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Plimatech Plimabeige/02

florim > Floor tile-stone

The inspiration for Florim's Plimatech Architectural design comes from high up in the Martell Valley of the Alto Adige region. The aesthetic heterogeneity characteristic of natural stone is captured in the collection through three graphic variants. 01, the most minimalist is softly veined and, especially in the large format, is particularly appropriate to confer character on architecture of more essential taste. 02 has a more variegated appearance, with slight shading tending towards white, designed to add a rough, textural touch to spaces. Finally, 03 is characterized by a high number of crystalline formations that give it a wavier line, ideal for design contexts that, between interior and exterior spaces, pursue a dialogue with the surrounding natural environment. In addition to this, the range of decorations is completed with the 30x60 wall module and 30x60 3D wall module, both proposed for the graphic variant 02 in all colors.

Plimatech Plimabeige/01

florim > Wall tile-stone-brick

The inspiration for Florim's Plimatech Architectural design comes from high up in the Martell Valley of the Alto Adige region. The aesthetic heterogeneity characteristic of natural stone is captured in the collection through three graphic variants. 01, the most minimalist is softly veined and, especially in the large format, is particularly appropriate to confer character on architecture of more essential taste. 02 has a more variegated appearance, with slight shading tending towards white, designed to add a rough, textural touch to spaces. Finally, 03 is characterized by a high number of crystalline formations that give it a wavier line, ideal for design contexts that, between interior and exterior spaces, pursue a dialogue with the surrounding natural environment. In addition to this, the range of decorations is completed with the 30x60 wall module and 30x60 3D wall module, both proposed for the graphic variant 02 in all colors.

Plimatech Plimagray/03

florim > Wall tile-stone-brick

The inspiration for Florim's Plimatech Architectural design comes from high up in the Martell Valley of the Alto Adige region. The aesthetic heterogeneity characteristic of natural stone is captured in the collection through three graphic variants. 01, the most minimalist is softly veined and, especially in the large format, is particularly appropriate to confer character on architecture of more essential taste. 02 has a more variegated appearance, with slight shading tending towards white, designed to add a rough, textural touch to spaces. Finally, 03 is characterized by a high number of crystalline formations that give it a wavier line, ideal for design contexts that, between interior and exterior spaces, pursue a dialogue with the surrounding natural environment. In addition to this, the range of decorations is completed with the 30x60 wall module and 30x60 3D wall module, both proposed for the graphic variant 02 in all colors.

Plimatech Plimagray/02

florim > Wall tile-stone-brick

The inspiration for Florim's Plimatech Architectural design comes from high up in the Martell Valley of the Alto Adige region. The aesthetic heterogeneity characteristic of natural stone is captured in the collection through three graphic variants. 01, the most minimalist is softly veined and, especially in the large format, is particularly appropriate to confer character on architecture of more essential taste. 02 has a more variegated appearance, with slight shading tending towards white, designed to add a rough, textural touch to spaces. Finally, 03 is characterized by a high number of crystalline formations that give it a wavier line, ideal for design contexts that, between interior and exterior spaces, pursue a dialogue with the surrounding natural environment. In addition to this, the range of decorations is completed with the 30x60 wall module and 30x60 3D wall module, both proposed for the graphic variant 02 in all colors.

Plimatech Plimagray/01

florim > Wall tile-stone-brick

The inspiration for Florim's Plimatech Architectural design comes from high up in the Martell Valley of the Alto Adige region. The aesthetic heterogeneity characteristic of natural stone is captured in the collection through three graphic variants. 01, the most minimalist is softly veined and, especially in the large format, is particularly appropriate to confer character on architecture of more essential taste. 02 has a more variegated appearance, with slight shading tending towards white, designed to add a rough, textural touch to spaces. Finally, 03 is characterized by a high number of crystalline formations that give it a wavier line, ideal for design contexts that, between interior and exterior spaces, pursue a dialogue with the surrounding natural environment. In addition to this, the range of decorations is completed with the 30x60 wall module and 30x60 3D wall module, both proposed for the graphic variant 02 in all colors.

Plimatech Plimawhite/03

florim > Wall tile-stone-brick

The inspiration for Florim's Plimatech Architectural design comes from high up in the Martell Valley of the Alto Adige region. The aesthetic heterogeneity characteristic of natural stone is captured in the collection through three graphic variants. 01, the most minimalist is softly veined and, especially in the large format, is particularly appropriate to confer character on architecture of more essential taste. 02 has a more variegated appearance, with slight shading tending towards white, designed to add a rough, textural touch to spaces. Finally, 03 is characterized by a high number of crystalline formations that give it a wavier line, ideal for design contexts that, between interior and exterior spaces, pursue a dialogue with the surrounding natural environment. In addition to this, the range of decorations is completed with the 30x60 wall module and 30x60 3D wall module, both proposed for the graphic variant 02 in all colors.

