The ReForm Discovery carpet tile explores natural and man-made systems that, due to their complexity and size, can only be perceived from a distance. The 5 designs: Planet, Earth, Network, Net and Cliffs enable you to specify an individual pattern or to use them in combination to create more dramatic floor effects. Each design is available in 5 colour groups, which are inspired by the underlying phenomena and therefore represent both subdued and neutral tones, as well as dark and almost supernaturally bright colours. Discovery is a more sustainable choice for your interior project, as the tiles are made from regenerated and regenerable yarns and are also equipped with our patented Ecotrust backing, which is based on used PET bottles. The collection is Cradle-to-Cradle Certified.

ReForm Discovery Net ocean blue 96x96

ege > Carpet

The ReForm Discovery carpet tile explores natural and man-made systems that, due to their complexity and size, can only be perceived from a distance. The 5 designs: Planet, Earth, Network, Net and Cliffs enable you to specify an individual pattern or to use them in combination to create more dramatic floor effects. Each design is available in 5 colour groups, which are inspired by the underlying phenomena and therefore represent both subdued and neutral tones, as well as dark and almost supernaturally bright colours. Discovery is a more sustainable choice for your interior project, as the tiles are made from regenerated and regenerable yarns and are also equipped with our patented Ecotrust backing, which is based on used PET bottles. The collection is Cradle-to-Cradle Certified.

ReForm Discovery Planet ocean blue

Pisces – Vaso Rete Polli – VPR20

Elica Studio > Styling

Name: Pisces – Vaso Rete Polli – VPR20 Material: Fine porcelain Finishing: White glossy paint Sizes (cm): Approx. 35 × 35 × 35 (Height × Width × Depth) Weight (g): ~1.5 Designed in: 2021 Collection: Naturalia Lead Time: 30 days Description: The Pisces – Vaso Rete Polli – VPR20 is an exceptionally unique and conceptually rich sculptural vase from Elica Studio's celebrated "Naturalia" collection. Designed in 2021, this piece ingeniously combines industrial-inspired patterns with compelling natural motifs, offering a striking artistic statement for discerning interior designers. It masterfully bridges the gap between structured design and organic vulnerability, making it a compelling focal point in high-end contemporary, eclectic, or narrative-driven design schemes that appreciate profound contrasts and subtle storytelling. Masterfully crafted from fine porcelain, the Vaso Rete Polli – VPR20 is characterized by its crisp white base, providing a pristine canvas for its distinctive design elements. The entire piece is finished with a luminous white glossy paint, which enhances its sleek silhouette and provides a brilliant surface that gracefully reflects light. As vividly illustrated in the accompanying image, the vase features a clean, slightly tapered cylindrical form. What truly sets this piece apart is its remarkable surface treatment: the main body is adorned with a meticulously hand-drawn or applied black pattern that strongly resembles classic chicken wire or a fishing net, creating a fascinating interplay of geometric lines and open spaces. Integrated seamlessly into this netted design, and appearing as if caught or displayed within it, is a beautifully sculpted, prominent fish. Rendered in monochromatic tones of grey and black, this detailed fish figure is oriented vertically, emphasizing its elongated form and the texture of its scales and fins. A small, elegant, perhaps copper-toned loop or element is visible near the top of the fish, adding a touch of natural accent and suggesting its suspension. This juxtaposition of the man-made "net" and the captured or displayed natural form of the fish evokes themes of interconnectedness, the beauty of the wild, and perhaps even a subtle commentary on human interaction with nature. The detailed rendering of the fish itself showcases an anatomical accuracy and artistic sensitivity. The Pisces – Vaso Rete Polli – VPR20, with its unique blend of industrial-inspired graphics and figural sculpture, offers remarkable versatility for interior designers. It can serve as a stunning standalone art piece, commanding attention on a mantelpiece, a console table, or a prominent shelf. While capable of holding flora, its inherent artistic merit allows it to function purely as a sculptural object. Its design is particularly well-suited for adding a touch of sophisticated edge to minimalist interiors, or for enhancing a vibrant, eclectic space that thrives on visual intrigue and narrative depth. Belonging to the "Naturalia" collection, it subtly connects to nature through the fish motif, celebrating the elegance of wildlife interpreted through a modern, conceptual lens. With dimensions of approximately 35 cm in height, width, and depth, and weighing around 1.5 grams, the Vaso Rete Polli – VPR20 is remarkably lightweight for its presence, making it easy to handle and place. Its unique form and captivating aesthetic make it an ideal feature for a high-end residential living area, a boutique hotel lobby, or a creative commercial space. Designed in 2021, this piece showcases contemporary design sensibilities and Elica Studio's innovative approach to ceramic art, ensuring its relevance in today's design landscape. For interior designers seeking to imbue their projects with unique character, a sense of refined artistry, and a touch of engaging conceptual depth, the Pisces – Vaso Rete Polli – VPR20 is an unparalleled choice. Its distinctive aesthetic, thoughtful integration of pattern and form, and captivating visual impact position it as an investment piece that will resonate with clients who appreciate bespoke quality, enduring design, and a connection to the artistic exploration of nature's multifaceted beauty. With a standard lead time of 30 days, incorporating this exceptional sculpture into project timelines is straightforward, promising to deliver a compelling visual experience that enhances the overall ambiance of any sophisticated interior. Deep Research Canvas

