Educational and Training Facilities In universities, training centres, and seminar rooms, this chair’s adjustable height and swivel base ensure adaptability for different table setups, fostering a collaborative learning environment. A Part of a Thoughtfully Designed Seating Collection The Lab Meeting L ZXLB is part of a larger family of seating solutions, designed for cohesive office layouts. Various configurations, including models with different bases and armrest options, allow for a unified yet varied seating arrangement throughout a workspace. For designers looking to create aesthetic consistency across multiple areas, combining different variations of the Lab series ensures a harmonious look while addressing different functional needs. Sustainability and Longevity Beyond aesthetics and comfort, the Lab Meeting L ZXLB is built with durability and sustainability in mind. The materials used in its construction are chosen for their longevity, ensuring that the chair maintains its quality and performance over time. The metal frame and base are sturdy and wear-resistant, while the upholstery fabrics are designed to withstand daily use. Investing in high-quality office seating means fewer replacements and reduced waste, contributing to a more sustainable workplace.

Criade Blush

auping > Box spring

With its slender lines and refined details, the Criade is a sleek box spring with a distinctive design. The steel frame carries the design and the horizontal line connects the two box springs. This variant has a Blush frame and is upholstered in Reflect / Sand beige, and has an Inizio mattress  is a real eye-catcher in your bedroom. The refined legs give the Criade's design an airy feel while the steel frame provides a solid base. Head and footboard are placed directly on the frame, leaving the floor free. The use of the different materials creates the design characteristic of Auping. The Criade is a richly padded box spring: the box contains a mesh base and pocket springs. The Auping mesh base is eighty percent open and therefore the box spring ventilates very well. The pocket springs in both the box spring and the mattress ensure that you can turn easily at night and have good support during your sleep. View the Criade box spring   This Criade box spring includes an Inizio mattress. Want to make a different choice? The Criade box spring is available with all our mattresses and toppers, change your choice in the configurator. Our collection consists of 4 box springs that you can put together exactly as you wish. Choose your own colours, materials and accessories. In total, there are 2.8 billion possibilities in our online configurator. Looking for inspiration for your own bedroom or want to know more about our beds? Then take a look at the online lookbooks.

Original Dusty red With risers in Sand beige

auping > Bed frame

The Original is a minimalist bed with strong lines. The steel frame with aluminium legs gives an elegant look. This variation in Dusty red with 1 Motor eletric adjustable mesh base and Sand beige base legs completes your bedroom.  The bed is inspired by one of Auping's very first designs, the Cleopatra, and is available in ten colours. So chances are your favourite colour is among them. Designed in 2007, the Original is part of a family of iconic beds. The design was inspired by the Cleopatra, one of Auping's first design classics. In 2014, the Auping Original was awarded the Good Industrial Design (GIO) award. Besides design, this award is mainly about function, originality and innovation. In addition to this, the design must also be made with respect for people and the environment. Would you like to know more about the Original? Check out the Original lookbook.  Have a look at the Original   The Original is available with all our mattresses, make your choice in the configurator. Need help making a choice? In the configurator, go to the mattress selector for advice. Our collection consists of 5 beds that you can put together entirely as you wish. Choose your own colours, materials and accessories. In total, there are 2.8 billion possibilities in our online configurator. Looking for inspiration for your own bedroom or want to know more about our beds? Then take a look at the online lookbooks.  

Criade Night blue

R

auping > Box spring

With its slender lines and refined details, the Criade is a sleek box spring with a distinctive design. The steel frame carries the design and the horizontal line connects the two box springs. This variant in Night blue with topper and Square headboard in Grid / Denim is a real eye-catcher in your bedroom. The refined legs give the Criade's design an airy feel while the steel frame provides a solid base. Head and footboard are placed directly on the frame, leaving the floor free. The use of the different materials creates the design characteristic of Auping. The Criade is a richly padded box spring: the box contains a mesh base and pocket springs. The Auping mesh base is eighty percent open and therefore the box spring ventilates very well. The pocket springs in both the box spring and the mattress ensure that you can turn easily at night and have good support during your sleep. View the Criade box spring   This Criade box spring includes Comfort mattress and Comfort topper. Want to make a different choice? The Criade box spring is available with all our mattresses and toppers, change your choice in the configurator. Our collection consists of 4 box springs that you can put together exactly as you wish. Choose your own colours, materials and accessories. In total, there are 2.8 billion possibilities in our online configurator. Looking for inspiration for your own bedroom or want to know more about our beds? Then take a look at the online lookbooks.

Cromatica Bianco

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. 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».

Oltremare Panchetta

sabaitalia > Armchair

The seating collection “Oltremare” designed by Antonio Marras and produced in collaboration with Saba, stems from a far-away past and place, full of history, recollection, memories overflowing with suggestions and visions. And this is how Antonio Marras presented an object so dear to him that he defines a sacred-idol, that narrates of his land, of his sea, but mostly, of his story. We named it Oltremare, because all things have a soul and every soul has a name. Oltremare encloses within its inlets the classic and the modern. The curve is a line that can be tamed: it forms a wave, a fold, it creates a place but it also offers an escape route. In our utopian world we investigated the relationship between the curved line and the act of seating, asymmetric shapes that become backrests and sink into extremely comfortable seats pushing past the rectangular schemes so dear to the sober lines of designing sofas. The asymmetric curves that enclose it are the inspirations for the Oltremare armchair that completes the collection alongside a padded bench. A comfortable nest suspended on a slim varnished metal base, whose essential lines render, by contract, the armchair’s silhouette even more interesting. Oltremare is a seating system that, even though winks at the past, it communicates a strong contemporary soul and is suitable by nature to various interpretations. Fully removable covers.

