Fringe: The Smartest Way to Find & Download Interior Design Products

Buildtech/2.0 Build Bone CE

florim > Wall tile-stone-brick

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. Piasentina stone is ideally suited to the creation of relief textures and finishes using traditional methods and age-old techniques. 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. 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. It stands out not only due to its distinctive feel but also thanks to its refined grey tones with slender white veins and little brownish tinges. 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.

Coretech Satin Dark

florim > Wall tile-stone-brick

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. Piasentina stone is ideally suited to the creation of relief textures and finishes using traditional methods and age-old techniques. 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. 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. It stands out not only due to its distinctive feel but also thanks to its refined grey tones with slender white veins and little brownish tinges. 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.

Coretech Flame Light

florim > Wall tile-stone-brick

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. Piasentina stone is ideally suited to the creation of relief textures and finishes using traditional methods and age-old techniques. 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. 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. It stands out not only due to its distinctive feel but also thanks to its refined grey tones with slender white veins and little brownish tinges. 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.

Coretech Brushed Light

florim > Wall tile-stone-brick

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. Piasentina stone is ideally suited to the creation of relief textures and finishes using traditional methods and age-old techniques. 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. 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. It stands out not only due to its distinctive feel but also thanks to its refined grey tones with slender white veins and little brownish tinges. 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.

Crayons Skyline

R

florim > Synthetic Floor

Color and design through Contemporary Design's characteristic fresh and functional approach. Eight pastel shades, designed to create both lively and balanced compositions, harmonize with each other and with the context. It moves from the dusty 1950s-inspired hues of dove-gray, hazelnut, pink, faded yellow and sky blue to the more decisive shades of dusty gray and moss green, all perfect for creating spaces with both retro style and contemporary character.

Crayons Milk

florim > Synthetic Floor

Color and design through Contemporary Design's characteristic fresh and functional approach. Eight pastel shades, designed to create both lively and balanced compositions, harmonize with each other and with the context. It moves from the dusty 1950s-inspired hues of dove-gray, hazelnut, pink, faded yellow and sky blue to the more decisive shades of dusty gray and moss green, all perfect for creating spaces with both retro style and contemporary character.

