8x8 Octagonal for 2 in. Accents Tierra High-Fired Floor Tile

casatile > Floor tile-stone

Tierra handmade and high fired terra-cotta floor tiles are of unparalleled quality. The durability and strength of our Tierra terracotta tiles greatly depends on high quality raw materials and its firing processes. We have a very strict quality control in the selection and formulation of the clay that embodies these tiles, along with high firing.In comparison to Saltillo tiles and mission red tiles, Tierra floor tiles are of superior quality and durability; that is why they are the preferred terra cotta floor tiles by architects, professional builders, and designers. Tierra floor tiles are 100% handcrafted and deliver a stunning and authentic old-world charm with 21st century high quality standards; additionally, they require very little maintenance.

2x8 Tierra High-Fired Floor Tile

casatile > Floor tile-stone

Tierra handmade and high fired terra-cotta floor tiles are of unparallel quality. The durability and strength of our Tierra terracotta tiles greatly depends on high quality raw materials and its firing processes. We have a very strict quality control in the selection and formulation of the clay that embodies these tiles, along with high firing.In comparison to Saltillo tiles and mission red tiles, Tierra floor tiles are of superior quality and durability; that is why they are the preferred terra cotta floor tiles by architects, professional builders, and designers. Tierra floor tiles are 100% handcrafted and deliver a stunning and authentic old-world charm with 21st century high quality standards; additionally, they require very little maintenance.

4.25 x 8.5 Stair Cove Molding Tierra High-Fired Floor Tile

casatile > Floor tile-stone

Tierra handmade and high fired terra-cotta floor tiles are of unparallel quality. The durability and strength of our Tierra terracotta tiles greatly depends on high quality raw materials and its firing processes. We have a very strict quality control in the selection and formulation of the clay that embodies these tiles, along with high firing.In comparison to Saltillo tiles and mission red tiles, Tierra floor tiles are of superior quality and durability; that is why they are the preferred terra cotta floor tiles by architects, professional builders, and designers. Tierra floor tiles are 100% handcrafted and deliver a stunning and authentic old-world charm with 21st century high quality standards; additionally, they require very little maintenance.

12x12 Tierra High-Fired Floor Tile

casatile > Floor tile-stone

Tierra handmade and high fired terra-cotta floor tiles are of unparalleled quality. The durability and strength of our Tierra terracotta tiles greatly depends on high quality raw materials and its firing processes. We have a very strict quality control in the selection and formulation of the clay that embodies these tiles, along with high firing.In comparison to Saltillo tiles and mission red tiles, Tierra floor tiles are of superior quality and durability; that is why they are the preferred terra cotta floor tiles by architects, professional builders, and designers. Tierra floor tiles are 100% handcrafted and deliver a stunning and authentic old-world charm with 21st century high quality standards; additionally, they require very little maintenance. 

Coretech Satin Dark

florim > Wall tile-stone-brick

<p>Florim’s Coretech collection takes Piasentina stone quarried in the foothills of the Julian Alps and enhances its performance to cater to the needs of contemporary architecture.</p> <p>Piasentina stone is ideally suited to the creation of relief textures and finishes using traditional methods and age-old techniques.<br>Different types of processing give different colours and feels to this natural stone, thus making it possible to put together numerous combinations using the same material. </p> <p>Piasentina stone’s name means “pleasing stone” in Friulian. It has been known since ancient Roman times and it is now highly sought after in architecture in Italy and internationally due to the shades of colour and versatility it can offer indoors and outdoors, on both urban floors and walls.</p> <p><br>It stands out not only due to its distinctive feel but also thanks to its refined <strong>grey tones </strong>with slender white veins and little brownish tinges.</p> <p><br>It is a stone that can conjure up all sorts of emotional responses, making it a popular choice among interior designers and architects across the globe. It has played a central role in numerous constructions over the centuries, including churches, palaces, villas, rural buildings and flooring. It was used by figures such as the Renaissance master Andrea Palladio and Raimondo D’Aronco in the Art Nouveau period and it continues to be employed in 21st century architecture and design.</p>

13 Stair Cove Molding - Tierra High-Fired Floor Tile

casatile > Floor tile-stone

Tierra handmade and high fired terra-cotta floor tiles are of unparallel quality. The durability and strength of our Tierra terracotta tiles greatly depends on high quality raw materials and its firing processes. We have a very strict quality control in the selection and formulation of the clay that embodies these tiles, along with high firing.In comparison to Saltillo tiles and mission red tiles, Tierra floor tiles are of superior quality and durability; that is why they are the preferred terra cotta floor tiles by architects, professional builders, and designers. Tierra floor tiles are 100% handcrafted and deliver a stunning and authentic old-world charm with 21st century high quality standards; additionally, they require very little maintenance.

Matrice Forma

florim > Wallcovering

An atlas of modular signs to be combined in a wide variety of layouts. «We love concrete as a material, its versatility and its plain, austere look. We have completed our carefully designed surfaces with graphic patterning inspired by the human actions of weaving and embroidering.» Barbara Brondi & Marco Rainò To appreciate the profundity of the design project undertaken by Barbara Brondi and Marco Rainò for Cedit, it is both necessary and explanatory to start from the title the collection bears. In modern usage the term Matrice, in Italian, refers to a die or mould used to reproduce an object, but its origins are much more remote, with a meaning closer to the English “matrix”, meaning the underlying basis of something. The root of the word is related to Mater or mother: the name Matrice thus relates to the origin or cause of something. This dichotomy is expressed in several levels within the work of these architects, who study the world from a sophisticated conceptual approach and then transform it into a design. Starting from the idea of ceramic coverings, which have always been a tool not so much of architecture as of interior design, the artists work back to the origin of the surface and its decoration within their own discipline: they look at what we used to call the modern age, where modernity has also brought an uncompromising brutality, and where the use of bare concrete became the statement of an attitude to life with no time to spare for manners. Concrete is originally a liquid material, intended for shaping, which can therefore absorb and retain any type of mark created by the material and mould used to form it. Architects midway between rationalism and brutalism have used the rough-and-ready language of concrete combined with a last, elegant, anthropic decorative motif impressed on the material, that makes the concept of covering superfluous, because its place, in its older meaning of decoration rather than functional cladding, is taken by the regular patterning created in the material itself. There are therefore various grounds for believing that, in this collection, the artists are once again working in architectural terms. Firstly, with a simplicity typical of BRH+, they reduce the initial concepts to their minimal terms. So although this is a collection of coverings for walls, indoor floors, outdoor pavings and curtain walls, a great deal of time was spent on destructuring the idea of the ceramic covering itself. Unfortunately, nowadays there is no space in the contemporary construction sector for the radical approach of the past, so the cladding designed for the building actually lays bare the interior, using the choice of material – accurately interpreted (with shade variation) on the basis of an assortment of various types – to restore visual elegance and a fundamental severity. Attention to scale is another architectural feature: Matrice offers modules with architectural dimensions and different sizes through the development of “large slabs”, eliminating the visual regular grid effect. Thanks to this visual reset, geographic forms are perceived to emerge from dense, grey concrete surfaces decorated as in bygone days by special processes and by weathering during drying. The various types of slab, each an atlas of subtle, vibrant signs on the surfaces, comprise finishes that reproduce the visual effect of reinforced concrete – with the aggregates in the cement more clearly visible, of formwork – with the signs impressed on the concrete by the timber used, of a structured surface resembling bare cement plaster, of ridged and streaked surfaces – with patterning resembling some kinds of linear surface finishing processes – and finally a smooth, or basic version, over which Matrice exercises the dichotomy referred to earlier. It is on these surfaces that Brondi and Rainò have imagined additional design reverberations, a figurative code that rejects the concept of the grid, previously inseparable from that of the module: by means of a vocabulary of graphic marks cut into the slabs with a depth of 3 mm (the width of the gap left between modules during installation), they provide a framework for infinite combinations of possible dialogues. Just as in embroidery, which is based on grids of stitches and geometric repetitions, and where every stitch is at right-angles to another one to construct forms and decorations. Also taken from embroidery is the idea of introducing a degree of “softness” to reduce the stiffness of intentionally deaf surfaces. There is the impression of patterns that can continue for infinity, as in textile weaving, and a scale that, unlike the surface being worked on, is imagined as suspended and lightweight. They may not admit it, but BRH+ know a lot about music, including electronic music, and it appears to me that this organised tangle of infinite signs – unidentifiable without an overview – is rather like the representations of synthesized sounds. Sounds that are produced by machines, and thus “woven” by sampling and overlapping sounds of the most unlikely origins, combined to form jingles which, once heard, are imprinted indelibly on the brain. This may be why I am so interested in the space between this “melodic film” and its deaf, damp substrate. The eyes can navigate this suspended reality without fear of disturbance. So we are faced with different surfaces, different sizes and different graphic signs. But only one colour (surprise!) to prevent a cacophony not just of signs but also of possible interpretations: the artists retain their radical principles (and their generosity), and as curators, a role in which they are skilled, they leave the players (architects and installers) to add their own interpretations. In their hands this colour, expressed in Matrice, will produce motifs on surfaces in living spaces for someone else. This stylish covering and its workmanship will be left to the hands of someone who will probably never read this, but will be on a building site, with the radio playing on a stereo system, concentrating on installing the very pieces we describe. So a radical, apparently silent, design project like this has repercussions for the real world we live in. Matrice has no form of its own but merely acquires the ornamentation drawn on its surfaces by a second group of artists. And here this routine action, standardised by the form approved for production and workmanlike efficiency, is the origin and cause of change, generating a variability of choices and interpretations, on that dusty building site where music plays and mortar flows.

