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

Cromatica Rosa

florim > Wall Paint

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

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.

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.

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.

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.

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.

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.

BHR23 – ROCCO’S HEAD SETTORI

Elica Studio > Styling

BHR23 – ROCCO’S HEAD SETTORI Material Porcelain, engobes, oxides Finishing Matte Sizes (cm) 302838 Weight (g) 1500 Designed in 2023 Collection Anatomika Lead Time: 30 days Description: The BHR23 ROCCO HEAD SETTORI, an extraordinary creation from the Anatomika Collection, is a testament to the seamless integration of art, science, and design. Designed in 2023, its striking aesthetic features a matte white glaze adorned with a meticulous black ink-style illustration that divides the head into numerous geometric "settori" or sectors, each uniquely numbered. A small, spherical element atop the head mirrors this intricate patterning, adding a thoughtful and cohesive touch. This piece offers interior designers a sophisticated and intellectually stimulating focal point for a wide range of contemporary and conceptual interiors. For interior designers, the BHR23 ROCCO HEAD SETTORI is a highly versatile and thought-provoking design element. Its crisp black and white palette provides a timeless elegance, allowing it to integrate effortlessly into diverse color schemes, from monochromatic to vibrant. The segmented and numbered surface creates a visual narrative that hints at mapping, scientific study, or even a deconstructed understanding of form. This makes it an ideal piece for spaces that aim to inspire curiosity, foster intellectual engagement, or celebrate the intersection of art and knowledge. Imagine it placed on a sleek, minimalist desk in a home office, inspiring focus and critical thinking, or serving as an intriguing conversation starter in a modern living room. In an architectural firm, a research institution, or a design studio, the BHR23 ROCCO HEAD SETTORI can symbolize precision, innovation, and the analytical process inherent in creative endeavors. The artistic concept behind the Anatomika Collection, and particularly the SETTORI design, delves into the exploration of the human mind and its complex functions, reminiscent of phrenology charts or scientific diagrams. This provides a rich narrative for designers to weave into their projects, offering clients a piece that is not only visually arresting but also imbued with deeper meaning. It allows designers to create interiors that are more than just aesthetically pleasing; they become environments that stimulate the intellect and provoke contemplation. For high-end residential projects, this sculpture can elevate a space, making it feel curated and unique. In commercial settings such as university libraries, medical waiting rooms (where a touch of intellectual art is appreciated), or tech company innovation labs, it can reinforce a professional and forward-thinking atmosphere. Practical considerations are well-addressed by the BHR23 ROCCO HEAD SETTORI. Made from durable fine porcelain, it promises longevity and resistance to wear, ensuring it remains a pristine and valuable asset for years. The matte white glaze provides an elegant backdrop for the precise black ink illustrations and numbering, which are permanently fixed, ensuring their sharpness and detail endure. A lead time of 30 days allows for efficient project planning and seamless integration into design timelines. Its stable weight and balanced dimensions make it suitable for a variety of placements, from prominent display on a central console to a subtle yet impactful accent in a curated display cabinet. The distinctiveness of its design ensures it will capture attention and remain a memorable feature in any room. In terms of SEO, keywords crucial for interior designers seeking such unique and conceptual pieces include "segmented head sculpture," "numbered art decor," "architectural porcelain art," "scientific design object," "black and white abstract head," "intellectual home decor," and "phrenology inspired art." These terms accurately describe its unique aesthetic, conceptual depth, and suitability for various design applications, ensuring it is discoverable by professionals looking to create distinctive and intellectually stimulating spaces. The universal appeal of its monochromatic color scheme further enhances its adaptability across diverse interior styles and preferences. In conclusion, the BHR23 ROCCO HEAD SETTORI from the Anatomika Collection is an exceptional fusion of artistic beauty and intellectual curiosity. It is not merely a decorative item but a profound statement piece and a versatile design tool capable of transforming interiors into dynamic, sophisticated, and thought-provoking environments. Its unique blend of precision, narrative depth, and high-quality craftsmanship makes it an indispensable resource for interior designers committed to crafting truly distinctive and inspiring spaces for their discerning clientele.