Fris

marset > Ceiling lamp

Drawing thin beams of light in a space with each one of them pointing in any direction. This is why we have created Fris, a multi-purpose lighting system, available in a wall/ceiling or pendant version, which allows you to combine several units in different sizes and positions, each one aiming its own beam of light.Its design consists of a glass tube that encases the light. What makes it unique is that the glass not only protects the light, but also provides a mechanical function, suspending the whole system and allowing the lamp to rotate and the light to be steered in a certain direction. As a result, the glass is both material and function. Through the transparent glass we see the lamp’s interior, which consists of two profiles: one includes the light source and the other acts as a parabola, projecting a crisp, intense light. This system makes it possible to compose light structures and to join a set of lamps by means of different assembly and hanging accessories. In the pendant version, each Fris unit is supported by a strap, so that several can be placed horizontally, in line, one on top of the other, or perpendicularly, creating intersections of light. They can also function separately as an individual lamp. The other version can be fixed to the ceiling or wall. The pendant version is available in three lengths of 80, 155 cm and 215 cm and the version for ceiling or wall comes in another three lenghts 80, 155, and 215 cm. There is also a more technical version where the light is distributed in cells with independent lenses, achieving a UGR of under 19. Fris offers a very versatile and functional design for precise lighting of any type of project. An ingenious system that boldly tackles a previously unresolved issue: to have a set of lamps where each one directs the light individually.

Sendai

minotti > Sofa

Named after the city of trees, Sendai, this line of furnishing pieces consists of a small sofa, an armchair, a lounge armchair and dining and lounge little armchairs. Like slender trunks, the elegant, polished legs, in Canaletto walnut solid wood stained Light Brown, or Licorice lacquered ash, rest on the ground, lifting the enveloping upholstered body and creating a soft rhythm of vertical lines. The possibility of having the armchair, the dining little armchair and the lounge armchair also in the 360° swivel version with return (base in polished Bronze-coloured varnished metal, with sheathed spokes in solid ash with an open-pore Licorice-coloured lacquer, or in solid Canaletto walnut with Light Brown stain) makes the Sendai seats particularly comfortable for both residential and hospitality environments. The compact and well-proportioned silhouette of both the seats and the small sofa, opens up to a new way of using the dining space: as a living room within the living room, a hybrid situation, such as when dinner is served on a large table, while guests meet and socialise round a lounge table. A new, more intimate way of opening up new visual and proportional horizons of the living space, both in homes and in hospitality venues. In 2023, the elegant and airy Sendai family of seats expands, with a new enveloping sofa, a comfortable swivel armchair with armrests and a footstool. The design of the armchair, with its upholstered frame resting on a 360° swivel base with return mechanism, also stems from the desire to have a larger seat whose comfort is ensured by a higher backrest and the presence of comfortable armrests, perfect for ensuring a satisfying sensation of relaxation, especially when used in combination with the footrest.

Horizonte

minotti > Sofa

A floating island with square lines that marks the horizon of the living space.  The new system by Marcio Kogan / studio mk27 takes shape from a suspended base, a solid thin line covered in leather, fabric or both, on which generous volumetric padded elements rest.  Perfectly consistent with Marcio Kogan's design philosophy, the Horizonte modular seating system is the result of a clear architectural vision: a rigorous shape, raised seven centimetres off the ground thanks to a recessed plinth in matt black varnished metal, which gives the sofa a special feeling of suspension. A platform on which the upholstered elements are located  - seats, backrests and armrests - all conceived as large cushions with bold proportions and a strong personality.  It is not only the dimensions that characterise these modules, but also their unprecedented softness, capable of maintaining a precise formal aesthetic, despite their welcoming sinkable effect. Comfort is in fact guaranteed by an innovative technology that uses pocketed springs inserted in variable-density polyurethanes that allow the memory of the shapes to be maintained and the seat to return to its original form, modelling itself to the shape of the user. The base on which the upholstered volumes rest is made from a clever combination of materials: entirely in leather or fabric or in an original mix of both to create an even more refined and prestigious look. In the fabric version, the two strips are coupled with a zip, hidden by a creased seam, presented as an aesthetic motif that allows for the practical and quick removal of the covering. On the other hand, in the base entirely covered in leather, the covering is lapped: refined and inspired by the world of haute couture,this production technique means that the strips of leather are sewn together by folding back the edges.  The seemingly simple appearance of Horizonte gives rise to a sophisticated style code that can be used in a wide range of configurations. By combining modules, sloping elements and others with built-in coffee table, an overall narrative that could continue forever without interruption is created. For some elements, the base under the upholstered elements juts out from the seat cushion to accommodate a shelf, available in different sizes and configurations. Like a full stop in punctuation, the module is inserted between the seats, enriched by a top attached to the base of the sofa: this does not interrupt the fluidity of the shape, adding a multifunctional top in Dark Brown stained Canaletto walnut, Liquorice lacquered ash, Calacatta and Grigio Orobico marble, or smoothed matt Nero Marquina and brushed Belvedere granite. In addition to the top, interspersed between the cushions, the Horizonte family also includes coffee tables and a side table. The latter has been designed in perfect aesthetic continuity with the Horizonte seating system, from which it takes both the detail of the matt black varnished metal base and the thickness of the top: a horizontal groove engraved on the solid wood bullnose edge recalls the same concept of geometry used in the base. The coffee and side tables also reflect the same style, with floor support in polished Bronze varnished metal and tops in Dark Brown stained Canaletto walnut or Liquorice coloured ash. The different sizes and heights of the coffee and side tables allow for a play of superimpositions that invigorates the horizontality of the entire family.