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Tesori Anelli bianco

florim > Wallcovering

East and West, a synthesis archieved through Italian taste. «My work often takes me to far-off lands, also remote in terms of their culture and traditions. Even without my being aware of it, I then metabolise these traditions and include them in the designs I subsequently produce.» Matteo Nunziati "It is the architect's task to create a warm, livable space. Carpets are warm and livable. He decides for this reason to spread one carpet on the floor and to hang up four to form the four walls. But you cannot build a house out of carpets. Both the carpet and the floor and the tapestry on the wall required structural frame to hold them in the correct place. To invent this frame is the architect's second task."When Adolf Loos wrote his revolutionary essay on the "principle of cladding" in 1898, architecture was just entering the modern age. Building meant imagining structures capable of putting together different materials, but, Loos affirmed, it must also respect their individual characteristics. "Every material possesses a formal language which belongs to it alone and no material can take on the forms proper to another", the Austrian master therefore maintained. And there is no doubt that the spirit of these words extended throughout most Twentieth Century architecture, regardless of its location or style. When we look at Matteo Nunziati's designs for the CEDIT Tesori collection, we seem to be seeing geometrical purity and attention to detail at the service of a new "truth" of material. Because Matteo Nunziati views ceramics as a form of fabric. The woven patterns he imagines for the various styles in his collection "“ from Arabian to damask to more geometrical motifs "“ constantly seek to provide the soft, iridescent look of time-worn linen. In them, ceramics are raised from the status of poor relation of marble to become a luxury wall covering in their own right: almost a wallpaper, suitable however for both floors and walls, and an absolutely versatile material. No longer only for beautifying bathrooms, they can create new moods in every room of the house (and elsewhere) starting from the living-room. Naturally, the revolution has been mainly technological. The large slabs produced by CEDIT are more than 3 metres tall, and since they eliminate the serial repetition typical of conventional tiles, they generate a new relationship between the surface and its decoration. However, Nunziati does not use this to create, artist-like, a more eye-catching decorative composition that emphasises the slab's dimensions. Quite the opposite; the patterns he offers us attempt to break down what is left of the boundaries between substrates. In particular, the Arabian and damask styles, in the version with "timeworn" patterning, convey the idea of the ceramic slab as an abstract, almost non-existent material which melts into the decorative motif applied to it, in a kind of pure wall covering. Through the patient selection of geometrical motifs and tests to verify their suitability for application to ceramic slabs, Nunziati aims to achieve a new material rather than a mere decoration, making this clear by also exploring its tactile dimension, with gouged and relief motifs. His "principle of coverings" therefore relates to ceramics' essence rather than their image: highlighting the versatility which, as we all know, has made ceramics an absolute material, a kind of cement that incorporates structure and finish in a virtually infinite range of applications. This is clearly indicated by the reference to the mashrabiya, a term meaning place where people drink in Arabic, which in Arabian architecture originally referred to the kind of veranda where people used to meet and rest, and over time has come to mean the wooden gratings that screened these places from the sun. Inspired by his trips to the Middle East, for Nunziati the geometric patterns of the mashrabiya become both an outline of his method of work and the form of what in fact becomes the key element in a new idea of space: a real location conceived around a strong, livable surface in which physical substance and decoration overlap to the point where they merge.

Melt Burst Chandelier Smoke LED

tomdixon > Ceiling lamp

Melt is a beautifully distorted pendant in a modern Silver finish and matching ceiling rose. Featuring our intergrated LED module, this ceiling light creates a mesmirizing melting hot-blown glass effect when on and a mirror-finish effect when off. Made in Germany using a high tech manufacturing technique to achieve the perfect melted orb. More Information The range is blow moulded and vacuum metallised - techniques that have been developed over several years, working with German engineering and manufacturing experts. The LED module offers three key benefits - longer life expectancy, energy efficiency and improved performance including dimmability and light control. Our integrated LED module is fully serviceable and replacement components and individual drivers are available if needed. Melt also comes as a chandelier, table, floor and surface light. Available in a contemporary Chrome Dimensions & Specifications Information SKU MEC03SM-CEUM4 Family Melt Cable Finish Black Braided Product Label New Depth 136.5 cm Width 153 cm Height 164 cm Box Depth 0 Box Width 0 Box Height 0 Delivery & Returns If you are unhappy with your purchase, under Distant Selling Regulations you can return the items to us within 14 days of receipt of your goods for a full refund (excluding postal charges). Items should be unused, returned in their original packaging and in a fully resalable condition. If the item is damaged please send an email to [email protected] stating your order reference number and including photographs as evidence of the damage.