Araldica Base Corallo

florim > Wall Paint

The miscellany of bright, contrasting, pure colours. The manifest extroversion of decor. The solutions provided to complete the range are in a different tone: reflecting the desire to "stage" a clear contrast with the multicolour ceramic wall coverings, these slabs are in completely neutral shades, in the grey frequencies of concrete. «The collection is intended to create a struggle, a fight. Between something very stiff, which sees itself as governed by clear rules, and a variable, marbled paper, which aims to be completely free.» Federico Pepe "Once upon a time, there was a Roman emperor who lived on a huge splinter in space, a spaceship of multi-coloured marble, where techno music played incessantly. That day he left his spaceship to go to dinner at the Sun King's home, riding his sinuous golden dragon with blood-red eyes."If there were a book with these opening words, Federico Pepe would have designed its cover. And if the book were made into a film, he would definitely be its writer and director. Federico is not an author, director or screenwriter, but this does not prevent him from drawing on his natural ability to create stories through flashes of imagination.Federico Pepe's career started in advertising, a family tradition, which he gradually transformed and built into many other things, in a constant, inevitable investigation of creativity in all its possible forms. He very soon understood that commission work was not enough for him, and he began to explore further afield. The first of these other fields was art, but the consolidated mechanisms on which galleries and gallery owners operate soon became a new limit from which he had to break free: this apparently expanding horizon turned out to be a restrictive cage, more a defining label than an infinite learning opportunity. And definitions are one of the things which least describe Federico: anyone trying to distil his work into two words would find its essence disappearing before their own eyes. He has occupied many roles and engaged in many professions to give shape to his ideas, and in all of them he has excelled, created and led teams, and won awards. Adman, creative director, graphic designer, printer, gallery owner, publisher, curator, performer, painter, designer, director: Pepe does, rather than is, all these. He works, builds and makes things happen because he is not led by instinct alone and does not succumb to idle whim; he does not rush aimlessly around and does not simply await the inspiration or idea of the century. Quite the opposite. His work comes about and produces results only thanks to strict self-discipline, a design method made up of constant verification, the precise sharing of tasks and roles, the compulsive exploration of unknown contexts, daily physical exercise, the carefully measured use of social media, and occasional spells of isolation in the mountains he loves. It is no coincidence that he created Le Dictateur, a dual-faced entity which may be both his child and his spiritual guide, both friend and boss, part madness and part dictator. Le Dictateur is not Federico's alter ego: it is his superpower. It is not a mask, since in it he actually transforms himself into an artistic project.Le Dictateur is both result and origin of Federico Pepe's work. "I think ideas are born from predisposition," Federico explained to me in 2014. "Not in the sense that "˜we are born predisposed,' but for daily preparation. In this domain I believe that discipline is pivotal. The real talents today are very rigorous people, those who work hard, exchange a lot, think a lot, and know how to apply and balance many different things." An approach which has made him the best-kept secret on the Italian creative scene, a fact well known not only to Pierpaolo Ferrari, Maurizio Cattelan, Nico Vascellari, Jacopo Benassi and Patricia Urquiola, but also to the companies, both large and small, which have turned to him over the years. He has worked and continues to work with them all, designing by laying the foundations of designs naturally expressed in episodes, in a serial pattern which not only gradually builds up Federico's own creative story, but also offers his clients designs so special that they would be virtually impossible without him. This self-discipline generates heat and energy in such quantities that "“ if it were not imprisoned within the geometrical grids of graphic design "“ it might generate a thermonuclear reaction. The blood running through the veins of his images is black as ink, red as sealing-wax, white as plaster and golden as lava. But there is more, too. His crystal-clear visions are able to break down the slender membrane which separates analogue from digital. He sees matter as absolutely central, but he makes it vibrate with an unusual two-dimensional quality. This can be seen in the way he carves marble with coloured squiggles, recollections of faces briefly sketched as vectors. It is discovered in the skill with which he invades plates and bowls of the finest, monitor-shiny porcelain with geometrical patterns. It becomes tangible in the love with which he brings to life the paper of his publishing projects, peopled with highly elegant, powerfully symmetrical, often kaleidoscopic graphics. It can be admired in the precision with which a metallic factory flooring becomes fabric on an ancient loom, after its resolution is decreased from 300 dpi to 8 bits. It is enjoyed in the hyperbolic repetition of faces and hands in acrylic on canvas in his painting studio, in which every work conserves copy and paste reminders of its predecessor. It amazes in the doors of exquisite metal sideboards, profane glass panels, hand-made but born through the glass of a screen. A career which has led almost naturally to an encounter with CEDIT, with whom he has created an aesthetically courageous collection, part punk and part aristocratic austerity. The Araldica project's very name evokes strength and nobility, and it is grounded in a past whose weight does not drag it backwards but rather catapults it forwards into the future. Here, Federico's digital geometries become the most solid of materials, taking shape in a graphic object, condensing stories and images into three or two dimensions. In Pepe's and CEDIT's space, Euclidean geometrical forms encounter the marble of Phidias, the intricate patterns of the floor of Milan Cathedral merge into the Baroque images of the marbles found in Roman art galleries, and private space opens out to the infinite space of a thousand possible universal histories.