BHR25 FISH

Elica Studio > Styling

BHR25 FISH Material Porcelain, engobes, oxides, glaze, 24k gold Finishing Matte and glossy Sizes (cm) 30 X 30 X 39 Weight (g) 1550 Designed in 2025 Collection Anatomika Lead Time: 30 days Description: The BHR25 FISH, a uniquely intriguing and conceptually rich piece from the Anatomika Collection, is an exceptional work of contemporary porcelain art designed to evoke curiosity and elevate interiors with its distinctive narrative. Crafted from fine porcelain. Designed in 2025, its striking aesthetic features a serene matte white glazed face, complemented by a bold black and white striped cap adorned with a small, spherical finial, and most notably, a lustrous gold-plated fish held poised between the lips. This piece offers interior designers an unparalleled opportunity to introduce a sophisticated blend of cultural references, artistic symbolism, and playful elegance into their projects. For interior designers, the BHR25 FISH is an exceptionally versatile and impactful design element that encourages conversation and adds a layer of curated individuality to any space. The juxtaposition of the classic bust form with the unexpected, whimsical gold-plated fish creates a dynamic visual tension that instantly draws the eye. This sculpture is ideally suited for spaces that aim to evoke a sense of modern eclecticism, artistic surrealism, or a subtly luxurious coastal theme. Imagine it as a central focal point on a natural wood console table in a contemporary beach house, or commanding attention on a minimalist shelf in a high-end, design-forward living room. In a creative studio, a boutique hotel with a quirky personality, or a high-end seafood restaurant, the BHR25 FISH can serve as a potent symbol of intellectual curiosity, artistic freedom, and a playful subversion of expectations, aligning with brands that embrace unique and memorable design. The artistic inspiration behind the Anatomika Collection, and particularly the FISH design, delves into themes of communication, silence, wisdom, and the subconscious. The fish, an ancient symbol in many cultures, can represent depth, knowledge, or even a hidden truth. Held in the mouth, it can signify unspoken words, a secret, or the power of silence. The bold black and white stripes on the cap add a graphic, almost abstract dimension, hinting at codes or patterns. This rich thematic tapestry provides interior designers with a compelling story to integrate into their projects, allowing them to craft environments that are not only visually stunning but also intellectually stimulating and emotionally resonant. For residential projects, this sculpture can foster an atmosphere of sophisticated elegance and artistic whimsy. In commercial environments, it can contribute to a unique and memorable brand identity, attracting clientele who appreciate bespoke craftsmanship and a daring aesthetic. Practical considerations are well-addressed by the BHR25 FISH. Crafted from durable fine porcelain, it ensures longevity and maintains its exquisite appearance over time, making it a sustainable and enduring investment. The matte white glaze and black ink-style illustrations are elegant and easy to maintain, while the gold-plated fish is expertly applied for lasting brilliance and resistance to tarnishing. A lead time of 30 days allows for efficient project planning and seamless integration into design schedules. Its stable weight and balanced dimensions make it suitable for a wide range of placements, from prominent display on a central table to a subtle yet impactful accent within a curated display case. The multi-faceted visual appeal, combining classic form with unexpected, luxurious detailing, ensures it remains a captivating presence. In conclusion, the BHR25 FISH from the Anatomika Collection is far more than a decorative item; it is a profound artistic statement and a versatile design tool capable of transforming interiors into dynamic, sophisticated, and intellectually stimulating environments. Its unique blend of intriguing symbolism, refined craftsmanship, and bold design, combined with high-quality materials and thoughtful execution, makes it an indispensable resource for interior designers committed to crafting truly distinctive and inspiring spaces for their discerning clientele.

