Halo Ocean
refin-ceramic > Floor tile-stone
A way back to colorSize 6×24 cm (23/8″×97/16″), glossy finish, intense colours: eclectic and super-contemporary attitude for the Halo wall tiling, which alternates light and dark halos, including pinholes, has irregularities especially near the edges. Surface variability, a glazed effect, and bold tones help define a dynamic proposal that reflects light, creating compositions with a strong decorative impact. The collection is versatile in emphasising architectural volumes and furnishing elements, designing scenic backdrops that enrich different residential environments and give personality to retail and Ho.Re.Ca. premises.
Halo Cotton
refin-ceramic > Floor tile-stone
A way back to colorSize 6×24 cm (23/8″×97/16″), glossy finish, intense colours: eclectic and super-contemporary attitude for the Halo wall tiling, which alternates light and dark halos, including pinholes, has irregularities especially near the edges. Surface variability, a glazed effect, and bold tones help define a dynamic proposal that reflects light, creating compositions with a strong decorative impact. The collection is versatile in emphasising architectural volumes and furnishing elements, designing scenic backdrops that enrich different residential environments and give personality to retail and Ho.Re.Ca. premises.
Halo Basil
refin-ceramic > Floor tile-stone
A way back to colorSize 6×24 cm (23/8″×97/16″), glossy finish, intense colours: eclectic and super-contemporary attitude for the Halo wall tiling, which alternates light and dark halos, including pinholes, has irregularities especially near the edges. Surface variability, a glazed effect, and bold tones help define a dynamic proposal that reflects light, creating compositions with a strong decorative impact. The collection is versatile in emphasising architectural volumes and furnishing elements, designing scenic backdrops that enrich different residential environments and give personality to retail and Ho.Re.Ca. premises.
OPESC
Elica Studio > Styling
Name: OPESC Material: Porcelain, oxides Finishing: Matte Sizes (cm): Approx. 28 (diameter per panel) Weight (g): ~3400 (for the complete set of panels) Designed in: 2013 Collection: Naturalia Lead Time: 30 days Description: The OPESC, a profoundly captivating and conceptually brilliant wall art piece from Elica Studio's evocative "Naturalia" collection, offers a unique blend of narrative artistry and contemporary design. Designed in 2013, this multi-panel sculpture is an extraordinary statement for interior designers seeking to introduce elements of sophisticated abstraction, dynamic movement, and a compelling connection to marine life into their curated spaces. It transcends traditional decor, presenting a deconstructed yet harmonious depiction of a fish, making it a unique and thought-provoking focal point in high-end minimalist, contemporary, or nature-inspired design schemes. Masterfully crafted from fine porcelain, the OPESC elements are characterized by a refined monochrome palette, achieved through the expert application of oxides. Each circular panel is finished with a sophisticated matte surface, which absorbs light beautifully, highlighting the intricate hand-drawn details and delicate textures without harsh reflections. As vividly illustrated in the accompanying image, the OPESC comprises four distinct circular panels, which, when arranged in sequence, collectively form the stylized image of a fish. Each panel isolates a specific segment of the creature: the sharp, pointed head and eye; the detailed body with its intricate scale-like patterns and subtle fins; the tapering mid-section; and finally, the elegant, flowing tail fins. The artistic brilliance of the OPESC lies in this modular deconstruction and subsequent harmonious reconstruction. The use of a stark black-and-white aesthetic, executed with a delicate, almost illustrative hand, imbues the piece with a timeless elegance and versatility. The textures applied to mimic scales and feathers, combined with the smooth porcelain surface, create a subtle tactile experience. This arrangement not only allows for flexible display options – from a linear progression to a more scattered, abstract composition – but also invites the viewer to mentally connect the segmented parts, engaging in a deeper appreciation of the artwork. The "Naturalia" collection’s essence is perfectly captured in this piece, transforming a simple organism into a work of complex beauty and contemplative design. The OPESC, with its unique blend of conceptual art and precise execution, offers remarkable versatility for interior designers. It introduces a powerful, narrative presence that can anchor a room or create a subtle visual flow across a large wall. Its monochrome palette ensures it integrates seamlessly into a wide range of interior styles, from a gallery-like minimalist setting to a more eclectic space where it can serve as an intellectual focal point. The motif of the fish symbolizes adaptability, depth, and the flow of life, resonating deeply within a biophilic design context. Each panel measures approximately 28 cm in diameter, and the collective weight of the set is around 3400 grams, providing a substantial yet manageable presence for wall mounting. This considered sizing makes it an ideal feature for a prominent wall in a living room, a sophisticated dining area, a hallway gallery, or a high-end commercial office space. Designed in 2013, the OPESC continues to stand 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 refined artistry, and a profound narrative sensibility, the OPESC is an unparalleled choice. Its intricate details, thoughtful composition, 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 mysteries. 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.
Antilope – MA
Elica Studio > Styling
Name: Antilope – MA Material: Fine porcelain Finishing: White glossy paint Sizes (cm): Approx. 35 (diameter per panel) Weight (g): ~1.5 Designed in: 2021 Collection: Naturalia Lead Time: 30 days Description: The Antilope – MA, an exceptionally elegant and conceptually striking wall art piece from Elica Studio's evocative "Naturalia" collection, offers a profound artistic representation of wild beauty and natural grace. Designed in 2021, this multi-panel sculpture is an extraordinary statement for interior designers seeking to introduce elements of sophisticated natural history, fragmented narratives, and timeless elegance into their curated spaces. It transcends traditional decor, presenting a deconstructed yet harmonious depiction of an antelope, making it a unique and thought-provoking focal point in high-end minimalist, contemporary, or nature-inspired design schemes. Masterfully crafted from fine porcelain, the Antilope – MA elements are characterized by a pristine white glossy paint finish. This refined surface provides a luminous backdrop, highlighting the intricate hand-drawn details with crisp clarity. As vividly illustrated in the accompanying image, the Antilope – MA comprises three distinct circular panels. When arranged in sequence, these panels collectively form a stylized image of an oryx, a majestic antelope known for its striking horns. Each panel isolates a specific segment of the creature: the topmost panel showcases the pointed tips of the spiraled horns, the middle panel depicts the central, textured lengths of the horns, and the bottom panel reveals the graceful head of the antelope, complete with its distinctive facial markings and ears. The artistic brilliance of the Antilope – MA lies in this modular deconstruction and subsequent harmonious reconstruction. The detailed rendering in subtle shades of brown and sepia tones, achieved through the application of oxides, creates a lifelike yet artistic depiction, contrasting beautifully with the pristine white porcelain. The smooth, glossy finish enhances the delicate craftsmanship, allowing the viewer to appreciate every detail, from the subtle ridges on the horns to the expressive eyes of the antelope. This segmented arrangement not only allows for flexible display options – from a linear vertical progression as shown, to a horizontal display or even a more scattered, abstract composition – but also invites the viewer to mentally connect the parts, engaging in a deeper appreciation of the artwork. The "Naturalia" collection’s essence is perfectly captured in this piece, transforming a magnificent animal into a work of complex beauty and contemplative design. The Antilope – MA, with its unique blend of conceptual art and precise execution, offers remarkable versatility for interior designers. It introduces a powerful, narrative presence that can anchor a room or create a subtle visual flow across a large wall. Its classic white background and naturalistic animal depiction ensure it integrates seamlessly into a wide range of interior styles, from a gallery-like minimalist setting to a more eclectic space where it can serve as an intellectual focal point. The motif of the antelope symbolizes grace, agility, and the wild spirit, resonating deeply within a biophilic design context. Each panel measures approximately 35 cm in diameter, contributing to a substantial and impactful overall display when arranged. The total weight is stated as approximately 1.5 grams, which is exceptionally light for porcelain of this size, suggesting an innovative, perhaps hollow or extremely thin-walled construction that emphasizes delicacy. This considered sizing makes it an ideal feature for a prominent wall in a living room, a sophisticated dining area, a hallway gallery, or a high-end commercial office space. Designed in 2021, the Antilope – MA ensures its contemporary relevance and enduring aesthetic appeal. For interior designers seeking to imbue their projects with unique character, a sense of refined artistry, and a profound narrative sensibility, the Antilope – MA is an unparalleled choice. Its intricate details, thoughtful composition, 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 mysteries. 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.