TECO - LED blown glass table lamp _ Italamp

Italamp > Table lamp

Italamp Teco 3058/LG Table Lamp – A Statement of Contemporary Elegance Refined Italian Craftsmanship in a Modern Form The Teco 3058/LG Table Lamp by Italamp is a striking blend of modern design and refined craftsmanship, embodying the essence of Italian lighting excellence. With a design that is both sophisticated and adaptable, this lamp is the perfect addition to contemporary interiors, offering an ambient glow that enhances the atmosphere of any space. Whether placed in a luxury hotel suite, a high-end restaurant, an executive office, or a stylish residential living room, the Teco 3058/LG brings a touch of understated elegance. Exquisite Design and Premium Materials Designed with meticulous attention to detail, the Teco 3058/LG features a beautifully blown glass body, seamlessly transitioning from the base to the diffuser. The glass is available in a refined white-shaded finish, ensuring a soft, harmonious light that elevates the ambiance of any room. The top diffuser, a key feature of the design, comes in mirror-effect gold or titanium, adding a luxurious accent while enhancing the reflective qualities of the light. Supporting the glass structure is a sturdy metal base, available in finishes such as light gold, iron grey, and white. These options provide flexibility, allowing the lamp to be tailored to various interior palettes, from warm, classic settings to cool, industrial-inspired environments. Dimensions and Technical Specifications Diameter: 36 cm Height: 48 cm Light Source: 1x GU10 LED bulb (maximum 8W) Voltage: 110V With its compact yet statement-making dimensions, the Teco 3058/LG is an ideal fit for bedside tables, console tables, desks, and hospitality settings, offering both practical lighting and a decorative presence. Perfect for Residential, Hospitality, and Commercial Spaces One of the greatest strengths of this lamp lies in its versatility. The combination of high-quality materials, timeless design, and soft yet effective lighting makes it suitable for a variety of applications: Luxury Residential Interiors In homes and apartments, the Teco 3058/LG serves as a chic lighting accent for living rooms, bedrooms, or reading nooks. Its warm, diffused light creates an inviting atmosphere, while its sleek silhouette complements modern, Scandinavian, and contemporary interior styles. Hotels, Restaurants, and Bars For the hospitality industry, lighting is crucial in shaping the mood of a space. The Teco 3058/LG’s mirror-effect top diffuser and sophisticated finishes make it an excellent choice for high-end hotels, boutique restaurants, and stylish bars, where it can enhance the luxurious ambiance without overpowering the overall design. Office and Workspaces In executive offices and co-working spaces, where aesthetics and functionality go hand in hand, this lamp provides a stylish lighting solution that complements modern desks, conference rooms, and reception areas. Its soft yet precise light makes it ideal for workspaces requiring focused but atmospheric illumination. Aesthetics: Minimalist with a Luxurious Edge Modern Minimalism – The clean lines, smooth glass surface, and simple yet effective structure align with minimalist design principles. Sophisticated Elegance – The combination of refined materials and luxurious finishes adds a sense of exclusivity and style. Versatile Appeal – Available in various finishes, the lamp can be tailored to different aesthetics, from classic elegance to industrial chic. Alternative Options in the Teco Collection For those looking for a cohesive lighting scheme, Italamp offers additional models in the Teco series, such as the Teco 3057/LG and Teco 3059/LG, which feature similar design elements but differ in size and proportions. These variations provide options for different spatial needs while maintaining the same sophisticated appeal.

COSMO 1507 - 3 seater fabric sofa _ Et al.