BHR25 LOCK

Elica Studio > Styling

BHR25 LOCK Material Porcelain, glaze, 24 k gold Finishing Matte and glossy Sizes (cm) 30 X 25 X 39 Weight (g) 1550 Designed in 2025 Collection Anatomika Lead Time: 30 days Description: The BHR25 LOCK, a profoundly symbolic and exquisitely crafted piece from the Anatomika Collection, stands as a captivating testament to modern porcelain artistry. This intriguing sculpture is designed in 2025, its striking aesthetic is defined by a serene matte white glazed head, adorned with prominent gold-plated accents: an intricate lock emblem situated on the forehead and a magnificent vintage-style key held poised between the lips. This piece offers interior designers an unparalleled opportunity to infuse spaces with intellectual depth, symbolic richness, and a touch of opulent mystery, making it an indispensable asset for creating truly distinctive environments. For interior designers, the BHR25 LOCK is an exceptionally versatile and impactful design element that immediately sparks curiosity and conversation. The powerful juxtaposition of the pure, unadorned white porcelain with the luxurious, reflective gold key and lock creates a dynamic visual narrative. This sculpture is ideally suited for spaces that aim to evoke a sense of intrigue, security, knowledge, or the unfolding of secrets. Imagine it as a central focal point on a dark, minimalist desk in a private study, where its symbolic nature can inspire contemplation. In a high-end commercial space, such as a law firm's reception area, a bespoke library, or a luxury hotel suite, the "LOCK" head can subtly convey themes of trust, access, and hidden depths, aligning with brands that value discretion and intellectual elegance. Its unique design ensures it will be a memorable feature for clients and visitors alike. The artistic inspiration behind the Anatomika Collection, and particularly the LOCK design, delves into profound philosophical themes such as knowledge, secrecy, access, and personal truth. The lock on the forehead can symbolize the mind's secrets or the gateway to understanding, while the key in the mouth might represent unspoken truths, the power of words, or the ability to unlock potential. This rich thematic tapestry provides interior designers with a compelling narrative to integrate into their projects, allowing them to craft environments that are not only visually stunning but also intellectually stimulating and emotionally resonant. For residential projects, this sculpture can foster an atmosphere of sophisticated elegance and artistic whimsy, encouraging personal reflection. In commercial environments, it can contribute to a unique and memorable brand identity, attracting clientele who appreciate bespoke craftsmanship and thought-provoking design. Practical considerations are well-addressed by the BHR25 LOCK. Crafted from durable fine porcelain, it ensures longevity and maintains its exquisite appearance over time, making it a sustainable and enduring investment. The matte white glaze is elegant and easy to maintain, while the gold plating on both the key and lock is expertly applied for lasting brilliance and resistance to tarnishing. A lead time of 30 days allows for efficient project planning and seamless integration into design schedules. Its stable weight and balanced dimensions make it suitable for a wide range of placements, from prominent display on a central console to a subtle yet impactful accent within a curated display case. The meticulous detailing of both the key and lock, along with the precise placement, underscore the craftsmanship involved. In conclusion, the BHR25 LOCK from the Anatomika Collection is far more than a decorative item; it is a profound artistic statement and a versatile design tool capable of transforming interiors into dynamic, sophisticated, and intellectually stimulating environments. Its unique blend of intriguing symbolism, refined craftsmanship, and bold design, combined with high-quality materials and thoughtful execution, makes it an indispensable resource for interior designers committed to crafting truly distinctive and inspiring spaces for their discerning clientele.