CERVUS
Elica Studio > Styling
Name: CERVUS Material: Porcelain, oxides Finishing: Matte Sizes (cm): Approx. 28 (diameter per panel) Weight (g): ~2550 (for the complete set of panels) Designed in: 2013 Collection: Naturalia Lead Time: 30 days Description: The CERVUS, a profoundly elegant and conceptually striking wall art piece from Elica Studio's evocative "Naturalia" collection, offers a majestic artistic representation of wild beauty and natural grace. Designed in 2013, this multi-panel sculpture is an extraordinary statement for interior designers seeking to introduce elements of sophisticated natural history, fragmented narratives, and timeless elegance into their curated spaces. It transcends traditional decor, presenting a deconstructed yet harmonious depiction of a stag, making it a unique and thought-provoking focal point in high-end minimalist, contemporary, or nature-inspired design schemes. Masterfully crafted from fine porcelain, the CERVUS elements are characterized by a refined monochrome palette, achieved through the expert application of oxides. Each circular panel is finished with a sophisticated matte surface, which absorbs light beautifully, highlighting the intricate hand-drawn details with crisp clarity. As vividly illustrated in the accompanying image, the CERVUS comprises three distinct circular panels. When arranged in sequence, these panels collectively form a stylized image of a deer or stag, renowned for its magnificent antlers. Each panel isolates a specific segment of the creature: the top two panels depict the branching, textured antlers from different perspectives, while the bottom panel reveals the noble head of the deer, complete with its distinctive facial markings and attentive eyes. The artistic brilliance of the CERVUS lies in this modular deconstruction and subsequent harmonious reconstruction. The detailed rendering in subtle shades of brown and sepia tones, contrasting with the pristine white porcelain, creates a lifelike yet artistic depiction. The smooth, matte finish enhances the delicate craftsmanship, allowing the viewer to appreciate every detail, from the intricate texture on the antlers to the expressive features of the deer. This segmented arrangement not only allows for flexible display options – from a linear vertical progression as shown, to a horizontal display or even a more scattered, abstract composition – but also invites the viewer to mentally connect the parts, engaging in a deeper appreciation of the artwork. The "Naturalia" collection’s essence is perfectly captured in this piece, transforming a majestic animal into a work of complex beauty and contemplative design. The CERVUS, with its unique blend of conceptual art and precise execution, offers remarkable versatility for interior designers. It introduces a powerful, narrative presence that can anchor a room or create a subtle visual flow across a large wall. Its classic white background and naturalistic animal depiction ensure it integrates seamlessly into a wide range of interior styles, from a gallery-like minimalist setting to a more eclectic space where it can serve as an intellectual focal point. The motif of the deer symbolizes grace, strength, and connection to the wild, resonating deeply within a biophilic design context. Each panel measures approximately 28 cm in diameter, contributing to a substantial and impactful overall display when arranged. The collective weight of the set is around 2550 grams, providing a solid yet manageable presence for wall mounting. This considered sizing makes it an ideal feature for a prominent wall in a living room, a sophisticated dining area, a hallway gallery, or a high-end commercial office space. Designed in 2013, the CERVUS continues to stand 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 refined artistry, and a profound narrative sensibility, the CERVUS is an unparalleled choice. Its intricate details, thoughtful composition, 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 mysteries. 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.
Safari Suspension Snooker
castrolighting > Ceiling lamp
The collection arose from exploring new worlds of inspiration for creative and unique designs. Ignited by the concept of journey, the Safari Collection embraces the aesthetic spirit of the savage animal world, unexplored and enigmatic, enticing atmosphere of serenity and midday summer heat of Savannah. Bronze and earthy tones bring the wild into high-class décor. A signature lighting design delivers a fresh approach to luxury and results in a refined retreat for every demanding interior. This majestic chandelier was designed to be contemplated and harmoniously allied to an elegant composition with a chair alongside wall light from the same Collection. Safari suspension is the newest addition to the Castro iconic designs. The key highlight of this lighting creation is rooted in its exclusive giraffe print handcrafted with the ultimate care to details by professional artisans. Each brass plate is a true design masterpiece that carries a bronze glass to soften the mesmerizing light effect. This lavish snooker version of this golden chandelier can be modelled in any sizes and visually complement a living space with its natural allure, creating an unusual ambience. Matching various styles of residential and commercial projects, this sophisticated design is perfect to shape modern classic, mid-century modern, or art deco interiors. VIEW FULL FAMILY
Safari Round Suspension
castrolighting > Ceiling lamp
The collection arose from exploring new worlds of inspiration for creative and unique designs. Ignited by the concept of journey, the Safari Collection embraces the aesthetic spirit of the savage animal world, unexplored and enigmatic, enticing atmosphere of serenity and midday summer heat of Savannah. Bronze and earthy tones bring the wild into high-class décor. A signature lighting design delivers a fresh approach to luxury and results in a refined retreat for every demanding interior. This majestic chandelier was designed to be contemplated and harmoniously allied to an elegant composition with a chair alongside wall light from the same Collection. Safari suspension is the newest addition to the Castro iconic designs. The key highlight of this lighting creation is rooted in its exclusive giraffe print handcrafted with the ultimate care to details by professional artisans. Each brass plate is a true design masterpiece that carries a bronze glass to soften the mesmerizing light effect. This lavish suspension can be modelled in any dimension and visually complement a living space with its natural allure, creating an unusual ambience. Matching various styles of residential and commercial projects, this sophisticated design is perfect to shape modern classic, mid-century modern, or art deco interiors. #moroccanriad
Marie Chair Safari Edition
castrolighting > Chair
The collection arose from exploring new worlds of inspiration for creative and unique designs. Ignited by the concept of journey, the Safari Collection embraces the aesthetic spirit of the savage animal world, unexplored and enigmatic, enticing atmosphere of serenity and midday summer heat of Savannah. Bronze and earthy tones bring the wild into high-class décorative pieces. A signature furniture design delivers a fresh approach to luxury and results in a refined retreat for every demanding interior. This majestic dining chair was designed to be contemplated and harmoniously allied to an elegant composition with a suspension alongside wall light from the same Collection. Marie chair safari edition is the newest addition to the Castro iconic designs. Composed of a top-quality combo of materials such as brass that frames the mesmerizing beige upholstery, Safari’s splendid design ensures divine comfort due to its curved backrest. The key highlight of this furniture creation is rooted in its exclusive brass giraffe print on the back handcrafted with the ultimate care to details by professional artisans. This lavish chair can visually complement any living space with its natural allure, creating an unusual ambience. Matching various styles of residential and commercial projects, this sophisticated design is perfect to shape modern classic, mid-century modern, or art deco interiors.
Safari Suspension
castrolighting > Ceiling lamp
The collection arose from exploring new worlds of inspiration for creative and unique designs. Ignited by the concept of journey, the Safari Collection embraces the aesthetic spirit of the savage animal world, unexplored and enigmatic, enticing atmosphere of serenity and midday summer heat of Savannah. Bronze and earthy tones bring the wild into high-class décor. A signature lighting design delivers a fresh approach to luxury and results in a refined retreat for every demanding interior. This majestic chandelier was designed to be contemplated and harmoniously allied to an elegant composition with a chair alongside wall light from the same Collection. Safari suspension is the newest addition to the Castro iconic designs. The key highlight of this lighting creation is rooted in its exclusive giraffe print handcrafted with the ultimate care to details by professional artisans. Each brass plate is a true design masterpiece that carries a bronze glass to soften the mesmerizing light effect. This lavish suspension can be modelled in any dimension and visually complement a living space with its natural allure, creating an unusual ambience. Matching various styles of residential and commercial projects, this sophisticated design is perfect to shape modern classic, mid-century modern, or art deco interiors. VIEW FULL FAMILY
Alvea L Bookcase
gautierFurniture > Cabinet
A true object of furniture, the Alvea bookcase combines the originality of asymmetrical graphic lines with the practicality of numerous integrated storage spaces. Its unique style, both understated and distinguished, will bring character and modernity to your interior. You can place it in the center of your room to separate it into two distinct spaces, lean it against a wall, or position it on a low piece of furniture. Whatever your choice, it will allow you to store your books and decorative objects. Available in 4 sizes and 6 different finishes, it will perfectly integrate into all interiors, regardless of your style.
Norr Shelf
fritzhansen > Cabinet
The Norr series in FSC-certified oak takes its cues from Scandinavian simplicity. Functional, well-crafted and beautiful designs for the home perfectly encapsulate the adage ‘less is more.’ A modern, rectangular interpretation of the pyramid shelf, the Norr shelf is defined by its simple FSC-certified oak frame, leather strap and brass mount. Whether used for extra storage or to display decorative objects, its open-back design enhances any wall.
Multiquartz
marazzi group > Floor tile-stone
Outdoor Porcelain Stoneware Multiquarz, outdoor flooring tiles, by Marazzi offers porcelain slabs with a tactile look and strong shade variation, with surfaces perfect for outdoor use. Three colour variants made special by a variety of rectified sizes and two mesh-backed decorative motifs that allow an infinite variety of laying patterns. Multiquarz is ideal for outdoor use as a paving and wall covering in residential and light-traffic commercial contexts.
Alvea M Bookcase
gautierFurniture > Cabinet
A true object of furniture, the Alvea bookcase combines the originality of asymmetrical graphic lines with the practicality of numerous integrated storage spaces. Its unique style, both understated and distinguished, will bring character and modernity to your interior. You can place it in the center of your room to separate it into two distinct spaces, lean it against a wall, or position it on a low piece of furniture. Whatever your choice, it will allow you to store your books and decorative objects. Available in 4 sizes and 6 different finishes, it will perfectly integrate into all interiors, regardless of your style.
