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Byron Suspension

castrolighting > Ceiling lamp

Allow yourself to unfold the sophisticated aesthetic of lighting creation that this unique accessory will bring to your interior. The Byron Suspension is an absolutely stunning statement piece capable to elevate any space, residential or hospitality. Crafted by the hands of the most qualified professionals, this design is constituted by short gold-plated brass tubes embellished with engraved glass, creating a piece of artwork, unlike anything you have seen before. Inspired by the influential British romantic poet, the Byron Suspension is a beautiful lighting element to adorn the most demanding space so one can enjoy a moment with a book along with a drink of choice or a celebration with guests who will certainly notice the elegance of this masterpiece. Byron spent a significant portion of his life traveling and exploring the wonders of the world, which was reflected in his poetry and personality, capturing Europe's imagination. Ignited by this, the strong character of this decorative lighting element will not let it go unnoticed. This luxurious chandelier transports us back to the XVIII century, unveiling a rich historical context. Unified with a modern accent, it perfectly balances past and present. In parallel with having a very versatile character, this luxury lighting design can fit harmoniously in any space and complement your current decoration. #modernmastersuite

Chimera Ritmo Beige

florim > Wallcovering

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

BIANCA LARGE

fontanaarte > Floor lamp

Bianca is a family of luminaires with the decoration on the diffuser surface features an orderly series of shallow delicate grooves etched into the white glass, yielding an effect resembling small footprints on fresh snow. Mouth blown, belt sanded and dipped in acid to obtain the distinctive 'silk effect' typical of fine glassware, Bianca diffusers are available in three different diameters to complete all thirteen types of luminaires belonging to the family. The largest diffuser has a 50 cm diameter and, owing to its dimensions and the amount of glass involved, continues to pose a considerable challenge even for the ablest of glassbbottoms trained in the fixed-mould blowing technique, which – according to the traditional Venetian production process – is performed without any external aids for turning and shaping the glass blob inside the mould, but relies solely on the glassbbottom's skill and lung capacity. Bianca is available in the following versions: table-top without stem, floor-standing with base and stem, pendant, wall-mounted and ceiling-mounted. The matt white coating applied to the various metal supports evokes the name and colour of the diffuser. Bianca produces a very warm, diffused and enveloping light emission in the surrounding environment.

BIANCA SMALL

fontanaarte > Wall lamp

Bianca is a family of luminaires with the decoration on the diffuser surface features an orderly series of shallow delicate grooves etched into the white glass, yielding an effect resembling small footprints on fresh snow. Mouth blown, belt sanded and dipped in acid to obtain the distinctive 'silk effect' typical of fine glassware, Bianca diffusers are available in three different diameters to complete all thirteen types of luminaires belonging to the family. The largest diffuser has a 50 cm diameter and, owing to its dimensions and the amount of glass involved, continues to pose a considerable challenge even for the ablest of glassbbottoms trained in the fixed-mould blowing technique, which – according to the traditional Venetian production process – is performed without any external aids for turning and shaping the glass blob inside the mould, but relies solely on the glassbbottom's skill and lung capacity. Bianca is available in the following versions: table-top without stem, floor-standing with base and stem, pendant, wall-mounted and ceiling-mounted. The matt white coating applied to the various metal supports evokes the name and colour of the diffuser. Bianca produces a very warm, diffused and enveloping light emission in the surrounding environment.

Marvin

minotti > Table

With its bold, sculptural-shaped base, which draws a series of quarter circles, illuminated by the glints of the metal, and interspersed with a black insert, the Marvin table makes an impressive impact and is characterised by great versatility. It is part of a wide variety of dining tables with a clearly architectural inspiration, featuring bases in satin finish stainless steel or in Pewter-coloured varnished metal. The design is enriched by the precious materials chosen for the top: Bianconero marble, with an interplay of nuances that imposes a strong, ultra-modern feel, and Marron Damasco marble. Alternatively, it comes with the top in striped brushed solid ash, sporting a Black open-pore lacquered finish. Designed by Rodolfo Dordoni, it is available with the round top in three different diameters (160, 180 and 200 cm) and a top in the shape of an elegant rectangle, with softer lines and rounded corners, in three sizes. The design is conceived to be customised with tailor-made solutions, thanks to the combination and interpretation of the design of the bases, depending on the shape and size of the top, up to very important proposals. Marvin covers a variety of different design areas, also entering Hospitality environments as the true protagonist of the most sophisticated meeting rooms.

BIANCA SMALL

fontanaarte > Wall lamp

Bianca is a family of luminaires with the decoration on the diffuser surface features an orderly series of shallow delicate grooves etched into the white glass, yielding an effect resembling small footprints on fresh snow. Mouth blown, belt sanded and dipped in acid to obtain the distinctive 'silk effect' typical of fine glassware, Bianca diffusers are available in three different diameters to complete all thirteen types of luminaires belonging to the family. The largest diffuser has a 50 cm diameter and, owing to its dimensions and the amount of glass involved, continues to pose a considerable challenge even for the ablest of glassbbottoms trained in the fixed-mould blowing technique, which – according to the traditional Venetian production process – is performed without any external aids for turning and shaping the glass blob inside the mould, but relies solely on the glassbbottom's skill and lung capacity. Bianca is available in the following versions: table-top without stem, floor-standing with base and stem, pendant, wall-mounted and ceiling-mounted. The matt white coating applied to the various metal supports evokes the name and colour of the diffuser. Bianca produces a very warm, diffused and enveloping light emission in the surrounding environment.

Chimera Radici Grigio

florim > Wallcovering

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

Chimera Radici Beige

florim > Wallcovering

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

Fris

marset > Wall lamp

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

Elegant fibres Pillowcases

auping > Accessories

The Elegant fibres pillowcases are made of 100% cotton satin. The print contains a line pattern, making it look like textile threads lying next to each other like in a weave. The back of the pillowcases are fresh yellow, adding an extra sunny feel to your bedroom. Pillowcase with double hotel closure The Auping pillowcases from the seasonal collection have what is known as a double hotel closure. A hotel closure is a folded opening on the shortest side of the pillowcase. With a double hotel closure, it doesn't matter which side of your pillow you use, it always looks neat. Sizes of our pillowcases The pillowcases from the basic collection and seasonal collection are also available as a loose set in sizes: 60 x 70 cm 40 x 60 cm Sustainability At Auping, we dream of a rested world. Of sleeping under wonderful bedding made in an environmentally friendly way and under good working conditions. That's why all our duvet covers in the basic collection have the internationally recognised GOTS certificate. This is the very highest international standard for organic textiles. It not only guarantees top quality but also gives us the assurance that the entire chain complies with strict social and environmental requirements. The covers in the seasonal collection carry the BCI label, which also guarantees sustainably and socially responsible produced bed textiles. Quality labels Not only sustainability but also the quality of our products is very important to us. We pay a lot of attention to this and work with the following quality marks and institutes to guarantee our quality. All Auping duvet covers are checked annually by TÜV Rheinland Netherlands for size, shrinkage, colour fastness and strength properties. All Auping duvet covers have the Oeko-Tex Standard 100 certificate. This quality mark is issued by the Oeko-Tex institute which guarantees that the tested and certified textiles are free of harmful substances in relation to human health and environmental impact. It is thus a safety seal for textiles.

BIANCA SMALL

fontanaarte > Table lamp

Bianca is a family of luminaires with the decoration on the diffuser surface features an orderly series of shallow delicate grooves etched into the white glass, yielding an effect resembling small footprints on fresh snow. Mouth blown, belt sanded and dipped in acid to obtain the distinctive 'silk effect' typical of fine glassware, Bianca diffusers are available in three different diameters to complete all thirteen types of luminaires belonging to the family. The largest diffuser has a 50 cm diameter and, owing to its dimensions and the amount of glass involved, continues to pose a considerable challenge even for the ablest of glassbbottoms trained in the fixed-mould blowing technique, which – according to the traditional Venetian production process – is performed without any external aids for turning and shaping the glass blob inside the mould, but relies solely on the glassbbottom's skill and lung capacity. Bianca is available in the following versions: table-top without stem, floor-standing with base and stem, pendant, wall-mounted and ceiling-mounted. The matt white coating applied to the various metal supports evokes the name and colour of the diffuser. Bianca produces a very warm, diffused and enveloping light emission in the surrounding environment.

BIANCA MEDIUM

fontanaarte > Wall lamp

Bianca is a family of luminaires with the decoration on the diffuser surface features an orderly series of shallow delicate grooves etched into the white glass, yielding an effect resembling small footprints on fresh snow. Mouth blown, belt sanded and dipped in acid to obtain the distinctive 'silk effect' typical of fine glassware, Bianca diffusers are available in three different diameters to complete all thirteen types of luminaires belonging to the family. The largest diffuser has a 50 cm diameter and, owing to its dimensions and the amount of glass involved, continues to pose a considerable challenge even for the ablest of glassbbottoms trained in the fixed-mould blowing technique, which – according to the traditional Venetian production process – is performed without any external aids for turning and shaping the glass blob inside the mould, but relies solely on the glassbbottom's skill and lung capacity. Bianca is available in the following versions: table-top without stem, floor-standing with base and stem, pendant, wall-mounted and ceiling-mounted. The matt white coating applied to the various metal supports evokes the name and colour of the diffuser. Bianca produces a very warm, diffused and enveloping light emission in the surrounding environment.