Et al. > Sofa

COSMO 1507 Sofa: A Contemporary Three-Seater Masterpiece The COSMO 1507 sofa, designed by Philippe Tabet for Et al., epitomizes modern elegance and versatility. This armless three-seater sofa seamlessly integrates into various interior settings, including residential living rooms, hotel lounges, office waiting areas, and upscale retail spaces. Design and Dimensions The COSMO 1507 boasts a sleek and minimalist design, characterized by its armless structure and plush upholstery. Its dimensions are thoughtfully crafted to provide comfort while maintaining a compact footprint: Width: 237 cm Depth: 88 cm Height: 80 cm Seat Height: 44 cm These proportions make it an ideal choice for both spacious and limited areas, offering ample seating without overwhelming the space. Materials and Finishes Crafted with precision, the COSMO 1507 features: Frame: Constructed from durable steel tubing, ensuring stability and longevity. Upholstery: Available in a diverse range of high-quality fabrics, including options like Melva, Fortis, Inca, Medley Gabriel, Chili Gabriel, Mirage, Convert, Fenice, Mood Gabriel, Valencia, Fabthirthy Rubelli, Ocean Mastrotto, and Remix 3 Kvadrat, each offering multiple color choices to suit various design aesthetics. Frame Finishes: The steel frame can be customized in various finishes, such as White Aluminium (NCS S4000-N VR), Jet Black (NCS S9000-N VR), Coral Red (NCS S3060-Y80R), Matt Jet Black (NCS S9000-N VR), Rough Metallic Bronze (VR), Curry (NCS S3060-Y), Olive Green (NCS S7020-G50Y), Water Blue (NCS S4050-B40G), Capri Blue (NCS S6030-B), Brown (NCS S8005-Y20R), Traffic White (NCS S0502-B VR), Marsala (NCS S4040-R), Pewter (VR), Pure White (NCS S0500-N VR), and Anthracite Grey (NCS S7502-B VR), allowing for seamless integration into any interior color scheme. Functional Accessories To enhance its functionality, the COSMO 1507 can be equipped with optional accessories: Kidney Cushion: Provides additional lumbar support for increased comfort. Reading Lamp: An integrated light source suitable for reading or creating ambient lighting. USB Socket: Convenient for charging electronic devices, making it suitable for modern living and working environments. Schuko Socket: Offers an additional power outlet for various needs. These accessories make the sofa a practical choice for both relaxation and productivity. Applications and Versatility The COSMO 1507's adaptable design makes it suitable for a variety of settings: Residential Spaces: Ideal for living rooms or bedrooms, adding a touch of modern elegance. Hospitality Environments: Perfect for hotel lobbies, guest rooms, or lounge areas, offering comfort and style to guests. Office and Waiting Areas: Enhances reception spaces or private offices with its sleek design and optional functional accessories. Retail Spaces: Complements boutique stores or showrooms, providing a comfortable seating option for customers. Complementary Products The COSMO collection includes various seating solutions that can be paired with the 1507 sofa to create cohesive interior designs. Options include the COSMO 1505 armchair, the COSMO 1502 three-seater sofa, and modular systems like the COSMO 1520, allowing for flexible configurations to suit different spaces and requirements. Key Features Modern Aesthetic: Clean lines and armless design contribute to a minimalist and contemporary look. Customizable Finishes: Wide range of upholstery fabrics and frame finishes to match specific design requirements. Optional Accessories: Functional add-ons like reading lamps and USB sockets enhance usability. Compact Dimensions: Suitable for both large and small spaces without compromising on comfort. High-Quality Construction: Durable materials ensure longevity and sustained aesthetic appeal.

TECO - LED blown glass table lamp _ Italamp

R

Italamp > Table lamp

Italamp Teco 3058/LG Table Lamp – A Statement of Contemporary Elegance Refined Italian Craftsmanship in a Modern Form The Teco 3058/LG Table Lamp by Italamp is a striking blend of modern design and refined craftsmanship, embodying the essence of Italian lighting excellence. With a design that is both sophisticated and adaptable, this lamp is the perfect addition to contemporary interiors, offering an ambient glow that enhances the atmosphere of any space. Whether placed in a luxury hotel suite, a high-end restaurant, an executive office, or a stylish residential living room, the Teco 3058/LG brings a touch of understated elegance. Exquisite Design and Premium Materials Designed with meticulous attention to detail, the Teco 3058/LG features a beautifully blown glass body, seamlessly transitioning from the base to the diffuser. The glass is available in a refined white-shaded finish, ensuring a soft, harmonious light that elevates the ambiance of any room. The top diffuser, a key feature of the design, comes in mirror-effect gold or titanium, adding a luxurious accent while enhancing the reflective qualities of the light. Supporting the glass structure is a sturdy metal base, available in finishes such as light gold, iron grey, and white. These options provide flexibility, allowing the lamp to be tailored to various interior palettes, from warm, classic settings to cool, industrial-inspired environments. Dimensions and Technical Specifications Diameter: 36 cm Height: 48 cm Light Source: 1x GU10 LED bulb (maximum 8W) Voltage: 110V With its compact yet statement-making dimensions, the Teco 3058/LG is an ideal fit for bedside tables, console tables, desks, and hospitality settings, offering both practical lighting and a decorative presence. Perfect for Residential, Hospitality, and Commercial Spaces One of the greatest strengths of this lamp lies in its versatility. The combination of high-quality materials, timeless design, and soft yet effective lighting makes it suitable for a variety of applications: Luxury Residential Interiors In homes and apartments, the Teco 3058/LG serves as a chic lighting accent for living rooms, bedrooms, or reading nooks. Its warm, diffused light creates an inviting atmosphere, while its sleek silhouette complements modern, Scandinavian, and contemporary interior styles. Hotels, Restaurants, and Bars For the hospitality industry, lighting is crucial in shaping the mood of a space. The Teco 3058/LG’s mirror-effect top diffuser and sophisticated finishes make it an excellent choice for high-end hotels, boutique restaurants, and stylish bars, where it can enhance the luxurious ambiance without overpowering the overall design. Office and Workspaces In executive offices and co-working spaces, where aesthetics and functionality go hand in hand, this lamp provides a stylish lighting solution that complements modern desks, conference rooms, and reception areas. Its soft yet precise light makes it ideal for workspaces requiring focused but atmospheric illumination. Aesthetics: Minimalist with a Luxurious Edge Modern Minimalism – The clean lines, smooth glass surface, and simple yet effective structure align with minimalist design principles. Sophisticated Elegance – The combination of refined materials and luxurious finishes adds a sense of exclusivity and style. Versatile Appeal – Available in various finishes, the lamp can be tailored to different aesthetics, from classic elegance to industrial chic. Alternative Options in the Teco Collection For those looking for a cohesive lighting scheme, Italamp offers additional models in the Teco series, such as the Teco 3057/LG and Teco 3059/LG, which feature similar design elements but differ in size and proportions. These variations provide options for different spatial needs while maintaining the same sophisticated appeal.