Araldica Base Blu

florim > Wall Paint

The miscellany of bright, contrasting, pure colours. The manifest extroversion of decor. The solutions provided to complete the range are in a different tone: reflecting the desire to "stage" a clear contrast with the multicolour ceramic wall coverings, these slabs are in completely neutral shades, in the grey frequencies of concrete. «The collection is intended to create a struggle, a fight. Between something very stiff, which sees itself as governed by clear rules, and a variable, marbled paper, which aims to be completely free.» Federico Pepe "Once upon a time, there was a Roman emperor who lived on a huge splinter in space, a spaceship of multi-coloured marble, where techno music played incessantly. That day he left his spaceship to go to dinner at the Sun King's home, riding his sinuous golden dragon with blood-red eyes."If there were a book with these opening words, Federico Pepe would have designed its cover. And if the book were made into a film, he would definitely be its writer and director. Federico is not an author, director or screenwriter, but this does not prevent him from drawing on his natural ability to create stories through flashes of imagination.Federico Pepe's career started in advertising, a family tradition, which he gradually transformed and built into many other things, in a constant, inevitable investigation of creativity in all its possible forms. He very soon understood that commission work was not enough for him, and he began to explore further afield. The first of these other fields was art, but the consolidated mechanisms on which galleries and gallery owners operate soon became a new limit from which he had to break free: this apparently expanding horizon turned out to be a restrictive cage, more a defining label than an infinite learning opportunity. And definitions are one of the things which least describe Federico: anyone trying to distil his work into two words would find its essence disappearing before their own eyes. He has occupied many roles and engaged in many professions to give shape to his ideas, and in all of them he has excelled, created and led teams, and won awards. Adman, creative director, graphic designer, printer, gallery owner, publisher, curator, performer, painter, designer, director: Pepe does, rather than is, all these. He works, builds and makes things happen because he is not led by instinct alone and does not succumb to idle whim; he does not rush aimlessly around and does not simply await the inspiration or idea of the century. Quite the opposite. His work comes about and produces results only thanks to strict self-discipline, a design method made up of constant verification, the precise sharing of tasks and roles, the compulsive exploration of unknown contexts, daily physical exercise, the carefully measured use of social media, and occasional spells of isolation in the mountains he loves. It is no coincidence that he created Le Dictateur, a dual-faced entity which may be both his child and his spiritual guide, both friend and boss, part madness and part dictator. Le Dictateur is not Federico's alter ego: it is his superpower. It is not a mask, since in it he actually transforms himself into an artistic project.Le Dictateur is both result and origin of Federico Pepe's work. "I think ideas are born from predisposition," Federico explained to me in 2014. "Not in the sense that "˜we are born predisposed,' but for daily preparation. In this domain I believe that discipline is pivotal. The real talents today are very rigorous people, those who work hard, exchange a lot, think a lot, and know how to apply and balance many different things." An approach which has made him the best-kept secret on the Italian creative scene, a fact well known not only to Pierpaolo Ferrari, Maurizio Cattelan, Nico Vascellari, Jacopo Benassi and Patricia Urquiola, but also to the companies, both large and small, which have turned to him over the years. He has worked and continues to work with them all, designing by laying the foundations of designs naturally expressed in episodes, in a serial pattern which not only gradually builds up Federico's own creative story, but also offers his clients designs so special that they would be virtually impossible without him. This self-discipline generates heat and energy in such quantities that "“ if it were not imprisoned within the geometrical grids of graphic design "“ it might generate a thermonuclear reaction. The blood running through the veins of his images is black as ink, red as sealing-wax, white as plaster and golden as lava. But there is more, too. His crystal-clear visions are able to break down the slender membrane which separates analogue from digital. He sees matter as absolutely central, but he makes it vibrate with an unusual two-dimensional quality. This can be seen in the way he carves marble with coloured squiggles, recollections of faces briefly sketched as vectors. It is discovered in the skill with which he invades plates and bowls of the finest, monitor-shiny porcelain with geometrical patterns. It becomes tangible in the love with which he brings to life the paper of his publishing projects, peopled with highly elegant, powerfully symmetrical, often kaleidoscopic graphics. It can be admired in the precision with which a metallic factory flooring becomes fabric on an ancient loom, after its resolution is decreased from 300 dpi to 8 bits. It is enjoyed in the hyperbolic repetition of faces and hands in acrylic on canvas in his painting studio, in which every work conserves copy and paste reminders of its predecessor. It amazes in the doors of exquisite metal sideboards, profane glass panels, hand-made but born through the glass of a screen. A career which has led almost naturally to an encounter with CEDIT, with whom he has created an aesthetically courageous collection, part punk and part aristocratic austerity. The Araldica project's very name evokes strength and nobility, and it is grounded in a past whose weight does not drag it backwards but rather catapults it forwards into the future. Here, Federico's digital geometries become the most solid of materials, taking shape in a graphic object, condensing stories and images into three or two dimensions. In Pepe's and CEDIT's space, Euclidean geometrical forms encounter the marble of Phidias, the intricate patterns of the floor of Milan Cathedral merge into the Baroque images of the marbles found in Roman art galleries, and private space opens out to the infinite space of a thousand possible universal histories.