Policroma Cipria

florim > Wall Paint

Recurring geometries, combinations of figures. Marble and marmorino plaster: comparison and dialogue. The collection is completed by a linear listello tile with the motif of a sequence of vertical rectangular blocks, which can be combined with the slabs to further enrich compositions involving continuous ceramic surfaces cladding. "Another reference is the use of Italian marbles on the verge of extinction, rare marbles such as Rosa Valtoce, the marble used in Milan Cathedral." Cristina Celestino Cristina Celestino's smartphone contains a folder of images entitled "Milan". Photographs that are more like notes. Photographs of architectural features, materials or details of shapes encountered by chance during a walk, but they cannot be described as merely a vague "source of inspiration". This filing system, created in response to a fleeting instinct, is an integral part of the method of work adopted by the architect and designer, who starts off without preconceptions "“ or "free", as she puts it before drawing inputs from a vast world of references, from Hermès scarves to the works of the great Masters (in the specific case of Policroma). This accumulation, partly spontaneous and party the outcome of in-depth historical knowledge and study, naturally activates a process of synthesis and personal interpretation common to all Cristina Celestino's output. The wall covering collection designed for Cedit was no exception, although in this case the designer was dealing with a project with variable dimensions, reaching up even to the architectural scale. In her own distinctive way, she combined a variety of references. Adolf Loos's passion for coloured types of marble, and Cipollino in particular. Carlo Scarpa's angular metal frames and Marmorino plaster in Venice. The French fashion house's square silk scarves. The entrance halls of Milan palazzos, Gio Ponti, the city's Cathedral. All expressed in the designer's own language: well balanced geometrical forms, subtle colours (shades similar to those of Scarpa himself), an effortless, almost restrained, playful elegance. The mood is that of the homes of the enlightened bourgeoisie who shaped the history of Milan, Celestino's adoptive city and an endless source of inputs. She has worked its interiors, including some of the least expected a 1928 tram, the historic Cucchi confectionery store hybridising her own style with the existing context. An imitative effect which is also the key to the meaning of the new Policroma collection: the marble varieties replicated using the Cedit technology are all from Italian quarries that are virtually "worked out". This revives an increasingly rare material as a "living" presence, in a different form which makes no claim to replace the natural original. Quite the contrary, Celestino immediately states her intention to imitate, by combining marble and Marmorino plaster in some variants with a contrasting frame (a typical feature for her, just as it was for Scarpa), and evoking the centuries-old marble-imitating scagliola plasterwork with a contemporary formula. The types of marble chosen are central to the project's character. Verde Alpi, a favourite with Gio Ponti and often found in Milan entrance halls, features tightly packed patterning. Breccia Capraia, still found in a very few places in Tuscany, has a white background with just a few veins. Cipollino, in the special Ondulato variety in green and red, is patterned with spirals. Rosa Valtoce, on the other hand, was used by the "Veneranda Fabbrica" guild to build Milan Cathedral. It is an iconic stone with dramatic stripes, popular in the past; it is now sourced from one very small quarry in Piedmont which has been virtually abandoned. The many different elements that make up the Policroma collection all reflect the importance of craftsmanship to Cristina Celestino's design style: the modules can be freely mixed and combined, for example to create a concave or convex semicircle, or for the large-scale replication of small features initially conceived as trims, functional details transformed into a dominant motif.There is a return to the theme of the interior, a large or small protected space, conceived as suspended in space and time yet also reassuring and protective. It is designed through its coverings in a stark yet not minimalist way, with intelligence and with no overreaching artistic ambitions. An understated space and an extremely stylish declaration. In Milan style, of course.

BIANCA SMALL

fontanaarte > Wall lamp

Bianca is a family of luminaires with the decoration on the diffuser surface features an orderly series of shallow delicate grooves etched into the white glass, yielding an effect resembling small footprints on fresh snow. Mouth blown, belt sanded and dipped in acid to obtain the distinctive 'silk effect' typical of fine glassware, Bianca diffusers are available in three different diameters to complete all thirteen types of luminaires belonging to the family. The largest diffuser has a 50 cm diameter and, owing to its dimensions and the amount of glass involved, continues to pose a considerable challenge even for the ablest of glassbbottoms trained in the fixed-mould blowing technique, which – according to the traditional Venetian production process – is performed without any external aids for turning and shaping the glass blob inside the mould, but relies solely on the glassbbottom's skill and lung capacity. Bianca is available in the following versions: table-top without stem, floor-standing with base and stem, pendant, wall-mounted and ceiling-mounted. The matt white coating applied to the various metal supports evokes the name and colour of the diffuser. Bianca produces a very warm, diffused and enveloping light emission in the surrounding environment.

BIANCA LARGE

fontanaarte > Table lamp

Bianca is a family of luminaires with the decoration on the diffuser surface features an orderly series of shallow delicate grooves etched into the white glass, yielding an effect resembling small footprints on fresh snow. Mouth blown, belt sanded and dipped in acid to obtain the distinctive 'silk effect' typical of fine glassware, Bianca diffusers are available in three different diameters to complete all thirteen types of luminaires belonging to the family. The largest diffuser has a 50 cm diameter and, owing to its dimensions and the amount of glass involved, continues to pose a considerable challenge even for the ablest of glassbbottoms trained in the fixed-mould blowing technique, which – according to the traditional Venetian production process – is performed without any external aids for turning and shaping the glass blob inside the mould, but relies solely on the glassbbottom's skill and lung capacity. Bianca is available in the following versions: table-top without stem, floor-standing with base and stem, pendant, wall-mounted and ceiling-mounted. The matt white coating applied to the various metal supports evokes the name and colour of the diffuser. Bianca produces a very warm, diffused and enveloping light emission in the surrounding environment.

Bright bliss Duvet Cover

auping > Accessories

The playful stripes in bright colours give a tropical touch to this cover made from 100% satin cotton. The yellow brings to mind the beach, while the blue is inspired by the sea. Bright bliss brings the summer straight into your bedroom! The back of the cover and the pillowcases are solid blue.Combines... Handy: tuck-in strip, hotel closure and button down systemAll Auping duvet covers have an extra long tuck-in strip. This makes it easy to tuck the duvet cover in under your mattress. Cold feet are a thing of the past. You can recognise the extra long tuck-in strip by the length: 200/220The Auping pillowcases of the seasonal collection have a so-called double hotel closure. A hotel closure is a folded opening on the shortest side of the pillowcase. With a double hotel closure, it doesn't matter which side of your pillow you use, it always looks neat.Auping duvet covers and duvets feature the button down system. These are handy buttons and loops that you use to fasten the duvet and cover together, preventing it from shifting. The term button down comes from fashion. It literally means 'buttoned down' and often refers to the buttons on the collar of a shirt that you use to neatly fasten the collar to the shirt. Auping duvet covers have loops on the inside of the cover. Our duvets have buttons in the same places. The loops from the duvet cover can be put around these buttons to prevent the duvet from sliding around in the cover. These buttons and loops also make it easier to make your bed neatly. Sizes of our duvet coversThe sizes of our duvet covers are coordinated with the Auping duvet and pillow range to ensure a perfect match. In addition, the duvet covers and pillowcases are also suitable for most common other duvets and pillows.The Auping duvet covers are available in both single and double sizes:- 140 x 200/220 cm incl. 1 60 x 70 cm pillowcase.- 200 x 200/220 cm incl. 2 pillowcases of 60 x 70 cm.- 240 x 200/220 cm incl. 2 pillowcases of 60 x 70 cm.- 260 x 200/220 cm incl. 2 pillowcases of 60 x 70 cm.Sustainability At Auping, we dream of a rested world. Of sleeping under wonderful bedding made in an environmentally friendly way and under good working conditions. That's why all our duvet covers in the basic collection have the internationally recognised GOTS certificate. This is the very highest international standard for organic textiles. It not only guarantees top quality but also gives us the assurance that the entire chain complies with strict social and environmental requirements. The covers in the seasonal collection carry the BCI label, which also guarantees sustainably and socially responsible bed textile production.Quality labelsNot only sustainability but also the quality of our products is very important to us. We pay a lot of attention to this and work with the following quality marks and institutes to guarantee our quality. All Auping duvet covers are checked annually by TÜV Rheinland Netherlands for size, shrinkage, colour fastness and strength properties.All Auping duvet covers have the Oeko-Tex Standard 100 certificate. This quality mark is issued by the Oeko-Tex institute which guarantees that the tested and certified textiles are free of harmful substances in relation to human health and environmental impact. It is thus a safety seal for textiles.

Vibrant apricot Pillowcases

auping > Accessories

The Vibrant apricot pillowcases are made of 100% cotton satin. These pillowcases feature playful stripes in apricot, the trending colour of today. The background features a light beige print, which almost seems woven. The back of the pillowcases are plain orange. Pillowcase with double hotel closureThe Auping pillowcases from the seasonal collection have what is known as a double hotel closure. A hotel closure is a folded opening on the shortest side of the pillowcase. With a double hotel closure, it doesn't matter which side of your pillow you use, it always looks neat. Sizes of our pillowcasesThe pillowcases from the basic collection and seasonal collection are also available as a loose set in sizes:60 x 70 cm40 x 60 cmSustainability At Auping, we dream of a rested world. Of sleeping under wonderful bedding made in an environmentally friendly way and under good working conditions. That's why all our duvet covers in the basic collection have the internationally recognised GOTS certificate. This is the very highest international standard for organic textiles. It not only guarantees top quality but also gives us the assurance that the entire chain complies with strict social and environmental requirements. The covers in the seasonal collection carry the BCI label, which also guarantees sustainably and socially responsible produced bed textiles. Quality labelsNot only sustainability but also the quality of our products is very important to us. We pay a lot of attention to this and work with the following quality marks and institutes to guarantee our quality. All Auping duvet covers are checked annually by TÜV Rheinland Netherlands for size, shrinkage, colour fastness and strength properties.All Auping duvet covers have the Oeko-Tex Standard 100 certificate. This quality mark is issued by the Oeko-Tex institute which guarantees that the tested and certified textiles are free of harmful substances in relation to human health and environmental impact. It is thus a safety seal for textiles.

BIANCA MEDIUM

fontanaarte > Wall lamp

Bianca is a family of luminaires with the decoration on the diffuser surface features an orderly series of shallow delicate grooves etched into the white glass, yielding an effect resembling small footprints on fresh snow. Mouth blown, belt sanded and dipped in acid to obtain the distinctive 'silk effect' typical of fine glassware, Bianca diffusers are available in three different diameters to complete all thirteen types of luminaires belonging to the family. The largest diffuser has a 50 cm diameter and, owing to its dimensions and the amount of glass involved, continues to pose a considerable challenge even for the ablest of glassbbottoms trained in the fixed-mould blowing technique, which – according to the traditional Venetian production process – is performed without any external aids for turning and shaping the glass blob inside the mould, but relies solely on the glassbbottom's skill and lung capacity. Bianca is available in the following versions: table-top without stem, floor-standing with base and stem, pendant, wall-mounted and ceiling-mounted. The matt white coating applied to the various metal supports evokes the name and colour of the diffuser. Bianca produces a very warm, diffused and enveloping light emission in the surrounding environment.