Plimatech Plimabeige/03
florim > Floor tile-stone
<p>The inspiration for Florim's Plimatech Architectural design comes from high up in the Martell Valley of the Alto Adige region.</p> <p>The aesthetic heterogeneity characteristic of natural stone is captured in the collection through three graphic variants. 01, the most minimalist is softly veined and, especially in the large format, is particularly appropriate to confer character on architecture of more essential taste. 02 has a more variegated appearance, with slight shading tending towards white, designed to add a rough, textural touch to spaces. Finally, 03 is characterized by a high number of crystalline formations that give it a wavier line, ideal for design contexts that, between interior and exterior spaces, pursue a dialogue with the surrounding natural environment.</p> <p> </p> <p>In addition to this, the range of decorations is completed with the 30x60 wall module and 30x60 3D wall module, both proposed for the graphic variant 02 in all colors.</p>
PAMPLONA
Rapsel > Washbasin
Crafted from Velvet®, an innovative and durable material, this basin offers a complete solution. It features a comfortable side support for user convenience, an integrated washbasin, a mixer tap, and a top edge that can be used as a decorative shelf for small items. The integrated metal frame within the countertop allows for easy and secure wall installation, providing exceptional stability and durability. The Pamplona basin comes complete with the Vola mixer tap, a design element that seamlessly complements the basin's elegance and sophistication.For those who crave a sophisticated and comfortable bathroom environment, Pamplona is the perfect choice. Every detail is meticulously crafted to provide an oasis of tranquility and luxury.The 1995 version features a beechwood frame and a stainless steel basin.
Plimatech Plimabeige/02
florim > Floor tile-stone
<p>The inspiration for Florim's Plimatech Architectural design comes from high up in the Martell Valley of the Alto Adige region.</p> <p>The aesthetic heterogeneity characteristic of natural stone is captured in the collection through three graphic variants. 01, the most minimalist is softly veined and, especially in the large format, is particularly appropriate to confer character on architecture of more essential taste. 02 has a more variegated appearance, with slight shading tending towards white, designed to add a rough, textural touch to spaces. Finally, 03 is characterized by a high number of crystalline formations that give it a wavier line, ideal for design contexts that, between interior and exterior spaces, pursue a dialogue with the surrounding natural environment.</p> <p> </p> <p>In addition to this, the range of decorations is completed with the 30x60 wall module and 30x60 3D wall module, both proposed for the graphic variant 02 in all colors.</p>
WING
Rapsel > Washbasin
Soft lines blend with the purity of polished stainless steel or white titanic resin, creating a work of art that seems to float in your bathroom. The washbasin can be complemented with a towel rack and a side drawer in stainless steel, for an added touch of functionality and style. Originally available in two versions:Polished stainless steel: For a modern aesthetic with striking visual impact.White Titanic Resin: For a timeless elegance that complements any décor.Wing was the first bathroom furnishing product to win the Compasso d'Oro award in 1994. It is still part of the permanent exhibition at the ADI Museum in Milan.Wing is currently only produced in white titanium resin. The stainless steel model, while being the original from the 1990s, is no longer available.The Wing is designed for wall-mounted installation and features a pre-drilled countertop hole for faucet placement.
Infinity Mirror
paolocastelli > Styling
Infinity Mirror, a mirror rounded contours backlit to create unique design reflections. Infinity reinvents the mirror concept in a contemporary key, transforming it from a simple and functional object to an ornamental piece of furniture. The matt black nickel profiles are freed from the perimeter constraints of the frame, creating a play on perspective whereby the mirror seems to stretch out into infinity, illuminating and decorating the wall that houses it. MATERIALS Structure: metal Central body: mirror FINISHES Structure: black nickel Light source: LED Total power: 69W / Voltage: 220-240 V / Rated Luminus Flux: 2277 Lm / Colour temperature: 3000°K / Color Rendering Index: Standard CRI 90 / Dimmer function: Yes
Plimatech Plimawhite/01
florim > Floor tile-stone
<p>The inspiration for Florim's Plimatech Architectural design comes from high up in the Martell Valley of the Alto Adige region.</p> <p>The aesthetic heterogeneity characteristic of natural stone is captured in the collection through three graphic variants. 01, the most minimalist is softly veined and, especially in the large format, is particularly appropriate to confer character on architecture of more essential taste. 02 has a more variegated appearance, with slight shading tending towards white, designed to add a rough, textural touch to spaces. Finally, 03 is characterized by a high number of crystalline formations that give it a wavier line, ideal for design contexts that, between interior and exterior spaces, pursue a dialogue with the surrounding natural environment.</p> <p> </p> <p>In addition to this, the range of decorations is completed with the 30x60 wall module and 30x60 3D wall module, both proposed for the graphic variant 02 in all colors.</p>
Alvea S Bookcase
gautierFurniture > Cabinet
A true object of furniture, the Alvea bookcase combines the originality of asymmetrical graphic lines with the practicality of numerous integrated storage spaces. Its unique style, both understated and distinguished, will bring character and modernity to your interior. You can place it in the center of your room to separate it into two distinct spaces, lean it against a wall, or position it on a low piece of furniture. Whatever your choice, it will allow you to store your books and decorative objects. Available in 4 sizes and 6 different finishes, it will perfectly integrate into all interiors, regardless of your style.
Fabula
marazzi group > Floor tile-stone
Marble effect porcelain stoneware: contemporary elegance for floors Marble is renowned as the embodiment of elegance and purity. Now its most neutral varieties, the whites with their sophisticated veining and the warmer beiges, are reinterpreted in contemporary style in a very tactile porcelain stoneware collection in which use of the 3D Ink technology makes every piece unique and gives the veins both depth and shine. The matching Fabula Wall selection of wall coverings features tactile decors and three-dimensional structures.
Square stair nosing trims in Stainless Steel: SQUAREJOLLY SJ
profilitec > Accessories
Square stair nosing trims in Stainless Steel: SQUAREJOLLY SJ The square, stainless steel SQUAREJOLLY SJ profile finishes and protects tile step edges from mechanical impact. The section of the SQUAREJOLLY SJ profile has two perpendicular sides that perfectly resolve the 90° corner of the stair. The minimal, modern design is ideal for commercial and residential applications. How SJ profiles can be used The SJ profile is a multipurpose profile that covers a wide range of applications: • Transition for floors on the same level • Making decorative strips • Protecting external edge of wall tiles • framing for doormats • Top finishing of ceramic edges and skirting boards • Profiles for steps
Roma Mirror
castrolighting > Styling
Roma Mirror is the elegant symbol of confidence and boldness. With an ambitious focus on simplicity, cleanlines, and raw materials, it celebrates a sleek modern design. Being embodied in the form of conceptually, visually, and artistically completed circle, this furniture feature suggests a fresh take on contemporary elegance. A well-balanced flowing shape of the rim highlights the essence of refinement taken to new heights. This aesthetic lifestyle decorative piece is handcrafted from rich materials and finished with polished brass. It is modelled to reflect a vibrant gleam and serenity in the interior space. This wall mirror is a leading-edge statement of simple charm yet a lasting legacy, displaying the finest design quality with luxurious accents. An excellent fit for entrances, hallways, living and dining rooms, as well as any other area your interior décor imagination allows. This is a pure minimalist twist reflected indouble rings of this design. Find a stylish solution for the exquisite space with Roma Mirror, granting any interior project a modern and sophisticated touch.
LISTEC LI 22 trims with chromatic effect for coverings
profilitec > Accessories
LISTEC LI 22 trims with chromatic effect for coverings LISTEC LI 22 is a profile that allows you to quickly create chromatic effects on ceramic walls, thanks to the shape and thickness of 6 mm. It is applied with the thin set, generally to create horizontal lines on the wall, regardless of the thickness of the tile. The particular shape of the aluminium strip facilitates and mechanically makes the fixing more efficient. Available in plastic, steel and in different decorative finishes of aluminium, it can be coordinated with the same chromatic bases of ROUNDJOLLY and KERAJOLLY.
Mirror VU
tonellidesign > Styling
The VU mirror is a project of Giovanni Tommaso Garattoni, a three-dimensional texture obtained by placing next to each other different thicknesses of glass slabs. Each element can be used individually or with other elements to create custom composition that can be adapted to any project’s necessities. Therefore, a furnishing element that leaves ample margin of interpretation. 22 are the extra clear glass modules of different thicknesses that compose the VU mirror, glued through UV lamps onto a mirrored base that allows the wall fixing. We are dealing with a mirror of great artistic value, that results specially adapt for the decoration of wide spaces such as lounges and offices or passageways.
Alvea XL Bookcase
gautierFurniture > Cabinet
A true object of furniture, the Alvea bookcase combines the originality of asymmetrical graphic lines with the practicality of numerous integrated storage spaces. Its unique style, both understated and distinguished, will bring character and modernity to your interior. You can place it in the center of your room to separate it into two distinct spaces, lean it against a wall, or position it on a low piece of furniture. Whatever your choice, it will allow you to store your books and decorative objects. Available in 4 sizes and 6 different finishes, it will perfectly integrate into all interiors, regardless of your style.