Araldica Base Grigio

florim > Wall Paint

The miscellany of bright, contrasting, pure colours. The manifest extroversion of decor. The solutions provided to complete the range are in a different tone: reflecting the desire to "stage" a clear contrast with the multicolour ceramic wall coverings, these slabs are in completely neutral shades, in the grey frequencies of concrete. «The collection is intended to create a struggle, a fight. Between something very stiff, which sees itself as governed by clear rules, and a variable, marbled paper, which aims to be completely free.» Federico Pepe "Once upon a time, there was a Roman emperor who lived on a huge splinter in space, a spaceship of multi-coloured marble, where techno music played incessantly. That day he left his spaceship to go to dinner at the Sun King's home, riding his sinuous golden dragon with blood-red eyes."If there were a book with these opening words, Federico Pepe would have designed its cover. And if the book were made into a film, he would definitely be its writer and director. Federico is not an author, director or screenwriter, but this does not prevent him from drawing on his natural ability to create stories through flashes of imagination.Federico Pepe's career started in advertising, a family tradition, which he gradually transformed and built into many other things, in a constant, inevitable investigation of creativity in all its possible forms. He very soon understood that commission work was not enough for him, and he began to explore further afield. The first of these other fields was art, but the consolidated mechanisms on which galleries and gallery owners operate soon became a new limit from which he had to break free: this apparently expanding horizon turned out to be a restrictive cage, more a defining label than an infinite learning opportunity. And definitions are one of the things which least describe Federico: anyone trying to distil his work into two words would find its essence disappearing before their own eyes. He has occupied many roles and engaged in many professions to give shape to his ideas, and in all of them he has excelled, created and led teams, and won awards. Adman, creative director, graphic designer, printer, gallery owner, publisher, curator, performer, painter, designer, director: Pepe does, rather than is, all these. He works, builds and makes things happen because he is not led by instinct alone and does not succumb to idle whim; he does not rush aimlessly around and does not simply await the inspiration or idea of the century. Quite the opposite. His work comes about and produces results only thanks to strict self-discipline, a design method made up of constant verification, the precise sharing of tasks and roles, the compulsive exploration of unknown contexts, daily physical exercise, the carefully measured use of social media, and occasional spells of isolation in the mountains he loves. It is no coincidence that he created Le Dictateur, a dual-faced entity which may be both his child and his spiritual guide, both friend and boss, part madness and part dictator. Le Dictateur is not Federico's alter ego: it is his superpower. It is not a mask, since in it he actually transforms himself into an artistic project.Le Dictateur is both result and origin of Federico Pepe's work. "I think ideas are born from predisposition," Federico explained to me in 2014. "Not in the sense that "˜we are born predisposed,' but for daily preparation. In this domain I believe that discipline is pivotal. The real talents today are very rigorous people, those who work hard, exchange a lot, think a lot, and know how to apply and balance many different things." An approach which has made him the best-kept secret on the Italian creative scene, a fact well known not only to Pierpaolo Ferrari, Maurizio Cattelan, Nico Vascellari, Jacopo Benassi and Patricia Urquiola, but also to the companies, both large and small, which have turned to him over the years. He has worked and continues to work with them all, designing by laying the foundations of designs naturally expressed in episodes, in a serial pattern which not only gradually builds up Federico's own creative story, but also offers his clients designs so special that they would be virtually impossible without him. This self-discipline generates heat and energy in such quantities that "“ if it were not imprisoned within the geometrical grids of graphic design "“ it might generate a thermonuclear reaction. The blood running through the veins of his images is black as ink, red as sealing-wax, white as plaster and golden as lava. But there is more, too. His crystal-clear visions are able to break down the slender membrane which separates analogue from digital. He sees matter as absolutely central, but he makes it vibrate with an unusual two-dimensional quality. This can be seen in the way he carves marble with coloured squiggles, recollections of faces briefly sketched as vectors. It is discovered in the skill with which he invades plates and bowls of the finest, monitor-shiny porcelain with geometrical patterns. It becomes tangible in the love with which he brings to life the paper of his publishing projects, peopled with highly elegant, powerfully symmetrical, often kaleidoscopic graphics. It can be admired in the precision with which a metallic factory flooring becomes fabric on an ancient loom, after its resolution is decreased from 300 dpi to 8 bits. It is enjoyed in the hyperbolic repetition of faces and hands in acrylic on canvas in his painting studio, in which every work conserves copy and paste reminders of its predecessor. It amazes in the doors of exquisite metal sideboards, profane glass panels, hand-made but born through the glass of a screen. A career which has led almost naturally to an encounter with CEDIT, with whom he has created an aesthetically courageous collection, part punk and part aristocratic austerity. The Araldica project's very name evokes strength and nobility, and it is grounded in a past whose weight does not drag it backwards but rather catapults it forwards into the future. Here, Federico's digital geometries become the most solid of materials, taking shape in a graphic object, condensing stories and images into three or two dimensions. In Pepe's and CEDIT's space, Euclidean geometrical forms encounter the marble of Phidias, the intricate patterns of the floor of Milan Cathedral merge into the Baroque images of the marbles found in Roman art galleries, and private space opens out to the infinite space of a thousand possible universal histories.