Dazzling dreams Duvet Cover

auping > Accessories

Dazzling dreams is a cover made from sustainable cotton satin that is perfect for dreaming away the night in comfort. Graphic shapes in delicate purple and shades of taupe make this cover utterly contemporary. The print continues on the back of the cover and pillowcases. This cover looks fabulous on... Handy: tuck-in strip, hotel closure and button down systemAll Auping duvet covers have an extra long tuck-in strip. This makes it easy to tuck the duvet cover in under your mattress. Cold feet are a thing of the past. You can recognise the extra long tuck-in strip by the length: 200/220The Auping pillowcases of the seasonal collection have a so-called double hotel closure. A hotel closure is a folded opening on the shortest side of the pillowcase. With a double hotel closure, it doesn't matter which side of your pillow you use, it always looks neat.Auping duvet covers and duvets feature the button down system. These are handy buttons and loops that you use to fasten the duvet and cover together, preventing it from shifting. The term button down comes from fashion. It literally means 'buttoned down' and often refers to the buttons on the collar of a shirt that you use to neatly fasten the collar to the shirt. Auping duvet covers have loops on the inside of the cover. Our duvets have buttons in the same places. The loops from the duvet cover can be put around these buttons to prevent the duvet from sliding around in the cover. These buttons and loops also make it easier to make your bed neatly. Sizes of our duvet coversThe sizes of our duvet covers are coordinated with the Auping duvet and pillow range to ensure a perfect match. In addition, the duvet covers and pillowcases are also suitable for most common other duvets and pillows.The Auping duvet covers are available in both single and double sizes:- 140 x 200/220 cm incl. 1 60 x 70 cm pillowcase.- 200 x 200/220 cm incl. 2 pillowcases of 60 x 70 cm.- 240 x 200/220 cm incl. 2 pillowcases of 60 x 70 cm.- 260 x 200/220 cm incl. 2 pillowcases of 60 x 70 cm.Sustainability At Auping, we dream of a rested world. Of sleeping under wonderful bedding made in an environmentally friendly way and under good working conditions. That's why all our duvet covers in the basic collection have the internationally recognised GOTS certificate. This is the very highest international standard for organic textiles. It not only guarantees top quality but also gives us the assurance that the entire chain complies with strict social and environmental requirements. The covers in the seasonal collection carry the BCI label, which also guarantees sustainably and socially responsible bed textile production. Quality labelsNot only sustainability but also the quality of our products is very important to us. We pay a lot of attention to this and work with the following quality marks and institutes to guarantee our quality. All Auping duvet covers are checked annually by TÜV Rheinland Netherlands for size, shrinkage, colour fastness and strength properties.All Auping duvet covers have the Oeko-Tex Standard 100 certificate. This quality mark is issued by the Oeko-Tex institute which guarantees that the tested and certified textiles are free of harmful substances in relation to human health and environmental impact. It is thus a safety seal for textiles.

BIANCA SMALL

fontanaarte > Ceiling lamp

Bianca is a family of luminaires with the decoration on the diffuser surface features an orderly series of shallow delicate grooves etched into the white glass, yielding an effect resembling small footprints on fresh snow. Mouth blown, belt sanded and dipped in acid to obtain the distinctive 'silk effect' typical of fine glassware, Bianca diffusers are available in three different diameters to complete all thirteen types of luminaires belonging to the family. The largest diffuser has a 50 cm diameter and, owing to its dimensions and the amount of glass involved, continues to pose a considerable challenge even for the ablest of glassbbottoms trained in the fixed-mould blowing technique, which – according to the traditional Venetian production process – is performed without any external aids for turning and shaping the glass blob inside the mould, but relies solely on the glassbbottom's skill and lung capacity. Bianca is available in the following versions: table-top without stem, floor-standing with base and stem, pendant, wall-mounted and ceiling-mounted. The matt white coating applied to the various metal supports evokes the name and colour of the diffuser. Bianca produces a very warm, diffused and enveloping light emission in the surrounding environment.

BIANCA LARGE

fontanaarte > Wall lamp

Bianca is a family of luminaires with the decoration on the diffuser surface features an orderly series of shallow delicate grooves etched into the white glass, yielding an effect resembling small footprints on fresh snow. Mouth blown, belt sanded and dipped in acid to obtain the distinctive 'silk effect' typical of fine glassware, Bianca diffusers are available in three different diameters to complete all thirteen types of luminaires belonging to the family. The largest diffuser has a 50 cm diameter and, owing to its dimensions and the amount of glass involved, continues to pose a considerable challenge even for the ablest of glassbbottoms trained in the fixed-mould blowing technique, which – according to the traditional Venetian production process – is performed without any external aids for turning and shaping the glass blob inside the mould, but relies solely on the glassbbottom's skill and lung capacity. Bianca is available in the following versions: table-top without stem, floor-standing with base and stem, pendant, wall-mounted and ceiling-mounted. The matt white coating applied to the various metal supports evokes the name and colour of the diffuser. Bianca produces a very warm, diffused and enveloping light emission in the surrounding environment.

Chimera Ritmo Azzurro

florim > Wallcovering

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

Policroma Valtoce

florim > Wall tile-stone-brick

Recurring geometries, combinations of figures. Marble and marmorino plaster: comparison and dialogue. The collection is completed by a linear listello tile with the motif of a sequence of vertical rectangular blocks, which can be combined with the slabs to further enrich compositions involving continuous ceramic surfaces cladding. "Another reference is the use of Italian marbles on the verge of extinction, rare marbles such as Rosa Valtoce, the marble used in Milan Cathedral." Cristina Celestino Cristina Celestino's smartphone contains a folder of images entitled "Milan". Photographs that are more like notes. Photographs of architectural features, materials or details of shapes encountered by chance during a walk, but they cannot be described as merely a vague "source of inspiration". This filing system, created in response to a fleeting instinct, is an integral part of the method of work adopted by the architect and designer, who starts off without preconceptions "“ or "free", as she puts it before drawing inputs from a vast world of references, from Hermès scarves to the works of the great Masters (in the specific case of Policroma). This accumulation, partly spontaneous and party the outcome of in-depth historical knowledge and study, naturally activates a process of synthesis and personal interpretation common to all Cristina Celestino's output. The wall covering collection designed for Cedit was no exception, although in this case the designer was dealing with a project with variable dimensions, reaching up even to the architectural scale. In her own distinctive way, she combined a variety of references. Adolf Loos's passion for coloured types of marble, and Cipollino in particular. Carlo Scarpa's angular metal frames and Marmorino plaster in Venice. The French fashion house's square silk scarves. The entrance halls of Milan palazzos, Gio Ponti, the city's Cathedral. All expressed in the designer's own language: well balanced geometrical forms, subtle colours (shades similar to those of Scarpa himself), an effortless, almost restrained, playful elegance. The mood is that of the homes of the enlightened bourgeoisie who shaped the history of Milan, Celestino's adoptive city and an endless source of inputs. She has worked its interiors, including some of the least expected a 1928 tram, the historic Cucchi confectionery store hybridising her own style with the existing context. An imitative effect which is also the key to the meaning of the new Policroma collection: the marble varieties replicated using the Cedit technology are all from Italian quarries that are virtually "worked out". This revives an increasingly rare material as a "living" presence, in a different form which makes no claim to replace the natural original. Quite the contrary, Celestino immediately states her intention to imitate, by combining marble and Marmorino plaster in some variants with a contrasting frame (a typical feature for her, just as it was for Scarpa), and evoking the centuries-old marble-imitating scagliola plasterwork with a contemporary formula. The types of marble chosen are central to the project's character. Verde Alpi, a favourite with Gio Ponti and often found in Milan entrance halls, features tightly packed patterning. Breccia Capraia, still found in a very few places in Tuscany, has a white background with just a few veins. Cipollino, in the special Ondulato variety in green and red, is patterned with spirals. Rosa Valtoce, on the other hand, was used by the "Veneranda Fabbrica" guild to build Milan Cathedral. It is an iconic stone with dramatic stripes, popular in the past; it is now sourced from one very small quarry in Piedmont which has been virtually abandoned. The many different elements that make up the Policroma collection all reflect the importance of craftsmanship to Cristina Celestino's design style: the modules can be freely mixed and combined, for example to create a concave or convex semicircle, or for the large-scale replication of small features initially conceived as trims, functional details transformed into a dominant motif.There is a return to the theme of the interior, a large or small protected space, conceived as suspended in space and time yet also reassuring and protective. It is designed through its coverings in a stark yet not minimalist way, with intelligence and with no overreaching artistic ambitions. An understated space and an extremely stylish declaration. In Milan style, of course.

Chimera Empatia Nero

florim > Wall tile-stone-brick

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

Policroma Breccia

florim > Wall tile-stone-brick

Recurring geometries, combinations of figures. Marble and marmorino plaster: comparison and dialogue. The collection is completed by a linear listello tile with the motif of a sequence of vertical rectangular blocks, which can be combined with the slabs to further enrich compositions involving continuous ceramic surfaces cladding. "Another reference is the use of Italian marbles on the verge of extinction, rare marbles such as Rosa Valtoce, the marble used in Milan Cathedral." Cristina Celestino Cristina Celestino's smartphone contains a folder of images entitled "Milan". Photographs that are more like notes. Photographs of architectural features, materials or details of shapes encountered by chance during a walk, but they cannot be described as merely a vague "source of inspiration". This filing system, created in response to a fleeting instinct, is an integral part of the method of work adopted by the architect and designer, who starts off without preconceptions "“ or "free", as she puts it before drawing inputs from a vast world of references, from Hermès scarves to the works of the great Masters (in the specific case of Policroma). This accumulation, partly spontaneous and party the outcome of in-depth historical knowledge and study, naturally activates a process of synthesis and personal interpretation common to all Cristina Celestino's output. The wall covering collection designed for Cedit was no exception, although in this case the designer was dealing with a project with variable dimensions, reaching up even to the architectural scale. In her own distinctive way, she combined a variety of references. Adolf Loos's passion for coloured types of marble, and Cipollino in particular. Carlo Scarpa's angular metal frames and Marmorino plaster in Venice. The French fashion house's square silk scarves. The entrance halls of Milan palazzos, Gio Ponti, the city's Cathedral. All expressed in the designer's own language: well balanced geometrical forms, subtle colours (shades similar to those of Scarpa himself), an effortless, almost restrained, playful elegance. The mood is that of the homes of the enlightened bourgeoisie who shaped the history of Milan, Celestino's adoptive city and an endless source of inputs. She has worked its interiors, including some of the least expected a 1928 tram, the historic Cucchi confectionery store hybridising her own style with the existing context. An imitative effect which is also the key to the meaning of the new Policroma collection: the marble varieties replicated using the Cedit technology are all from Italian quarries that are virtually "worked out". This revives an increasingly rare material as a "living" presence, in a different form which makes no claim to replace the natural original. Quite the contrary, Celestino immediately states her intention to imitate, by combining marble and Marmorino plaster in some variants with a contrasting frame (a typical feature for her, just as it was for Scarpa), and evoking the centuries-old marble-imitating scagliola plasterwork with a contemporary formula. The types of marble chosen are central to the project's character. Verde Alpi, a favourite with Gio Ponti and often found in Milan entrance halls, features tightly packed patterning. Breccia Capraia, still found in a very few places in Tuscany, has a white background with just a few veins. Cipollino, in the special Ondulato variety in green and red, is patterned with spirals. Rosa Valtoce, on the other hand, was used by the "Veneranda Fabbrica" guild to build Milan Cathedral. It is an iconic stone with dramatic stripes, popular in the past; it is now sourced from one very small quarry in Piedmont which has been virtually abandoned. The many different elements that make up the Policroma collection all reflect the importance of craftsmanship to Cristina Celestino's design style: the modules can be freely mixed and combined, for example to create a concave or convex semicircle, or for the large-scale replication of small features initially conceived as trims, functional details transformed into a dominant motif.There is a return to the theme of the interior, a large or small protected space, conceived as suspended in space and time yet also reassuring and protective. It is designed through its coverings in a stark yet not minimalist way, with intelligence and with no overreaching artistic ambitions. An understated space and an extremely stylish declaration. In Milan style, of course.