SPACE+ 1402A - Fabric linear module with high backrest _ Et al.

Et al. > Sofa

Space Plus 1400A High-Back Seating Module: Privacy Meets Modern Design The Space Plus 1400A High-Back Seating Module, part of the Space Plus collection by Et al., is a thoughtfully designed piece that balances aesthetic appeal with functionality. Its tall backrest provides added privacy and acoustic insulation, making it an excellent choice for creating secluded seating in public, corporate, or hospitality settings. Design and Dimensions This seating module features a clean, minimalist design with a focus on comfort and space efficiency. Its high backrest is particularly suited for settings requiring a sense of privacy. The dimensions are: Height: 140 cm Width: 75 cm Depth: 61.5 cm Seat Height: 47 cm Seat Depth: 46 cm Its proportions make it versatile for standalone use or as part of a larger modular seating arrangement. Materials and Finishes The Space Plus 1400A offers a range of premium materials and finishes for customisation: Frame: Crafted from durable metal for enhanced stability and longevity. Upholstery: Available in a wide selection of fabrics, including stain-resistant and easy-to-maintain options. Colour choices range from neutral tones like grey and beige to vibrant hues like teal and mustard, allowing for seamless integration into any design scheme. Base Finish: The metal base is available in various finishes, including matte black, metallic tones, and crisp white, to complement diverse interiors. Features High Backrest: Provides additional privacy and acoustic benefits, ideal for open-plan environments. Compact Design: Maximises seating efficiency while maintaining comfort. Modular Compatibility: Can be paired with other Space Plus modules for cohesive seating configurations. Applications The Space Plus 1400A is well-suited for a variety of environments: Hospitality: Enhances hotel lobbies, VIP lounges, or intimate waiting areas with a touch of sophistication. Corporate Offices: Ideal for creating private breakout zones or stylish reception seating. Public Areas: Suitable for malls, airports, and healthcare facilities, offering privacy in busy spaces. Restaurants and Cafés: Functions as booth seating, providing both comfort and privacy. Customisation Options Et al. offers several enhancements to tailor the Space Plus 1400A to specific needs: Integrated USB or Power Outlets: Adds functionality for tech-friendly environments. Attachable Tables: Provides added utility for workspace or dining purposes. Privacy Extensions: Additional panels can be added to further enhance privacy. Sustainability and Durability The Space Plus 1400A is manufactured using eco-friendly materials and processes. Many upholstery options include recycled or sustainable fabrics, ensuring it is both stylish and environmentally conscious. Complementary Products To build cohesive and functional seating arrangements, the Space Plus 1400A pairs seamlessly with other modules from the collection: Space Plus Linear and Corner Modules: For flexible configurations like L-shaped or U-shaped layouts. Ottomans and Poufs: To provide additional seating options. Matching Tables: Complements the setup with functional surfaces. Key Features High backrest for privacy and acoustic insulation. Durable and eco-friendly construction for heavy use. Modular design for endless configuration possibilities. Customisable finishes and fabrics to suit any project.

COSMO 1526 - 2 seater fabric garden sofa _ Et al.