Araldica Base Azzurro

florim > Wall Paint

The miscellany of bright, contrasting, pure colours. The manifest extroversion of decor. The solutions provided to complete the range are in a different tone: reflecting the desire to "stage" a clear contrast with the multicolour ceramic wall coverings, these slabs are in completely neutral shades, in the grey frequencies of concrete. «The collection is intended to create a struggle, a fight. Between something very stiff, which sees itself as governed by clear rules, and a variable, marbled paper, which aims to be completely free.» Federico Pepe "Once upon a time, there was a Roman emperor who lived on a huge splinter in space, a spaceship of multi-coloured marble, where techno music played incessantly. That day he left his spaceship to go to dinner at the Sun King's home, riding his sinuous golden dragon with blood-red eyes."If there were a book with these opening words, Federico Pepe would have designed its cover. And if the book were made into a film, he would definitely be its writer and director. Federico is not an author, director or screenwriter, but this does not prevent him from drawing on his natural ability to create stories through flashes of imagination.Federico Pepe's career started in advertising, a family tradition, which he gradually transformed and built into many other things, in a constant, inevitable investigation of creativity in all its possible forms. He very soon understood that commission work was not enough for him, and he began to explore further afield. The first of these other fields was art, but the consolidated mechanisms on which galleries and gallery owners operate soon became a new limit from which he had to break free: this apparently expanding horizon turned out to be a restrictive cage, more a defining label than an infinite learning opportunity. And definitions are one of the things which least describe Federico: anyone trying to distil his work into two words would find its essence disappearing before their own eyes. He has occupied many roles and engaged in many professions to give shape to his ideas, and in all of them he has excelled, created and led teams, and won awards. Adman, creative director, graphic designer, printer, gallery owner, publisher, curator, performer, painter, designer, director: Pepe does, rather than is, all these. He works, builds and makes things happen because he is not led by instinct alone and does not succumb to idle whim; he does not rush aimlessly around and does not simply await the inspiration or idea of the century. Quite the opposite. His work comes about and produces results only thanks to strict self-discipline, a design method made up of constant verification, the precise sharing of tasks and roles, the compulsive exploration of unknown contexts, daily physical exercise, the carefully measured use of social media, and occasional spells of isolation in the mountains he loves. It is no coincidence that he created Le Dictateur, a dual-faced entity which may be both his child and his spiritual guide, both friend and boss, part madness and part dictator. Le Dictateur is not Federico's alter ego: it is his superpower. It is not a mask, since in it he actually transforms himself into an artistic project.Le Dictateur is both result and origin of Federico Pepe's work. "I think ideas are born from predisposition," Federico explained to me in 2014. "Not in the sense that "˜we are born predisposed,' but for daily preparation. In this domain I believe that discipline is pivotal. The real talents today are very rigorous people, those who work hard, exchange a lot, think a lot, and know how to apply and balance many different things." An approach which has made him the best-kept secret on the Italian creative scene, a fact well known not only to Pierpaolo Ferrari, Maurizio Cattelan, Nico Vascellari, Jacopo Benassi and Patricia Urquiola, but also to the companies, both large and small, which have turned to him over the years. He has worked and continues to work with them all, designing by laying the foundations of designs naturally expressed in episodes, in a serial pattern which not only gradually builds up Federico's own creative story, but also offers his clients designs so special that they would be virtually impossible without him. This self-discipline generates heat and energy in such quantities that "“ if it were not imprisoned within the geometrical grids of graphic design "“ it might generate a thermonuclear reaction. The blood running through the veins of his images is black as ink, red as sealing-wax, white as plaster and golden as lava. But there is more, too. His crystal-clear visions are able to break down the slender membrane which separates analogue from digital. He sees matter as absolutely central, but he makes it vibrate with an unusual two-dimensional quality. This can be seen in the way he carves marble with coloured squiggles, recollections of faces briefly sketched as vectors. It is discovered in the skill with which he invades plates and bowls of the finest, monitor-shiny porcelain with geometrical patterns. It becomes tangible in the love with which he brings to life the paper of his publishing projects, peopled with highly elegant, powerfully symmetrical, often kaleidoscopic graphics. It can be admired in the precision with which a metallic factory flooring becomes fabric on an ancient loom, after its resolution is decreased from 300 dpi to 8 bits. It is enjoyed in the hyperbolic repetition of faces and hands in acrylic on canvas in his painting studio, in which every work conserves copy and paste reminders of its predecessor. It amazes in the doors of exquisite metal sideboards, profane glass panels, hand-made but born through the glass of a screen. A career which has led almost naturally to an encounter with CEDIT, with whom he has created an aesthetically courageous collection, part punk and part aristocratic austerity. The Araldica project's very name evokes strength and nobility, and it is grounded in a past whose weight does not drag it backwards but rather catapults it forwards into the future. Here, Federico's digital geometries become the most solid of materials, taking shape in a graphic object, condensing stories and images into three or two dimensions. In Pepe's and CEDIT's space, Euclidean geometrical forms encounter the marble of Phidias, the intricate patterns of the floor of Milan Cathedral merge into the Baroque images of the marbles found in Roman art galleries, and private space opens out to the infinite space of a thousand possible universal histories.