Plimatech Plimawhite/02

florim > Wall tile-stone-brick

The inspiration for Florim's Plimatech Architectural design comes from high up in the Martell Valley of the Alto Adige region. The aesthetic heterogeneity characteristic of natural stone is captured in the collection through three graphic variants. 01, the most minimalist is softly veined and, especially in the large format, is particularly appropriate to confer character on architecture of more essential taste. 02 has a more variegated appearance, with slight shading tending towards white, designed to add a rough, textural touch to spaces. Finally, 03 is characterized by a high number of crystalline formations that give it a wavier line, ideal for design contexts that, between interior and exterior spaces, pursue a dialogue with the surrounding natural environment. In addition to this, the range of decorations is completed with the 30x60 wall module and 30x60 3D wall module, both proposed for the graphic variant 02 in all colors.

Plimatech Plimawhite/01

florim > Floor tile-stone

The inspiration for Florim's Plimatech Architectural design comes from high up in the Martell Valley of the Alto Adige region. The aesthetic heterogeneity characteristic of natural stone is captured in the collection through three graphic variants. 01, the most minimalist is softly veined and, especially in the large format, is particularly appropriate to confer character on architecture of more essential taste. 02 has a more variegated appearance, with slight shading tending towards white, designed to add a rough, textural touch to spaces. Finally, 03 is characterized by a high number of crystalline formations that give it a wavier line, ideal for design contexts that, between interior and exterior spaces, pursue a dialogue with the surrounding natural environment. In addition to this, the range of decorations is completed with the 30x60 wall module and 30x60 3D wall module, both proposed for the graphic variant 02 in all colors.

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 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 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.

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.

Prexious Thunder Night

florim > Floor tile-stone

Six stone essences, rare, precious and extraordinarily elegant make their substance available to become icons of exclusivity. The harmonious development of the design that is unveiled by placing the large surface sheets alongside one another is another distinguishing factor, as are the precious surface finishes, glossy and bright or delicately satin-finished.

Prexious Dream Arabesque

florim > Floor tile-stone

Six stone essences, rare, precious and extraordinarily elegant make their substance available to become icons of exclusivity. The harmonious development of the design that is unveiled by placing the large surface sheets alongside one another is another distinguishing factor, as are the precious surface finishes, glossy and bright or delicately satin-finished.

Prexious Charming Amber

florim > Floor tile-stone

Six stone essences, rare, precious and extraordinarily elegant make their substance available to become icons of exclusivity. The harmonious development of the design that is unveiled by placing the large surface sheets alongside one another is another distinguishing factor, as are the precious surface finishes, glossy and bright or delicately satin-finished.

Prexious Pearl Attraction

florim > Wall tile-stone-brick

Six stone essences, rare, precious and extraordinarily elegant make their substance available to become icons of exclusivity. The harmonious development of the design that is unveiled by placing the large surface sheets alongside one another is another distinguishing factor, as are the precious surface finishes, glossy and bright or delicately satin-finished.

Prexious Mountain Treasure

florim > Wall tile-stone-brick

Six stone essences, rare, precious and extraordinarily elegant make their substance available to become icons of exclusivity. The harmonious development of the design that is unveiled by placing the large surface sheets alongside one another is another distinguishing factor, as are the precious surface finishes, glossy and bright or delicately satin-finished.

Prexious White Fantasy

florim > Wall tile-stone-brick

Six stone essences, rare, precious and extraordinarily elegant make their substance available to become icons of exclusivity. The harmonious development of the design that is unveiled by placing the large surface sheets alongside one another is another distinguishing factor, as are the precious surface finishes, glossy and bright or delicately satin-finished.

Rawtech Raw-Coal

florim > Synthetic Floor

Where imperfection becomes a distinguishing sign and an essential prerequisite Rawtech is the worn cement effect fine porcelain stoneware where imperfection becomes the distinguishing character of a product with markedly industrial traits. The range of modern colors develops over modular sizes and surfaces that are resistant to the stress of the most complex building applications, meeting the needs of the most sophisticated dwellings with modern style and taste.