13x13 Cut Edge for 4 in. Accent Tierra High-Fired Floor Tile

casatile > Floor tile-stone

Tierra handmade and high fired terra-cotta floor tiles are of unparalleled quality. The durability and strength of our Tierra terracotta tiles greatly depends on high quality raw materials and its firing processes. We have a very strict quality control in the selection and formulation of the clay that embodies these tiles, along with high firing.In comparison to Saltillo tiles and mission red tiles, Tierra floor tiles are of superior quality and durability; that is why they are the preferred terra cotta floor tiles by architects, professional builders, and designers. Tierra floor tiles are 100% handcrafted and deliver a stunning and authentic old-world charm with 21st century high quality standards; additionally, they require very little maintenance.

Selandia Table

fritzhansen > Table

The Selandia series is known for its signature slight curves and elegant Nordic look with subtle French references that hint at long summer nights in the open air. The round Selandia Table made of 100% FSC-certified teak is ideal for a small and sunny spot. A perfect pairing of functionality and beauty, there is the option to fold one side for a neat, half-circle table, and to fold both sides together for easy storage when not in use. Designed in collaboration with Danish architects Anders and Lars Hegelund.

12¾" Stair Bullnose - Tierra High-Fired Floor Tile

casatile > Floor tile-stone

Tierra handmade and high fired terra-cotta floor tiles are of unparallel quality. The durability and strength of our Tierra terracotta tiles greatly depends on high quality raw materials and its firing processes. We have a very strict quality control in the selection and formulation of the clay that embodies these tiles, along with high firing.In comparison to Saltillo tiles and mission red tiles, Tierra floor tiles are of superior quality and durability; that is why they are the preferred terra cotta floor tiles by architects, professional builders, and designers. Tierra floor tiles are 100% handcrafted and deliver a stunning and authentic old-world charm with 21st century high quality standards; additionally, they require very little maintenance.

Matrice Rilievo

florim > Wallcovering

An atlas of modular signs to be combined in a wide variety of layouts. «We love concrete as a material, its versatility and its plain, austere look. We have completed our carefully designed surfaces with graphic patterning inspired by the human actions of weaving and embroidering.» Barbara Brondi & Marco Rainò To appreciate the profundity of the design project undertaken by Barbara Brondi and Marco Rainò for Cedit, it is both necessary and explanatory to start from the title the collection bears. In modern usage the term Matrice, in Italian, refers to a die or mould used to reproduce an object, but its origins are much more remote, with a meaning closer to the English “matrix”, meaning the underlying basis of something. The root of the word is related to Mater or mother: the name Matrice thus relates to the origin or cause of something. This dichotomy is expressed in several levels within the work of these architects, who study the world from a sophisticated conceptual approach and then transform it into a design. Starting from the idea of ceramic coverings, which have always been a tool not so much of architecture as of interior design, the artists work back to the origin of the surface and its decoration within their own discipline: they look at what we used to call the modern age, where modernity has also brought an uncompromising brutality, and where the use of bare concrete became the statement of an attitude to life with no time to spare for manners. Concrete is originally a liquid material, intended for shaping, which can therefore absorb and retain any type of mark created by the material and mould used to form it. Architects midway between rationalism and brutalism have used the rough-and-ready language of concrete combined with a last, elegant, anthropic decorative motif impressed on the material, that makes the concept of covering superfluous, because its place, in its older meaning of decoration rather than functional cladding, is taken by the regular patterning created in the material itself. There are therefore various grounds for believing that, in this collection, the artists are once again working in architectural terms. Firstly, with a simplicity typical of BRH+, they reduce the initial concepts to their minimal terms. So although this is a collection of coverings for walls, indoor floors, outdoor pavings and curtain walls, a great deal of time was spent on destructuring the idea of the ceramic covering itself. Unfortunately, nowadays there is no space in the contemporary construction sector for the radical approach of the past, so the cladding designed for the building actually lays bare the interior, using the choice of material – accurately interpreted (with shade variation) on the basis of an assortment of various types – to restore visual elegance and a fundamental severity. Attention to scale is another architectural feature: Matrice offers modules with architectural dimensions and different sizes through the development of “large slabs”, eliminating the visual regular grid effect. Thanks to this visual reset, geographic forms are perceived to emerge from dense, grey concrete surfaces decorated as in bygone days by special processes and by weathering during drying. The various types of slab, each an atlas of subtle, vibrant signs on the surfaces, comprise finishes that reproduce the visual effect of reinforced concrete – with the aggregates in the cement more clearly visible, of formwork – with the signs impressed on the concrete by the timber used, of a structured surface resembling bare cement plaster, of ridged and streaked surfaces – with patterning resembling some kinds of linear surface finishing processes – and finally a smooth, or basic version, over which Matrice exercises the dichotomy referred to earlier. It is on these surfaces that Brondi and Rainò have imagined additional design reverberations, a figurative code that rejects the concept of the grid, previously inseparable from that of the module: by means of a vocabulary of graphic marks cut into the slabs with a depth of 3 mm (the width of the gap left between modules during installation), they provide a framework for infinite combinations of possible dialogues. Just as in embroidery, which is based on grids of stitches and geometric repetitions, and where every stitch is at right-angles to another one to construct forms and decorations. Also taken from embroidery is the idea of introducing a degree of “softness” to reduce the stiffness of intentionally deaf surfaces. There is the impression of patterns that can continue for infinity, as in textile weaving, and a scale that, unlike the surface being worked on, is imagined as suspended and lightweight. They may not admit it, but BRH+ know a lot about music, including electronic music, and it appears to me that this organised tangle of infinite signs – unidentifiable without an overview – is rather like the representations of synthesized sounds. Sounds that are produced by machines, and thus “woven” by sampling and overlapping sounds of the most unlikely origins, combined to form jingles which, once heard, are imprinted indelibly on the brain. This may be why I am so interested in the space between this “melodic film” and its deaf, damp substrate. The eyes can navigate this suspended reality without fear of disturbance. So we are faced with different surfaces, different sizes and different graphic signs. But only one colour (surprise!) to prevent a cacophony not just of signs but also of possible interpretations: the artists retain their radical principles (and their generosity), and as curators, a role in which they are skilled, they leave the players (architects and installers) to add their own interpretations. In their hands this colour, expressed in Matrice, will produce motifs on surfaces in living spaces for someone else. This stylish covering and its workmanship will be left to the hands of someone who will probably never read this, but will be on a building site, with the radio playing on a stereo system, concentrating on installing the very pieces we describe. So a radical, apparently silent, design project like this has repercussions for the real world we live in. Matrice has no form of its own but merely acquires the ornamentation drawn on its surfaces by a second group of artists. And here this routine action, standardised by the form approved for production and workmanlike efficiency, is the origin and cause of change, generating a variability of choices and interpretations, on that dusty building site where music plays and mortar flows.

4.625 x 4.625 Mudejar 2 - Tierra High-Fired Floor Tile

casatile > Floor tile-stone

Tierra handmade and high fired terra-cotta floor tiles are of unparallel quality. The durability and strength of our Tierra terracotta tiles greatly depends on high quality raw materials and its firing processes. We have a very strict quality control in the selection and formulation of the clay that embodies these tiles, along with high firing.In comparison to Saltillo tiles and mission red tiles, Tierra floor tiles are of superior quality and durability; that is why they are the preferred terra cotta floor tiles by architects, professional builders, and designers. Tierra floor tiles are 100% handcrafted and deliver a stunning and authentic old-world charm with 21st century high quality standards; additionally, they require very little maintenance.

Limestone and Sandstone

levantina > Wall tile-stone-brick

Limestone and sandstone are sedimentary rocks with a very natural appearance, highly valued in construction for certain qualities that make them almost unique. Choose sandstone or limestone walls and slabs to modernize your project. Two of their distinguishing features are the variety of colors and different degrees of porosity, all of them tending to a vast wealth of animal and vegetable fossils thanks to the water action of oceans, rivers and lakes that over millions of years shaped their composition and appearance. Sandstone is a type of limestone with a high sand content, compacted by a cement-like calcium carbonate or iron oxide. Sandstones vary in their composition to produce the different tonalities often ehibited by the material once it has been worked into the various formats used in buildings. Architects greatly value limestone and sandstone for a wide variety of projects that can range from full cladding on façades to outdoor floors. Their slip- and heat-resistant properties are highly prized. Different coatings have been introduced in recent years to boost the inherent qualities of limestone and sandstone, with nanotechnology research as their basis.