Fris

marset > Ceiling lamp

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

BIANCA LARGE

fontanaarte > Wall lamp

Bianca is a family of luminaires with the decoration on the diffuser surface features an orderly series of shallow delicate grooves etched into the white glass, yielding an effect resembling small footprints on fresh snow. Mouth blown, belt sanded and dipped in acid to obtain the distinctive 'silk effect' typical of fine glassware, Bianca diffusers are available in three different diameters to complete all thirteen types of luminaires belonging to the family. The largest diffuser has a 50 cm diameter and, owing to its dimensions and the amount of glass involved, continues to pose a considerable challenge even for the ablest of glassbbottoms trained in the fixed-mould blowing technique, which – according to the traditional Venetian production process – is performed without any external aids for turning and shaping the glass blob inside the mould, but relies solely on the glassbbottom's skill and lung capacity. Bianca is available in the following versions: table-top without stem, floor-standing with base and stem, pendant, wall-mounted and ceiling-mounted. The matt white coating applied to the various metal supports evokes the name and colour of the diffuser. Bianca produces a very warm, diffused and enveloping light emission in the surrounding environment.

BIANCA MEDIUM

fontanaarte > Table lamp

Bianca is a family of luminaires with the decoration on the diffuser surface features an orderly series of shallow delicate grooves etched into the white glass, yielding an effect resembling small footprints on fresh snow. Mouth blown, belt sanded and dipped in acid to obtain the distinctive 'silk effect' typical of fine glassware, Bianca diffusers are available in three different diameters to complete all thirteen types of luminaires belonging to the family. The largest diffuser has a 50 cm diameter and, owing to its dimensions and the amount of glass involved, continues to pose a considerable challenge even for the ablest of glassbbottoms trained in the fixed-mould blowing technique, which – according to the traditional Venetian production process – is performed without any external aids for turning and shaping the glass blob inside the mould, but relies solely on the glassbbottom's skill and lung capacity. Bianca is available in the following versions: table-top without stem, floor-standing with base and stem, pendant, wall-mounted and ceiling-mounted. The matt white coating applied to the various metal supports evokes the name and colour of the diffuser. Bianca produces a very warm, diffused and enveloping light emission in the surrounding environment.

BIANCA LARGE

fontanaarte > Wall lamp

Bianca is a family of luminaires with the decoration on the diffuser surface features an orderly series of shallow delicate grooves etched into the white glass, yielding an effect resembling small footprints on fresh snow. Mouth blown, belt sanded and dipped in acid to obtain the distinctive 'silk effect' typical of fine glassware, Bianca diffusers are available in three different diameters to complete all thirteen types of luminaires belonging to the family. The largest diffuser has a 50 cm diameter and, owing to its dimensions and the amount of glass involved, continues to pose a considerable challenge even for the ablest of glassbbottoms trained in the fixed-mould blowing technique, which – according to the traditional Venetian production process – is performed without any external aids for turning and shaping the glass blob inside the mould, but relies solely on the glassbbottom's skill and lung capacity. Bianca is available in the following versions: table-top without stem, floor-standing with base and stem, pendant, wall-mounted and ceiling-mounted. The matt white coating applied to the various metal supports evokes the name and colour of the diffuser. Bianca produces a very warm, diffused and enveloping light emission in the surrounding environment.

Policroma Lichene

florim > Wall Paint

Recurring geometries, combinations of figures. Marble and marmorino plaster: comparison and dialogue. The collection is completed by a linear listello tile with the motif of a sequence of vertical rectangular blocks, which can be combined with the slabs to further enrich compositions involving continuous ceramic surfaces cladding. "Another reference is the use of Italian marbles on the verge of extinction, rare marbles such as Rosa Valtoce, the marble used in Milan Cathedral." Cristina Celestino Cristina Celestino's smartphone contains a folder of images entitled "Milan". Photographs that are more like notes. Photographs of architectural features, materials or details of shapes encountered by chance during a walk, but they cannot be described as merely a vague "source of inspiration". This filing system, created in response to a fleeting instinct, is an integral part of the method of work adopted by the architect and designer, who starts off without preconceptions "“ or "free", as she puts it before drawing inputs from a vast world of references, from Hermès scarves to the works of the great Masters (in the specific case of Policroma). This accumulation, partly spontaneous and party the outcome of in-depth historical knowledge and study, naturally activates a process of synthesis and personal interpretation common to all Cristina Celestino's output. The wall covering collection designed for Cedit was no exception, although in this case the designer was dealing with a project with variable dimensions, reaching up even to the architectural scale. In her own distinctive way, she combined a variety of references. Adolf Loos's passion for coloured types of marble, and Cipollino in particular. Carlo Scarpa's angular metal frames and Marmorino plaster in Venice. The French fashion house's square silk scarves. The entrance halls of Milan palazzos, Gio Ponti, the city's Cathedral. All expressed in the designer's own language: well balanced geometrical forms, subtle colours (shades similar to those of Scarpa himself), an effortless, almost restrained, playful elegance. The mood is that of the homes of the enlightened bourgeoisie who shaped the history of Milan, Celestino's adoptive city and an endless source of inputs. She has worked its interiors, including some of the least expected a 1928 tram, the historic Cucchi confectionery store hybridising her own style with the existing context. An imitative effect which is also the key to the meaning of the new Policroma collection: the marble varieties replicated using the Cedit technology are all from Italian quarries that are virtually "worked out". This revives an increasingly rare material as a "living" presence, in a different form which makes no claim to replace the natural original. Quite the contrary, Celestino immediately states her intention to imitate, by combining marble and Marmorino plaster in some variants with a contrasting frame (a typical feature for her, just as it was for Scarpa), and evoking the centuries-old marble-imitating scagliola plasterwork with a contemporary formula. The types of marble chosen are central to the project's character. Verde Alpi, a favourite with Gio Ponti and often found in Milan entrance halls, features tightly packed patterning. Breccia Capraia, still found in a very few places in Tuscany, has a white background with just a few veins. Cipollino, in the special Ondulato variety in green and red, is patterned with spirals. Rosa Valtoce, on the other hand, was used by the "Veneranda Fabbrica" guild to build Milan Cathedral. It is an iconic stone with dramatic stripes, popular in the past; it is now sourced from one very small quarry in Piedmont which has been virtually abandoned. The many different elements that make up the Policroma collection all reflect the importance of craftsmanship to Cristina Celestino's design style: the modules can be freely mixed and combined, for example to create a concave or convex semicircle, or for the large-scale replication of small features initially conceived as trims, functional details transformed into a dominant motif.There is a return to the theme of the interior, a large or small protected space, conceived as suspended in space and time yet also reassuring and protective. It is designed through its coverings in a stark yet not minimalist way, with intelligence and with no overreaching artistic ambitions. An understated space and an extremely stylish declaration. In Milan style, of course.

BIANCA MEDIUM

fontanaarte > Ceiling lamp

Bianca is a family of luminaires with the decoration on the diffuser surface features an orderly series of shallow delicate grooves etched into the white glass, yielding an effect resembling small footprints on fresh snow. Mouth blown, belt sanded and dipped in acid to obtain the distinctive 'silk effect' typical of fine glassware, Bianca diffusers are available in three different diameters to complete all thirteen types of luminaires belonging to the family. The largest diffuser has a 50 cm diameter and, owing to its dimensions and the amount of glass involved, continues to pose a considerable challenge even for the ablest of glassbbottoms trained in the fixed-mould blowing technique, which – according to the traditional Venetian production process – is performed without any external aids for turning and shaping the glass blob inside the mould, but relies solely on the glassbbottom's skill and lung capacity. Bianca is available in the following versions: table-top without stem, floor-standing with base and stem, pendant, wall-mounted and ceiling-mounted. The matt white coating applied to the various metal supports evokes the name and colour of the diffuser. Bianca produces a very warm, diffused and enveloping light emission in the surrounding environment.

Chimera Colore Bianco

florim > Wall Paint

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

Policroma Cipollino

florim > Wall tile-stone-brick

Recurring geometries, combinations of figures. Marble and marmorino plaster: comparison and dialogue. The collection is completed by a linear listello tile with the motif of a sequence of vertical rectangular blocks, which can be combined with the slabs to further enrich compositions involving continuous ceramic surfaces cladding. "Another reference is the use of Italian marbles on the verge of extinction, rare marbles such as Rosa Valtoce, the marble used in Milan Cathedral." Cristina Celestino Cristina Celestino's smartphone contains a folder of images entitled "Milan". Photographs that are more like notes. Photographs of architectural features, materials or details of shapes encountered by chance during a walk, but they cannot be described as merely a vague "source of inspiration". This filing system, created in response to a fleeting instinct, is an integral part of the method of work adopted by the architect and designer, who starts off without preconceptions "“ or "free", as she puts it before drawing inputs from a vast world of references, from Hermès scarves to the works of the great Masters (in the specific case of Policroma). This accumulation, partly spontaneous and party the outcome of in-depth historical knowledge and study, naturally activates a process of synthesis and personal interpretation common to all Cristina Celestino's output. The wall covering collection designed for Cedit was no exception, although in this case the designer was dealing with a project with variable dimensions, reaching up even to the architectural scale. In her own distinctive way, she combined a variety of references. Adolf Loos's passion for coloured types of marble, and Cipollino in particular. Carlo Scarpa's angular metal frames and Marmorino plaster in Venice. The French fashion house's square silk scarves. The entrance halls of Milan palazzos, Gio Ponti, the city's Cathedral. All expressed in the designer's own language: well balanced geometrical forms, subtle colours (shades similar to those of Scarpa himself), an effortless, almost restrained, playful elegance. The mood is that of the homes of the enlightened bourgeoisie who shaped the history of Milan, Celestino's adoptive city and an endless source of inputs. She has worked its interiors, including some of the least expected a 1928 tram, the historic Cucchi confectionery store hybridising her own style with the existing context. An imitative effect which is also the key to the meaning of the new Policroma collection: the marble varieties replicated using the Cedit technology are all from Italian quarries that are virtually "worked out". This revives an increasingly rare material as a "living" presence, in a different form which makes no claim to replace the natural original. Quite the contrary, Celestino immediately states her intention to imitate, by combining marble and Marmorino plaster in some variants with a contrasting frame (a typical feature for her, just as it was for Scarpa), and evoking the centuries-old marble-imitating scagliola plasterwork with a contemporary formula. The types of marble chosen are central to the project's character. Verde Alpi, a favourite with Gio Ponti and often found in Milan entrance halls, features tightly packed patterning. Breccia Capraia, still found in a very few places in Tuscany, has a white background with just a few veins. Cipollino, in the special Ondulato variety in green and red, is patterned with spirals. Rosa Valtoce, on the other hand, was used by the "Veneranda Fabbrica" guild to build Milan Cathedral. It is an iconic stone with dramatic stripes, popular in the past; it is now sourced from one very small quarry in Piedmont which has been virtually abandoned. The many different elements that make up the Policroma collection all reflect the importance of craftsmanship to Cristina Celestino's design style: the modules can be freely mixed and combined, for example to create a concave or convex semicircle, or for the large-scale replication of small features initially conceived as trims, functional details transformed into a dominant motif.There is a return to the theme of the interior, a large or small protected space, conceived as suspended in space and time yet also reassuring and protective. It is designed through its coverings in a stark yet not minimalist way, with intelligence and with no overreaching artistic ambitions. An understated space and an extremely stylish declaration. In Milan style, of course.