Rawtech Raw-Mud

florim > Synthetic Floor

Where imperfection becomes a distinguishing sign and an essential prerequisite Rawtech is the worn cement effect fine porcelain stoneware where imperfection becomes the distinguishing character of a product with markedly industrial traits. The range of modern colors develops over modular sizes and surfaces that are resistant to the stress of the most complex building applications, meeting the needs of the most sophisticated dwellings with modern style and taste.

Rawtech Raw-Dust

florim > Synthetic Floor

Where imperfection becomes a distinguishing sign and an essential prerequisite Rawtech is the worn cement effect fine porcelain stoneware where imperfection becomes the distinguishing character of a product with markedly industrial traits. The range of modern colors develops over modular sizes and surfaces that are resistant to the stress of the most complex building applications, meeting the needs of the most sophisticated dwellings with modern style and taste.

Rawtech Raw-White

R

florim > Synthetic Floor

Where imperfection becomes a distinguishing sign and an essential prerequisite Rawtech is the worn cement effect fine porcelain stoneware where imperfection becomes the distinguishing character of a product with markedly industrial traits. The range of modern colors develops over modular sizes and surfaces that are resistant to the stress of the most complex building applications, meeting the needs of the most sophisticated dwellings with modern style and taste.

Rêves Rêve Bleu

florim > Wall tile-stone-brick

A contemporary, luxurious but balanced lifestyle Soft vein patterns and gentle colour contrasts characterise a collection that exudes taste and authenticity, the bright and showy shades of yesterday consigned to memory. Surfaces with luminous, deep and delicate shades restore a sense of preciousness to the space without overpowering the architecture. The collection lends itself to various stylistic interpretations: the warm colours with matte finishes create natural and relaxing atmospheres, the pearl and blue tones emit light and uniqueness, revealing an infinite potential that is waiting to be explored.

Rêves Rêve Choco

florim > Wall tile-stone-brick

A contemporary, luxurious but balanced lifestyle Soft vein patterns and gentle colour contrasts characterise a collection that exudes taste and authenticity, the bright and showy shades of yesterday consigned to memory. Surfaces with luminous, deep and delicate shades restore a sense of preciousness to the space without overpowering the architecture. The collection lends itself to various stylistic interpretations: the warm colours with matte finishes create natural and relaxing atmospheres, the pearl and blue tones emit light and uniqueness, revealing an infinite potential that is waiting to be explored.

Rêves Rêve Rose

florim > Wall tile-stone-brick

A contemporary, luxurious but balanced lifestyle Soft vein patterns and gentle colour contrasts characterise a collection that exudes taste and authenticity, the bright and showy shades of yesterday consigned to memory. Surfaces with luminous, deep and delicate shades restore a sense of preciousness to the space without overpowering the architecture. The collection lends itself to various stylistic interpretations: the warm colours with matte finishes create natural and relaxing atmospheres, the pearl and blue tones emit light and uniqueness, revealing an infinite potential that is waiting to be explored.

Rêves Rêve Jade

florim > Wall tile-stone-brick

A contemporary, luxurious but balanced lifestyle Soft vein patterns and gentle colour contrasts characterise a collection that exudes taste and authenticity, the bright and showy shades of yesterday consigned to memory. Surfaces with luminous, deep and delicate shades restore a sense of preciousness to the space without overpowering the architecture. The collection lends itself to various stylistic interpretations: the warm colours with matte finishes create natural and relaxing atmospheres, the pearl and blue tones emit light and uniqueness, revealing an infinite potential that is waiting to be explored.

Rêves Rêve Noisette

florim > Wall tile-stone-brick

A contemporary, luxurious but balanced lifestyle Soft vein patterns and gentle colour contrasts characterise a collection that exudes taste and authenticity, the bright and showy shades of yesterday consigned to memory. Surfaces with luminous, deep and delicate shades restore a sense of preciousness to the space without overpowering the architecture. The collection lends itself to various stylistic interpretations: the warm colours with matte finishes create natural and relaxing atmospheres, the pearl and blue tones emit light and uniqueness, revealing an infinite potential that is waiting to be explored.

Rêves Rêve Perle

florim > Wall tile-stone-brick

A contemporary, luxurious but balanced lifestyle Soft vein patterns and gentle colour contrasts characterise a collection that exudes taste and authenticity, the bright and showy shades of yesterday consigned to memory. Surfaces with luminous, deep and delicate shades restore a sense of preciousness to the space without overpowering the architecture. The collection lends itself to various stylistic interpretations: the warm colours with matte finishes create natural and relaxing atmospheres, the pearl and blue tones emit light and uniqueness, revealing an infinite potential that is waiting to be explored.