Cromatica Cenere

florim > Synthetic Floor

A lexicon of colour shades for mixing. A large size and its submultiples. «This work represents a reflection on colour, and above all a proposal on how to transfer the multiplicity of shades typical of a hand-crafted piece into a project produced on a large scale.» Andrea Trimarchi & Simone Farresin Studio Formafantasma base their work in the design world on a strong vocation for research. Simone Farresin and Andrea Trimarchi view every project as an opportunity for study and the acquisition of new knowledge, and their love of speculation establishes a dialectic rapport with the situations offered by each new client. Whether it involves a material, a type or a production method, the first phase of their design process is the mapping of what the specific case places at their disposal. With Cedit, an analysis of the company's past and present was central to the inputs. Inevitably, since "Looking back to look forward" has been the design duo's mission statement for years. In this case, in particular, the company's history was a real treasure trove, a fine blend of memory and technology: on the one hand, the excellence of production technologies now extended with the added potential arising from the engineering of large-sized ceramic tiles, and on the other a wealth of experience build up with great designers of the past, from Zanuso to Noorda, through to Ettore Sottsass. Andrea and Simone decided to focus on Sottsass - who started designing for Cedit back in the late Seventies - and made an in-depth study of one of the colour charts he developed towards the end of the Nineties. A spread of colours which gave its name to the "41 Colors" collection, included in the catalogue of the period as a real alphabet for what has proved to be a lasting design language. Colour was much more than just a compulsory step in the dialogue between designer and producer, since Sottsass had already discovered the power of the mystery intrinsic to this universe of invention. With Cedit the master-designer, a long-established lover of ceramics and their crafted unpredictability, found a way of transferring his personal feeling for colour to a wide audience, through industrial mass production. And this assumption is another factor Formafantasma have inherited, interpreting it today with new, even more efficient technical resources just as capable of expressing the secrets of colour. «The concept of colour "in isolation" - Sottsass explained in a 1992 text - classified colour, Pantone, as they call it now, "scientific" colour, is something I still refuse to accept. (...) Colours, the idea of colour, are always intangible, they slip slowly away like words, that run through your fingers, like poetry, which you can never keep hold of, like a good story.» And Formafantasma seem to have chosen that distinction between colour "in isolation" and "intangible" yet ever-present colour as the basis of their work. However, their approach draws on their unique vocation for research and the technical resources of the third millennium. «This work - they explain to us - is a reflection on colour, and above all on how to bring the multiplicity of shades typical of a hand-crafted piece into a large-scale project.» The designers look at large, monochrome slabs and turn to the engineers for details of their secrets, their processing stages, the phases in their production. They appreciate that the colour of ceramic material, its ineffable secret, can still be present in the series and large tile sizes in which Cedit leads the way. They understand that this is, in itself, an expressive power which does not need channelling into forms, motifs and signs. But above all, they treat the surface as a large canvas on which they spread pure colour, which tends to be uniform but in fact is never really a "scientific", totally monochrome hue: it is not a Pantone. And this is the source of the fundamental insight, which only children of the transition from the analogue to the digital era could achieve, the reward for those who draw on the past to look to the future. The designers cut the slab into lots of regular pieces, not necessarily of the same size. They restore its identity as a "tile", a familiar name with something ancient about it, but which stands for a module, a unit of measurement, a building block. There is nothing nostalgic about this - on the contrary, the vision is completely new, and the portions of slab created can be reassembled with no restrictions, breaking down the unity of the whole and reviving its essence starting from its structure. As the cards in the pack are shuffled, what emerges is not a figure or motif but the representation of colour itself and its physical nature. It is live matter, born from the meeting of vibrating forces, the mixing of ever-varying percentages of the basic ingredients. And Formafantasma present us with the corpuscular, fragmented essence of these small frames of space and crystallised time, which reveal the code and formula of their composition. So Cromatica is a collection made up of six colours which actually have an infinite number of declinations and compositional possibilities. It is a "discrete" combination in the mathematical sense of the term, capable of generating multiple, variable subsets. At the same time, each slab can be used in its entirety, leaving the impression of analogue continuity unchanged. But what really amazes is the comparison and dialogue between the two approaches: a stroke of genius, laying clear the mysterious appeal the artificial reproduction of colour has always held for mankind. Because, as Sottsass said, «colours are language, a powerful, magical, intangible, flexible, continuous material, in which existence is made manifest, the existence that lives in time and space».

Earthtech CARBON_FLAKES

florim > Wall tile-stone-brick

From an ancient past to a responsible future The collection injects new life into the earth through a sustainable production process, with a strong focus on green management, to offer the architect an exceptional technical and aesthetic performance in compliance with the socio-environmental context and the latest eco-friendly building needs. With EARTHTECH earth becomes “technical earth” with a highly innovative content, offering new solutions to green architecture and fulfilling the new frontiers of circular economy in construction, guaranteeing a sustainable future. EARTHTECH offers a choice of organic textures to observe and touch, thanks to the wide range of finishes (Comfort, Glossy-Bright and structured) which add a tactile and unexpected perceptive dimension for use in all types of application. <a class="btn arrow" href="https://www.florim.com/en/surfaces/the-new-comfort-surface/"> Discover the new Comfort surface </a> EARTHTECH/ is also a return to the origins of the Florim brand through a full body technical product that blends surface and thickness and derives from the spontaneous mixing of carefully pre-selected fragments and pigments of different shades which give the material a unique, one-of-a-kind visual effect in each slab, mimicking the amazing variety of colours and elements in nature. The result is a composite product with a textured design, in which the flakes and aggregate grains create an original mélange effect that is vitrified during firing, producing a robust, high-quality and exceptionally strong and wear-resistant product; one which can be used in any type of building setting and weather conditions, even the harshest.