Et al. > Sofa

COSMO 1526 Sofa: Contemporary Elegance for Versatile Spaces The COSMO 1526 sofa, designed by Philippe Tabet for Et al., epitomizes modern design and adaptability. This two-seater sofa, without armrests, is crafted to seamlessly integrate into various environments, including residential living rooms, hotel lounges, office waiting areas, and outdoor settings. Design and Dimensions The COSMO 1526 features a sleek and minimalist design, characterized by its upholstered seat and backrest, all supported by a durable steel frame. Its dimensions are thoughtfully crafted to provide comfort while maintaining a compact footprint: Width: 111 cm Depth: 88 cm Height: 80 cm Seat Height: 44 cm These proportions make it an ideal choice for both spacious and limited areas, offering ample seating without overwhelming the space. Materials and Finishes Crafted with precision, the COSMO 1526 offers a range of customization options to suit various design aesthetics: Frame: Constructed from durable steel tubing, ensuring stability and longevity. Upholstery: Available in a diverse selection of high-quality fabrics, including options like Panarea, Reviva Hero, Reviva Iris, Reviva Amelia, and Fabthirty, each offering multiple color choices to complement different interior styles. Frame Finishes: The steel frame can be customized in various finishes, such as White Aluminium (NCS S4000-N VR), Jet Black (NCS S9000-N VR), Coral Red (NCS S3060-Y80R), Matt Jet Black (NCS S9000-N VR), Rough Metallic Bronze (VR), Curry (NCS S3060-Y), Olive Green (NCS S7020-G50Y), Water Blue (NCS S4050-B40G), Capri Blue (NCS S6030-B), Brown (NCS S8005-Y20R), Traffic White (NCS S0502-B VR), Marsala (NCS S4040-R), Pewter (VR), Pure White (NCS S0500-N VR), and Anthracite Grey (NCS S7502-B VR), allowing for seamless integration into any interior color scheme. Functional Accessories To enhance its functionality, the COSMO 1526 can be equipped with optional accessories: Kidney Cushion: Provides additional lumbar support for increased comfort. These accessories make the sofa a practical choice for both relaxation and productivity. Applications and Versatility The COSMO 1526's adaptable design makes it suitable for a variety of settings: Residential Spaces: Ideal for living rooms or bedrooms, adding a touch of modern elegance. Hospitality Environments: Perfect for hotel lobbies, guest rooms, or lounge areas, offering comfort and style to guests. Office and Waiting Areas: Enhances reception spaces or private offices with its sleek design and optional functional accessories. Outdoor Settings: Designed to withstand outdoor conditions, making it suitable for patios, terraces, and garden areas. Complementary Products The COSMO collection includes various seating solutions that can be paired with the 1526 sofa to create cohesive interior designs. Options include the COSMO 1505 armchair, the COSMO 1502 three-seater sofa, and modular systems like the COSMO 1520, allowing for flexible configurations to suit different spaces and requirements. Key Features Modern Aesthetic: Clean lines and minimalist design contribute to a contemporary look. Customizable Finishes: Wide range of upholstery fabrics and frame finishes to match specific design requirements. Optional Accessories: Functional add-ons like kidney cushions enhance usability. Compact Dimensions: Suitable for both large and small spaces without compromising on comfort. High-Quality Construction: Durable materials ensure longevity and sustained aesthetic appeal. Conclusion

Compatta Ghiaia

florim > Wall tile-stone-brick

A passion for earth as a natural material and for rammed earth, an ancient construction technique. The combination of these patterns evolves into the concept of Pisé Inserti, more slabs of immense decorative impact, generated by the two-dimensional criss-crossing of exquisite, rounded geometrical forms: the designer combines the natural earthen shades with apparently random curved lines that evoke the uneven trapezia with rounded corners used by Gio Ponti. These are also available in the large 120x280 cm size and 6 mm thickness in three variants: Pisé Inserti A, Pisé Inserti B and Pisé Inserti C. COMPATTA’s potential is further enhanced by three-dimensional subjects of varying shapes, which can be built up into mesh-backed mosaics to create sculptural forms on walls. These extensions to the collection are called Inserti Melange, Inserti Sabbia-Argilla and Inserti Limo-Ghiaia and are produced in 9 mm thickness and 30x30 cm size. The collection is born from a sustainable and virtuous approach and is part of <a href="https://www.florim.com/en/company/sustainability/carbonzero-florim/">CarbonZero</a>, Florim's range of Carbon Neutral surfaces. The COMPATTA collection, designed by Federico Peri, combines a passion for earth as a natural material and an interest in a very ancient construction technique. The primary inspiration derives from close observation of the many strata within the ground and the mixtures of elementary particles of which it consists. The design concept is completed by reference to the age-old rammed earth construction technique, used in northern Jordan since the eighth millennium BCE and widely applied in Yemen in many other desert or rural settings until the mid 19thC. In this method, the raw earth is compacted inside wooden formwork to construct continuous structural walls, bearing walls or partitions inside homes, with a natural decorative effect due to the layering of the different shades of clay used. When creating his project for CEDIT, Peri was also influenced by several design inputs: from rural African homes to the clear, simple geometric forms and curved lines typical of the work of Gio Ponti, the curves central to the modernist gardens of Brazilian landscape artist Roberto Burle Marx, and the three-dimensional mosaics of English sculptor William Mitchell. In his murals in concrete, glass and recycled materials, Mitchell seems to combine some of the typical features of a variety of artistic movements, from Modernism to Brutalism, and also shows awareness of the issues concerning the structure of the landscape and the relationship with nature at the heart of Land Art. COMPATTA thus embodies strong links to the world of art and architecture, while bringing natural impressions with a remote, primitive flavour into modern living-spaces.