6.5 x 6.5 Cross 2 Circle - Tierra High-Fired Floor Tile

casatile > Floor tile-stone

Tierra handmade and high fired terra-cotta floor tiles are of unparallel quality. The durability and strength of our Tierra terracotta tiles greatly depends on high quality raw materials and its firing processes. We have a very strict quality control in the selection and formulation of the clay that embodies these tiles, along with high firing.In comparison to Saltillo tiles and mission red tiles, Tierra floor tiles are of superior quality and durability; that is why they are the preferred terra cotta floor tiles by architects, professional builders, and designers. Tierra floor tiles are 100% handcrafted and deliver a stunning and authentic old-world charm with 21st century high quality standards; additionally, they require very little maintenance.

Matrice Sostanza

florim > Wallcovering

An atlas of modular signs to be combined in a wide variety of layouts. «We love concrete as a material, its versatility and its plain, austere look. We have completed our carefully designed surfaces with graphic patterning inspired by the human actions of weaving and embroidering.» Barbara Brondi & Marco Rainò To appreciate the profundity of the design project undertaken by Barbara Brondi and Marco Rainò for Cedit, it is both necessary and explanatory to start from the title the collection bears. In modern usage the term Matrice, in Italian, refers to a die or mould used to reproduce an object, but its origins are much more remote, with a meaning closer to the English “matrix”, meaning the underlying basis of something. The root of the word is related to Mater or mother: the name Matrice thus relates to the origin or cause of something. This dichotomy is expressed in several levels within the work of these architects, who study the world from a sophisticated conceptual approach and then transform it into a design. Starting from the idea of ceramic coverings, which have always been a tool not so much of architecture as of interior design, the artists work back to the origin of the surface and its decoration within their own discipline: they look at what we used to call the modern age, where modernity has also brought an uncompromising brutality, and where the use of bare concrete became the statement of an attitude to life with no time to spare for manners. Concrete is originally a liquid material, intended for shaping, which can therefore absorb and retain any type of mark created by the material and mould used to form it. Architects midway between rationalism and brutalism have used the rough-and-ready language of concrete combined with a last, elegant, anthropic decorative motif impressed on the material, that makes the concept of covering superfluous, because its place, in its older meaning of decoration rather than functional cladding, is taken by the regular patterning created in the material itself. There are therefore various grounds for believing that, in this collection, the artists are once again working in architectural terms. Firstly, with a simplicity typical of BRH+, they reduce the initial concepts to their minimal terms. So although this is a collection of coverings for walls, indoor floors, outdoor pavings and curtain walls, a great deal of time was spent on destructuring the idea of the ceramic covering itself. Unfortunately, nowadays there is no space in the contemporary construction sector for the radical approach of the past, so the cladding designed for the building actually lays bare the interior, using the choice of material – accurately interpreted (with shade variation) on the basis of an assortment of various types – to restore visual elegance and a fundamental severity. Attention to scale is another architectural feature: Matrice offers modules with architectural dimensions and different sizes through the development of “large slabs”, eliminating the visual regular grid effect. Thanks to this visual reset, geographic forms are perceived to emerge from dense, grey concrete surfaces decorated as in bygone days by special processes and by weathering during drying. The various types of slab, each an atlas of subtle, vibrant signs on the surfaces, comprise finishes that reproduce the visual effect of reinforced concrete – with the aggregates in the cement more clearly visible, of formwork – with the signs impressed on the concrete by the timber used, of a structured surface resembling bare cement plaster, of ridged and streaked surfaces – with patterning resembling some kinds of linear surface finishing processes – and finally a smooth, or basic version, over which Matrice exercises the dichotomy referred to earlier. It is on these surfaces that Brondi and Rainò have imagined additional design reverberations, a figurative code that rejects the concept of the grid, previously inseparable from that of the module: by means of a vocabulary of graphic marks cut into the slabs with a depth of 3 mm (the width of the gap left between modules during installation), they provide a framework for infinite combinations of possible dialogues. Just as in embroidery, which is based on grids of stitches and geometric repetitions, and where every stitch is at right-angles to another one to construct forms and decorations. Also taken from embroidery is the idea of introducing a degree of “softness” to reduce the stiffness of intentionally deaf surfaces. There is the impression of patterns that can continue for infinity, as in textile weaving, and a scale that, unlike the surface being worked on, is imagined as suspended and lightweight. They may not admit it, but BRH+ know a lot about music, including electronic music, and it appears to me that this organised tangle of infinite signs – unidentifiable without an overview – is rather like the representations of synthesized sounds. Sounds that are produced by machines, and thus “woven” by sampling and overlapping sounds of the most unlikely origins, combined to form jingles which, once heard, are imprinted indelibly on the brain. This may be why I am so interested in the space between this “melodic film” and its deaf, damp substrate. The eyes can navigate this suspended reality without fear of disturbance. So we are faced with different surfaces, different sizes and different graphic signs. But only one colour (surprise!) to prevent a cacophony not just of signs but also of possible interpretations: the artists retain their radical principles (and their generosity), and as curators, a role in which they are skilled, they leave the players (architects and installers) to add their own interpretations. In their hands this colour, expressed in Matrice, will produce motifs on surfaces in living spaces for someone else. This stylish covering and its workmanship will be left to the hands of someone who will probably never read this, but will be on a building site, with the radio playing on a stereo system, concentrating on installing the very pieces we describe. So a radical, apparently silent, design project like this has repercussions for the real world we live in. Matrice has no form of its own but merely acquires the ornamentation drawn on its surfaces by a second group of artists. And here this routine action, standardised by the form approved for production and workmanlike efficiency, is the origin and cause of change, generating a variability of choices and interpretations, on that dusty building site where music plays and mortar flows.

12¼" Stair Cove Molding - Tierra High-Fired Floor Tile

casatile > Floor tile-stone

Tierra handmade and high fired terra-cotta floor tiles are of unparallel quality. The durability and strength of our Tierra terracotta tiles greatly depends on high quality raw materials and its firing processes. We have a very strict quality control in the selection and formulation of the clay that embodies these tiles, along with high firing.In comparison to Saltillo tiles and mission red tiles, Tierra floor tiles are of superior quality and durability; that is why they are the preferred terra cotta floor tiles by architects, professional builders, and designers. Tierra floor tiles are 100% handcrafted and deliver a stunning and authentic old-world charm with 21st century high quality standards; additionally, they require very little maintenance.

4.25 x 4.25 Eight Point Mudejar - Tierra High-Fired Floor Tile

casatile > Floor tile-stone

Tierra handmade and high fired terra-cotta floor tiles are of unparallel quality. The durability and strength of our Tierra terracotta tiles greatly depends on high quality raw materials and its firing processes. We have a very strict quality control in the selection and formulation of the clay that embodies these tiles, along with high firing.In comparison to Saltillo tiles and mission red tiles, Tierra floor tiles are of superior quality and durability; that is why they are the preferred terra cotta floor tiles by architects, professional builders, and designers. Tierra floor tiles are 100% handcrafted and deliver a stunning and authentic old-world charm with 21st century high quality standards; additionally, they require very little maintenance.

Coretech Flame Light

florim > Wall tile-stone-brick

<p>Florim’s Coretech collection takes Piasentina stone quarried in the foothills of the Julian Alps and enhances its performance to cater to the needs of contemporary architecture.</p> <p>Piasentina stone is ideally suited to the creation of relief textures and finishes using traditional methods and age-old techniques.<br>Different types of processing give different colours and feels to this natural stone, thus making it possible to put together numerous combinations using the same material. </p> <p>Piasentina stone’s name means “pleasing stone” in Friulian. It has been known since ancient Roman times and it is now highly sought after in architecture in Italy and internationally due to the shades of colour and versatility it can offer indoors and outdoors, on both urban floors and walls.</p> <p><br>It stands out not only due to its distinctive feel but also thanks to its refined <strong>grey tones </strong>with slender white veins and little brownish tinges.</p> <p><br>It is a stone that can conjure up all sorts of emotional responses, making it a popular choice among interior designers and architects across the globe. It has played a central role in numerous constructions over the centuries, including churches, palaces, villas, rural buildings and flooring. It was used by figures such as the Renaissance master Andrea Palladio and Raimondo D’Aronco in the Art Nouveau period and it continues to be employed in 21st century architecture and design.</p>