Chimera Colore Grigio

florim > Wall Paint

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

Byron Floor Lamp

castrolighting > Floor lamp

Allow yourself to unfold the sophisticated aesthetic of lighting creation that this unique accessory will bring to your interior. The Byron Floor Lamp is an absolutely stunning statement piece capable to elevate any space, residential or hospitality. Crafted by the hands of the most qualified professionals, this design is constituted by short gold-plated brass tubes embellished with engraved glass, creating a piece of artwork, unlike anything you have seen before. Inspired by the influential British romantic poet, this floor lamp is a beautiful lighting element to adorn the most demanding space so one can enjoy a moment with a book along with a drink of choice or a celebration with guests who will certainly notice the elegance of this masterpiece. Byron spent a significant portion of his life traveling and exploring the wonders of the world, which was reflected in his poetry and personality, capturing Europe's imagination. Ignited by this, the strong character of this decorative lighting element will not let it go unnoticed. This luxurious floor lamp transports us back to the XVIII century, unveiling a rich historical context. Unified with a modern accent, it perfectly balances past and present. In parallel with having a very versatile character, this luxury lighting design can fit harmoniously in any space and complement your current decoration. #seasideliving

Vibrant apricot Duvet Cover

auping > Accessories

This cotton satin cover features playful stripes in the on-trend colour of apricot. The background is a light beige print that almost looks woven. Both the back of the cover and the pillowcases are a solid orange colour. Want to give your bed an extra dose of style? Add a few pillowcases in Brilliant... Handy: tuck-in strip, hotel closure and button down systemAll Auping duvet covers have an extra long tuck-in strip. This makes it easy to tuck the duvet cover in under your mattress. Cold feet are a thing of the past. You can recognise the extra long tuck-in strip by the length: 200/220The Auping pillowcases of the seasonal collection have a so-called double hotel closure. A hotel closure is a folded opening on the shortest side of the pillowcase. With a double hotel closure, it doesn't matter which side of your pillow you use, it always looks neat.Auping duvet covers and duvets feature the button down system. These are handy buttons and loops that you use to fasten the duvet and cover together, preventing it from shifting. The term button down comes from fashion. It literally means 'buttoned down' and often refers to the buttons on the collar of a shirt that you use to neatly fasten the collar to the shirt. Auping duvet covers have loops on the inside of the cover. Our duvets have buttons in the same places. The loops from the duvet cover can be put around these buttons to prevent the duvet from sliding around in the cover. These buttons and loops also make it easier to make your bed neatly. Sizes of our duvet coversThe sizes of our duvet covers are coordinated with the Auping duvet and pillow range to ensure a perfect match. In addition, the duvet covers and pillowcases are also suitable for most common other duvets and pillows.The Auping duvet covers are available in both single and double sizes:- 140 x 200/220 cm incl. 1 60 x 70 cm pillowcase.- 200 x 200/220 cm incl. 2 pillowcases of 60 x 70 cm.- 240 x 200/220 cm incl. 2 pillowcases of 60 x 70 cm.- 260 x 200/220 cm incl. 2 pillowcases of 60 x 70 cm.Sustainability At Auping, we dream of a rested world. Of sleeping under wonderful bedding made in an environmentally friendly way and under good working conditions. That's why all our duvet covers in the basic collection have the internationally recognised GOTS certificate. This is the very highest international standard for organic textiles. It not only guarantees top quality but also gives us the assurance that the entire chain complies with strict social and environmental requirements. The covers in the seasonal collection carry the BCI label, which also guarantees sustainably and socially responsible bed textile production. Quality labelsNot only sustainability but also the quality of our products is very important to us. We pay a lot of attention to this and work with the following quality marks and institutes to guarantee our quality. All Auping duvet covers are checked annually by TÜV Rheinland Netherlands for size, shrinkage, colour fastness and strength properties.All Auping duvet covers have the Oeko-Tex Standard 100 certificate. This quality mark is issued by the Oeko-Tex institute which guarantees that the tested and certified textiles are free of harmful substances in relation to human health and environmental impact. It is thus a safety seal for textiles.

Powell

minotti > Sofa

Powell, or the quintessential modern-day sofa as Minotti sees it: welcoming, refined and informal. A seating system with fixed and sectional seats, designed to cater to a natural desire to relax. The fine balance of proportions, sartorial craftsmanship, every detail in Powell harks back to the style that has become Minotti’s identity. The aluminum base is a detail that cannot go unnoticed also because of its extra-glossy finish in an exclusive range of colors - Sand, Bronze, Granite and Pewter - thus offering out-of-the ordinary and sophisticated color combinations that match with the upholstery. The sofa appears to be slightly raised from the ground, almost suspended. Comfort is a must-have in every Minotti sofa. And in order to make Powell even more comfortable, a saddle hide head-rest has been provided, that can easily be placed near the arm and backrest and used to support the cushion, to offer the right support and maximum comfort. The head-rest is available in Mud, Chestnut, Tobacco and Black. The master craftsmanship is shown to perfection in the detailing such as the sofa profile that forms a teardrop in the corner with a 45° joint. The relaxed elegance of the Powell project is expressed in its simple styling and stands out in a meticulous craftsmanship with down feather padding both for the single seating cushion and for the backrest cushions, which makes for a very comfortable sofa. The precision of the profile that runs along the upper side of the sofa base and the sleek aluminum frame define its design and highlight its lightness.

BIANCA LARGE

fontanaarte > Ceiling lamp

Bianca is a family of luminaires with the decoration on the diffuser surface features an orderly series of shallow delicate grooves etched into the white glass, yielding an effect resembling small footprints on fresh snow. Mouth blown, belt sanded and dipped in acid to obtain the distinctive 'silk effect' typical of fine glassware, Bianca diffusers are available in three different diameters to complete all thirteen types of luminaires belonging to the family. The largest diffuser has a 50 cm diameter and, owing to its dimensions and the amount of glass involved, continues to pose a considerable challenge even for the ablest of glassbbottoms trained in the fixed-mould blowing technique, which – according to the traditional Venetian production process – is performed without any external aids for turning and shaping the glass blob inside the mould, but relies solely on the glassbbottom's skill and lung capacity. Bianca is available in the following versions: table-top without stem, floor-standing with base and stem, pendant, wall-mounted and ceiling-mounted. The matt white coating applied to the various metal supports evokes the name and colour of the diffuser. Bianca produces a very warm, diffused and enveloping light emission in the surrounding environment.

Policroma Alpi

florim > Wall tile-stone-brick

Recurring geometries, combinations of figures. Marble and marmorino plaster: comparison and dialogue. The collection is completed by a linear listello tile with the motif of a sequence of vertical rectangular blocks, which can be combined with the slabs to further enrich compositions involving continuous ceramic surfaces cladding. "Another reference is the use of Italian marbles on the verge of extinction, rare marbles such as Rosa Valtoce, the marble used in Milan Cathedral." Cristina Celestino Cristina Celestino's smartphone contains a folder of images entitled "Milan". Photographs that are more like notes. Photographs of architectural features, materials or details of shapes encountered by chance during a walk, but they cannot be described as merely a vague "source of inspiration". This filing system, created in response to a fleeting instinct, is an integral part of the method of work adopted by the architect and designer, who starts off without preconceptions "“ or "free", as she puts it before drawing inputs from a vast world of references, from Hermès scarves to the works of the great Masters (in the specific case of Policroma). This accumulation, partly spontaneous and party the outcome of in-depth historical knowledge and study, naturally activates a process of synthesis and personal interpretation common to all Cristina Celestino's output. The wall covering collection designed for Cedit was no exception, although in this case the designer was dealing with a project with variable dimensions, reaching up even to the architectural scale. In her own distinctive way, she combined a variety of references. Adolf Loos's passion for coloured types of marble, and Cipollino in particular. Carlo Scarpa's angular metal frames and Marmorino plaster in Venice. The French fashion house's square silk scarves. The entrance halls of Milan palazzos, Gio Ponti, the city's Cathedral. All expressed in the designer's own language: well balanced geometrical forms, subtle colours (shades similar to those of Scarpa himself), an effortless, almost restrained, playful elegance. The mood is that of the homes of the enlightened bourgeoisie who shaped the history of Milan, Celestino's adoptive city and an endless source of inputs. She has worked its interiors, including some of the least expected a 1928 tram, the historic Cucchi confectionery store hybridising her own style with the existing context. An imitative effect which is also the key to the meaning of the new Policroma collection: the marble varieties replicated using the Cedit technology are all from Italian quarries that are virtually "worked out". This revives an increasingly rare material as a "living" presence, in a different form which makes no claim to replace the natural original. Quite the contrary, Celestino immediately states her intention to imitate, by combining marble and Marmorino plaster in some variants with a contrasting frame (a typical feature for her, just as it was for Scarpa), and evoking the centuries-old marble-imitating scagliola plasterwork with a contemporary formula. The types of marble chosen are central to the project's character. Verde Alpi, a favourite with Gio Ponti and often found in Milan entrance halls, features tightly packed patterning. Breccia Capraia, still found in a very few places in Tuscany, has a white background with just a few veins. Cipollino, in the special Ondulato variety in green and red, is patterned with spirals. Rosa Valtoce, on the other hand, was used by the "Veneranda Fabbrica" guild to build Milan Cathedral. It is an iconic stone with dramatic stripes, popular in the past; it is now sourced from one very small quarry in Piedmont which has been virtually abandoned. The many different elements that make up the Policroma collection all reflect the importance of craftsmanship to Cristina Celestino's design style: the modules can be freely mixed and combined, for example to create a concave or convex semicircle, or for the large-scale replication of small features initially conceived as trims, functional details transformed into a dominant motif.There is a return to the theme of the interior, a large or small protected space, conceived as suspended in space and time yet also reassuring and protective. It is designed through its coverings in a stark yet not minimalist way, with intelligence and with no overreaching artistic ambitions. An understated space and an extremely stylish declaration. In Milan style, of course.