PDP23 – Piatto da pompa OCCHIO DX
Elica Studio > Styling
PDP23 – Piatto da pompa OCCHIO DX Material Porcelain, engobes, oxides Finishing Matte Sizes (cm) 4343 Weight (g) 2000 Designed in 2023 Collection Anatomika Lead Time: 30 days PDP23 PIATTO DA POMPA OCCHIO DX is a striking decorative porcelain plate that transforms classical ceramic ornament into a surreal visual statement. The central motif—an anatomically detailed right eye—is rendered in fine black illustration, emerging from a dense field of cobalt blue floral patterning. The composition evokes a feeling of being seen through layers of beauty, tradition, and complexity. The eye is perfectly proportioned, framed by finely drawn lashes and a softly curved eyelid. Around it, baroque-style flowers and spiralling vines twist across the matte ivory surface in deep blue and black, hand-painted with subtle irregularity. These organic forms seem to grow around and partially veil the eye, creating tension between concealment and observation. The surface is entirely matte, allowing the contrast between ink-like black detailing and soft ivory porcelain to play subtly with light. Decorative yet emotionally charged, this piece offers layered symbolism—watchfulness, beauty, inner awareness—and brings both narrative and visual interest to any space. Styling & Placement Suggestions Gallery and Conceptual Interiors: Display alone as a symbolic focal point or pair with other anatomical plates from the collection for a sculptural wall installation. Monochrome and Classic Spaces: Its black and cobalt palette suits refined interiors, especially when combined with neutral tones, aged wood, or dark textiles. Boutique & Creative Studios: Ideal for entryways, curated retail spaces, or as a quiet visual interruption in a lounge or studio. Narrative-Driven Spaces: Use in settings where symbolism matters—this piece speaks of introspection, perception, and hidden stories. Why Designers Use PDP23 OCCHIO DX Symbolic Richness: The eye is timeless as a motif—this one is both passive and aware, making it emotionally resonant. Craft Meets Illustration: Botanical and figurative elements are hand-rendered with precision, revealing the artisan’s hand. Versatile Scale: At 33 cm, it works as a central artwork, shelf accent, or part of a decorative group. Modern Surrealism: A classic plate reimagined as an object of artistic and philosophical contemplation. Styling Tip: Mount on a charcoal, navy, or off-white wall to amplify the detail in both the floral elements and the iris. Use soft ambient light or a spotlight with a narrow beam to enhance the eye’s reflective stare.
Ginger
marset > Ceiling lamp
Wood is a great ally of cozy lighting. It is a material that is hard to mold, a challenge that the Ginger collection neatly resolves. The combination of sheets of wood, paper and resins pressed together under high pressure achieves a laminate that appears almost entirely flat, which discreetly lights up spaces with indirect light.This collection has been expanding over time to provide a solution to different lighting needs: different sizes for the suspension, tabletop (including the portable version) and floor models, two wall versions with a movable arm, and four wall lamp sizes that are simple yet formal and that can be combined with one another. The Ginger is also available in metal, offering the same warm, reflected light with no glare that helps highlight spaces. This material is applied to some models in the collection with different finishes: brushed brass, black or white on the outside, and brushed brass or white on the inside. A lighter, more refined, almost sculptural option. With these two highly diverse materials –wood and metal– the Ginger turns into a versatile collection, rounding out the circle and offering a lamp for every lighting and decorating need.
Tesori Broccato grigio
florim > Wallcovering
East and West, a synthesis archieved through Italian taste. «My work often takes me to far-off lands, also remote in terms of their culture and traditions. Even without my being aware of it, I then metabolise these traditions and include them in the designs I subsequently produce.» Matteo Nunziati <p>"It is the architect's task to create a warm, livable space. Carpets are warm and livable. He decides for this reason to spread one carpet on the floor and to hang up four to form the four walls. But you cannot build a house out of carpets. Both the carpet and the floor and the tapestry on the wall required structural frame to hold them in the correct place. To invent this frame is the architect's second task."When Adolf Loos wrote his revolutionary essay on the "principle of cladding" in 1898, architecture was just entering the modern age. Building meant imagining structures capable of putting together different materials, but, Loos affirmed, it must also respect their individual characteristics. "Every material possesses a formal language which belongs to it alone and no material can take on the forms proper to another", the Austrian master therefore maintained. And there is no doubt that the spirit of these words extended throughout most Twentieth Century architecture, regardless of its location or style. When we look at Matteo Nunziati's designs for the CEDIT Tesori collection, we seem to be seeing geometrical purity and attention to detail at the service of a new "truth" of material. Because Matteo Nunziati views ceramics as a form of fabric.<br /> The woven patterns he imagines for the various styles in his collection "“ from Arabian to damask to more geometrical motifs "“ constantly seek to provide the soft, iridescent look of time-worn linen. In them, ceramics are raised from the status of poor relation of marble to become a luxury wall covering in their own right: almost a wallpaper, suitable however for both floors and walls, and an absolutely versatile material. No longer only for beautifying bathrooms, they can create new moods in every room of the house (and elsewhere) starting from the living-room. Naturally, the revolution has been mainly technological. The large slabs produced by CEDIT are more than 3 metres tall, and since they eliminate the serial repetition typical of conventional tiles, they generate a new relationship between the surface and its decoration. However, Nunziati does not use this to create, artist-like, a more eye-catching decorative composition that emphasises the slab's dimensions. Quite the opposite; the patterns he offers us attempt to break down what is left of the boundaries between substrates. In particular, the Arabian and damask styles, in the version with "timeworn" patterning, convey the idea of the ceramic slab as an abstract, almost non-existent material which melts into the decorative motif applied to it, in a kind of pure wall covering.<br /> Through the patient selection of geometrical motifs and tests to verify their suitability for application to ceramic slabs, Nunziati aims to achieve a new material rather than a mere decoration, making this clear by also exploring its tactile dimension, with gouged and relief motifs. His "principle of coverings" therefore relates to ceramics' essence rather than their image: highlighting the versatility which, as we all know, has made ceramics an absolute material, a kind of cement that incorporates structure and finish in a virtually infinite range of applications. This is clearly indicated by the reference to the mashrabiya, a term meaning place where people drink in Arabic, which in Arabian architecture originally referred to the kind of veranda where people used to meet and rest, and over time has come to mean the wooden gratings that screened these places from the sun. Inspired by his trips to the Middle East, for Nunziati the geometric patterns of the mashrabiya become both an outline of his method of work and the form of what in fact becomes the key element in a new idea of space: a real location conceived around a strong, livable surface in which physical substance and decoration overlap to the point where they merge.</p>
Tesori Lino bianco
florim > Wallcovering
East and West, a synthesis archieved through Italian taste. «My work often takes me to far-off lands, also remote in terms of their culture and traditions. Even without my being aware of it, I then metabolise these traditions and include them in the designs I subsequently produce.» Matteo Nunziati <p>"It is the architect's task to create a warm, livable space. Carpets are warm and livable. He decides for this reason to spread one carpet on the floor and to hang up four to form the four walls. But you cannot build a house out of carpets. Both the carpet and the floor and the tapestry on the wall required structural frame to hold them in the correct place. To invent this frame is the architect's second task."When Adolf Loos wrote his revolutionary essay on the "principle of cladding" in 1898, architecture was just entering the modern age. Building meant imagining structures capable of putting together different materials, but, Loos affirmed, it must also respect their individual characteristics. "Every material possesses a formal language which belongs to it alone and no material can take on the forms proper to another", the Austrian master therefore maintained. And there is no doubt that the spirit of these words extended throughout most Twentieth Century architecture, regardless of its location or style. When we look at Matteo Nunziati's designs for the CEDIT Tesori collection, we seem to be seeing geometrical purity and attention to detail at the service of a new "truth" of material. Because Matteo Nunziati views ceramics as a form of fabric.<br /> The woven patterns he imagines for the various styles in his collection "“ from Arabian to damask to more geometrical motifs "“ constantly seek to provide the soft, iridescent look of time-worn linen. In them, ceramics are raised from the status of poor relation of marble to become a luxury wall covering in their own right: almost a wallpaper, suitable however for both floors and walls, and an absolutely versatile material. No longer only for beautifying bathrooms, they can create new moods in every room of the house (and elsewhere) starting from the living-room. Naturally, the revolution has been mainly technological. The large slabs produced by CEDIT are more than 3 metres tall, and since they eliminate the serial repetition typical of conventional tiles, they generate a new relationship between the surface and its decoration. However, Nunziati does not use this to create, artist-like, a more eye-catching decorative composition that emphasises the slab's dimensions. Quite the opposite; the patterns he offers us attempt to break down what is left of the boundaries between substrates. In particular, the Arabian and damask styles, in the version with "timeworn" patterning, convey the idea of the ceramic slab as an abstract, almost non-existent material which melts into the decorative motif applied to it, in a kind of pure wall covering.<br /> Through the patient selection of geometrical motifs and tests to verify their suitability for application to ceramic slabs, Nunziati aims to achieve a new material rather than a mere decoration, making this clear by also exploring its tactile dimension, with gouged and relief motifs. His "principle of coverings" therefore relates to ceramics' essence rather than their image: highlighting the versatility which, as we all know, has made ceramics an absolute material, a kind of cement that incorporates structure and finish in a virtually infinite range of applications. This is clearly indicated by the reference to the mashrabiya, a term meaning place where people drink in Arabic, which in Arabian architecture originally referred to the kind of veranda where people used to meet and rest, and over time has come to mean the wooden gratings that screened these places from the sun. Inspired by his trips to the Middle East, for Nunziati the geometric patterns of the mashrabiya become both an outline of his method of work and the form of what in fact becomes the key element in a new idea of space: a real location conceived around a strong, livable surface in which physical substance and decoration overlap to the point where they merge.</p>