Matrice Aura

florim > Wallcovering

An atlas of modular signs to be combined in a wide variety of layouts. «We love concrete as a material, its versatility and its plain, austere look. We have completed our carefully designed surfaces with graphic patterning inspired by the human actions of weaving and embroidering.» Barbara Brondi & Marco Rainò To appreciate the profundity of the design project undertaken by Barbara Brondi and Marco Rainò for Cedit, it is both necessary and explanatory to start from the title the collection bears. In modern usage the term Matrice, in Italian, refers to a die or mould used to reproduce an object, but its origins are much more remote, with a meaning closer to the English “matrix”, meaning the underlying basis of something. The root of the word is related to Mater or mother: the name Matrice thus relates to the origin or cause of something. This dichotomy is expressed in several levels within the work of these architects, who study the world from a sophisticated conceptual approach and then transform it into a design. Starting from the idea of ceramic coverings, which have always been a tool not so much of architecture as of interior design, the artists work back to the origin of the surface and its decoration within their own discipline: they look at what we used to call the modern age, where modernity has also brought an uncompromising brutality, and where the use of bare concrete became the statement of an attitude to life with no time to spare for manners. Concrete is originally a liquid material, intended for shaping, which can therefore absorb and retain any type of mark created by the material and mould used to form it. Architects midway between rationalism and brutalism have used the rough-and-ready language of concrete combined with a last, elegant, anthropic decorative motif impressed on the material, that makes the concept of covering superfluous, because its place, in its older meaning of decoration rather than functional cladding, is taken by the regular patterning created in the material itself. There are therefore various grounds for believing that, in this collection, the artists are once again working in architectural terms. Firstly, with a simplicity typical of BRH+, they reduce the initial concepts to their minimal terms. So although this is a collection of coverings for walls, indoor floors, outdoor pavings and curtain walls, a great deal of time was spent on destructuring the idea of the ceramic covering itself. Unfortunately, nowadays there is no space in the contemporary construction sector for the radical approach of the past, so the cladding designed for the building actually lays bare the interior, using the choice of material – accurately interpreted (with shade variation) on the basis of an assortment of various types – to restore visual elegance and a fundamental severity. Attention to scale is another architectural feature: Matrice offers modules with architectural dimensions and different sizes through the development of “large slabs”, eliminating the visual regular grid effect. Thanks to this visual reset, geographic forms are perceived to emerge from dense, grey concrete surfaces decorated as in bygone days by special processes and by weathering during drying. The various types of slab, each an atlas of subtle, vibrant signs on the surfaces, comprise finishes that reproduce the visual effect of reinforced concrete – with the aggregates in the cement more clearly visible, of formwork – with the signs impressed on the concrete by the timber used, of a structured surface resembling bare cement plaster, of ridged and streaked surfaces – with patterning resembling some kinds of linear surface finishing processes – and finally a smooth, or basic version, over which Matrice exercises the dichotomy referred to earlier. It is on these surfaces that Brondi and Rainò have imagined additional design reverberations, a figurative code that rejects the concept of the grid, previously inseparable from that of the module: by means of a vocabulary of graphic marks cut into the slabs with a depth of 3 mm (the width of the gap left between modules during installation), they provide a framework for infinite combinations of possible dialogues. Just as in embroidery, which is based on grids of stitches and geometric repetitions, and where every stitch is at right-angles to another one to construct forms and decorations. Also taken from embroidery is the idea of introducing a degree of “softness” to reduce the stiffness of intentionally deaf surfaces. There is the impression of patterns that can continue for infinity, as in textile weaving, and a scale that, unlike the surface being worked on, is imagined as suspended and lightweight. They may not admit it, but BRH+ know a lot about music, including electronic music, and it appears to me that this organised tangle of infinite signs – unidentifiable without an overview – is rather like the representations of synthesized sounds. Sounds that are produced by machines, and thus “woven” by sampling and overlapping sounds of the most unlikely origins, combined to form jingles which, once heard, are imprinted indelibly on the brain. This may be why I am so interested in the space between this “melodic film” and its deaf, damp substrate. The eyes can navigate this suspended reality without fear of disturbance. So we are faced with different surfaces, different sizes and different graphic signs. But only one colour (surprise!) to prevent a cacophony not just of signs but also of possible interpretations: the artists retain their radical principles (and their generosity), and as curators, a role in which they are skilled, they leave the players (architects and installers) to add their own interpretations. In their hands this colour, expressed in Matrice, will produce motifs on surfaces in living spaces for someone else. This stylish covering and its workmanship will be left to the hands of someone who will probably never read this, but will be on a building site, with the radio playing on a stereo system, concentrating on installing the very pieces we describe. So a radical, apparently silent, design project like this has repercussions for the real world we live in. Matrice has no form of its own but merely acquires the ornamentation drawn on its surfaces by a second group of artists. And here this routine action, standardised by the form approved for production and workmanlike efficiency, is the origin and cause of change, generating a variability of choices and interpretations, on that dusty building site where music plays and mortar flows.

4.25 x 4.25 Cross 1 - Tierra High-Fired Floor Tile

casatile > Floor tile-stone

Tierra handmade and high fired terra-cotta floor tiles are of unparallel quality. The durability and strength of our Tierra terracotta tiles greatly depends on high quality raw materials and its firing processes. We have a very strict quality control in the selection and formulation of the clay that embodies these tiles, along with high firing.In comparison to Saltillo tiles and mission red tiles, Tierra floor tiles are of superior quality and durability; that is why they are the preferred terra cotta floor tiles by architects, professional builders, and designers. Tierra floor tiles are 100% handcrafted and deliver a stunning and authentic old-world charm with 21st century high quality standards; additionally, they require very little maintenance.

6 x 12.125 Stair Cove Molding - Tierra High-Fired Floor Tile

casatile > Floor tile-stone

Tierra handmade and high fired terra-cotta floor tiles are of unparallel quality. The durability and strength of our Tierra terracotta tiles greatly depends on high quality raw materials and its firing processes. We have a very strict quality control in the selection and formulation of the clay that embodies these tiles, along with high firing.In comparison to Saltillo tiles and mission red tiles, Tierra floor tiles are of superior quality and durability; that is why they are the preferred terra cotta floor tiles by architects, professional builders, and designers. Tierra floor tiles are 100% handcrafted and deliver a stunning and authentic old-world charm with 21st century high quality standards; additionally, they require very little maintenance.

6.5 x 6.5 in. Arabesque Picket Tierra High-Fired Floor Tile

casatile > Floor tile-stone

Tierra handmade and high fired terra-cotta floor tiles are of unparalleled quality. The durability and strength of our Tierra terracotta tiles greatly depends on high quality raw materials and its firing processes. We have a very strict quality control in the selection and formulation of the clay that embodies these tiles, along with high firing.In comparison to Saltillo tiles and mission red tiles, Tierra floor tiles are of superior quality and durability; that is why they are the preferred terra cotta floor tiles by architects, professional builders, and designers. Tierra floor tiles are 100% handcrafted and deliver a stunning and authentic old-world charm with 21st century high quality standards; additionally, they require very little maintenance.

Matrice Essenza

florim > Wallcovering

An atlas of modular signs to be combined in a wide variety of layouts. «We love concrete as a material, its versatility and its plain, austere look. We have completed our carefully designed surfaces with graphic patterning inspired by the human actions of weaving and embroidering.» Barbara Brondi & Marco Rainò To appreciate the profundity of the design project undertaken by Barbara Brondi and Marco Rainò for Cedit, it is both necessary and explanatory to start from the title the collection bears. In modern usage the term Matrice, in Italian, refers to a die or mould used to reproduce an object, but its origins are much more remote, with a meaning closer to the English “matrix”, meaning the underlying basis of something. The root of the word is related to Mater or mother: the name Matrice thus relates to the origin or cause of something. This dichotomy is expressed in several levels within the work of these architects, who study the world from a sophisticated conceptual approach and then transform it into a design. Starting from the idea of ceramic coverings, which have always been a tool not so much of architecture as of interior design, the artists work back to the origin of the surface and its decoration within their own discipline: they look at what we used to call the modern age, where modernity has also brought an uncompromising brutality, and where the use of bare concrete became the statement of an attitude to life with no time to spare for manners. Concrete is originally a liquid material, intended for shaping, which can therefore absorb and retain any type of mark created by the material and mould used to form it. Architects midway between rationalism and brutalism have used the rough-and-ready language of concrete combined with a last, elegant, anthropic decorative motif impressed on the material, that makes the concept of covering superfluous, because its place, in its older meaning of decoration rather than functional cladding, is taken by the regular patterning created in the material itself. There are therefore various grounds for believing that, in this collection, the artists are once again working in architectural terms. Firstly, with a simplicity typical of BRH+, they reduce the initial concepts to their minimal terms. So although this is a collection of coverings for walls, indoor floors, outdoor pavings and curtain walls, a great deal of time was spent on destructuring the idea of the ceramic covering itself. Unfortunately, nowadays there is no space in the contemporary construction sector for the radical approach of the past, so the cladding designed for the building actually lays bare the interior, using the choice of material – accurately interpreted (with shade variation) on the basis of an assortment of various types – to restore visual elegance and a fundamental severity. Attention to scale is another architectural feature: Matrice offers modules with architectural dimensions and different sizes through the development of “large slabs”, eliminating the visual regular grid effect. Thanks to this visual reset, geographic forms are perceived to emerge from dense, grey concrete surfaces decorated as in bygone days by special processes and by weathering during drying. The various types of slab, each an atlas of subtle, vibrant signs on the surfaces, comprise finishes that reproduce the visual effect of reinforced concrete – with the aggregates in the cement more clearly visible, of formwork – with the signs impressed on the concrete by the timber used, of a structured surface resembling bare cement plaster, of ridged and streaked surfaces – with patterning resembling some kinds of linear surface finishing processes – and finally a smooth, or basic version, over which Matrice exercises the dichotomy referred to earlier. It is on these surfaces that Brondi and Rainò have imagined additional design reverberations, a figurative code that rejects the concept of the grid, previously inseparable from that of the module: by means of a vocabulary of graphic marks cut into the slabs with a depth of 3 mm (the width of the gap left between modules during installation), they provide a framework for infinite combinations of possible dialogues. Just as in embroidery, which is based on grids of stitches and geometric repetitions, and where every stitch is at right-angles to another one to construct forms and decorations. Also taken from embroidery is the idea of introducing a degree of “softness” to reduce the stiffness of intentionally deaf surfaces. There is the impression of patterns that can continue for infinity, as in textile weaving, and a scale that, unlike the surface being worked on, is imagined as suspended and lightweight. They may not admit it, but BRH+ know a lot about music, including electronic music, and it appears to me that this organised tangle of infinite signs – unidentifiable without an overview – is rather like the representations of synthesized sounds. Sounds that are produced by machines, and thus “woven” by sampling and overlapping sounds of the most unlikely origins, combined to form jingles which, once heard, are imprinted indelibly on the brain. This may be why I am so interested in the space between this “melodic film” and its deaf, damp substrate. The eyes can navigate this suspended reality without fear of disturbance. So we are faced with different surfaces, different sizes and different graphic signs. But only one colour (surprise!) to prevent a cacophony not just of signs but also of possible interpretations: the artists retain their radical principles (and their generosity), and as curators, a role in which they are skilled, they leave the players (architects and installers) to add their own interpretations. In their hands this colour, expressed in Matrice, will produce motifs on surfaces in living spaces for someone else. This stylish covering and its workmanship will be left to the hands of someone who will probably never read this, but will be on a building site, with the radio playing on a stereo system, concentrating on installing the very pieces we describe. So a radical, apparently silent, design project like this has repercussions for the real world we live in. Matrice has no form of its own but merely acquires the ornamentation drawn on its surfaces by a second group of artists. And here this routine action, standardised by the form approved for production and workmanlike efficiency, is the origin and cause of change, generating a variability of choices and interpretations, on that dusty building site where music plays and mortar flows.