SYS 22 TEETH

Elica Studio > Styling

SYS 22 TEETH Material Porcelain, engobes, oxides, glaze, 24 k gold Finishing Matte and glossy Sizes (cm) 12 X 50 Weight (g) 800 Designed in 2022 Collection Anatomika Lead Time: 30 days Description: The SYS22 TEETH, an exceptionally provocative and intellectually stimulating piece from the Systema Collection, is a masterwork of fine porcelain artistry designed to ignite conversation and inject bold, conceptual design into sophisticated interiors. Its striking aesthetic is defined by a serene matte white glazed body, adorned with precise black ink-style illustrations that depict anatomical features, notably a large, detailed tooth prominently centered on the torso. The most captivating elements are the lustrous gold-plated accents: a distinctive top element suggesting a halo or a crown, and a central gold-plated disc showcasing miniature, detailed teeth, reinforcing the collection's name and its central theme. This piece offers interior designers an unparalleled opportunity to introduce a sophisticated blend of scientific inquiry, artistic expression, and opulent detail into their projects. For interior designers, the SYS22 TEETH is an exceptionally versatile and impactful design element that demands attention and encourages deep contemplation. The elongated, almost columnar form, suggestive of a human torso or a symbolic pillar, provides a unique vertical presence that can anchor a space or serve as a compelling focal point. The juxtaposition of the pure, anatomical white porcelain with the precise black illustrations and the opulent gold accents creates a dynamic visual narrative. This sculpture is ideally suited for spaces that aim to evoke a sense of intellectual curiosity, artistic deconstruction, or a refined modern aesthetic with a philosophical edge. Imagine it prominently displayed in a sleek, minimalist medical office or dental clinic, where its artistic yet anatomical focus can resonate with the professional environment. Alternatively, in a high-end conceptual art gallery, a university's science department lobby, or a collector's private study, the SYS22 TEETH can symbolize the pursuit of knowledge, the intricacies of the human body, or the fusion of science and art, aligning with institutions and individuals that value intellectual depth and cutting-edge design. The artistic inspiration behind the Syrante Collection, and particularly the TEETH design, delves into the understanding of the human body and its components, often exploring themes of fragility, resilience, and the beauty found in biological structures. The detailed depiction of the tooth, alongside other anatomical or scientific diagrams, transforms a common biological element into a subject of artistic reverence and intellectual inquiry. This rich thematic tapestry provides interior designers with a compelling narrative to integrate into their projects, allowing them to craft environments that are not only visually stunning but also intellectually stimulating and emotionally resonant. For residential projects, this sculpture can elevate a study, a refined living area, or a bespoke collection, fostering an atmosphere of cultured elegance and scientific curiosity. In commercial environments, it can contribute to a unique and memorable brand identity, attracting clientele who appreciate bespoke craftsmanship and a design that challenges and inspires. Practical considerations are well-addressed by the SYS22 TEETH. Crafted from durable fine porcelain, it ensures longevity and maintains its exquisite appearance over time, making it a sustainable and enduring investment. The matte white glaze is elegant and easy to maintain, while the black ink-style illustrations are permanently fixed, ensuring their intricate details endure. The gold-plated elements are expertly applied for lasting brilliance and resistance to tarnishing, adding a touch of unparalleled luxury. A lead time of 30 days allows for efficient project planning and seamless integration into design schedules. Its substantial weight and balanced dimensions ensure stability, making it suitable for various placements, from prominent display on a central pedestal to a commanding presence in a curated vignette. The multi-faceted visual appeal, combining symbolic meaning with aesthetic beauty, ensures it remains a captivating presence.

SYS 22 HEAD

Elica Studio > Styling

SYS 22 HEAD Material Porcelain, engobes, oxides, glaze, 24 k gold Finishing Matte and glossy Sizes (cm) 12 X 50 Weight (g) 800 Designed in 2022 Collection Anatomika Lead Time: 30 days Description: The SYS22 HEAD, a conceptually rich and visually striking piece from the Syrante Collection, is a remarkable work of fine porcelain artistry designed to introduce a profound layer of intellectual depth and artistic intrigue into sophisticated interiors. Its aesthetic is defined by a serene matte white glazed body, featuring delicate yet precise black ink-style illustrations that hint at anatomical outlines, internal structures, or abstract patterns across the torso. The most captivating element is the lustrous gold-plated halo or crown that encircles the head, adding a touch of opulent sanctity or elevated thought. This piece offers interior designers an unparalleled opportunity to introduce a sophisticated blend of scientific inquiry, artistic expression, and opulent detail into their projects. For interior designers, the SYS22 HEAD is an exceptionally versatile and impactful design element that commands attention and encourages deep contemplation. The elongated, almost columnar form, suggestive of a figure or a symbolic pillar, provides a unique vertical presence that can anchor a space or serve as a compelling focal point. The juxtaposition of the pure, anatomical white porcelain with the precise black illustrations and the opulent gold halo creates a dynamic visual narrative. This sculpture is ideally suited for spaces that aim to evoke a sense of intellectual curiosity, artistic deconstruction, or a refined modern aesthetic with a philosophical edge. Imagine it prominently displayed in a sleek, minimalist home library, where its diagrammatic illustrations can inspire thought, or commanding attention in a high-end corporate office with a focus on innovation and human insight. In an art gallery, a philosophical institution, or a university setting, the SYS22 HEAD can symbolize wisdom, enlightenment, or the systematic exploration of the human condition, aligning with environments that value intellectual depth and cutting-edge design. The artistic inspiration behind the Syrante Collection, and particularly the HEAD design, delves into the systematic understanding of the human body, mind, and spirit, often exploring themes of perception, knowledge, and inner workings. The subtle anatomical hints combined with the abstract patterns and the symbolic halo elevate the piece beyond mere decoration into a realm of profound commentary. This rich thematic tapestry provides interior designers with a compelling narrative to integrate into their projects, allowing them to craft environments that are not only visually stunning but also intellectually stimulating and emotionally resonant. For residential projects, this sculpture can elevate a study, a refined living area, or a bespoke collection, fostering an atmosphere of cultured elegance and artistic appreciation. In commercial environments, it can contribute to a unique and memorable brand identity, attracting clientele who appreciate bespoke craftsmanship and a design that challenges and inspires. Practical considerations are well-addressed by the SYS22 HEAD. Crafted from durable fine porcelain, it ensures longevity and maintains its exquisite appearance over time, making it a sustainable and enduring investment. The matte white glaze is elegant and easy to maintain, while the black ink-style illustrations are permanently fixed, ensuring their intricate details endure. The gold-plated halo is expertly applied for lasting brilliance and resistance to tarnishing, adding a touch of unparalleled luxury. A lead time of 30 days allows for efficient project planning and seamless integration into design schedules. Its substantial weight and balanced dimensions ensure stability, making it suitable for various placements, from prominent display on a central pedestal to a commanding presence in a curated vignette. The multi-faceted visual appeal, combining symbolic meaning with aesthetic beauty, ensures it remains a captivating presence. In conclusion, the SYS22 HEAD from the Syrante Collection is far more than a decorative item; it is a profound artistic statement and a versatile design tool capable of transforming interiors into dynamic, sophisticated, and intellectually stimulating environments. Its unique blend of intriguing symbolism, refined craftsmanship, and bold design, combined with high-quality materials and thoughtful execution, makes it an indispensable resource for interior designers committed to crafting truly distinctive and inspiring spaces for their discerning clientele.