Tesori Broccato bianco
florim > Wallcovering
East and West, a synthesis archieved through Italian taste. «My work often takes me to far-off lands, also remote in terms of their culture and traditions. Even without my being aware of it, I then metabolise these traditions and include them in the designs I subsequently produce.» Matteo Nunziati <p>"It is the architect's task to create a warm, livable space. Carpets are warm and livable. He decides for this reason to spread one carpet on the floor and to hang up four to form the four walls. But you cannot build a house out of carpets. Both the carpet and the floor and the tapestry on the wall required structural frame to hold them in the correct place. To invent this frame is the architect's second task."When Adolf Loos wrote his revolutionary essay on the "principle of cladding" in 1898, architecture was just entering the modern age. Building meant imagining structures capable of putting together different materials, but, Loos affirmed, it must also respect their individual characteristics. "Every material possesses a formal language which belongs to it alone and no material can take on the forms proper to another", the Austrian master therefore maintained. And there is no doubt that the spirit of these words extended throughout most Twentieth Century architecture, regardless of its location or style. When we look at Matteo Nunziati's designs for the CEDIT Tesori collection, we seem to be seeing geometrical purity and attention to detail at the service of a new "truth" of material. Because Matteo Nunziati views ceramics as a form of fabric.<br /> The woven patterns he imagines for the various styles in his collection "“ from Arabian to damask to more geometrical motifs "“ constantly seek to provide the soft, iridescent look of time-worn linen. In them, ceramics are raised from the status of poor relation of marble to become a luxury wall covering in their own right: almost a wallpaper, suitable however for both floors and walls, and an absolutely versatile material. No longer only for beautifying bathrooms, they can create new moods in every room of the house (and elsewhere) starting from the living-room. Naturally, the revolution has been mainly technological. The large slabs produced by CEDIT are more than 3 metres tall, and since they eliminate the serial repetition typical of conventional tiles, they generate a new relationship between the surface and its decoration. However, Nunziati does not use this to create, artist-like, a more eye-catching decorative composition that emphasises the slab's dimensions. Quite the opposite; the patterns he offers us attempt to break down what is left of the boundaries between substrates. In particular, the Arabian and damask styles, in the version with "timeworn" patterning, convey the idea of the ceramic slab as an abstract, almost non-existent material which melts into the decorative motif applied to it, in a kind of pure wall covering.<br /> Through the patient selection of geometrical motifs and tests to verify their suitability for application to ceramic slabs, Nunziati aims to achieve a new material rather than a mere decoration, making this clear by also exploring its tactile dimension, with gouged and relief motifs. His "principle of coverings" therefore relates to ceramics' essence rather than their image: highlighting the versatility which, as we all know, has made ceramics an absolute material, a kind of cement that incorporates structure and finish in a virtually infinite range of applications. This is clearly indicated by the reference to the mashrabiya, a term meaning place where people drink in Arabic, which in Arabian architecture originally referred to the kind of veranda where people used to meet and rest, and over time has come to mean the wooden gratings that screened these places from the sun. Inspired by his trips to the Middle East, for Nunziati the geometric patterns of the mashrabiya become both an outline of his method of work and the form of what in fact becomes the key element in a new idea of space: a real location conceived around a strong, livable surface in which physical substance and decoration overlap to the point where they merge.</p>
Tesori Lino grigio
florim > Wallcovering
East and West, a synthesis archieved through Italian taste. «My work often takes me to far-off lands, also remote in terms of their culture and traditions. Even without my being aware of it, I then metabolise these traditions and include them in the designs I subsequently produce.» Matteo Nunziati <p>"It is the architect's task to create a warm, livable space. Carpets are warm and livable. He decides for this reason to spread one carpet on the floor and to hang up four to form the four walls. But you cannot build a house out of carpets. Both the carpet and the floor and the tapestry on the wall required structural frame to hold them in the correct place. To invent this frame is the architect's second task."When Adolf Loos wrote his revolutionary essay on the "principle of cladding" in 1898, architecture was just entering the modern age. Building meant imagining structures capable of putting together different materials, but, Loos affirmed, it must also respect their individual characteristics. "Every material possesses a formal language which belongs to it alone and no material can take on the forms proper to another", the Austrian master therefore maintained. And there is no doubt that the spirit of these words extended throughout most Twentieth Century architecture, regardless of its location or style. When we look at Matteo Nunziati's designs for the CEDIT Tesori collection, we seem to be seeing geometrical purity and attention to detail at the service of a new "truth" of material. Because Matteo Nunziati views ceramics as a form of fabric.<br /> The woven patterns he imagines for the various styles in his collection "“ from Arabian to damask to more geometrical motifs "“ constantly seek to provide the soft, iridescent look of time-worn linen. In them, ceramics are raised from the status of poor relation of marble to become a luxury wall covering in their own right: almost a wallpaper, suitable however for both floors and walls, and an absolutely versatile material. No longer only for beautifying bathrooms, they can create new moods in every room of the house (and elsewhere) starting from the living-room. Naturally, the revolution has been mainly technological. The large slabs produced by CEDIT are more than 3 metres tall, and since they eliminate the serial repetition typical of conventional tiles, they generate a new relationship between the surface and its decoration. However, Nunziati does not use this to create, artist-like, a more eye-catching decorative composition that emphasises the slab's dimensions. Quite the opposite; the patterns he offers us attempt to break down what is left of the boundaries between substrates. In particular, the Arabian and damask styles, in the version with "timeworn" patterning, convey the idea of the ceramic slab as an abstract, almost non-existent material which melts into the decorative motif applied to it, in a kind of pure wall covering.<br /> Through the patient selection of geometrical motifs and tests to verify their suitability for application to ceramic slabs, Nunziati aims to achieve a new material rather than a mere decoration, making this clear by also exploring its tactile dimension, with gouged and relief motifs. His "principle of coverings" therefore relates to ceramics' essence rather than their image: highlighting the versatility which, as we all know, has made ceramics an absolute material, a kind of cement that incorporates structure and finish in a virtually infinite range of applications. This is clearly indicated by the reference to the mashrabiya, a term meaning place where people drink in Arabic, which in Arabian architecture originally referred to the kind of veranda where people used to meet and rest, and over time has come to mean the wooden gratings that screened these places from the sun. Inspired by his trips to the Middle East, for Nunziati the geometric patterns of the mashrabiya become both an outline of his method of work and the form of what in fact becomes the key element in a new idea of space: a real location conceived around a strong, livable surface in which physical substance and decoration overlap to the point where they merge.</p>
Tesori Anelli grigio
florim > Wallcovering
East and West, a synthesis archieved through Italian taste. «My work often takes me to far-off lands, also remote in terms of their culture and traditions. Even without my being aware of it, I then metabolise these traditions and include them in the designs I subsequently produce.» Matteo Nunziati <p>"It is the architect's task to create a warm, livable space. Carpets are warm and livable. He decides for this reason to spread one carpet on the floor and to hang up four to form the four walls. But you cannot build a house out of carpets. Both the carpet and the floor and the tapestry on the wall required structural frame to hold them in the correct place. To invent this frame is the architect's second task."When Adolf Loos wrote his revolutionary essay on the "principle of cladding" in 1898, architecture was just entering the modern age. Building meant imagining structures capable of putting together different materials, but, Loos affirmed, it must also respect their individual characteristics. "Every material possesses a formal language which belongs to it alone and no material can take on the forms proper to another", the Austrian master therefore maintained. And there is no doubt that the spirit of these words extended throughout most Twentieth Century architecture, regardless of its location or style. When we look at Matteo Nunziati's designs for the CEDIT Tesori collection, we seem to be seeing geometrical purity and attention to detail at the service of a new "truth" of material. Because Matteo Nunziati views ceramics as a form of fabric.<br /> The woven patterns he imagines for the various styles in his collection "“ from Arabian to damask to more geometrical motifs "“ constantly seek to provide the soft, iridescent look of time-worn linen. In them, ceramics are raised from the status of poor relation of marble to become a luxury wall covering in their own right: almost a wallpaper, suitable however for both floors and walls, and an absolutely versatile material. No longer only for beautifying bathrooms, they can create new moods in every room of the house (and elsewhere) starting from the living-room. Naturally, the revolution has been mainly technological. The large slabs produced by CEDIT are more than 3 metres tall, and since they eliminate the serial repetition typical of conventional tiles, they generate a new relationship between the surface and its decoration. However, Nunziati does not use this to create, artist-like, a more eye-catching decorative composition that emphasises the slab's dimensions. Quite the opposite; the patterns he offers us attempt to break down what is left of the boundaries between substrates. In particular, the Arabian and damask styles, in the version with "timeworn" patterning, convey the idea of the ceramic slab as an abstract, almost non-existent material which melts into the decorative motif applied to it, in a kind of pure wall covering.<br /> Through the patient selection of geometrical motifs and tests to verify their suitability for application to ceramic slabs, Nunziati aims to achieve a new material rather than a mere decoration, making this clear by also exploring its tactile dimension, with gouged and relief motifs. His "principle of coverings" therefore relates to ceramics' essence rather than their image: highlighting the versatility which, as we all know, has made ceramics an absolute material, a kind of cement that incorporates structure and finish in a virtually infinite range of applications. This is clearly indicated by the reference to the mashrabiya, a term meaning place where people drink in Arabic, which in Arabian architecture originally referred to the kind of veranda where people used to meet and rest, and over time has come to mean the wooden gratings that screened these places from the sun. Inspired by his trips to the Middle East, for Nunziati the geometric patterns of the mashrabiya become both an outline of his method of work and the form of what in fact becomes the key element in a new idea of space: a real location conceived around a strong, livable surface in which physical substance and decoration overlap to the point where they merge.</p>