Matrice Struttura

florim > Wallcovering

An atlas of modular signs to be combined in a wide variety of layouts. «We love concrete as a material, its versatility and its plain, austere look. We have completed our carefully designed surfaces with graphic patterning inspired by the human actions of weaving and embroidering.» Barbara Brondi & Marco Rainò To appreciate the profundity of the design project undertaken by Barbara Brondi and Marco Rainò for Cedit, it is both necessary and explanatory to start from the title the collection bears. In modern usage the term Matrice, in Italian, refers to a die or mould used to reproduce an object, but its origins are much more remote, with a meaning closer to the English “matrix”, meaning the underlying basis of something. The root of the word is related to Mater or mother: the name Matrice thus relates to the origin or cause of something. This dichotomy is expressed in several levels within the work of these architects, who study the world from a sophisticated conceptual approach and then transform it into a design. Starting from the idea of ceramic coverings, which have always been a tool not so much of architecture as of interior design, the artists work back to the origin of the surface and its decoration within their own discipline: they look at what we used to call the modern age, where modernity has also brought an uncompromising brutality, and where the use of bare concrete became the statement of an attitude to life with no time to spare for manners. Concrete is originally a liquid material, intended for shaping, which can therefore absorb and retain any type of mark created by the material and mould used to form it. Architects midway between rationalism and brutalism have used the rough-and-ready language of concrete combined with a last, elegant, anthropic decorative motif impressed on the material, that makes the concept of covering superfluous, because its place, in its older meaning of decoration rather than functional cladding, is taken by the regular patterning created in the material itself. There are therefore various grounds for believing that, in this collection, the artists are once again working in architectural terms. Firstly, with a simplicity typical of BRH+, they reduce the initial concepts to their minimal terms. So although this is a collection of coverings for walls, indoor floors, outdoor pavings and curtain walls, a great deal of time was spent on destructuring the idea of the ceramic covering itself. Unfortunately, nowadays there is no space in the contemporary construction sector for the radical approach of the past, so the cladding designed for the building actually lays bare the interior, using the choice of material – accurately interpreted (with shade variation) on the basis of an assortment of various types – to restore visual elegance and a fundamental severity. Attention to scale is another architectural feature: Matrice offers modules with architectural dimensions and different sizes through the development of “large slabs”, eliminating the visual regular grid effect. Thanks to this visual reset, geographic forms are perceived to emerge from dense, grey concrete surfaces decorated as in bygone days by special processes and by weathering during drying. The various types of slab, each an atlas of subtle, vibrant signs on the surfaces, comprise finishes that reproduce the visual effect of reinforced concrete – with the aggregates in the cement more clearly visible, of formwork – with the signs impressed on the concrete by the timber used, of a structured surface resembling bare cement plaster, of ridged and streaked surfaces – with patterning resembling some kinds of linear surface finishing processes – and finally a smooth, or basic version, over which Matrice exercises the dichotomy referred to earlier. It is on these surfaces that Brondi and Rainò have imagined additional design reverberations, a figurative code that rejects the concept of the grid, previously inseparable from that of the module: by means of a vocabulary of graphic marks cut into the slabs with a depth of 3 mm (the width of the gap left between modules during installation), they provide a framework for infinite combinations of possible dialogues. Just as in embroidery, which is based on grids of stitches and geometric repetitions, and where every stitch is at right-angles to another one to construct forms and decorations. Also taken from embroidery is the idea of introducing a degree of “softness” to reduce the stiffness of intentionally deaf surfaces. There is the impression of patterns that can continue for infinity, as in textile weaving, and a scale that, unlike the surface being worked on, is imagined as suspended and lightweight. They may not admit it, but BRH+ know a lot about music, including electronic music, and it appears to me that this organised tangle of infinite signs – unidentifiable without an overview – is rather like the representations of synthesized sounds. Sounds that are produced by machines, and thus “woven” by sampling and overlapping sounds of the most unlikely origins, combined to form jingles which, once heard, are imprinted indelibly on the brain. This may be why I am so interested in the space between this “melodic film” and its deaf, damp substrate. The eyes can navigate this suspended reality without fear of disturbance. So we are faced with different surfaces, different sizes and different graphic signs. But only one colour (surprise!) to prevent a cacophony not just of signs but also of possible interpretations: the artists retain their radical principles (and their generosity), and as curators, a role in which they are skilled, they leave the players (architects and installers) to add their own interpretations. In their hands this colour, expressed in Matrice, will produce motifs on surfaces in living spaces for someone else. This stylish covering and its workmanship will be left to the hands of someone who will probably never read this, but will be on a building site, with the radio playing on a stereo system, concentrating on installing the very pieces we describe. So a radical, apparently silent, design project like this has repercussions for the real world we live in. Matrice has no form of its own but merely acquires the ornamentation drawn on its surfaces by a second group of artists. And here this routine action, standardised by the form approved for production and workmanlike efficiency, is the origin and cause of change, generating a variability of choices and interpretations, on that dusty building site where music plays and mortar flows.

2x2 Tierra High-Fired Floor Tile

casatile > Floor tile-stone

Tierra handmade and high fired terra-cotta floor tiles are of unparallel quality. The durability and strength of our Tierra terracotta tiles greatly depends on high quality raw materials and its firing processes. We have a very strict quality control in the selection and formulation of the clay that embodies these tiles, along with high firing.In comparison to Saltillo tiles and mission red tiles, Tierra floor tiles are of superior quality and durability; that is why they are the preferred terra cotta floor tiles by architects, professional builders, and designers. Tierra floor tiles are 100% handcrafted and deliver a stunning and authentic old-world charm with 21st century high quality standards; additionally, they require very little maintenance.

Selandia Table

fritzhansen > Table

The Selandia series is known for its signature slight curves and elegant Nordic look with subtle French references that hint at long summer nights in the open air. The square Selandia Folding Table made of 100% FSC-certified teak is ideal for a small and sunny spot. A perfect pairing of functionality and beauty. The table neatly folds for easy storage when not in use. Designed in collaboration with Danish architects Anders and Lars Hegelund.

Selandia Table

fritzhansen > Table

The Selandia series is known for its signature slight curves and elegant Nordic look with subtle French references that hint at long summer nights in the open air. The Selandia Folding Table made of 100% FSC-certified teak is ideal for a sunny spot in the garden or terrace. A perfect pairing of functionality and beauty, the table folds neatly for easy storage when not in use. Designed in collaboration with Danish architects Anders and Lars Hegelund.

13x13 Octagonal for 4 in. Accents Tierra High-Fired Floor Tile

casatile > Floor tile-stone

Tierra handmade and high fired terra-cotta floor tiles are of unparalleled quality. The durability and strength of our Tierra terracotta tiles greatly depends on high quality raw materials and its firing processes. We have a very strict quality control in the selection and formulation of the clay that embodies these tiles, along with high firing.In comparison to Saltillo tiles and mission red tiles, Tierra floor tiles are of superior quality and durability; that is why they are the preferred terra cotta floor tiles by architects, professional builders, and designers. Tierra floor tiles are 100% handcrafted and deliver a stunning and authentic old-world charm with 21st century high quality standards; additionally, they require very little maintenance.