SYS 22 EYES

Elica Studio > Styling

SYS 22 EYES Material Porcelain, engobes, oxides, glaze, 24 k gold Finishing Matte and glossy Sizes (cm) 12 X 50 Weight (g) 800 Designed in 2022 Collection Anatomika Lead Time: 30 days Description: The SYS22 EYES, an exceptionally powerful and conceptually rich piece from the Syrante Collection, is a masterwork of fine porcelain artistry designed to challenge perceptions and elevate interiors with its bold symbolism and intricate details. Its striking aesthetic is defined by a serene matte white glazed body, adorned with precise black ink-style illustrations reminiscent of anatomical diagrams or ancient glyphs, particularly emphasizing multiple eyes across the torso. The most captivating elements are the lustrous gold-plated accents: a distinctive top element suggesting a halo or a crown, and a central gold-plated disc featuring eyes, reinforcing the collection's name and its central theme of perception. This piece offers interior designers an unparalleled opportunity to introduce a sophisticated blend of artistic expression, symbolic depth, and opulent detail into their projects. For interior designers, the SYS22 EYES is an exceptionally versatile and impactful design element that demands attention and encourages deep contemplation. The elongated, almost columnar form, suggestive of a sacred or scientific artifact, provides a unique vertical presence that can anchor a space or serve as a compelling focal point. The juxtaposition of the pure, anatomical white porcelain with the precise black illustrations and the opulent gold accents creates a dynamic visual narrative. This sculpture is ideally suited for spaces that aim to evoke a sense of intellectual curiosity, artistic deconstruction, or a refined modern aesthetic with a philosophical edge. Imagine it prominently displayed in a sleek, minimalist home library, where its symbolic illustrations can inspire thought, or commanding attention in a high-end corporate office with a focus on innovation and progressive thought. In an art gallery, a cultural institution, or a private collection, the SYS22 EYES can symbolize perception, insight, truth, or omniscience, aligning with spaces that value intellectual depth and cutting-edge design. The artistic inspiration behind the Syrante Collection, and particularly the EYES design, delves into the systematic understanding of the human body and universal principles, often exploring themes of sight, knowledge, and inner vision. The anatomical drawings, the symbolic representations of multiple eyes, and the overall structured yet artistic presentation suggest a meticulous exploration of form and function, both biological and abstract. This rich thematic tapestry provides interior designers with a compelling narrative to integrate into their projects, allowing them to craft environments that are not only visually stunning but also intellectually stimulating and emotionally resonant. For residential projects, this sculpture can elevate a study, a refined living area, or a bespoke collection, fostering an atmosphere of cultured elegance and artistic appreciation. In commercial environments, it can contribute to a unique and memorable brand identity, attracting clientele who appreciate bespoke craftsmanship and a design that challenges and inspires. Practical considerations are well-addressed by the SYS22 EYES. Crafted from durable fine porcelain, it ensures longevity and maintains its exquisite appearance over time, making it a sustainable and enduring investment. The matte white glaze is elegant and easy to maintain, while the black ink-style illustrations are permanently fixed, ensuring their intricate details endure. The gold-plated elements are expertly applied for lasting brilliance and resistance to tarnishing. A lead time of 30 days allows for efficient project planning and seamless integration into design schedules. Its substantial weight and balanced dimensions ensure stability, making it suitable for various placements, from prominent display on a central pedestal to a commanding presence in a curated vignette. The multi-faceted visual appeal, combining symbolic meaning with aesthetic beauty, ensures it remains a captivating presence.