Araldica Cemento

florim > Wallcovering

The miscellany of bright, contrasting, pure colours. The manifest extroversion of decor. The solutions provided to complete the range are in a different tone: reflecting the desire to "stage" a clear contrast with the multicolour ceramic wall coverings, these slabs are in completely neutral shades, in the grey frequencies of concrete. «The collection is intended to create a struggle, a fight. Between something very stiff, which sees itself as governed by clear rules, and a variable, marbled paper, which aims to be completely free.» Federico Pepe "Once upon a time, there was a Roman emperor who lived on a huge splinter in space, a spaceship of multi-coloured marble, where techno music played incessantly. That day he left his spaceship to go to dinner at the Sun King's home, riding his sinuous golden dragon with blood-red eyes."If there were a book with these opening words, Federico Pepe would have designed its cover. And if the book were made into a film, he would definitely be its writer and director. Federico is not an author, director or screenwriter, but this does not prevent him from drawing on his natural ability to create stories through flashes of imagination.Federico Pepe's career started in advertising, a family tradition, which he gradually transformed and built into many other things, in a constant, inevitable investigation of creativity in all its possible forms. He very soon understood that commission work was not enough for him, and he began to explore further afield. The first of these other fields was art, but the consolidated mechanisms on which galleries and gallery owners operate soon became a new limit from which he had to break free: this apparently expanding horizon turned out to be a restrictive cage, more a defining label than an infinite learning opportunity. And definitions are one of the things which least describe Federico: anyone trying to distil his work into two words would find its essence disappearing before their own eyes. He has occupied many roles and engaged in many professions to give shape to his ideas, and in all of them he has excelled, created and led teams, and won awards. Adman, creative director, graphic designer, printer, gallery owner, publisher, curator, performer, painter, designer, director: Pepe does, rather than is, all these. He works, builds and makes things happen because he is not led by instinct alone and does not succumb to idle whim; he does not rush aimlessly around and does not simply await the inspiration or idea of the century. Quite the opposite. His work comes about and produces results only thanks to strict self-discipline, a design method made up of constant verification, the precise sharing of tasks and roles, the compulsive exploration of unknown contexts, daily physical exercise, the carefully measured use of social media, and occasional spells of isolation in the mountains he loves. It is no coincidence that he created Le Dictateur, a dual-faced entity which may be both his child and his spiritual guide, both friend and boss, part madness and part dictator. Le Dictateur is not Federico's alter ego: it is his superpower. It is not a mask, since in it he actually transforms himself into an artistic project.Le Dictateur is both result and origin of Federico Pepe's work. "I think ideas are born from predisposition," Federico explained to me in 2014. "Not in the sense that "˜we are born predisposed,' but for daily preparation. In this domain I believe that discipline is pivotal. The real talents today are very rigorous people, those who work hard, exchange a lot, think a lot, and know how to apply and balance many different things." An approach which has made him the best-kept secret on the Italian creative scene, a fact well known not only to Pierpaolo Ferrari, Maurizio Cattelan, Nico Vascellari, Jacopo Benassi and Patricia Urquiola, but also to the companies, both large and small, which have turned to him over the years. He has worked and continues to work with them all, designing by laying the foundations of designs naturally expressed in episodes, in a serial pattern which not only gradually builds up Federico's own creative story, but also offers his clients designs so special that they would be virtually impossible without him. This self-discipline generates heat and energy in such quantities that "“ if it were not imprisoned within the geometrical grids of graphic design "“ it might generate a thermonuclear reaction. The blood running through the veins of his images is black as ink, red as sealing-wax, white as plaster and golden as lava. But there is more, too. His crystal-clear visions are able to break down the slender membrane which separates analogue from digital. He sees matter as absolutely central, but he makes it vibrate with an unusual two-dimensional quality. This can be seen in the way he carves marble with coloured squiggles, recollections of faces briefly sketched as vectors. It is discovered in the skill with which he invades plates and bowls of the finest, monitor-shiny porcelain with geometrical patterns. It becomes tangible in the love with which he brings to life the paper of his publishing projects, peopled with highly elegant, powerfully symmetrical, often kaleidoscopic graphics. It can be admired in the precision with which a metallic factory flooring becomes fabric on an ancient loom, after its resolution is decreased from 300 dpi to 8 bits. It is enjoyed in the hyperbolic repetition of faces and hands in acrylic on canvas in his painting studio, in which every work conserves copy and paste reminders of its predecessor. It amazes in the doors of exquisite metal sideboards, profane glass panels, hand-made but born through the glass of a screen. A career which has led almost naturally to an encounter with CEDIT, with whom he has created an aesthetically courageous collection, part punk and part aristocratic austerity. The Araldica project's very name evokes strength and nobility, and it is grounded in a past whose weight does not drag it backwards but rather catapults it forwards into the future. Here, Federico's digital geometries become the most solid of materials, taking shape in a graphic object, condensing stories and images into three or two dimensions. In Pepe's and CEDIT's space, Euclidean geometrical forms encounter the marble of Phidias, the intricate patterns of the floor of Milan Cathedral merge into the Baroque images of the marbles found in Roman art galleries, and private space opens out to the infinite space of a thousand possible universal histories.

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.