Rock Salt Hawaiian Red

florim > Wall tile-stone-brick

With Rock Salt, it's possible to create comfortable spaces where you can find peace away from the frenzy of daily life The range offers 5 different chromatic variations enriched with desaturated, deep, and defined veining. Fresh shades, like that of the white, gray, and sage colors, are accompanied by warmer tones, like the dove gray and red, returning the allure of the luster or tactile materiality of natural crystals, depending on their finish.

Rock Salt Maui Green

florim > Wall tile-stone-brick

With Rock Salt, it's possible to create comfortable spaces where you can find peace away from the frenzy of daily life The range offers 5 different chromatic variations enriched with desaturated, deep, and defined veining. Fresh shades, like that of the white, gray, and sage colors, are accompanied by warmer tones, like the dove gray and red, returning the allure of the luster or tactile materiality of natural crystals, depending on their finish.

Rock Salt Danish Smoke

florim > Floor tile-stone

With Rock Salt, it's possible to create comfortable spaces where you can find peace away from the frenzy of daily life The range offers 5 different chromatic variations enriched with desaturated, deep, and defined veining. Fresh shades, like that of the white, gray, and sage colors, are accompanied by warmer tones, like the dove gray and red, returning the allure of the luster or tactile materiality of natural crystals, depending on their finish.

Rock Salt Celtic Grey

florim > Wall tile-stone-brick

With Rock Salt, it's possible to create comfortable spaces where you can find peace away from the frenzy of daily life The range offers 5 different chromatic variations enriched with desaturated, deep, and defined veining. Fresh shades, like that of the white, gray, and sage colors, are accompanied by warmer tones, like the dove gray and red, returning the allure of the luster or tactile materiality of natural crystals, depending on their finish.

Rock Salt White Gold

florim > Wall tile-stone-brick

With Rock Salt, it's possible to create comfortable spaces where you can find peace away from the frenzy of daily life The range offers 5 different chromatic variations enriched with desaturated, deep, and defined veining. Fresh shades, like that of the white, gray, and sage colors, are accompanied by warmer tones, like the dove gray and red, returning the allure of the luster or tactile materiality of natural crystals, depending on their finish.

Selection Oak Brown Oak

florim > Floor tile-stone

Multiple suggestions capable of dialoging with the charm of nature. The imperfection of nature becomes the perfect harmony of different nuances and shades that interpret the space in a modern key.

Selection Oak Amber Oak

florim > Floor plank

Multiple suggestions capable of dialoging with the charm of nature. The imperfection of nature becomes the perfect harmony of different nuances and shades that interpret the space in a modern key.

Selection Oak Cream Oak

florim > Floor tile-stone

Multiple suggestions capable of dialoging with the charm of nature. The imperfection of nature becomes the perfect harmony of different nuances and shades that interpret the space in a modern key.

Selection Oak Gray Oak

florim > Floor plank

Multiple suggestions capable of dialoging with the charm of nature. The imperfection of nature becomes the perfect harmony of different nuances and shades that interpret the space in a modern key.

Selection Oak White Oak

florim > Floor tile-stone

Multiple suggestions capable of dialoging with the charm of nature. The imperfection of nature becomes the perfect harmony of different nuances and shades that interpret the space in a modern key.

Sensi Brown Fossil

florim > Floor tile-stone

Lightness, Earth, Sensoriality The Sensi collection also features a decorative mosaic made from recycled glass made from disused TV and PC screens. This mosaic, manufactured by a process in which human hands play a role, has a distinctive surface structure. Due to the nature of the recycled glass and the production cycle, every tiny chip is different from the others, creating a dynamic surface. Soft, velvety or structured to the touch, it dialogues with the light and may become shiny or matte. This product also derives its uniqueness from its colour. Every chip is unique and has its own shades of the same tone. Developed with close attention to environmental impact, "Sensi" is the perfect synthesis of innovation and sustainability and also a virtuous example of circular economy. The collection is made over 90% natural raw materials and up to 41% of recycled materials. "Sensi" is the result of up to 100% sustainable production process, both in terms of water consumption and self-generated electricity.