Archeologie Archeologie Grigio

florim > Wall Paint

The poetics of the wall. The forgotten wall. «A wall is like a book to be opened, a journey into the interior, revealing the experiences, memories, signs and symbols which this fragment of masonry has absorbed over the centuries.» Franco Guerzoni It is difficult to resist the beauty of Franco Guerzoni's art, created by a rare harmony of feeling and intellect, poetry and mind. The artist expresses this through paintings which, although complex in structure, are joyous and sensual, with bright colours made, like those of the great masters of the past, from choice powdered ingredients. A painter with a technique rich in traditional skills, Guerzoni offers a version of modernity involving an intense fundamental relationship with his images and with space. In fact, the dialectic between painting and space, form and architecture, time and memory seems to be essential to his art. As his works specifically created for CEDIT clearly express, his creations achieve a perfect balance between the spatial dimension and intensely lyrical use of colour, which here becomes a soft, liquid form of matter, wandering across the surface of a dazzling lime-plaster white. White, metaphor for the clear light of day, as it was in the large, complex canvases exhibited in his personal exhibition at the 1990 Venice Biennale, is the background for forms of colour which renew the pleasure to be had from painting and the memory of an image glimpsed on the vast expanse of the surface. In the more recent works, these voluptuous shades are transformed into subtle shadows of colour that delicately caress the surface. All it takes is one wall, the only surviving wall of what was once a house, on which time has recorded its own, unavoidable passing, leaving traces of colour that is still vibrant, although faded in places, to allow the memory of the image to transpire, fragile and uncertain, in the physicality of the surface, to bear tangible witness to the existence of history, a mysterious visual memory, the extension into the present of the life of things. A memory of the past on a contemporary wall. The idea of memory is central to Franco Guerzoni's poetics: private, secret memory and the collective memory of the past. Fragmentary and indecipherable, perceived by the artist with the aid of what is left of the images, the fragment. A relic of a totality which can no longer be reconstructed but only imagined in poetic terms, the fragment, a fraction of an image conserved by time, guides the artist's fantastic archaeological journey in search of the world's memory. However, this journey takes him in the opposite direction to the archaeologist, for whom the fragment - fundamental because it reveals a trace of the past is the starting-point for an attempt to reconstruct history. For Guerzoni, the fragment is the endpoint of his work, the goal for which he strives in his investigation of the surface, as he digs deep down, leafing through the deposits of time and memory. Like the large pages of a book traced with fragile sketches, embryonic forms whose meaning has been lost in time, leaving only fleeting traces, uncertain, ambiguous, mysterious morphologies. It marks the start of a journey into the mind of the artist-archaeologist, an adventurous journey into the inextricable labyrinth of the mind, to unearth what is hidden, shuffling the cards in a perennial contamination of images, memory, signs and traces, in search of a meaning, which no sooner appears than it is lost, merging into time and once again becoming a dream, an imaginary journey into fantasy and wonder. And this is the case in the tryptic created for CEDIT, which placed a new challenge before the artist: to transfer "his" image, the remains and fragments of a forgotten wall onto a new material for him “stunning, large-sized ceramic slabs“ and a real wall, without this tautology betraying the painting's deep meaning, its fertile magic of lines and colours, from which the image is born. And the artist is fully aware of this. Guerzoni describes his art as a "gamble": a gamble that is a critical test, an act of daring, dangerous and risky. This is the challenge he sets himself. It is a challenge he easily overcomes, expressing himself on these large walls with a rediscovered pleasure in painting, no longer restrained and apparently absorbed by the dense, uneven coloured surface but set free and almost luxuriously accentuated. In his large, demanding works for CEDIT, Guerzoni achieves a new, consummate mode of painting, in which the architecture of the surfaces provides a poetic meeting-point between the two founding components of his style, the complex, well thought-out composition and the lyricism of colour.

Daiki

minotti > Armchair

Designed by Marcio Kogan / studio mk27, Daiki is a family of seats inspired by the Brazilian architect's passion for Japan and its culture. The range includes comfortable bergères, fixed and swivel armchairs, with or without armrests, and a fixed footstool. Available with a matt polyester lacquered Palisander Santos shell, in the same Dark Brown stained wood or in Licorice lacquered flamed ash, the seat is made using an exclusive woodworking technique and consists of two elements joined at 45° to obtain a backrest inclination that guarantees maximum comfort. The fixed armchairs feature metal legs in a black-nickel finish, while the swivel seats are supported by a metal base with spokes, swivelling 360° with return, on which a comfortable cushion seats, contained in the curved wooden body. The base of the latter is also available in two different finishes: varnished polished Bronze to match the Palisander Santos frame with matt polyester lacquered finish or Dark Brown stain, or varnished Black Coffee finish for the ash frame. In the version with leather upholstery, the cushions are quilted with visible stitching, while the fabric version only features stitching. Daiki proposes a design that refers to the moods of Mid-Century America in its bold, simple lines, fine materials and balanced proportions.