BHR23 – ROCCO’S HEAD RETICULUM

Elica Studio > Styling

BHR23 – ROCCO’S HEAD RETICULUM Material Porcelain, engobes, oxides Finishing Matte Sizes (cm) 30 X 28 X 38 Weight (g) 1500 Designed in 2023 Collection Anatomika Lead Time: 30 days Description: The BHR23 ROCCO HEAD RETICULUM, a distinctive piece from the Anatomika Collection, is a masterwork of contemporary porcelain art that captivates with its striking graphic design and conceptual depth. Designed in 2023, it features a bold matte black glazed lower section that dramatically contrasts with an upper white glazed portion adorned with an intricate black ink-style illustration of a reticular pattern, culminating in a small, spherical top element mirroring the same design. This piece offers interior designers an unparalleled opportunity to introduce a sophisticated blend of architectural precision and artistic expression into any space. For interior designers, the BHR23 ROCCO HEAD RETICULUM is a powerful statement piece capable of anchoring a room or serving as a compelling focal point. Its distinct two-tone finishing – the solid, grounding matte black and the ethereal, patterned white – creates a dynamic visual interplay that draws the eye and encourages contemplation. This sculpture is particularly well-suited for modern, minimalist, or industrial design schemes where its clean lines and geometric patterns can resonate with the architectural elements of the space. Imagine it gracing a polished concrete console table in a contemporary loft, or positioned on a sleek glass shelf in a high-tech corporate office lobby. The small, integrated spherical element on top adds a whimsical yet sophisticated touch, emphasizing the design's meticulous attention to detail and balance. The artistic inspiration behind the Anatomika Collection, and specifically the ROCCO HEAD RETICULUM, delves into the intricate structures of the human form and the complex networks that define existence, whether biological or digital. The reticular pattern on the head evokes concepts of neural pathways, data networks, or even the underlying geometric grids of design and nature. This intellectual layer provides interior designers with a rich narrative to integrate into their projects, allowing them to craft spaces that are not only aesthetically pleasing but also conceptually stimulating. For residential projects, this piece can spark intellectual curiosity among residents and guests, fostering conversations about art, science, and perception. In commercial settings, such as creative agencies, architectural firms, or tech company headquarters, it can symbolize innovation, precision, and forward-thinking design, enhancing the brand's identity. Practical considerations are crucial for designers, and the BHR23 ROCCO HEAD RETICULUM excels in this regard. Crafted from durable fine porcelain, it ensures longevity and maintains its pristine appearance over time, making it a sustainable and enduring investment. The matte black and white glazes are both elegant and easy to maintain, while the black ink illustration is permanently fixed, ensuring its intricate details remain sharp. 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 versatile for various placements, from prominent display on a central table to a subtle yet impactful accent in a curated vignette. The deliberate contrast and precise execution make it a versatile piece that can stand alone or complement other art objects within a collection. From an SEO perspective, keywords crucial for interior designers seeking such unique pieces include "geometric head sculpture," "black and white porcelain art," "network pattern decor," "contemporary anatomical sculpture," "architectural design object," "modern abstract head," and "statement desk decor." These terms accurately capture its aesthetic, conceptual, and functional attributes, ensuring it is discoverable by professionals looking to infuse their projects with a sophisticated blend of art, science, and design. The monochromatic palette offers universal appeal, allowing it to integrate effortlessly into a wide spectrum of color schemes and design philosophies, from minimalist to industrial chic. In essence, the BHR23 ROCCO HEAD RETICULUM is more than just a decorative item; it is a profound artistic statement and a versatile design element. Its unique blend of structural elegance, intellectual depth, and practical attributes makes it an indispensable resource for interior designers dedicated to crafting spaces that are visually stunning, conceptually rich, and truly memorable for their discerning clientele.

BHR23 – ROCCO’S HEAD BAROCCO WIRE

Elica Studio > Styling

BHR23 – ROCCO’S HEAD BAROCCO WIRE Material Porcelain, engobes, oxides Finishing Matte Sizes (cm) 302838 Weight (g) 1500 Designed in 2023 Collection Anatomika Lead Time: 30 days Description: The BHR23 ROCCOS HEAD BAROCCO WIRE, a mesmerizing piece from the Anatomika Collection, stands as a testament to intricate design and conceptual depth in fine porcelain artistry. This striking sculpture was designed in 2023. It masterfully combines a matte white glazed surface with an elaborate black ink-style illustration that divides into two distinct patterns: a dense, wire-like pattern across the crown and a flowing, organic Baroque-inspired floral motif around the base of the head. A small, spherical element atop the head mirrors the linear patterning, creating a cohesive and visually arresting aesthetic. This duality offers interior designers a powerful tool to blend traditional ornamentation with contemporary graphic design, creating truly unique and memorable spaces. For interior designers, the BHR23 ROCCOS HEAD BAROCCO WIRE is an exceptionally versatile and impactful design element. The contrast between the rigid, linear "wire" pattern and the fluid, decorative "Barocco" floral design creates a dynamic visual tension that instantly elevates any interior. This piece is particularly suited for spaces that aim to evoke a sense of curated artistry, bridging historical richness with modern sensibilities. Imagine it as a central focus on a bespoke console table in a luxury living room, where its intricate details invite closer inspection, or as an anchor piece in a sophisticated library. In a high-end boutique or a designer showroom, it can symbolize the fusion of craftsmanship and contemporary art, attracting discerning clientele who appreciate unique and meaningful design. The dual perspectives offered by its profile view (the wire pattern) and frontal view (the floral motif) make it a captivating object from every angle. The artistic narrative behind the BHR23 ROCCOS HEAD BAROCCO WIRE delves into the interplay between structure and ornamentation, the digital and the organic, and the historical and the contemporary. The "wire" aspect can suggest digital grids or underlying anatomical structures, while the "Barocco" floral elements harken back to classical decorative arts. This rich thematic tapestry provides interior designers with a compelling story to integrate into their projects, allowing them to create environments that are not only visually stunning but also intellectually stimulating. For residential applications, this sculpture can foster an atmosphere of sophisticated elegance and artistic appreciation. In commercial settings, such as design studios, art galleries, or upscale hotels, it can serve as a powerful statement piece that reflects a brand's commitment to originality, quality, and an elevated aesthetic. Practical considerations are crucial for designers, and the BHR23 ROCCOS HEAD BAROCCO WIRE excels in its craftsmanship and durability. Made from fine porcelain, it promises longevity and maintains its pristine appearance over time, making it a sustainable and enduring investment for any project. The matte white glaze provides an elegant backdrop for the precise black ink illustrations, which are permanently fixed, ensuring their sharpness and intricate 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 table to a subtle yet impactful accent in a curated display cabinet. The thoughtful design ensures it is visually engaging from all perspectives. In terms of SEO, keywords crucial for interior designers searching for such unique pieces include "baroque wire sculpture," "patterned porcelain head," "black and white abstract decor," "ornamental modern art," "intricate design sculpture," "luxury decorative object," and "fusion art piece." These terms accurately capture its unique aesthetic, conceptual depth, and suitability for various design applications, ensuring it is discoverable by professionals looking to infuse their projects with a blend of historical grandeur and contemporary artistic flair. The universal appeal of its monochromatic color scheme further enhances its adaptability across diverse interior styles and preferences. In conclusion, the BHR23 ROCCOS HEAD BAROCCO WIRE from the Anatomika Collection is an exceptional piece that transcends mere decoration. It is a powerful artistic statement and a versatile design tool capable of transforming interiors into dynamic, sophisticated, and conceptually rich spaces. Its unique blend of structured modernity and classical ornamentation, combined with high-quality materials and thoughtful design, makes it an indispensable resource for interior designers committed to crafting truly distinctive and inspiring environments for their discerning clientele.