SYS 22 BREAST

Elica Studio > Styling

SYS 22 BREAST Material Porcelain, engobes, oxides, glaze, 24 k gold Finishing Matte and glossy Sizes (cm) 12 X 50 Weight (g) 800 Designed in 2022 Collection Anatomika Lead Time: 30 days Description: The SYS22 BREAST, an evocative and conceptually rich piece from the Systema Collection, is a remarkable work of fine porcelain artistry designed to introduce a profound layer of intellectual depth and artistic intrigue into sophisticated interiors. Its aesthetic is defined by a serene matte white glazed body, featuring delicate yet precise black ink-style illustrations that hint at anatomical outlines, internal structures, or abstract patterns across the torso. The most captivating element is the lustrous gold-plated halo or crown that encircles the head, adding a touch of opulent sanctity or elevated thought. Additionally, there's a prominent illustration of scissors on the torso. This piece offers interior designers an unparalleled opportunity to introduce a sophisticated blend of scientific inquiry, artistic expression, and opulent detail into their projects. For interior designers, the SYS22 BREAST is an exceptionally versatile and impactful design element that commands attention and encourages deep contemplation. The elongated, almost columnar form, suggestive of a figure or a symbolic pillar, provides a unique vertical presence that can anchor a space or serve as a compelling focal point. The juxtaposition of the pure, anatomical white porcelain with the precise black illustrations and the opulent gold halo creates a dynamic visual narrative. This sculpture is ideally suited for spaces that aim to evoke a sense of intellectual curiosity, artistic deconstruction, or a refined modern aesthetic with a philosophical edge. Imagine it prominently displayed in a sleek, minimalist home library, where its diagrammatic illustrations can inspire thought, or commanding attention in a high-end corporate office with a focus on innovation and human insight. In an art gallery, a philosophical institution, or a university setting, the SYS22 BREAST can symbolize wisdom, enlightenment, or the systematic exploration of the human condition, aligning with environments that value intellectual depth and cutting-edge design. The artistic inspiration behind the Systema Collection, and particularly the BREAST design, delves into the systematic understanding of the human body, mind, and spirit, often exploring themes of perception, knowledge, and inner workings. The subtle anatomical hints combined with the abstract patterns and the symbolic halo elevate the piece beyond mere decoration into a realm of profound commentary. This rich thematic tapestry provides interior designers with a compelling narrative to integrate into their projects, allowing them to craft environments that are not only visually stunning but also intellectually stimulating and emotionally resonant. For residential projects, this sculpture can elevate a study, a refined living area, or a bespoke collection, fostering an atmosphere of cultured elegance and artistic appreciation. In commercial environments, it can contribute to a unique and memorable brand identity, attracting clientele who appreciate bespoke craftsmanship and a design that challenges and inspires. Practical considerations are well-addressed by the SYS22 BREAST. Crafted from durable fine porcelain, it ensures longevity and maintains its exquisite appearance over time, making it a sustainable and enduring investment. The matte white glaze is elegant and easy to maintain, while the black ink-style illustrations are permanently fixed, ensuring their intricate details endure. The gold-plated halo is expertly applied for lasting brilliance and resistance to tarnishing, adding a touch of unparalleled luxury. A lead time of 30 days allows for efficient project planning and seamless integration into design schedules. Its substantial weight and balanced dimensions ensure stability, making it suitable for various placements, from prominent display on a central pedestal to a commanding presence in a curated vignette. The multi-faceted visual appeal, combining symbolic meaning with aesthetic beauty, ensures it remains a captivating presence. In conclusion, the SYS22 BREAST from the Systema Collection is far more than a decorative item; it is a profound artistic statement and a versatile design tool capable of transforming interiors into dynamic, sophisticated, and intellectually stimulating environments. Its unique blend of intriguing symbolism, refined craftsmanship, and bold design, combined with high-quality materials and thoughtful execution, makes it an indispensable resource for interior designers committed to crafting truly distinctive and inspiring spaces for their discerning clientele.