Sensi Brown Sand

florim > Floor tile-stone

Lightness, Earth, Sensoriality The Sensi collection also features a decorative mosaic made from recycled glass made from disused TV and PC screens. This mosaic, manufactured by a process in which human hands play a role, has a distinctive surface structure. Due to the nature of the recycled glass and the production cycle, every tiny chip is different from the others, creating a dynamic surface. Soft, velvety or structured to the touch, it dialogues with the light and may become shiny or matte. This product also derives its uniqueness from its colour. Every chip is unique and has its own shades of the same tone. Developed with close attention to environmental impact, "Sensi" is the perfect synthesis of innovation and sustainability and also a virtuous example of circular economy. The collection is made over 90% natural raw materials and up to 41% of recycled materials. "Sensi" is the result of up to 100% sustainable production process, both in terms of water consumption and self-generated electricity.

Sensi Brown Dust

florim > Floor tile-stone

Lightness, Earth, Sensoriality The Sensi collection also features a decorative mosaic made from recycled glass made from disused TV and PC screens. This mosaic, manufactured by a process in which human hands play a role, has a distinctive surface structure. Due to the nature of the recycled glass and the production cycle, every tiny chip is different from the others, creating a dynamic surface. Soft, velvety or structured to the touch, it dialogues with the light and may become shiny or matte. This product also derives its uniqueness from its colour. Every chip is unique and has its own shades of the same tone. Developed with close attention to environmental impact, "Sensi" is the perfect synthesis of innovation and sustainability and also a virtuous example of circular economy. The collection is made over 90% natural raw materials and up to 41% of recycled materials. "Sensi" is the result of up to 100% sustainable production process, both in terms of water consumption and self-generated electricity.

Sensi Brown Lithos

florim > Floor tile-stone

Lightness, Earth, Sensoriality The Sensi collection also features a decorative mosaic made from recycled glass made from disused TV and PC screens. This mosaic, manufactured by a process in which human hands play a role, has a distinctive surface structure. Due to the nature of the recycled glass and the production cycle, every tiny chip is different from the others, creating a dynamic surface. Soft, velvety or structured to the touch, it dialogues with the light and may become shiny or matte. This product also derives its uniqueness from its colour. Every chip is unique and has its own shades of the same tone. Developed with close attention to environmental impact, "Sensi" is the perfect synthesis of innovation and sustainability and also a virtuous example of circular economy. The collection is made over 90% natural raw materials and up to 41% of recycled materials. "Sensi" is the result of up to 100% sustainable production process, both in terms of water consumption and self-generated electricity.

Sensi Taupe Fossil

florim > Floor tile-stone

Lightness, Earth, Sensoriality The Sensi collection also features a decorative mosaic made from recycled glass made from disused TV and PC screens. This mosaic, manufactured by a process in which human hands play a role, has a distinctive surface structure. Due to the nature of the recycled glass and the production cycle, every tiny chip is different from the others, creating a dynamic surface. Soft, velvety or structured to the touch, it dialogues with the light and may become shiny or matte. This product also derives its uniqueness from its colour. Every chip is unique and has its own shades of the same tone. Developed with close attention to environmental impact, "Sensi" is the perfect synthesis of innovation and sustainability and also a virtuous example of circular economy. The collection is made over 90% natural raw materials and up to 41% of recycled materials. "Sensi" is the result of up to 100% sustainable production process, both in terms of water consumption and self-generated electricity.

Sensi Taupe Sand

florim > Floor tile-stone

Lightness, Earth, Sensoriality The Sensi collection also features a decorative mosaic made from recycled glass made from disused TV and PC screens. This mosaic, manufactured by a process in which human hands play a role, has a distinctive surface structure. Due to the nature of the recycled glass and the production cycle, every tiny chip is different from the others, creating a dynamic surface. Soft, velvety or structured to the touch, it dialogues with the light and may become shiny or matte. This product also derives its uniqueness from its colour. Every chip is unique and has its own shades of the same tone. Developed with close attention to environmental impact, "Sensi" is the perfect synthesis of innovation and sustainability and also a virtuous example of circular economy. The collection is made over 90% natural raw materials and up to 41% of recycled materials. "Sensi" is the result of up to 100% sustainable production process, both in terms of water consumption and self-generated electricity.

Sensi Taupe Dust

florim > Floor tile-stone

Lightness, Earth, Sensoriality The Sensi collection also features a decorative mosaic made from recycled glass made from disused TV and PC screens. This mosaic, manufactured by a process in which human hands play a role, has a distinctive surface structure. Due to the nature of the recycled glass and the production cycle, every tiny chip is different from the others, creating a dynamic surface. Soft, velvety or structured to the touch, it dialogues with the light and may become shiny or matte. This product also derives its uniqueness from its colour. Every chip is unique and has its own shades of the same tone. Developed with close attention to environmental impact, "Sensi" is the perfect synthesis of innovation and sustainability and also a virtuous example of circular economy. The collection is made over 90% natural raw materials and up to 41% of recycled materials. "Sensi" is the result of up to 100% sustainable production process, both in terms of water consumption and self-generated electricity.