Tesori Anelli bianco
florim > Wallcovering
East and West, a synthesis archieved through Italian taste. «My work often takes me to far-off lands, also remote in terms of their culture and traditions. Even without my being aware of it, I then metabolise these traditions and include them in the designs I subsequently produce.» Matteo Nunziati <p>"It is the architect's task to create a warm, livable space. Carpets are warm and livable. He decides for this reason to spread one carpet on the floor and to hang up four to form the four walls. But you cannot build a house out of carpets. Both the carpet and the floor and the tapestry on the wall required structural frame to hold them in the correct place. To invent this frame is the architect's second task."When Adolf Loos wrote his revolutionary essay on the "principle of cladding" in 1898, architecture was just entering the modern age. Building meant imagining structures capable of putting together different materials, but, Loos affirmed, it must also respect their individual characteristics. "Every material possesses a formal language which belongs to it alone and no material can take on the forms proper to another", the Austrian master therefore maintained. And there is no doubt that the spirit of these words extended throughout most Twentieth Century architecture, regardless of its location or style. When we look at Matteo Nunziati's designs for the CEDIT Tesori collection, we seem to be seeing geometrical purity and attention to detail at the service of a new "truth" of material. Because Matteo Nunziati views ceramics as a form of fabric.<br /> The woven patterns he imagines for the various styles in his collection "“ from Arabian to damask to more geometrical motifs "“ constantly seek to provide the soft, iridescent look of time-worn linen. In them, ceramics are raised from the status of poor relation of marble to become a luxury wall covering in their own right: almost a wallpaper, suitable however for both floors and walls, and an absolutely versatile material. No longer only for beautifying bathrooms, they can create new moods in every room of the house (and elsewhere) starting from the living-room. Naturally, the revolution has been mainly technological. The large slabs produced by CEDIT are more than 3 metres tall, and since they eliminate the serial repetition typical of conventional tiles, they generate a new relationship between the surface and its decoration. However, Nunziati does not use this to create, artist-like, a more eye-catching decorative composition that emphasises the slab's dimensions. Quite the opposite; the patterns he offers us attempt to break down what is left of the boundaries between substrates. In particular, the Arabian and damask styles, in the version with "timeworn" patterning, convey the idea of the ceramic slab as an abstract, almost non-existent material which melts into the decorative motif applied to it, in a kind of pure wall covering.<br /> Through the patient selection of geometrical motifs and tests to verify their suitability for application to ceramic slabs, Nunziati aims to achieve a new material rather than a mere decoration, making this clear by also exploring its tactile dimension, with gouged and relief motifs. His "principle of coverings" therefore relates to ceramics' essence rather than their image: highlighting the versatility which, as we all know, has made ceramics an absolute material, a kind of cement that incorporates structure and finish in a virtually infinite range of applications. This is clearly indicated by the reference to the mashrabiya, a term meaning place where people drink in Arabic, which in Arabian architecture originally referred to the kind of veranda where people used to meet and rest, and over time has come to mean the wooden gratings that screened these places from the sun. Inspired by his trips to the Middle East, for Nunziati the geometric patterns of the mashrabiya become both an outline of his method of work and the form of what in fact becomes the key element in a new idea of space: a real location conceived around a strong, livable surface in which physical substance and decoration overlap to the point where they merge.</p>
Tesori Monile bianco
florim > Wallcovering
East and West, a synthesis archieved through Italian taste. «My work often takes me to far-off lands, also remote in terms of their culture and traditions. Even without my being aware of it, I then metabolise these traditions and include them in the designs I subsequently produce.» Matteo Nunziati <p>"It is the architect's task to create a warm, livable space. Carpets are warm and livable. He decides for this reason to spread one carpet on the floor and to hang up four to form the four walls. But you cannot build a house out of carpets. Both the carpet and the floor and the tapestry on the wall required structural frame to hold them in the correct place. To invent this frame is the architect's second task."When Adolf Loos wrote his revolutionary essay on the "principle of cladding" in 1898, architecture was just entering the modern age. Building meant imagining structures capable of putting together different materials, but, Loos affirmed, it must also respect their individual characteristics. "Every material possesses a formal language which belongs to it alone and no material can take on the forms proper to another", the Austrian master therefore maintained. And there is no doubt that the spirit of these words extended throughout most Twentieth Century architecture, regardless of its location or style. When we look at Matteo Nunziati's designs for the CEDIT Tesori collection, we seem to be seeing geometrical purity and attention to detail at the service of a new "truth" of material. Because Matteo Nunziati views ceramics as a form of fabric.<br /> The woven patterns he imagines for the various styles in his collection "“ from Arabian to damask to more geometrical motifs "“ constantly seek to provide the soft, iridescent look of time-worn linen. In them, ceramics are raised from the status of poor relation of marble to become a luxury wall covering in their own right: almost a wallpaper, suitable however for both floors and walls, and an absolutely versatile material. No longer only for beautifying bathrooms, they can create new moods in every room of the house (and elsewhere) starting from the living-room. Naturally, the revolution has been mainly technological. The large slabs produced by CEDIT are more than 3 metres tall, and since they eliminate the serial repetition typical of conventional tiles, they generate a new relationship between the surface and its decoration. However, Nunziati does not use this to create, artist-like, a more eye-catching decorative composition that emphasises the slab's dimensions. Quite the opposite; the patterns he offers us attempt to break down what is left of the boundaries between substrates. In particular, the Arabian and damask styles, in the version with "timeworn" patterning, convey the idea of the ceramic slab as an abstract, almost non-existent material which melts into the decorative motif applied to it, in a kind of pure wall covering.<br /> Through the patient selection of geometrical motifs and tests to verify their suitability for application to ceramic slabs, Nunziati aims to achieve a new material rather than a mere decoration, making this clear by also exploring its tactile dimension, with gouged and relief motifs. His "principle of coverings" therefore relates to ceramics' essence rather than their image: highlighting the versatility which, as we all know, has made ceramics an absolute material, a kind of cement that incorporates structure and finish in a virtually infinite range of applications. This is clearly indicated by the reference to the mashrabiya, a term meaning place where people drink in Arabic, which in Arabian architecture originally referred to the kind of veranda where people used to meet and rest, and over time has come to mean the wooden gratings that screened these places from the sun. Inspired by his trips to the Middle East, for Nunziati the geometric patterns of the mashrabiya become both an outline of his method of work and the form of what in fact becomes the key element in a new idea of space: a real location conceived around a strong, livable surface in which physical substance and decoration overlap to the point where they merge.</p>
Ginger
marset > Table lamp
Wood is a great ally of cozy lighting. It is a material that is hard to mold, a challenge that the Ginger collection neatly resolves. The combination of sheets of wood, paper and resins pressed together under high pressure achieves a laminate that appears almost entirely flat, which discreetly lights up spaces with indirect light.This collection has been expanding over time to provide a solution to different lighting needs: different sizes for the suspension, tabletop (including the portable version) and floor models, two wall versions with a movable arm, and four wall lamp sizes that are simple yet formal and that can be combined with one another. The latter boast extraordinary structural simplicity, and can be combined with each other to great effect. Thanks to a rechargeable lithium-ion battery, the new portable table version of Ginger allows spaces to be lit independently with utter freedom, and with no need for wires. The version of Ginger in metal offers the same reflected, warm, glare-free light that helps to accentuate spaces. This material is applied to some models of the collection with different finishes: gold, black and white outside and gold and white inside. A new, lighter option that’s refined, almost like a sculpture. With these two highly diverse materials –wood and metal– the Ginger turns into a versatile collection, rounding out the circle and offering a lamp for every lighting and decorating need.