SPACE+ 1400 - Fabric linear module _ Et al.

Et al. > Armchair

Space Plus Modular Seating System: Customisable Elegance for Public and Commercial Spaces The Space Plus Modular Seating System, part of Et al.'s extensive collection, is designed to offer unparalleled flexibility and modern aesthetics. Ideal for various public and commercial environments, it combines functionality, style, and durability, making it perfect for creating bespoke seating solutions. Design and Dimensions The Space Plus Modular System features clean lines and a robust construction, making it suitable for high-traffic areas. This particular module has the following dimensions: Height: 100 cm Width: 75 cm Depth: 61.5 cm Seat Height: 47 cm Seat Width: 46 cm These compact yet spacious proportions make it an excellent choice for lobbies, waiting rooms, and collaborative spaces. Materials and Finishes Crafted with precision, the Space Plus collection ensures durability and customisation: Frame: Made from sturdy metal, guaranteeing stability and long-lasting use. Upholstery: Available in a wide range of high-performance fabrics, including stain-resistant and easy-to-clean options. Designers can choose from a palette of neutral tones like grey and beige or opt for bold, vibrant colours like teal or mustard to match specific branding or design schemes. Base Finish: The metal base is finished in various shades, including metallic tones, matte black, and white, to ensure compatibility with diverse interiors. Features Modular Design: The modular nature of the Space Plus system allows designers to configure seating arrangements that suit the unique requirements of a space. Straight, corner, and connecting modules are available to create cohesive designs. Comfortable Seating: The well-padded seat and backrest ensure maximum comfort, even for extended periods. Space Efficiency: Its compact design maximises seating capacity while maintaining user comfort. Applications The Space Plus system is highly versatile and suitable for numerous environments: Hospitality: Ideal for hotel lobbies, bars, and lounges, offering both style and durability. Corporate Spaces: Perfect for office receptions and collaborative meeting zones. Retail and Public Spaces: Well-suited for waiting areas in malls, airports, or hospitals. Restaurants and Cafés: A chic choice for booth seating or dining areas. Customisation Options To further personalise the Space Plus seating system, Et al. offers additional accessories and customisation: Add-On Tables: Small, integrated side tables for added convenience. USB Charging Ports: For functionality in modern workspaces or waiting areas. Divider Panels: Create privacy for users in open-plan settings. Sustainability and Durability The Space Plus collection is crafted with environmentally friendly materials and processes, ensuring sustainability without compromising quality. The upholstery options include recycled and eco-friendly fabrics. Complementary Products The Space Plus system pairs well with other pieces from Et al.'s collections, such as: Space Plus Bench Modules: Ideal for larger seating configurations. Coffee Tables: To complement the seating arrangement with functionality and style. Key Features Customisable modular system for bespoke designs. Compact, elegant dimensions suitable for diverse applications. Durable materials for high-traffic environments. Extensive range of upholstery and finish options.