13x13 Tierra High-Fired Floor Tile

casatile > Floor tile-stone

Tierra handmade and high fired terra-cotta floor tiles are of unparalleled quality. The durability and strength of our Tierra terracotta tiles greatly depends on high quality raw materials and its firing processes. We have a very strict quality control in the selection and formulation of the clay that embodies these tiles, along with high firing.In comparison to Saltillo tiles and mission red tiles, Tierra floor tiles are of superior quality and durability; that is why they are the preferred terra cotta floor tiles by architects, professional builders, and designers. Tierra floor tiles are 100% handcrafted and deliver a stunning and authentic old-world charm with 21st century high quality standards; additionally, they require very little maintenance.

Selandia Armchair

fritzhansen > Chair

The Selandia series is known for its signature slight curves and elegant Nordic look with subtle French references that hint at long summer nights in the open air. The 100% FSC-certified teak Selandia Chairs are elegant, comfortable and take up a minimum of space when folded. Finely detailed with all slotted screws facing the same direction. Simply good craftsmanship. Designed in collaboration with Danish architects Anders and Lars Hegelund.

Coretech Flame Dark

florim > Wall tile-stone-brick

<p>Florim’s Coretech collection takes Piasentina stone quarried in the foothills of the Julian Alps and enhances its performance to cater to the needs of contemporary architecture.</p> <p>Piasentina stone is ideally suited to the creation of relief textures and finishes using traditional methods and age-old techniques.<br>Different types of processing give different colours and feels to this natural stone, thus making it possible to put together numerous combinations using the same material. </p> <p>Piasentina stone’s name means “pleasing stone” in Friulian. It has been known since ancient Roman times and it is now highly sought after in architecture in Italy and internationally due to the shades of colour and versatility it can offer indoors and outdoors, on both urban floors and walls.</p> <p><br>It stands out not only due to its distinctive feel but also thanks to its refined <strong>grey tones </strong>with slender white veins and little brownish tinges.</p> <p><br>It is a stone that can conjure up all sorts of emotional responses, making it a popular choice among interior designers and architects across the globe. It has played a central role in numerous constructions over the centuries, including churches, palaces, villas, rural buildings and flooring. It was used by figures such as the Renaissance master Andrea Palladio and Raimondo D’Aronco in the Art Nouveau period and it continues to be employed in 21st century architecture and design.</p>

4.25 x 8.25 Tierra High-Fired Floor Tile

casatile > Floor tile-stone

Tierra handmade and high fired terra-cotta floor tiles are of unparallel quality. The durability and strength of our Tierra terracotta tiles greatly depends on high quality raw materials and its firing processes. We have a very strict quality control in the selection and formulation of the clay that embodies these tiles, along with high firing.In comparison to Saltillo tiles and mission red tiles, Tierra floor tiles are of superior quality and durability; that is why they are the preferred terra cotta floor tiles by architects, professional builders, and designers. Tierra floor tiles are 100% handcrafted and deliver a stunning and authentic old-world charm with 21st century high quality standards; additionally, they require very little maintenance.

6 x 6 Circle - Tierra High-Fired Floor Tile

casatile > Floor tile-stone

Tierra handmade and high fired terra-cotta floor tiles are of unparallel quality. The durability and strength of our Tierra terracotta tiles greatly depends on high quality raw materials and its firing processes. We have a very strict quality control in the selection and formulation of the clay that embodies these tiles, along with high firing.In comparison to Saltillo tiles and mission red tiles, Tierra floor tiles are of superior quality and durability; that is why they are the preferred terra cotta floor tiles by architects, professional builders, and designers. Tierra floor tiles are 100% handcrafted and deliver a stunning and authentic old-world charm with 21st century high quality standards; additionally, they require very little maintenance.

8.375 x 10.625 Arabesque 2 Tierra High-Fired Floor Tile

casatile > Floor tile-stone

Tierra handmade and high fired terra-cotta floor tiles are of unparalleled quality. The durability and strength of our Tierra terracotta tiles greatly depends on high quality raw materials and its firing processes. We have a very strict quality control in the selection and formulation of the clay that embodies these tiles, along with high firing.In comparison to Saltillo tiles and mission red tiles, Tierra floor tiles are of superior quality and durability; that is why they are the preferred terra cotta floor tiles by architects, professional builders, and designers. Tierra floor tiles are 100% handcrafted and deliver a stunning and authentic old-world charm with 21st century high quality standards; additionally, they require very little maintenance.

8¾ x 8¾ Tierra High-Fired Floor Tile

casatile > Floor tile-stone

Tierra handmade and high fired terra-cotta floor tiles are of unparalleled quality. The durability and strength of our Tierra terracotta tiles greatly depends on high quality raw materials and its firing processes. We have a very strict quality control in the selection and formulation of the clay that embodies these tiles, along with high firing.In comparison to Saltillo tiles and mission red tiles, Tierra floor tiles are of superior quality and durability; that is why they are the preferred terra cotta floor tiles by architects, professional builders, and designers. Tierra floor tiles are 100% handcrafted and deliver a stunning and authentic old-world charm with 21st century high quality standards; additionally, they require very little maintenance.

6 x 12.625 Stair Bullnose - Tierra High-Fired Floor Tile

casatile > Floor tile-stone

Tierra handmade and high fired terra-cotta floor tiles are of unparallel quality. The durability and strength of our Tierra terracotta tiles greatly depends on high quality raw materials and its firing processes. We have a very strict quality control in the selection and formulation of the clay that embodies these tiles, along with high firing.In comparison to Saltillo tiles and mission red tiles, Tierra floor tiles are of superior quality and durability; that is why they are the preferred terra cotta floor tiles by architects, professional builders, and designers. Tierra floor tiles are 100% handcrafted and deliver a stunning and authentic old-world charm with 21st century high quality standards; additionally, they require very little maintenance.

Miniatures Rood blauwe stoel

vitra > Styling

Gerrit Rietveld conceived of each piece of furniture as an ideal, abstract composition of surfaces and lines in space. The rigor with which he put this into practice makes &#187;Roodblauwe stoel&#171; a key object in modern furniture design. The form of abstraction Rietveld adopts here bears comparison to painter Piet Mondrian. <br/><br/>Mondrian, and later Rietveld, were among the artists and architects who grouped around Theo van Doesburg and his journal &#187;De Stijl&#171;, and whose radical concepts had a lasting impact on twentieth-century art. Rietveld reduced given realities to their linear and surface characteristics. Where Mondrian took landscapes as his model, Rietveld focused on the concept of a traditional, massive armchair, which he transformed into a geometric entity.

13x13 Cut Edge for 2 in. Accent Tierra High-Fired Floor Tile

casatile > Floor tile-stone

Tierra handmade and high fired terra-cotta floor tiles are of unparalleled quality. The durability and strength of our Tierra terracotta tiles greatly depends on high quality raw materials and its firing processes. We have a very strict quality control in the selection and formulation of the clay that embodies these tiles, along with high firing.In comparison to Saltillo tiles and mission red tiles, Tierra floor tiles are of superior quality and durability; that is why they are the preferred terra cotta floor tiles by architects, professional builders, and designers. Tierra floor tiles are 100% handcrafted and deliver a stunning and authentic old-world charm with 21st century high quality standards; additionally, they require very little maintenance.

8x8 Hexagon Tierra High-Fired Floor Tile

casatile > Floor tile-stone

Tierra handmade and high fired terra-cotta floor tiles are of unparalleled quality. The durability and strength of our Tierra terracotta tiles greatly depends on high quality raw materials and its firing processes. We have a very strict quality control in the selection and formulation of the clay that embodies these tiles, along with high firing.In comparison to Saltillo tiles and mission red tiles, Tierra floor tiles are of superior quality and durability; that is why they are the preferred terra cotta floor tiles by architects, professional builders, and designers. Tierra floor tiles are 100% handcrafted and deliver a stunning and authentic old-world charm with 21st century high quality standards; additionally, they require very little maintenance.

4.75 x 4.75 Mudejar Cross - Tierra High-Fired Floor Tile

casatile > Floor tile-stone

Tierra handmade and high fired terra-cotta floor tiles are of unparallel quality. The durability and strength of our Tierra terracotta tiles greatly depends on high quality raw materials and its firing processes. We have a very strict quality control in the selection and formulation of the clay that embodies these tiles, along with high firing.In comparison to Saltillo tiles and mission red tiles, Tierra floor tiles are of superior quality and durability; that is why they are the preferred terra cotta floor tiles by architects, professional builders, and designers. Tierra floor tiles are 100% handcrafted and deliver a stunning and authentic old-world charm with 21st century high quality standards; additionally, they require very little maintenance.

4x4 Tierra High-Fired Floor Tile

casatile > Floor tile-stone

Tierra handmade and high fired terra-cotta floor tiles are of unparallel quality. The durability and strength of our Tierra terracotta tiles greatly depends on high quality raw materials and its firing processes. We have a very strict quality control in the selection and formulation of the clay that embodies these tiles, along with high firing.In comparison to Saltillo tiles and mission red tiles, Tierra floor tiles are of superior quality and durability; that is why they are the preferred terra cotta floor tiles by architects, professional builders, and designers. Tierra floor tiles are 100% handcrafted and deliver a stunning and authentic old-world charm with 21st century high quality standards; additionally, they require very little maintenance.