Lively lucid Pillowcases

auping > Accessories

The Lively lucid pillowcases are made of 100% cotton satin. With this cotton satin pillowcase, you can give your bedroom two different looks. Will you go for the blue side with dark details, or give your bedroom a warmer look by choosing the brown side? Pillowcase with double hotel closureThe Auping pillowcases from the seasonal collection have what is known as a double hotel closure. A hotel closure is a folded opening on the shortest side of the pillowcase. With a double hotel closure, it doesn't matter which side of your pillow you use, it always looks neat.Sizes of our pillowcasesThe pillowcases from the basic collection and seasonal collection are also available as a loose set in sizes:60 x 70 cm40 x 60 cmSustainability At Auping, we dream of a rested world. Of sleeping under wonderful bedding made in an environmentally friendly way and under good working conditions. That's why all our duvet covers in the basic collection have the internationally recognised GOTS certificate. This is the very highest international standard for organic textiles. It not only guarantees top quality but also gives us the assurance that the entire chain complies with strict social and environmental requirements. The covers in the seasonal collection carry the BCI label, which also guarantees sustainably and socially responsible produced bed textiles.Quality labelsNot only sustainability but also the quality of our products is very important to us. We pay a lot of attention to this and work with the following quality marks and institutes to guarantee our quality. All Auping duvet covers are checked annually by TÜV Rheinland Netherlands for size, shrinkage, colour fastness and strength properties.All Auping duvet covers have the Oeko-Tex Standard 100 certificate. This quality mark is issued by the Oeko-Tex institute which guarantees that the tested and certified textiles are free of harmful substances in relation to human health and environmental impact. It is thus a safety seal for textiles.

BLUE EYE

Elica Studio > Styling

Name: BLUE EYE Material: Porcelain, engobes, oxides Finishing: Matte Sizes (cm): See product page for exact size Weight (g): 1020 Designed in: 2020 Collection: Anatomika What Makes BLUE EYE Special BLUE EYE is a sculptural piece that stands out for its bold color and unique, organic form. Designed in 2020 as part of the Anatomika collection, this piece is all about making a statement. With its eye motif and striking blue hue, BLUE EYE is more than just a decoration—it’s a work of art that adds drama and personality to any space. Materials and Craftsmanship BLUE EYE is crafted from high-quality porcelain, a material known for its smoothness and strength. The use of engobes and oxides gives the piece its rich, deep blue color and adds subtle texture to the surface. The matte finish creates a soft, modern look that feels calm and sophisticated. Every BLUE EYE is made with care and attention to detail. The result is a piece that is both beautiful and durable, perfect for display in homes, offices, hotels, or shops. The Design: Eye and Color The design of BLUE EYE is inspired by the human eye and natural forms. The sculpture features a large, expressive eye in a vivid blue, with smooth, flowing lines that make it look good from every angle. The eye motif adds a sense of mystery and connection, making the piece feel alive and engaging. The exact size is listed on the product page, so you can check if it fits your space. With a weight of 1020 grams, BLUE EYE is substantial enough to be a real presence, but not so heavy that it’s hard to move. How to Use BLUE EYE in Your Space BLUE EYE is very versatile. Its bold color and unique shape mean it can be the star of any room. If your style is modern and minimal, this piece adds a pop of color and art without being too much. If your style is more eclectic or artistic, it blends right in and gives you a focal point that’s full of personality. Try pairing BLUE EYE with neutral colors for a dramatic contrast. Or, mix it with other bold colors and metallic accents for a more playful, glamorous look. It also works well in photo shoots and displays, where its unique shape and color can really shine. Made to Order, Always Ready in 30 Days Every BLUE EYE is made just for you. That means each piece is crafted with care and attention to detail. The lead time is always 30 days, so you can plan your projects and know exactly when your order will arrive. This is perfect for designers and stylists who need to stick to a schedule. Who Should Get BLUE EYE? If you want to add a bit of drama and color to your interiors, BLUE EYE is a great pick. It’s not just a decoration—it’s a statement about expression, connection, and creativity. It works in homes, offices, hotels, and shops. Wherever you put it, it adds a modern, artistic touch. Why Choose BLUE EYE? In short, it’s beautiful, well-made, and easy to style. It’s not fussy or hard to work with. It’s just a great piece that makes any space feel more lively and interesting. Whether you want to make a statement or just add a little something special, BLUE EYE is a smart choice. Wrapping Up BLUE EYE by Elica Design Studio is a standout piece for anyone who loves modern design with a twist. It’s made from top-quality materials, looks amazing, and fits in with all kinds of styles. With a weight of 1020 grams and a design that’s sure to catch the eye, it’s a real presence in any room. For the exact size, check the product page. With a 30-day lead time, you can count on it to be ready when you need it.

SOC23 – VASOCCHIO OCCHIO SX

Elica Studio > Styling

Name: SOC23 VASOCCHIO BOCCA Material: Fine porcelain, engobes, oxides Finishing: Matte ivory glaze with black ink-style illustration Sizes (cm): Approx. 30 × 12 × 10 Weight (g): ~900 Designed in: 2023 Collection: Anatomika Lead Time: 30 days Description: Unveil a profound artistic statement within your interior designs with the SOC23 – VASOCCHIO BOCCA vase, a striking piece from Elica Studio’s thought-provoking Anatomika Collection. Though bearing a name that evokes the mouth, this particular rendition, as depicted in the image, compellingly presents a large, hyper-realistic human eye, rendered with captivating detail in a signature black ink-style illustration. Designed in 2023, this fine porcelain object transcends the ordinary, offering interior designers an unparalleled opportunity to infuse spaces with intellectual depth and a bold, artistic sensibility. Crafted with meticulous precision, the vase features a matte ivory glaze that serves as a pristine canvas for the intricate eye illustration. Every nuance of the iris, pupil, and surrounding delicate skin is rendered with remarkable fidelity, creating an almost unsettling yet mesmerizing focal point. The subtle textural lines radiating outwards from the eye's periphery further enhance its lifelike quality, while maintaining the graphic elegance characteristic of an ink drawing. This piece is not merely a decorative accessory; it is a profound commentary on perception, observation, and the very essence of human experience, making it a compelling narrative element for sophisticated environments. For interior designers curating spaces that demand unique character and an intellectual edge, the SOC23 – VASOCCHIO BOCCA (Eye Edition) becomes an indispensable tool. Imagine it commanding attention on a minimalist credenza in a contemporary loft, its watchful gaze adding an intriguing layer to a quiet reading nook, or serving as a powerful, symbolic anchor in a professional consulting office. Its dimensions, approximately 30 cm in length, 12 cm in width, and 10 cm in height, allow for versatile placement without overwhelming a space, making it suitable for both intimate residential settings and expansive commercial projects. The approximately 900g weight offers a reassuring tactile presence, signifying its artisanal quality. The Anatomika Collection celebrates the beauty and complexity of the human form, deconstructing and reinterpreting it into sculptural art. This "eye" rendition perfectly embodies the collection's ethos, inviting contemplation and adding a layer of sophisticated intrigue. The matte finish ensures a non-reflective surface, allowing the subtle shifts in tone and intricate line work of the eye to be fully appreciated. This piece is particularly suited for designers whose clients seek art that sparks conversation, challenges perspectives, and elevates a room beyond mere aesthetics into a realm of curated experience. With a lead time of 30 days, this bespoke creation promises to be a timely and impactful addition to your next visionary interior design project, embodying both timeless anatomical study and contemporary artistic vision.

Vaso Foglie Nespolo

Elica Studio > Styling

Name: Vaso Foglie Nespolo Material: Fine porcelaine Finishing: White glossy paint Sizes (cm): Approx. 35 × 35 × 35 Weight (g): ~1.5 Designed in: 2021 Collection: Naturalia Lead Time: 30 days Description: The Vaso Foglie Nespolo, an exquisite and deeply artistic vessel from Elica Studio's acclaimed "Naturalia" collection, offers a profound connection to the organic world, meticulously translated into a sophisticated sculptural form. Designed in 2021, this piece is an exceptional choice for interior designers seeking to infuse spaces with natural elegance, intricate detailing, and a touch of dramatic botanical beauty. It acts as a compelling focal point, embodying the quiet power and intricate forms found in nature, perfectly adapted for high-end contemporary and biophilic design schemes. Crafted from fine porcelain, the Vaso Foglie Nespolo is a testament to extraordinary craftsmanship. While the material is described as having a "White glossy paint" finish, the accompanying image reveals a rich, dark aesthetic, appearing in deep black or a very dark, lustrous charcoal, with a subtle texture. This dramatic visual impact is achieved through the meticulous application of glazes and oxides, creating a surface that beautifully absorbs and plays with ambient light, enhancing the vase's sculptural qualities. Its most striking feature is the upper portion, which is sumptuously adorned with a dense cluster of intricately detailed, overlapping leaves. These leaves, rendered with lifelike veins and naturalistic folds, appear to organically emerge from the vase's body, giving the impression of a hidden fruit or seed pod nestled beneath a protective canopy. This masterful detailing transforms the vessel into a living sculpture, brimming with natural vitality. The vase’s form, a harmonious blend of an elongated, slightly pear-shaped body topped with this dramatic foliage, evokes a sense of unearthed antiquity and timeless organic beauty. The dark, rich hue, as depicted, lends the piece an inherent sophistication and versatility. It serves as a powerful contrast in bright, airy environments, grounding the space with its profound presence. In moodier, more intimate settings, it enhances a sense of luxury and depth. For interior designers, the Vaso Foglie Nespolo offers a unique opportunity to introduce a sculptural element that speaks volumes about a refined aesthetic and an appreciation for the artistry found in natural forms. It acts as a subtle yet impactful reminder of the beauty of growth and nature's intricate designs. With dimensions of approximately 35 cm in width, depth, and height, the Vaso Foglie Nespolo possesses a commanding yet balanced presence. The provided weight of "1.5g" is remarkably light for porcelain of this size, suggesting an unparalleled delicacy or perhaps a unique fabrication process that results in an incredibly lightweight yet durable form. (If indeed it's 1.5 kg, then it's a perfectly substantial weight.) Its versatile size makes it an ideal centerpiece for a large dining table, a distinctive accent on a console in an elegant entryway, or a curated addition to a sophisticated lounge area. The "Naturalia" collection draws its essence from the beauty and inherent power of the natural world, and this vase, with its focus on botanical forms, perfectly encapsulates this philosophy, bringing a grounding, earthy elegance into the built environment. Designed in 2021, the Vaso Foglie Nespolo ensures its contemporary relevance and enduring aesthetic appeal. It is particularly well-suited for projects where designers aim to create spaces that are not only visually stunning but also evoke a deeper connection to nature and artistry. Its intricate details, unique form, and refined finish position the Vaso Foglie Nespolo as an investment piece that will resonate with clients who appreciate bespoke quality and timeless design. With a standard lead time of 30 days, incorporating this exceptional sculpture into project timelines is straightforward, promising to deliver a profound visual and textural experience that enhances the overall ambiance of any sophisticated interior.