Tesori Monile grigio
florim > Wallcovering
East and West, a synthesis archieved through Italian taste. «My work often takes me to far-off lands, also remote in terms of their culture and traditions. Even without my being aware of it, I then metabolise these traditions and include them in the designs I subsequently produce.» Matteo Nunziati <p>"It is the architect's task to create a warm, livable space. Carpets are warm and livable. He decides for this reason to spread one carpet on the floor and to hang up four to form the four walls. But you cannot build a house out of carpets. Both the carpet and the floor and the tapestry on the wall required structural frame to hold them in the correct place. To invent this frame is the architect's second task."When Adolf Loos wrote his revolutionary essay on the "principle of cladding" in 1898, architecture was just entering the modern age. Building meant imagining structures capable of putting together different materials, but, Loos affirmed, it must also respect their individual characteristics. "Every material possesses a formal language which belongs to it alone and no material can take on the forms proper to another", the Austrian master therefore maintained. And there is no doubt that the spirit of these words extended throughout most Twentieth Century architecture, regardless of its location or style. When we look at Matteo Nunziati's designs for the CEDIT Tesori collection, we seem to be seeing geometrical purity and attention to detail at the service of a new "truth" of material. Because Matteo Nunziati views ceramics as a form of fabric.<br /> The woven patterns he imagines for the various styles in his collection "“ from Arabian to damask to more geometrical motifs "“ constantly seek to provide the soft, iridescent look of time-worn linen. In them, ceramics are raised from the status of poor relation of marble to become a luxury wall covering in their own right: almost a wallpaper, suitable however for both floors and walls, and an absolutely versatile material. No longer only for beautifying bathrooms, they can create new moods in every room of the house (and elsewhere) starting from the living-room. Naturally, the revolution has been mainly technological. The large slabs produced by CEDIT are more than 3 metres tall, and since they eliminate the serial repetition typical of conventional tiles, they generate a new relationship between the surface and its decoration. However, Nunziati does not use this to create, artist-like, a more eye-catching decorative composition that emphasises the slab's dimensions. Quite the opposite; the patterns he offers us attempt to break down what is left of the boundaries between substrates. In particular, the Arabian and damask styles, in the version with "timeworn" patterning, convey the idea of the ceramic slab as an abstract, almost non-existent material which melts into the decorative motif applied to it, in a kind of pure wall covering.<br /> Through the patient selection of geometrical motifs and tests to verify their suitability for application to ceramic slabs, Nunziati aims to achieve a new material rather than a mere decoration, making this clear by also exploring its tactile dimension, with gouged and relief motifs. His "principle of coverings" therefore relates to ceramics' essence rather than their image: highlighting the versatility which, as we all know, has made ceramics an absolute material, a kind of cement that incorporates structure and finish in a virtually infinite range of applications. This is clearly indicated by the reference to the mashrabiya, a term meaning place where people drink in Arabic, which in Arabian architecture originally referred to the kind of veranda where people used to meet and rest, and over time has come to mean the wooden gratings that screened these places from the sun. Inspired by his trips to the Middle East, for Nunziati the geometric patterns of the mashrabiya become both an outline of his method of work and the form of what in fact becomes the key element in a new idea of space: a real location conceived around a strong, livable surface in which physical substance and decoration overlap to the point where they merge.</p>
DM22 WIRE
Elica Studio > Styling
DM22 WIRE Material Porcelain, oxides, glaze Finishing Matte Sizes (cm) 18 X 19 X 36 Weight (g) 1300 Designed in 2022 Collection Anatomika Lead Time: 30 days DM22 WIRE is a sculptural object that reinterprets the human molar through a contemporary lens. Crafted from fine porcelain, the form is anatomical yet stylised, finished in a high-gloss white glaze and overlaid with a dynamic black wire-like graphic that traces its surface with energy and intent. The decoration is entirely hand-painted: irregular vertical and horizontal lines bend across the volume of the form, intersecting in a loose grid that mimics tension, wrapping, or topography. Each line appears almost as if drawn in ink, with varying weight and movement, creating a surface alive with rhythm and controlled chaos. The glossy finish adds dimension—catching light across the curves and amplifying the bold black linework. Despite its monochrome palette, the piece commands attention through contrast, shape, and surface complexity. The root forms are distinct and expressive, grounding the piece in its biological inspiration while abstracting it into sculpture. Styling & Placement Suggestions Contemporary Minimalist Spaces: Use as a high-contrast focal object on open shelving or a floating console. The linear motif brings energy to neutral interiors. Design-Forward Environments: Position DM22 WIRE under spotlighting in studio spaces, concept stores, or gallery-style installations where bold graphics and unusual forms are celebrated. Eclectic or Graphic Rooms: Pair with black, white, or stone elements to build visual tension. Works beautifully with textured ceramics and matte finishes. Boutique Hospitality Spaces: Place at reception areas or within curated display units to introduce a conversation piece that merges design, anatomy, and visual rhythm. Why Designers Specify DM22 WIRE Visual Energy: The expressive hand-painted wire motif creates tension and movement across a static form. Monochrome Precision: Black on gloss white delivers maximum contrast without colour, perfect for refined and modern palettes. Symbolic Layering: As a tooth, it offers associations of memory, structure, or resilience—elevated through abstraction. Gallery-Ready Presence: Sculptural scale and surface detailing make it suitable for curated interiors or public-facing displays. Styling Tip: Position under angled light to cast sharp shadows that interact with the wire pattern. Against a black or concrete wall, it becomes graphic and sculptural—an object with bold presence and subtle detail. DM22 WIRE transforms a familiar anatomical form into a design object charged with visual rhythm and conceptual intrigue. It is an ideal addition to interiors seeking graphic clarity, storytelling through material, and sculptural power within compact scale.
OCC 22 b
Elica Studio > Styling
OCC 22 d Material Porcelain, engobes, oxides, glaze Finishing Matte Sizes (cm) 38154 Weight (g) 900 Designed in 2022 Collection Anatomika Lead Time: 30 days OCC22 B is a sculptural porcelain object in the form of an open eye—stylised, surreal, and meticulously detailed. Sold as a pair, these pieces are mirror images, each handcrafted to resemble an almond-shaped eye with intricate surface patterns and a glossy cobalt pupil at the centre. The surface is textured with a ripple-like motif made from thousands of small incised dots, creating a layered effect that mimics both iris striations and concentric waves. Alternating bands of blue pigment and natural porcelain form a hypnotic rhythm that draws the viewer inward. The central pupil is a glossy sphere, polished and deep blue, offering a reflective focal point within the matte surround. This interplay of textures—matte stippling and glazed smoothness—gives OCC22 B a dual nature: tactile and visual, decorative and symbolic. Mounted on a wall or placed flat on a surface, the eyes seem to watch silently, evoking themes of perception, presence, and silent observation. Styling & Placement Suggestions Gallery or Conceptual Interiors: Install as a pair on a dark wall or framed niche. Their sculptural quality and abstract symbolism make them ideal for reflective or artistic spaces. Modern or Graphic Environments: Combine with linear or monochrome elements. The blue-and-white palette introduces intensity without colour noise, and the circular eye form breaks angular compositions. Minimalist and Spiritual Spaces: Use in meditation rooms or thoughtful corners as symbolic protectors or emblems of awareness. Retail and Hospitality: Perfect for reception areas, boutique walls, or hotel suites—OCC22 B adds both intrigue and storytelling without overwhelming a space. Why Interior Designers Choose OCC22 B Symbolic Clarity: A timeless symbol—open eyes—reimagined with depth, texture, and craft. Handmade Detail: The dotwork and pigment layers reveal the maker’s hand and material care. Sculptural Versatility: Can be wall-mounted or displayed flat; suitable for pair or single use. Compact Impact: At under 20 cm, each piece is small but visually powerful—ideal for curated compositions or spatial accents. Styling Tip: Mount the eyes at eye-level or slightly above for optimal visual engagement. Soft directional lighting will enhance the shadows within the dotted pattern and make the glazed pupils gleam subtly—drawing in the gaze of the viewer. OCC22 B is not just a decorative object—it’s a sculptural emblem of presence, reflection, and silent storytelling. Perfect for interiors that value narrative and detail, it brings symbolic weight with visual lightness.