SYS 22 TONGUE

Elica Studio > Styling

SYS 22 TONGUE Material Porcelain, engobes, oxides, glaze, 24 k gold Finishing Matte and glossy Sizes (cm) 12 X 50 Weight (g) 800 Designed in 2022 Collection Anatomika Lead Time: 30 days Description: The SYS22 TONGUE, an exceptionally thought-provoking and symbolically rich piece from the Systema Collection, is a remarkable work of fine porcelain artistry designed to introduce a profound layer of intellectual depth and artistic intrigue into sophisticated interiors. Its striking aesthetic is defined by a serene matte white glazed body, featuring delicate yet precise black ink-style illustrations that hint at anatomical outlines, internal structures, or abstract patterns across the torso. The most captivating element is the lustrous gold-plated halo or crown that encircles the head, adding a touch of opulent sanctity or elevated thought. Additionally, a prominent gold-plated tongue is featured, reinforcing the collection's name and its central theme of communication and expression. This piece offers interior designers an unparalleled opportunity to introduce a sophisticated blend of scientific inquiry, artistic expression, and opulent detail into their projects. For interior designers, the SYS22 TONGUE is an exceptionally versatile and impactful design element that commands attention and encourages deep contemplation. The elongated, columnar form, suggestive of a figure or a symbolic pillar, provides a unique vertical presence that can anchor a space or serve as a compelling focal point. The juxtaposition of the pure, anatomical white porcelain with the precise black illustrations and the opulent gold halo and tongue creates a dynamic visual narrative. This sculpture is ideally suited for spaces that aim to evoke a sense of intellectual curiosity, artistic deconstruction, or a refined modern aesthetic with a philosophical edge. Imagine it prominently displayed in a sleek, minimalist home library, where its diagrammatic illustrations can inspire thought, or commanding attention in a high-end corporate office with a focus on communication and expression. In an art gallery, a philosophical institution, or a university setting, the SYS22 TONGUE can symbolize speech, knowledge, the power of words, or the systematic exploration of human communication, aligning with environments that value intellectual depth and cutting-edge design. The artistic inspiration behind the Systema Collection, and particularly the TONGUE design, delves into the systematic understanding of the human body, mind, and communication, often exploring themes of perception, knowledge, and inner workings. The subtle anatomical hints combined with the abstract patterns and the symbolic gold tongue elevate the piece beyond mere decoration into a realm of profound commentary. This rich thematic tapestry provides interior designers with a compelling narrative to integrate into their projects, allowing them to craft environments that are not only visually stunning but also intellectually stimulating and emotionally resonant. For residential projects, this sculpture can elevate a study, a refined living area, or a bespoke collection, fostering an atmosphere of cultured elegance and artistic appreciation. In commercial environments, it can contribute to a unique and memorable brand identity, attracting clientele who appreciate bespoke craftsmanship and a design that challenges and inspires. Practical considerations are well-addressed by the SYS22 TONGUE. Crafted from durable fine porcelain, it ensures longevity and maintains its exquisite appearance over time, making it a sustainable and enduring investment. The matte white glaze is elegant and easy to maintain, while the black ink-style illustrations are permanently fixed, ensuring their intricate details endure. The gold-plated halo and tongue are expertly applied for lasting brilliance and resistance to tarnishing, adding a touch of unparalleled luxury. A lead time of 30 days allows for efficient project planning and seamless integration into design schedules. Its substantial weight and balanced dimensions ensure stability, making it suitable for various placements, from prominent display on a central pedestal to a commanding presence in a curated vignette. The multi-faceted visual appeal, combining symbolic meaning with aesthetic beauty, ensures it remains a captivating presence.