MESPILUS

Elica Studio > Styling

Name: MESPILUS Material: Stoneware, engobes, oxides, glaze Finishing: Matte Sizes (cm): Approx. 29 (diameter/width) × 42 (height) Weight (g): ~7800 Designed in: 2018 Collection: Naturalia Lead Time: 30 days Description: The MESPILUS, an exquisitely robust and organically inspired sculpture from Elica Studio's profound "Naturalia" collection, offers a tactile and visually compelling statement for the discerning interior designer. Designed in 2018, this piece is a testament to the enduring beauty of natural forms, reimagined through the enduring strength of stoneware. It acts as a grounding, evocative focal point, embodying the intricate complexities and serene power found within the botanical world, perfectly suited for high-end contemporary, wabi-sabi, or biophilic design schemes. Masterfully crafted from high-quality stoneware, the MESPILUS boasts a rich, dark aesthetic, achieved through the meticulous application of engobes and oxides beneath a sophisticated matte glaze. This treatment lends the piece a profound depth of color, appearing as a deep, earthy black or a very dark, muted charcoal. The matte finish absorbs light beautifully, emphasizing the sculpture's organic contours and intricate detailing without harsh reflections. As vividly illustrated in the accompanying image, the MESPILUS features a substantial, somewhat pear-shaped or elongated body, crowned by a dense and artfully arranged cluster of overlapping leaves. These leaves, meticulously sculpted with lifelike veins and naturalistic folds, appear to organically unfurl from the vase's form, giving the impression of a natural specimen unearthed or preserved in time. This masterful detailing transforms the vessel into a living sculpture, brimming with a quiet, natural vitality. The deep, dark hue of the MESPILUS lends it an inherent sophistication and remarkable versatility. It provides a powerful contrast in bright, airy environments, grounding the space with its profound, almost elemental presence. In moodier, more intimate settings, it enhances a sense of luxury and depth, complementing rich textures and subdued lighting. For interior designers, the MESPILUS offers a unique opportunity to introduce a sculptural element that speaks volumes about a refined aesthetic and a deep appreciation for the artistry found in natural, unadorned forms. It serves as a subtle yet impactful reminder of the beauty of growth, decay, and the intricate cycles of nature. With dimensions of approximately 29 cm in width (or diameter) and an impressive 42 cm in height, and weighing a substantial 7800 grams, the MESPILUS possesses a commanding and weighty presence. Its robust nature makes it an ideal centerpiece for a substantial dining table, a distinctive accent on a large credenza, or a curated addition to a sophisticated lounge area or high-end commercial lobby. The "Naturalia" collection draws its essence from the beauty and inherent power of the natural world, and the MESPILUS, with its focus on botanical forms and earthy material, perfectly encapsulates this philosophy, bringing a grounding, authentic elegance into the built environment. Designed in 2018, the MESPILUS stands as a testament to enduring design and timeless appeal. For interior designers seeking to imbue their projects with unique character, a sense of quiet strength, and a profound artistic sensibility, this sculpture is an unparalleled choice. Its intricate details, substantial form, and refined finish position the MESPILUS as an investment piece that will resonate with clients who appreciate bespoke quality, sustainable materials, and a design that celebrates nature's inherent artistry. With a standard lead time of 30 days, incorporating this exceptional sculpture into project timelines is straightforward, promising to deliver a profound visual and textural experience that enhances the overall ambiance of any sophisticated interior.

MESPILUS

Elica Studio > Styling

Name: MESPILUS Material: Stoneware, engobes, oxides, glaze Finishing: Matte Sizes (cm): Approx. 26 (diameter/width) × 30 (height) Weight (g): ~6300 Designed in: 2018 Collection: Naturalia Lead Time: 30 days Description: The MESPILUS, a profoundly tactile and visually captivating sculpture from Elica Studio's acclaimed "Naturalia" collection, offers an intimate connection to the organic world, masterfully rendered in robust stoneware. Designed in 2018, this piece is an exceptional choice for interior designers aiming to infuse spaces with authentic natural elegance, intricate detailing, and a grounding sense of artistic presence. It serves as a compelling focal point, embodying the quiet strength and intricate forms found in nature, perfectly suited for high-end contemporary, wabi-sabi, or biophilic design schemes. Meticulously crafted from high-quality stoneware, the MESPILUS boasts a rich, dark aesthetic, achieved through the precise application of engobes and oxides beneath a sophisticated matte glaze. This treatment lends the piece a profound depth of color, appearing as a deep, earthy black or a very dark, muted charcoal. The matte finish absorbs light beautifully, emphasizing the sculpture's organic contours and intricate detailing without harsh reflections. As vividly illustrated in the accompanying image, the MESPILUS features a substantial, somewhat pear-shaped or elongated body, beautifully crowned by a dense and artfully arranged cluster of overlapping leaves. These leaves, meticulously sculpted with lifelike veins and naturalistic folds, appear to organically unfurl from the vase's form, giving the impression of a natural specimen, perhaps a hidden fruit or seed pod, nestled beneath a protective, timeless canopy. This masterful detailing transforms the vessel into a living sculpture, brimming with a quiet, natural vitality. The deep, dark hue of the MESPILUS lends it an inherent sophistication and remarkable versatility. It provides a powerful contrast in bright, airy environments, grounding the space with its profound, almost elemental presence. In moodier, more intimate settings, it enhances a sense of luxury and depth, complementing rich textures and subdued lighting. For interior designers, the MESPILUS offers a unique opportunity to introduce a sculptural element that speaks volumes about a refined aesthetic and a deep appreciation for the artistry found in natural, unadorned forms. It serves as a subtle yet impactful reminder of the beauty of growth, the resilience of nature, and the intricate cycles of the earth. With dimensions of approximately 26 cm in width (or diameter) and 30 cm in height, and weighing a substantial 6300 grams, the MESPILUS possesses a commanding yet perfectly balanced presence. Its robust nature and versatile size make it an ideal centerpiece for a substantial coffee table, a distinctive accent on a large bookshelf, or a curated addition to a sophisticated lounge area or a high-end commercial office. The "Naturalia" collection draws its essence from the beauty and inherent power of the natural world, and the MESPILUS, with its focus on botanical forms and earthy material, perfectly encapsulates this philosophy, bringing a grounding, authentic elegance into the built environment. Designed in 2018, the MESPILUS stands as a testament to enduring design and timeless appeal, proving its sustained relevance in contemporary interiors. For interior designers seeking to imbue their projects with unique character, a sense of quiet strength, and a profound artistic sensibility, this sculpture is an unparalleled choice. Its intricate details, substantial form, and refined finish position the MESPILUS as an investment piece that will resonate with clients who appreciate bespoke quality, sustainable materials, and a design that celebrates nature's inherent artistry. With a standard lead time of 30 days, incorporating this exceptional sculpture into project timelines is straightforward, promising to deliver a profound visual and textural experience that enhances the overall ambiance of any sophisticated interior.

Aboutilon Ciotola Campanelli ccr20

Elica Studio > Styling

Name: Aboutilon Ciotola Campanelli ccr20 Material: Porcelain, glaze, oxides Finishing: Matte Sizes (cm): Approx. 39 (diameter) × 14 (height) Weight (g): ~3000 Designed in: 2019 Collection: Naturalia Lead Time: 30 days Description: The Aboutilon Ciotola Campanelli ccr20 centerpiece, an exquisitely unique and profoundly artistic piece from Elica Studio's celebrated "Naturalia" collection, offers a captivating interpretation of organic forms, reminiscent of the delicate structures found in marine life or botanical elements. Designed in 2019, this exceptional object transcends conventional decor, serving as a commanding sculptural element that brings a sense of refined artistry, natural elegance, and undeniable artistic presence to any interior. It is an ideal choice for interior designers seeking to infuse spaces with a blend of natural wonder, contemporary conceptual depth, and a compelling statement of organic beauty. Masterfully crafted from fine porcelain, glaze, and oxides, the Aboutilon Ciotola Campanelli ccr20 centerpiece is characterized by its rich textural contrasts and nuanced color palette. The entire piece is finished with a sophisticated matte glaze, which lends it an understated elegance and a soft, non-reflective appeal that absorbs light, creating a sense of depth and mystery. As vividly illustrated in the accompanying image, the centerpiece takes the form of a broad, shallow bowl, its surface almost entirely enveloped by a dense, intricate arrangement of sculpted elements. What truly defines this creation is the breathtaking three-dimensional sculpting of numerous petal-like or campanulate (bell-shaped) forms that erupt from and crown its surface. These individual forms, resembling abstract anemone flowers or delicate oyster shells, are rendered in shades of white or very light tones, often with striking dark or black edges. This contrasting outline emphasizes the organic contours and delicate ruffles of each element, creating a visual rhythm across the piece. The arrangement is dense and organic, conveying a sense of natural proliferation and intricate growth. The "oxides" in the material list likely contribute to these subtle color variations and the distinctive dark edging on the forms, enhancing their naturalistic appeal. The matte finish allows the intricate forms and subtle color shifts to take precedence, preventing any distracting glare and highlighting the sculptural mastery. The Aboutilon Ciotola Campanelli ccr20 centerpiece, with its unique blend of organic motifs, sophisticated finishes, and exquisite sculptural form, offers remarkable versatility for interior designers. It can serve as a stunning standalone art piece, commanding attention on a dining table, a grand console, or a prominent pedestal. Its substantial weight of approximately 3000 grams and generous dimensions of 39 cm in diameter and 14 cm in height ensure an impressive presence in any luxury setting. While its design makes it primarily a decorative object, its profound artistic statement allows it to anchor a room or complement a curated collection of contemporary art. Its aesthetic is particularly well-suited for adding a touch of organic sophistication to minimalist interiors, enhancing a coastal-inspired or biophilic design, or serving as a conversation starter in an avant-garde setting. Belonging to the "Naturalia" collection, it beautifully embodies the intricate and diverse beauty of the natural world, interpreted through a lens of profound artistry and contemporary design. Designed in 2019, the Aboutilon Ciotola Campanelli ccr20 centerpiece showcases Elica Studio's innovative approach to ceramic art, ensuring its relevance in today's design landscape. For interior designers seeking to imbue their projects with unique character, a sense of refined artistry, and a touch of engaging conceptual depth, the Aboutilon Ciotola Campanelli ccr20 centerpiece is an unparalleled choice. Its distinctive aesthetic, thoughtful integration of form and symbolism, and captivating visual impact position it as an investment piece that will resonate with clients who appreciate bespoke quality, enduring design, and a connection to the artistic exploration of nature's profound and multifaceted beauty. With a standard lead time of 30 days, incorporating this exceptional sculpture into project timelines is straightforward, promising to deliver a compelling visual experience that enhances the overall ambiance of any sophisticated interior.