Coretech Brushed Light

florim > Wall tile-stone-brick

<p>Florim’s Coretech collection takes Piasentina stone quarried in the foothills of the Julian Alps and enhances its performance to cater to the needs of contemporary architecture.</p> <p>Piasentina stone is ideally suited to the creation of relief textures and finishes using traditional methods and age-old techniques.<br>Different types of processing give different colours and feels to this natural stone, thus making it possible to put together numerous combinations using the same material. </p> <p>Piasentina stone’s name means “pleasing stone” in Friulian. It has been known since ancient Roman times and it is now highly sought after in architecture in Italy and internationally due to the shades of colour and versatility it can offer indoors and outdoors, on both urban floors and walls.</p> <p><br>It stands out not only due to its distinctive feel but also thanks to its refined <strong>grey tones </strong>with slender white veins and little brownish tinges.</p> <p><br>It is a stone that can conjure up all sorts of emotional responses, making it a popular choice among interior designers and architects across the globe. It has played a central role in numerous constructions over the centuries, including churches, palaces, villas, rural buildings and flooring. It was used by figures such as the Renaissance master Andrea Palladio and Raimondo D’Aronco in the Art Nouveau period and it continues to be employed in 21st century architecture and design.</p>

Selandia 2-Seater

fritzhansen > Bench

The Selandia series is known for its signature slight curves and elegant Nordic look with subtle French references that hint at long summer nights in the open air. The Selandia 2-Seater made of 100% FSC-certified teak is a new way to enjoy the outdoors. Side by side or tête-a-tête, this elegant duo is charming to look at and to be seated in. Designed in collaboration with Danish architects Anders and Lars Hegelund.

Spillo 2i - LED recessed brass wall lamp with swing arm _ ICONE

ICONE > Wall lamp

Spillo 2i – Elegant Built-in Flush or Ceiling Lamp with Adjustable Brass Rods A Sleek and Versatile Recessed Lighting Solution The Spillo 2i is a refined built-in flush or ceiling lamp, designed by Marco Pagnoncelli. Featuring a double adjustable drawn brass rod with a slim 7×7 mm section, this lighting fixture blends minimalist aesthetics with high-performance LED illumination. Ideal for residential, hospitality, and commercial applications, Spillo 2i brings functional elegance and flexibility to modern interiors. Minimalist Design with Adjustable Flexibility Spillo 2i is designed for seamless wall or ceiling integration, offering a discreet and sophisticated look. The slim, adjustable brass rods allow users to position the light precisely where needed, making it ideal for accent lighting, directional illumination, or task lighting. With its flush installation, it preserves clean lines and an uncluttered appearance, perfect for modern and contemporary interiors. As part of a registered design, this fixture represents a fusion of sleek aesthetics and innovative lighting technology, making it an excellent choice for architects, designers, and homeowners looking for both style and practicality. Premium Materials and Elegant Finishes Crafted from high-quality drawn brass, Spillo 2i ensures durability and a refined appearance. It is available in four sophisticated finishes, allowing designers to match a variety of interior styles: White – A clean and contemporary option for modern interiors. Black – A bold and striking choice for sleek, minimalist spaces. Chrome – A polished, reflective surface that adds a touch of luxury. Brushed Gold – A warm and elegant finish, perfect for high-end residential and hospitality environments. High-Efficiency LED Illumination Spillo 2i is powered by high luminous efficiency LED micro-strips, providing bright and energy-efficient illumination. The 3000K LED temperature delivers a warm white light, creating a comfortable and inviting atmosphere in any setting. Unlike standard fixtures, this model requires a power supply unit and a wall housing for installation, ensuring a built-in, seamless look with no visible wiring or external components. Available Sizes and Power Levels Spillo 2i comes in two sizes, each offering different power outputs and brightness levels to cater to various project needs: Model Power (W) Voltage (V) Lumen Output Color Temperature (K) A (cm) B (cm) C (cm) D (cm) E (cm) Recessed Hole (cm) LED Type Spillo 2i.50 9.24W 12V 770 lm 3000K 21.5 51.5 75 3.3 3 8.2 x 75.6 12V CRI90 Spillo 2i.80 14.52W 12V 1210 lm 3000K 31.5 81.5 115 3.3 3 8.2 x 115.6 12V CRI90 These size options allow for precise light distribution, making Spillo 2i suitable for both intimate and expansive spaces. Applications – Where Spillo 2i Excels Residential Interiors Spillo 2i serves as a stylish and functional lighting solution for modern homes. It works exceptionally well in living rooms, hallways, kitchens, and bedrooms, providing discreet yet effective illumination. Its adjustable arms make it perfect for reading areas, workspaces, or highlighting art pieces. Hospitality & Commercial Spaces For hotels, restaurants, and retail environments, Spillo 2i delivers sophisticated accent lighting that enhances architectural features, artwork, or display areas. Its flush, recessed installation ensures a polished, high-end look, making it ideal for boutique hotels, luxury spas, and fine dining establishments. Office and Workspaces Incorporating Spillo 2i into offices and meeting rooms enhances task lighting and ambient brightness, ensuring a well-lit, productive environment without visual clutter. Its modern, built-in design is well-suited for corporate offices and co-working spaces. Gallery & Museum Lighting Spillo 2i’s precise, directional light makes it a great choice for museums and galleries, where adjustable illumination is crucial for highlighting exhibits and artworks without causing glare. Energy Efficiency and Sustainability With an energy class rating of A++, A+, A, Spillo 2i ensures sustainable energy consumption while providing high-performance lighting. Its CRI90 rating guarantees true-to-life color rendering, making it an excellent choice for spaces where accurate color perception is essential.

BLACK&WHITE - Indoor/outdoor ceramic mosaic _ gruppo bardelli

gruppo bardelli > Floor tile-stone

Black&White by Ceramica Bardelli: Mosaic Mastery and Timeless Elegance The Black&White collection by Ceramica Bardelli showcases the brand’s expertise in transcending the traditional boundaries of ceramic decoration. This mosaic, crafted with a combination of glossy and matte finishes, represents a harmonious blend of technical precision and artistic innovation. Developed in collaboration with Seletti, a brand known for its visionary approach to design, Black&White is a celebration of minimalism elevated by boundless creative possibilities. Design and Features At the heart of the collection is its bold black-and-white colour scheme, offering infinite opportunities for unique and customised designs. The mosaic comes in a convenient kit composed of 12 sheets, each measuring 30x30 cm, enabling the creation of a wall surface measuring 140x240 cm. The individual mosaic tiles, sized at 1.2x1.2 cm, are mounted on a net for easy installation and feature a striking combination of satin and glossy finishes. The versatility of Black&White lies not only in its aesthetic but also in its ability to adapt to various design needs. This mosaic can be used to cover flat walls as well as rounded surfaces, behaving almost like a fabric that moulds itself seamlessly to the shape it adorns. The resulting compositions create unique textures that enhance both contemporary and timeless interiors. Applications and Specifications Ideal for both interior and exterior cladding, the Black&White collection is designed to perform as beautifully as it looks. With a single-fired construction process and a thickness of just 0.72 mm, the tiles combine durability with finesse. The collection’s innovative design and material quality make it a perfect choice for creating statement walls, feature areas, or decorative accents in residential and commercial spaces alike. About Ceramica Bardelli and Gruppo Bardelli Ceramica Bardelli is part of Gruppo Bardelli, a leader in Italian ceramic innovation and craftsmanship. Based in Milan, the Group represents the pinnacle of high-end ceramics with its renowned brands Ceramica Bardelli, Ceramica Vogue, and Appiani. Its two production facilities, located in Cerrione and Oderzo, embody the excellence of Italian know-how, combining heritage and cutting-edge technology. Black&White exemplifies the Group’s commitment to pushing the boundaries of design, offering designers and architects a versatile tool for transforming spaces. For enhanced integration into design projects, downloadable 3D files of the collection are available, ensuring that Black&White is as practical as it is beautiful. With this mosaic, Ceramica Bardelli once again delivers an iconic solution that merges timeless aesthetics with modern functionality.