TOTEM VASE VTT25 (2 elements)

Elica Studio > Styling

Name: TOTEM VASE VTT25 2 ELEMENTS Material: Fine porcelain Finishing: Matte white glaze with hand-painted black ink-style illustrations and gold-plated elements Sizes (cm): Approx. 31 x 23x 35 (height varies) Weight (g): ~6000 Designed in: 2025 Collection: Naturalia Lead Time: 30 days Description: The TOTEM VASE VTT25 2 ELEMENTS, a captivating and conceptually profound piece from the Systema Collection, is an exceptional work of fine porcelain artistry designed to introduce intellectual depth and artistic intrigue into sophisticated interiors. This elongated sculpture, measuring approximately 50 cm in height (with slight variations depending on its base form), 18 cm in width, and 15 cm in depth, and weighing around 2000g, was meticulously designed in 2022. Its striking aesthetic is defined by a serene matte white glazed body, adorned with precise black ink-style illustrations reminiscent of anatomical diagrams or ancient glyphs. The most captivating elements are the lustrous gold-plated accents: a distinctive top element suggesting a halo or a crown, and a central gold-plated disc (which also appears to be a bowl). This piece offers interior designers an unparalleled opportunity to introduce a sophisticated blend of scientific inquiry, artistic expression, and opulent detail into their projects. For interior designers, the TOTEM VASE VTT25 2 ELEMENTS is an exceptionally versatile and impactful design element that demands attention and encourages deep contemplation. The elongated, almost columnar form, suggestive of a sacred or scientific artifact, provides a unique vertical presence that can anchor a space or serve as a compelling focal point. The juxtaposition of the pure, anatomical white porcelain with the precise black illustrations and the opulent gold accents creates a dynamic visual narrative. This sculpture is ideally suited for spaces that aim to evoke a sense of intellectual curiosity, artistic deconstruction, or a refined modern aesthetic with a philosophical edge. Imagine it prominently displayed in a sleek, minimalist home library, where its symbolic illustrations can inspire thought, or commanding attention in a high-end corporate office with a focus on innovation and progressive thought. In an art gallery, a cultural institution, or a private collection, the TOTEM VASE VTT25 2 ELEMENTS can symbolize the pursuit of knowledge, the intricacies of the human body, or the fusion of science and art, aligning with spaces that value intellectual depth and cutting-edge design. The artistic inspiration behind the Systema Collection, and particularly the VTT25 2 ELEMENTS design, delves into the systematic understanding of the human body and universal principles, often exploring themes of life, fertility, and the inherent power within creation. The anatomical drawings, the symbolic representations, and the overall structured yet artistic presentation suggest a meticulous exploration of form and function, both biological and abstract. This rich thematic tapestry provides interior designers with a compelling narrative to integrate into their projects, allowing them to craft environments that are not only visually stunning but also intellectually stimulating and emotionally resonant. For residential projects, this sculpture can elevate a study, a refined living area, or a bespoke collection, fostering an atmosphere of cultured elegance and artistic appreciation. In commercial environments, it can contribute to a unique and memorable brand identity, attracting clientele who appreciate bespoke craftsmanship and a design that challenges and inspires. Practical considerations are well-addressed by the TOTEM VASE VTT25 2 ELEMENTS. Crafted from durable fine porcelain, it ensures longevity and maintains its exquisite appearance over time, making it a sustainable and enduring investment. The matte white glaze is elegant and easy to maintain, while the black ink-style illustrations are permanently fixed, ensuring their intricate details endure. The gold-plated elements are expertly applied for lasting brilliance and resistance to tarnishing. A lead time of 30 days allows for efficient project planning and seamless integration into design schedules. Its substantial weight and balanced dimensions ensure stability, making it suitable for various placements, from prominent display on a central pedestal to a commanding presence in a curated vignette. The multi-faceted visual appeal, combining symbolic meaning with aesthetic beauty, ensures it remains a captivating presence.