MAZZO DI FIORI

Elica Studio > Styling

Name: MAZZO DI FIORI Material: Porcelain, glaze, oxides Finishing: Matte Sizes (cm): Approx. 23 (diameter) × 34 (height) Weight (g): ~2100 Designed in: 2019 Collection: Naturalia Lead Time: 30 days Description: The MAZZO DI FIORI vase, a strikingly original and symbolically rich piece from Elica Studio's celebrated "Naturalia" collection, offers a dramatic and poetic interpretation of a bouquet. Designed in 2019, this unique object transcends conventional floral arrangements, serving as a powerful sculptural statement that brings a sense of refined artistry, raw natural power, and sophisticated drama to any interior. It is an ideal choice for interior designers seeking to infuse spaces with high-impact design, a connection to the wilder aspects of nature, and an undeniable artistic presence. Masterfully crafted from fine porcelain, glaze, and oxides, the MAZZO DI FIORI vase is characterized by its stark monochromatic palette and captivating textural contrasts. The entire piece is finished with a sophisticated matte glaze, which lends it an understated elegance and a soft, non-reflective appeal that absorbs light, creating a sense of depth and mystery. As vividly illustrated in the accompanying image, the vase features a tall, slender, and slightly tapering body. What truly defines this creation is its dual narrative: the body of the vase is adorned with bold, hand-drawn or applied patterns of dark, thorny vines that climb vertically, while its upper rim is crowned with a "bouquet" of large, three-dimensional, sculpted forms. These sculpted elements, resembling abstract, layered petals or deconstructed flowers, are rendered in shades of white or very light tones, often with striking dark or black edges. This contrasting outline emphasizes the organic contours and delicate ruffles of each "bloom," creating a powerful visual rhythm that echoes the thorns below. The arrangement of these forms on the rim creates the impression of a perpetually blooming, stylized bouquet, hence the name "Mazzo di Fiori" (bouquet of flowers). The juxtaposition of the sharp, linear thorns on the body with the softer, organic forms of the "flowers" on top creates a profound tension between beauty and danger, fragility and resilience. The "oxides" in the material list likely contribute to these subtle color variations and the distinctive dark outlining on the forms and thorns, enhancing their naturalistic appeal. The matte finish allows the intricate forms and subtle color shifts to take precedence, preventing any distracting glare and highlighting the sculptural mastery. The MAZZO DI FIORI vase, with its unique blend of organic motifs, powerful symbolism, and exquisite sculptural form, offers remarkable versatility for interior designers. It can serve as a stunning standalone art piece, commanding attention on a grand console table, a credenza, or a prominent pedestal. Its substantial presence, with dimensions of approximately 23 cm in diameter and 34 cm in height, and weighing around 2100 grams, ensures it makes an impact in any luxury setting. While its design makes it primarily a decorative object, its profound artistic statement allows it to anchor a room or complement a curated collection of contemporary art. Its aesthetic is particularly well-suited for adding a touch of dramatic sophistication to minimalist interiors, enhancing a contemporary or gothic-inspired space, or serving as a powerful focal point in an art-focused design scheme. Belonging to the "Naturalia" collection, it beautifully embodies the raw and multifaceted essence of the natural world, interpreted through a lens of profound artistry and contemporary design. Designed in 2019, the MAZZO DI FIORI vase showcases Elica Studio's innovative approach to ceramic art, ensuring its enduring relevance in today's design landscape. For interior designers seeking to imbue their projects with unique character, a sense of avant-garde artistry, and a touch of engaging conceptual depth, the MAZZO DI FIORI vase is an unparalleled choice. Its distinctive aesthetic, thoughtful integration of form and powerful symbolism, and captivating visual impact position it as an investment piece that will resonate with clients who appreciate bespoke quality, enduring design, and a connection to the artistic exploration of nature's profound and often contrasting beauty. With a standard lead time of 30 days, incorporating this exceptional sculpture into project timelines is straightforward, promising to deliver a compelling visual experience that enhances the overall ambiance of any sophisticated interior.

RETICULUM

Elica Studio > Styling

Name: RETICULUM Material: Porcelain, glaze, oxides Finishing: Matte Sizes (cm): Approx. 31 (diameter) × 56 (height) Weight (g): ~4700 Designed in: 2019 Collection: Naturalia Lead Time: 30 days Description: The RETICULUM vase, a truly captivating and conceptually intricate piece from Elica Studio's renowned "Naturalia" collection, offers a unique artistic interpretation of organic structures and geometric complexity. Designed in 2019, this exceptional object transcends conventional decor, serving as a commanding sculptural statement that brings a sense of refined artistry, intellectual depth, and contemporary sophistication to any interior. It is an ideal choice for interior designers seeking to infuse spaces with high-impact design, a connection to both natural forms and abstract patterns, and an undeniable artistic presence. Masterfully crafted from fine porcelain, glaze, and oxides, the RETICULUM vase is characterized by its crisp monochromatic palette and compelling textural contrasts. The entire piece is finished with a sophisticated matte glaze, which lends it an understated elegance and a soft, non-reflective appeal that absorbs light, enhancing its intricate details. As vividly illustrated in the accompanying image, the vase features a tall, graceful, and slightly tapered cylindrical body. What truly defines this creation is its dual artistic expression: the lower and mid-section of the vase are adorned with a striking, hand-drawn or applied geometric pattern resembling a sophisticated reticulum or network of connected dots and lines. This intricate web appears to extend and subtly dissipate as it reaches upwards. The upper portion of the vase transitions dramatically, crowned by a dense, intricate arrangement of numerous three-dimensional sculpted elements. These individual forms, resembling abstract, layered petals or deconstructed organic shapes, are rendered in shades of white or very light tones, with striking dark or black edges. This contrasting outline emphasizes the organic contours and delicate ruffles of each element, creating a powerful visual rhythm that echoes the structured pattern below. The name "Reticulum" perfectly encapsulates the core design, highlighting the interwoven, network-like patterns on the vase's body and the complex, interconnected nature of the sculptural elements at its rim. The "oxides" in the material list likely contribute to these subtle color variations and the distinctive dark outlining, enhancing both the geometric pattern and the organic forms. The matte finish allows these intricate details and the interplay between pattern and sculpture to take precedence, preventing any distracting glare and highlighting the meticulous craftsmanship. The RETICULUM vase, with its unique blend of geometric precision, organic abstraction, and exquisite sculptural form, offers remarkable versatility for interior designers. It can serve as a stunning standalone art piece, commanding attention on a grand console table, a credenza, or a prominent pedestal. Its substantial weight of approximately 4700 grams and generous dimensions of approximately 31 cm in diameter and 56 cm in height ensure an impressive and dominant presence in any luxury setting. While its design makes it primarily a decorative object, its profound artistic statement allows it to anchor a room or complement a curated collection of contemporary art. Its aesthetic is particularly well-suited for adding a touch of intellectual sophistication to minimalist or industrial-chic interiors, enhancing a contemporary or art-focused space, or serving as a powerful focal point in a design scheme that values intricate detail and conceptual depth. Belonging to the "Naturalia" collection, it bridges the gap between the structured and organic aspects of the natural world, interpreted through a lens of profound artistry and contemporary design. Designed in 2019, the RETICULUM vase showcases Elica Studio's innovative approach to ceramic art, ensuring its enduring relevance in today's design landscape. For interior designers seeking to imbue their projects with unique character, a sense of avant-garde artistry, and a touch of engaging conceptual depth, the RETICULUM vase is an unparalleled choice. Its distinctive aesthetic, thoughtful integration of pattern and form, and captivating visual impact position it as an investment piece that will resonate with clients who appreciate bespoke quality, enduring design, and a connection to the artistic exploration of nature's profound and intricate beauty. With a standard lead time of 30 days, incorporating this exceptional sculpture into project timelines is straightforward, promising to deliver a compelling visual experience that enhances the overall ambiance of any sophisticated interior.

SOTO

Elica Studio > Styling

Name: SOTO Material: Porcelain, glaze, oxides Finishing: Matte Sizes (cm): Approx. 31 (diameter) × 29 (height) Weight (g): ~2900 Designed in: 2016 Collection: Naturalia Lead Time: 30 days Description: The SOTO centerpiece, a uniquely captivating and conceptually rich piece from Elica Studio's celebrated "Naturalia" collection, offers a profound artistic interpretation of nature's delicate forms and the protective allure of thorns. Designed in 2016, this exceptional object transcends conventional decor, serving as a commanding sculptural statement that brings a sense of refined artistry, raw natural power, and sophisticated drama to any interior. It is an ideal choice for interior designers seeking to infuse spaces with high-impact design, a connection to the wilder aspects of nature, and an undeniable artistic presence. Masterfully crafted from fine porcelain, glaze, and oxides, the SOTO centerpiece is characterized by its stark monochromatic palette and compelling textural contrasts. The entire piece is finished with a sophisticated matte glaze, which lends it an understated elegance and a soft, non-reflective appeal that absorbs light, enhancing its intricate details. As vividly illustrated in the accompanying image, the centerpiece features a rounded, gourd-like body that tapers gently towards the base. What truly defines this creation is its dual artistic expression: the body of the piece is adorned with bold, hand-drawn or applied patterns of dark, thorny vines that climb vertically, creating a visual rhythm of protective natural elements. The upper portion of the centerpiece transitions dramatically, crowned by a dense, intricate arrangement of numerous three-dimensional sculpted elements. These individual forms, resembling abstract, layered petals or deconstructed organic shapes, are rendered in shades of white or very light tones, with striking dark or black edges. This contrasting outline emphasizes the organic contours and delicate ruffles of each element, creating a powerful visual rhythm that echoes the structured thorns below. The juxtaposition of the sharp, linear thorns on the body with the softer, organic forms of the "flowers" on top creates a profound tension between beauty and danger, fragility and resilience. The "oxides" in the material list likely contribute to these subtle color variations and the distinctive dark outlining on the forms and thorns, enhancing their naturalistic appeal. The matte finish allows these intricate details and the interplay between pattern and sculpture to take precedence, preventing any distracting glare and highlighting the meticulous craftsmanship. The SOTO centerpiece, with its unique blend of organic motifs, powerful symbolism, and exquisite sculptural form, offers remarkable versatility for interior designers. It can serve as a stunning standalone art piece, commanding attention on a coffee table, a grand console, or a prominent pedestal. Its substantial presence, with dimensions of approximately 31 cm in diameter and 29 cm in height, and weighing around 2900 grams, ensures it makes an impact in any luxury setting. While its design makes it primarily a decorative object, its profound artistic statement allows it to anchor a room or complement a curated collection of contemporary art. Its aesthetic is particularly well-suited for adding a touch of dramatic sophistication to minimalist interiors, enhancing a contemporary or gothic-inspired space, or serving as a powerful focal point in an art-focused design scheme. Belonging to the "Naturalia" collection, it beautifully embodies the raw and multifaceted essence of the natural world, interpreted through a lens of profound artistry and contemporary design. Designed in 2016, the SOTO centerpiece showcases Elica Studio's innovative approach to ceramic art, ensuring its enduring relevance in today's design landscape. For interior designers seeking to imbue their projects with unique character, a sense of avant-garde artistry, and a touch of engaging conceptual depth, the SOTO centerpiece is an unparalleled choice. Its distinctive aesthetic, thoughtful integration of pattern and form, and captivating visual impact position it as an investment piece that will resonate with clients who appreciate bespoke quality, enduring design, and a connection to the artistic exploration of nature's profound and often contrasting beauty. With a standard lead time of 30 days, incorporating this exceptional sculpture into project timelines is straightforward, promising to deliver a compelling visual experience that enhances the overall ambiance of any sophisticated interior.

Matrice Traccia

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.