OCC 22 c
Elica Studio > Styling
OCC 22 c Material Porcelain, engobes, oxides, glaze Finishing Matte Sizes (cm) 38154 Weight (g) 900 Designed in 2022 Collection Anatomika Lead Time: 30 days OCC22 C is a sculptural porcelain artwork in the form of two symmetrical eyes, stylised in shape and illustrated with evocative precision. Each almond-shaped form cradles a hyper-detailed eye, half-veiled by what appears to be a scalpel or surgical instrument delicately resting across the upper lid. This interplay of vision and incision introduces a tension between seeing and cutting, observation and intervention. The porcelain surface is treated with a soft matte ivory glaze, lending the piece a skin-like quality. Over this base, hand-drawn black ink-style illustration renders the iris, lashes, and tool with remarkable intricacy—almost etching-like in its depth and texture. Despite the minimalist palette, the detailing animates the form with psychological intensity. OCC22 C is not decorative in the usual sense; it is narrative. It invites contemplation on vulnerability, perception, and the fine line between healing and harm. As a sculptural diptych, it is equally suited to wall display or flat presentation—an object of stillness and story. Styling & Placement Suggestions Art and Gallery Interiors: Position as a pair, eye-level, under soft spotlights. Their subtle symmetry and intense illustration make them perfect for spaces designed around visual storytelling and contemplation. Minimalist or Monochrome Rooms: These sculptural eyes punctuate clean lines with their quiet intensity. Pair with matte materials, black wood, or pale stone for harmony and contrast. Symbolic and Narrative Spaces: Ideal for meditation rooms, studios, or conceptual installations—where objects are chosen for their emotional and philosophical weight. Boutique and Creative Workspaces: Use OCC22 C to spark curiosity and reflection—especially in settings where design meets introspection. Why Designers Choose OCC22 C Conceptual Power: A strong metaphor—vision paired with precision—inviting reflection and narrative interpretation. Artisanal Illustration: Each line hand-applied with care, capturing fine anatomical and symbolic detail. Compact Statement: Small enough for shelves and niches, bold enough to anchor a vignette. Dual-Form Versatility: Can be placed as a symmetrical diptych or installed facing outward for dramatic tension. Styling Tip: Mount on matte black or dark walnut panels and illuminate from the top to reveal the etched textures. Leave space around them to enhance their psychological presence—they work best when isolated from visual noise. OCC22 C is a sculptural meditation in porcelain—vision rendered as both observer and subject. Ideal for interiors where design is personal, emotional, and deliberately unsettling. A piece to look at—and be looked back at.
PDP23 – Piatto da pompa OCCHIO SX
Elica Studio > Styling
Name: PDP23 – Piatto da pompa OCCHIO SX Material: Porcelain, engobes, oxides Finishing: Matte Sizes (cm): 43 × 43 Weight (g): 2000 Designed in: 2023 Collection: Anatomika Lead Time: 30 days Description: Unveil a profound artistic statement within your interior designs with the PDP23 – Piatto da pompa OCCHIO SX, a compelling masterpiece from Elica Studio’s renowned Anatomika Collection, meticulously designed in 2023. This extraordinary square porcelain plate transcends mere functionality, presenting a captivating tableau of a human left eye, rendered with striking detail and an evocative artistic flair. Ideal for interior designers seeking to imbue spaces with intellectual depth, curated artistry, and a touch of the avant-garde, this piece redefines decorative accessories. Crafted from premium porcelain, the plate features a sophisticated matte finish, providing a serene and elegant backdrop that exquisitely highlights the intricate black ink-style illustration. The eye, a powerful symbol of perception and introspection, is depicted with remarkable realism, from the nuanced iris and expressive pupil to the delicate surrounding lines that suggest lashes and brow contours. This meticulous rendering lends the piece a sense of profound realism, yet it maintains the graphic elegance characteristic of an ink drawing, making each plate a unique testament to artisanal skill. The combination of engobes and oxides further enhances the tactile and visual richness, creating a captivating surface that invites closer inspection. For interior designers aiming to curate spaces that speak to a discerning clientele, the PDP23 – Piatto da pompa OCCHIO SX offers an unparalleled opportunity. Its generous dimensions of 43 x 43 cm and a substantial weight of 2000g make it a significant presence, perfect for creating a bold focal point. Imagine it commanding attention on a minimalist console in a contemporary urban loft, subtly integrated into a gallery wall in a classic study, or serving as a thought-provoking centerpiece on a bespoke dining table. The matte finish ensures that the dramatic contrasts of the illustration remain striking from every vantage point, preventing glare and allowing the intricate details to truly captivate. The Anatomika Collection, from which this plate originates, delves into the profound beauty and inherent complexities of the human form, translating anatomical elements into objects of art that challenge perception and inspire introspection. The OCCHIO SX, as a representation of sight and consciousness, perfectly encapsulates this powerful philosophy. It speaks to a client base that cherishes bespoke, narrative-driven design elements and seeks to create environments that are not only visually stunning but also intellectually stimulating. Its inclusion in a design scheme conveys a dedication to original thought and a deep appreciation for the seamless convergence of art, anatomy, and sophisticated interior styling. With a typical lead time of 30 days, this exclusive piece is a testament to dedicated craftsmanship, ensuring it arrives ready to become an iconic and cherished feature in your most ambitious and visionary interior projects.
Spillo 5i - Adjustable LED brass ceiling lamp _ ICONE
ICONE > Ceiling lamp
Spillo 5i – A Contemporary Built-in Ceiling Lamp with Adjustable Brass Rods Architectural Lighting with Customizable Design The Spillo 5i is a sophisticated built-in ceiling lamp, designed by Marco Pagnoncelli, featuring three or five adjustable brass rods with a slim 7×7 mm profile. This minimalist lighting fixture offers high-performance LED illumination combined with adjustable precision, making it an ideal choice for residential, hospitality, and commercial spaces. With its registered design, Spillo 5i represents a fusion of contemporary aesthetics and functionality, creating a customizable and dynamic lighting solution. Sleek & Minimalist Adjustable Design Spillo 5i is designed for flush ceiling installation, ensuring a seamless and modern look. The adjustable brass rods provide flexibility, allowing users to direct light precisely where needed, making it perfect for accent lighting, task illumination, or artistic installations. Its clean, minimal structure integrates effortlessly into a variety of architectural and interior design styles, from luxury hospitality projects to contemporary office spaces and high-end residences. Premium Materials & Elegant Finishes Made from high-quality drawn brass, Spillo 5i offers durability and a sophisticated aesthetic. It is available in four elegant finishes, allowing it to complement a wide range of interiors: White – A neutral and modern tone that blends seamlessly into ceilings. Black – A bold contrast for contemporary and industrial-style spaces. Chrome – A sleek, reflective finish that adds a touch of luxury. Brushed Gold – A warm and elegant choice for high-end interiors. High-Efficiency LED Lighting for Superior Performance Spillo 5i features high-luminous efficiency LED micro-strips, ensuring energy-efficient illumination with a warm 3000K color temperature. This provides a comfortable and inviting ambiance, ideal for creating a sophisticated lighting effect. This model requires a power supply unit and wall housing (not included), ensuring a clean, recessed appearance with no visible wiring or external components. Size & Power Options for Customization Spillo 5i is available in two configurations, both offering exceptional brightness and precision lighting: Model Power (W) Voltage (V) Lumen Output Color Temperature (K) A (cm) B (cm) C (cm) D (cm) E (cm) F (cm) Recessed Hole (cm) LED Type Spillo 5i 45.72W 12V 3850 lm 3000K 40 50 60 80 100 23 28 x 28 12V CRI90 Spillo 5.120 45.72W 12V 3850 lm 3000K 40 50 60 80 100 25 3 12V CRI90 With five adjustable brass rods, Spillo 5i delivers an artistic and customizable lighting setup, allowing designers to create dynamic and visually striking installations. Applications – Where Spillo 5i Excels Residential Interiors Spillo 5i is perfect for modern living spaces, offering a stylish and functional ceiling lighting solution. Whether installed in living rooms, dining areas, hallways, or bedrooms, it provides adjustable, high-quality illumination while maintaining a clean, recessed appearance. Hospitality & Commercial Spaces For hotels, restaurants, and luxury boutiques, Spillo 5i creates sophisticated accent lighting that enhances architectural details, decorative elements, or retail displays. The adjustable rods make it an ideal solution for customized ambient lighting in hospitality environments and high-end retail spaces. Corporate Offices & Workspaces In modern offices and co-working spaces, Spillo 5i enhances task lighting and ambient brightness, ensuring a well-lit, productive environment without overwhelming the space. Its sleek recessed design is particularly suited for conference rooms, executive offices, and lounge areas. Art Galleries & Museums Spillo 5i’s adjustable directional lighting makes it an excellent choice for galleries and exhibition spaces, allowing precise illumination for artworks and installations. Its high CRI90 rating ensures true-to-life color rendering, making it ideal for art and design-focused spaces. Sustainability & Energy Efficiency With an energy rating of A++, A+, A, Spillo 5i ensures sustainable energy consumption while providing high-performance lighting. Its CRI90 rating guarantees accurate color representation, making it a smart and energy-efficient choice for modern lighting projects.