Sensi Taupe Lithos

florim > Floor tile-stone

Lightness, Earth, Sensoriality The Sensi collection also features a decorative mosaic made from recycled glass made from disused TV and PC screens. This mosaic, manufactured by a process in which human hands play a role, has a distinctive surface structure. Due to the nature of the recycled glass and the production cycle, every tiny chip is different from the others, creating a dynamic surface. Soft, velvety or structured to the touch, it dialogues with the light and may become shiny or matte. This product also derives its uniqueness from its colour. Every chip is unique and has its own shades of the same tone. Developed with close attention to environmental impact, "Sensi" is the perfect synthesis of innovation and sustainability and also a virtuous example of circular economy. The collection is made over 90% natural raw materials and up to 41% of recycled materials. "Sensi" is the result of up to 100% sustainable production process, both in terms of water consumption and self-generated electricity.

Sensi Ivory Fossil

florim > Floor tile-stone

Lightness, Earth, Sensoriality The Sensi collection also features a decorative mosaic made from recycled glass made from disused TV and PC screens. This mosaic, manufactured by a process in which human hands play a role, has a distinctive surface structure. Due to the nature of the recycled glass and the production cycle, every tiny chip is different from the others, creating a dynamic surface. Soft, velvety or structured to the touch, it dialogues with the light and may become shiny or matte. This product also derives its uniqueness from its colour. Every chip is unique and has its own shades of the same tone. Developed with close attention to environmental impact, "Sensi" is the perfect synthesis of innovation and sustainability and also a virtuous example of circular economy. The collection is made over 90% natural raw materials and up to 41% of recycled materials. "Sensi" is the result of up to 100% sustainable production process, both in terms of water consumption and self-generated electricity.

Sensi Ivory Sand

florim > Floor tile-stone

Lightness, Earth, Sensoriality The Sensi collection also features a decorative mosaic made from recycled glass made from disused TV and PC screens. This mosaic, manufactured by a process in which human hands play a role, has a distinctive surface structure. Due to the nature of the recycled glass and the production cycle, every tiny chip is different from the others, creating a dynamic surface. Soft, velvety or structured to the touch, it dialogues with the light and may become shiny or matte. This product also derives its uniqueness from its colour. Every chip is unique and has its own shades of the same tone. Developed with close attention to environmental impact, "Sensi" is the perfect synthesis of innovation and sustainability and also a virtuous example of circular economy. The collection is made over 90% natural raw materials and up to 41% of recycled materials. "Sensi" is the result of up to 100% sustainable production process, both in terms of water consumption and self-generated electricity.

Sensi Ivory Dust

florim > Floor tile-stone

Lightness, Earth, Sensoriality The Sensi collection also features a decorative mosaic made from recycled glass made from disused TV and PC screens. This mosaic, manufactured by a process in which human hands play a role, has a distinctive surface structure. Due to the nature of the recycled glass and the production cycle, every tiny chip is different from the others, creating a dynamic surface. Soft, velvety or structured to the touch, it dialogues with the light and may become shiny or matte. This product also derives its uniqueness from its colour. Every chip is unique and has its own shades of the same tone. Developed with close attention to environmental impact, "Sensi" is the perfect synthesis of innovation and sustainability and also a virtuous example of circular economy. The collection is made over 90% natural raw materials and up to 41% of recycled materials. "Sensi" is the result of up to 100% sustainable production process, both in terms of water consumption and self-generated electricity.

Sensi Ivory Lithos

florim > Floor tile-stone

Lightness, Earth, Sensoriality The Sensi collection also features a decorative mosaic made from recycled glass made from disused TV and PC screens. This mosaic, manufactured by a process in which human hands play a role, has a distinctive surface structure. Due to the nature of the recycled glass and the production cycle, every tiny chip is different from the others, creating a dynamic surface. Soft, velvety or structured to the touch, it dialogues with the light and may become shiny or matte. This product also derives its uniqueness from its colour. Every chip is unique and has its own shades of the same tone. Developed with close attention to environmental impact, "Sensi" is the perfect synthesis of innovation and sustainability and also a virtuous example of circular economy. The collection is made over 90% natural raw materials and up to 41% of recycled materials. "Sensi" is the result of up to 100% sustainable production process, both in terms of water consumption and self-generated electricity.