BHR24 – ROCCO’S HEAD SCIPIO

Elica Studio > Styling

BHR24 – ROCCO’S HEAD SCIPIO Material Porcelain, engobes, oxides, glaze Finishing Matte Sizes (cm) 302845 Weight (g) 1700 Designed in 2024 Collection Anatomika Lead Time: 30 days Description: The BHR24 ROCCOS HEAD SCIPIO, a bold and avant-garde piece from the Anatomika Collection, is a remarkable sculptural statement designed to inject a powerful dose of contemporary edge and artistic rebellion into any interior. Designed in 2024, its aesthetic is defined by a deep, matte black glaze that envelops the entire head, dramatically crowned with a cluster of sharp, black porcelain spike applications, creating a dynamic and visually arresting texture. This piece is an indispensable asset for interior designers aiming to curate spaces that are both sophisticated and provocatively artistic. For interior designers, the BHR24 ROCCOS HEAD SCIPIO offers unparalleled potential to create distinctive and memorable environments. Its monochromatic matte black finish exudes an understated elegance, allowing the unique spiked "hair" to truly stand out. This sculpture is ideally suited for modern, industrial, or even Gothic-inspired design schemes where its raw yet refined texture can resonate powerfully. Imagine it as a central focus on a minimalist concrete plinth in a contemporary urban loft, or commanding attention on a dark, polished wood surface in a high-end bachelor pad. In a creative studio, a cutting-edge fashion showroom, or a trendy cocktail bar, the ROCCOS HEAD SCIPIO can serve as a potent symbol of individuality, artistic freedom, and a departure from conventional aesthetics, aligning with brands that embrace bold design and unconventional beauty. The artistic inspiration behind the Anatomika Collection, and particularly the SCIPIO design, delves into themes of strength, individuality, and the unapologetic assertion of self. The name "Scipio" itself evokes historical figures of power and defiance, lending a layer of classical gravitas to its punk-inspired aesthetic. This conceptual depth provides interior designers with a compelling narrative to integrate into their projects, allowing them to craft spaces that are not only visually striking but also imbued with deeper meaning and character. For residential projects, this sculpture can foster an atmosphere of confident style and artistic courage. In commercial environments, it can contribute to a unique and memorable brand identity, attracting clientele who appreciate a more daring and artistic approach to design. Practical considerations are well-addressed by the BHR24 ROCCOS HEAD SCIPIO. Crafted from durable fine porcelain, it ensures longevity and maintains its striking appearance over time, making it a sustainable and enduring investment. The matte black glaze is elegant and easy to maintain, while the individually applied porcelain spikes are securely integrated, ensuring the integrity of the design. 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 robust construction and unique texture invite tactile engagement, further enhancing the user experience. In terms of SEO, keywords crucial for interior designers searching for such unique pieces include "matte black sculpture," "spiked porcelain art," "contemporary head decor," "punk rock aesthetic sculpture," "avant-garde design object," "statement dark decor," and "textured ceramic art." These terms accurately capture its aesthetic, conceptual depth, and suitability for various modern and edgy design applications, ensuring it is discoverable by professionals looking to infuse their projects with a powerful blend of artistic expression and contemporary flair. The enduring appeal of black as a sophisticated color further enhances its versatility across diverse interior styles. In conclusion, the BHR24 ROCCOS HEAD SCIPIO 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 boldly expressive environments. Its unique blend of refined craftsmanship and rebellious spirit, combined with high-quality materials and thoughtful design, 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.