LAB - Rectangular wooden meeting table with cable management _ Inno

Inno > Table

LAB Rectangular Wooden Meeting Table with Cable Management Introduction The LAB Rectangular Wooden Meeting Table with Cable Management is a versatile and elegantly designed piece that seamlessly blends functionality with modern aesthetics. Crafted by the renowned furniture manufacturer Inno, this table is part of their esteemed LAB product family, known for its innovative approach to office and meeting room furnishings. The table's design caters to both casual meetings and formal dining settings, making it a valuable addition to various interior environments.​ Design and Aesthetics The LAB meeting table showcases a minimalist design characterized by clean lines and a sleek silhouette. Its rectangular form exudes simplicity and sophistication, allowing it to integrate seamlessly into diverse interior styles, from contemporary office spaces to modern dining areas. The wooden surface adds a touch of warmth and natural beauty, creating an inviting atmosphere conducive to collaboration and communication.​ Materials and Finishes This meeting table is constructed from high-quality wood, ensuring durability and longevity. The wooden legs evoke a sense of homely warmth, enhancing the overall aesthetic appeal. The table is available in various finishes, including natural birch and oak, as well as stained or painted options, providing flexibility to match existing décor and personal preferences. The craftsmanship reflects attention to detail, resulting in a piece that is both functional and visually appealing.​ archiproducts.com Dimensions and Configurations The LAB table is available in multiple sizes to accommodate different spatial requirements and seating capacities. Standard dimensions include:​ 800 x 800 mm 800 x 1200 mm 800 x 1800 mm 800 x 2400 mm 800 x 3600 mm 800 x 4800 mm 900 x 900 mm 900 x 1800 mm 900 x 2400 mm 900 x 3600 mm 900 x 4800 mm 1100 x 1100 mm 1100 x 1800 mm 1100 x 2400 mm 1100 x 3600 mm 1100 x 4800 mm 1200 x 1200 mm 1200 x 1800 mm 1200 x 2400 mm 1200 x 3600 mm 1200 x 4800 mm Diameter 1000 mm Diameter 1100 mm Diameter 1200 mm Diameter 1300 mm These options allow for customization based on the specific needs of the space, whether it's a compact meeting room or a spacious conference area. Additionally, the modular design enables the table to be extended endlessly, offering flexibility for future expansions or reconfigurations.​ archiproducts.com Cable Management One of the standout features of the LAB meeting table is its integrated cable management system. In today's technology-driven environments, managing cables and power sources is crucial for maintaining an organized and efficient workspace. The table is equipped with discreet cable channels and compartments that keep wires concealed, reducing clutter and enhancing the overall aesthetic. This thoughtful design ensures that electronic devices can be connected seamlessly, supporting a clean and professional appearance.​ Versatility and Applications The LAB meeting table's design and functionality make it suitable for a wide range of applications:​ Corporate Offices: Ideal for conference rooms and executive meeting areas, providing a professional setting that fosters collaboration.​ 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 conference rooms, business centers, and dining areas, combining style with practicality.​ Residential Spaces: Serves as a stylish dining table or a large workstation in home offices, adapting to various interior design themes.​ Integration with LAB Product Family The LAB meeting table 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 recognized with the internationally acclaimed GOOD DESIGN™ 2015 Award, underscoring its excellence in design and functionality.​ Conclusion The LAB Rectangular Wooden Meeting Table with Cable Management exemplifies Inno's commitment to quality craftsmanship, innovative design, and functional excellence. Its minimalist aesthetic, coupled with practical features like cable management and modular configurations, makes it a versatile choice for various settings. Whether enhancing a corporate office, educational facility, hospitality venue, or residential space, this table offers a harmonious blend of form and function, catering to the evolving needs of modern interiors.

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.

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.

Cosmo Easy Chair by Et al. – A Versatile Seating Solution for Modern Spaces

Et al. > Armchair

Cosmo Easy Chair by Et al. – A Versatile Seating Solution for Modern Spaces The Cosmo Easy Chair by Et al., available at FM Design Elements, is a contemporary and highly adaptable seating option, blending functionality and aesthetic appeal. Designed for both indoor and outdoor use, this chair offers a versatile solution for residential, hospitality, commercial, and workspace projects. Material and Finishes Crafted with a durable polypropylene body reinforced with fibreglass, the Cosmo Easy Chair is built to withstand heavy use in high-traffic areas. This sturdy material ensures longevity while maintaining a lightweight structure. The polypropylene shell is UV-resistant, making it ideal for outdoor settings without worrying about colour fading or structural deterioration. The chair is available in a variety of modern matte finishes, including neutral tones such as black, white, and grey, as well as more vibrant hues like mustard and terracotta. These colour options make it easy to incorporate the chair into diverse design schemes, from minimalist to eclectic interiors. Style and Design The Cosmo Easy Chair showcases a modern and minimalist aesthetic. Its curved shell design and clean lines create a sophisticated yet understated look, suitable for Scandinavian and contemporary interiors. The slightly inclined backrest and armrests provide ergonomic support, ensuring comfort for extended seating periods. Its versatility makes it an excellent choice for diverse applications: Residential spaces: Perfect for a balcony, patio, or living room corner. Hospitality settings: A stylish seating solution for cafes, restaurants, and hotel lounges. Commercial projects: Durable enough for offices and co-working spaces. Public areas: An ideal fit for lobbies, waiting rooms, or event venues. Dimensions The Cosmo Easy Chair strikes the right balance between compactness and comfort: Width: 111 cm Depth: 88 cm Height: 80 cm Seat Height: 44 cm These proportions make it a comfortable yet space-saving option for environments where both aesthetics and practicality are crucial. Upholstery Options For added comfort, the chair can be paired with optional upholstered cushions. These cushions come in a variety of fabric types and colours, allowing designers to customise the chair to match specific design needs. Choose from classic textiles or waterproof and stain-resistant fabrics for outdoor use. Accessories and Alternatives The Cosmo Easy Chair can be complemented with matching pieces from Et al.’s collection, such as dining chairs or stools, for a cohesive look. For larger spaces, consider pairing it with lounge furniture or coffee tables that share its contemporary aesthetic. If you're looking for alternatives, stackable polypropylene chairs or metal-framed lounge chairs are other options to consider within the same price range and style category. 2D and 3D Files Available To simplify the design process, downloadable 2D and 3D files of the Cosmo Easy Chair are available. These resources make it easier for architects and designers to incorporate the chair seamlessly into their projects. Why Choose the Cosmo Easy Chair? Durable and lightweight: Fibreglass-reinforced polypropylene ensures longevity without sacrificing portability. Indoor and outdoor versatility: UV resistance and weatherproof materials make it a practical choice for any environment. Ergonomic comfort: A thoughtfully designed shell with proper support for extended seating. Aesthetic adaptability: Its minimalist design and range of colours complement various styles, including Scandinavian, contemporary, and Japandi. Eco-friendly production: Crafted with sustainability in mind, the chair is recyclable and made using eco-conscious processes.

Storie Cascina

florim > Wall Paint

The faded wall fresco, damp stains in plaster. «Technological innovation enables us to reproduce on large-sized ceramic materials all the effects of wear and stratification that normally only time is able to create.» Giorgia Zanellato & Daniele Bortotto Children stare at the walls of a farmhouse, wondering what the cracks are, and whether every mark is a path and every path is a story. They think that miniature beings live in the air pockets that have formed, and the detaching plaster is like an avalanche cascading from a glacier. They don't ask why the colours are as they are, because they just had to be like that. And every square centimetre becomes the first page of an adventure that restarts at every break in the pattern. Could this be why we say that both textures and plots have twists, and stories are woven? As even children know, walls are tales. Not only do they contain adventures, emotions, moments, loves and hates and record them on their surfaces; their uneven, active surfaces generate new imaginary worlds, in which one can literally get lost. The "Storie" collection by Giorgia Zanellato and Daniele Bortotto brings this metaphor to three-dimensional life by expressing the moods, loves and hates and moments that the walls and floors of old Italian homes conserve, and capturing them in a frozen instant. The theme of time and the changes wrought in matter by the passing seasons, weather and human action have always been a strong source of inspiration for architects: some have tried to freeze it, while others have used sleight of hand to embrace it while resisting its effects, and yet others have accelerated, anticipated, directed and re-created it.<br /> Zanellato and Bortotto do all these things at once, engaging in a duel with History with a capital H, in which it is never clear who is winning: design or object, man or nature, culture or time. And it is probably this unresolved tension which makes the "Storie" designs so universal and meaningful, so intimate and yet familiar. The floor is the only thing we can be certain that everyone entering our home will touch, and at the same time it is the most intimate part, the most steeped in private happenings. They talk about having your "feet firmly on the ground". This image stands for common sense, but also a recognition of how things are, how things work. The wall is a synecdoche, too: it is the part of the home that expresses an idea of solidity, the layering of time, the passage of lives. "Storie" gives form to this metaphor by drawing a line that links the most classical of taste to a sophisticated modernity of taste and style. The two designers did a great deal of background work for this project: old Italian homes, country villas, noble palazzos, farmhouses and old factors, which become an unlimited source of motifs, colours, textures and materials. But, perhaps unconsciously, literature also re-emerges from this survey of locations, with its blend of aestheticism and decadence, with echoes of Wilde and D'Annunzio, Ruskin and Huysmans. "Storie" would be the ideal backdrop for Des Esseintes, the dandy in "A Rebours". And in fact the collection clearly has strong theatrical connections, arising partly from its storytelling connotations but also from its scene-setting potential.<br /> It represents life, which we are, have been and wish to continue to be. And it is thrilling to realise that this vision comes from the youngest designers in CEDIT's new era, who have successfully taken a confident, cultured, astute, sidelong approach to the most ancient of topics, with a persuasive effect which appears, at least, to be not at all intimidated by the many stories, the type of product they are dealing with, the catalogue in which they are included, the designers who have gone before them or, naturally, the adventures that lie concealed in the historic dwellings they reproduce. The reference to Italy, on the other hand, is in perfect harmony with the work of the brand and its past and present designers: it is intrinsic to the perfection of the production process that underlies the collection, the relationship with the brand's tradition and its local roots, and the intelligent, strategic use of its innovations in the treatment of this complex material.Child's play? Yes, but with the integrity and ability to enchant unique to specific designs, capable of an immediacy of vision and feeling that makes them little novels written in cement.