SPARK - Acoustic recycled plastic pendant lamp _ IMPACT ACOUSTIC®

IMPACT ACOUSTIC > Ceiling lamp

Spark Acoustic Lighting – A Perfect Blend of Light and Sound Absorption Elegant and Functional Acoustic Lighting for Modern Interiors The Spark acoustic pendant light is a sophisticated lighting solution that merges aesthetic appeal with functional acoustic properties. Designed to complement contemporary interiors, it brings a warm yet modern touch while improving the acoustics of a space. With a classic silhouette, subtle playful character, and high-quality sustainable materials, Spark is an excellent choice for residential, hospitality, office, and commercial environments. Timeless Design with a Contemporary Twist At first glance, Spark presents itself as a traditional pendant lamp, but upon closer inspection, it reveals soft, sculptural details that add depth and personality. The clean lines and well-balanced proportions make it suitable for a wide range of interiors, from minimalist and Scandinavian-inspired spaces to bold, modern contract environments. The design of Spark is all about creating harmony between light and sound, making it perfect for open-plan offices, hotel lobbies, restaurants, and co-working spaces. By reducing ambient noise and improving speech clarity, it enhances comfort while maintaining a stylish and cohesive look. Available Sizes for Versatile Applications To suit different project requirements, Spark comes in five sizes, allowing for a dynamic mix-and-match installation. Designers can create a clustered arrangement for a statement feature or opt for a single pendant in smaller spaces to maintain an airy and uncluttered aesthetic. The variety of sizes ensures that Spark can be used in both expansive high-ceiling spaces and intimate residential settings. Premium Acoustic Material with a Sustainable Edge Sustainability is at the heart of Spark’s design. Made from ARCHISONIC® Felt, a high-performance acoustic absorber crafted from recycled PET bottles, it delivers both sound absorption and environmental responsibility. Each square meter of this felt contains approximately 88 upcycled plastic bottles, reinforcing the brand’s commitment to reducing waste. This eco-conscious material is not only effective in dampening excess noise but also adds a soft, tactile quality to the lighting fixture. Unlike conventional pendant lights that focus solely on illumination, Spark is designed to enhance the overall sensory experience in a space. A Palette of 36 Colours for Customisation Interior designers and architects can fully customise Spark to align with their projects, thanks to a diverse selection of 36 colours. Whether blending seamlessly with neutral tones for a calming ambiance or making a bold statement with vibrant hues, Spark allows for creative flexibility. This extensive range of colours makes it adaptable for corporate offices, contemporary restaurants, luxury hotel lounges, and even residential settings. Perfect for a Wide Range of Applications Hospitality and Restaurants In restaurants, cafés, and hotels, Spark enhances the ambiance by reducing reverberation and creating a more intimate dining or lounging experience. Its soft, diffused lighting adds warmth, while its acoustic properties help in controlling background noise, allowing guests to enjoy conversations without distractions. Workspaces and Offices Open-plan offices often struggle with noise control, making Spark an ideal choice for work environments. Whether installed over meeting tables, workstations, or lounge areas, it helps improve focus and productivity by minimising sound disturbances. The combination of good lighting and acoustic comfort makes it a valuable addition to modern workspaces. Residential Interiors For homeowners seeking a stylish yet functional lighting solution, Spark fits effortlessly into dining areas, home offices, and living rooms. Its ability to create a calm and acoustically balanced environment enhances daily life while adding an artistic touch to interiors. Public and Commercial Spaces Museums, libraries, and commercial buildings can greatly benefit from Spark’s dual-function design, where aesthetics and sound management are equally important. The adaptability in size, colour, and hanging configurations makes it a practical and stylish choice for public interiors. A Collaboration Between Light and Sound Innovation Spark is the result of a collaboration between leading acoustic experts and lighting designers, ensuring that both sound absorption and illumination are of the highest quality. The built-in LED light source provides efficient and long-lasting illumination, making it energy-efficient and low-maintenance. Additionally, it is UL certified, ensuring compliance with strict safety and quality standards. Designed for professionals who value performance, sustainability, and design, Spark is a lighting solution that stands out in both form and function. Seamless Integration with Other Acoustic Solutions For designers looking to curate a cohesive interior, Spark pairs well with other acoustic lighting fixtures. Combining it with elements like acoustic ceiling panels, wall treatments, or partition screens creates a holistic approach to sound management in busy interiors. The ability to coordinate with other acoustic solutions makes it a versatile and smart choice for large-scale projects. Conclusion – A Thoughtful Approach to Lighting and Acoustics The Spark acoustic pendant light is more than just a lighting fixture—it’s a design statement that enhances both visual appeal and acoustic comfort. With a timeless shape, customisable colour options, sustainable materials, and high-performance acoustic properties, it is a must-have for modern interiors. Whether installed in a boutique hotel, a bustling co-working space, a contemporary home, or a stylish restaurant, Spark ensures that spaces are both beautifully lit and acoustically balanced. Its commitment to sustainability, flexibility in design, and superior functionality make it an excellent choice for forward-thinking interior designers who value both form and function.

Storie Castello

florim > Wall Paint

The faded wall fresco, damp stains in plaster. «Technological innovation enables us to reproduce on large-sized ceramic materials all the effects of wear and stratification that normally only time is able to create.» Giorgia Zanellato & Daniele Bortotto Children stare at the walls of a farmhouse, wondering what the cracks are, and whether every mark is a path and every path is a story. They think that miniature beings live in the air pockets that have formed, and the detaching plaster is like an avalanche cascading from a glacier. They don't ask why the colours are as they are, because they just had to be like that. And every square centimetre becomes the first page of an adventure that restarts at every break in the pattern. Could this be why we say that both textures and plots have twists, and stories are woven? As even children know, walls are tales. Not only do they contain adventures, emotions, moments, loves and hates and record them on their surfaces; their uneven, active surfaces generate new imaginary worlds, in which one can literally get lost. The "Storie" collection by Giorgia Zanellato and Daniele Bortotto brings this metaphor to three-dimensional life by expressing the moods, loves and hates and moments that the walls and floors of old Italian homes conserve, and capturing them in a frozen instant. The theme of time and the changes wrought in matter by the passing seasons, weather and human action have always been a strong source of inspiration for architects: some have tried to freeze it, while others have used sleight of hand to embrace it while resisting its effects, and yet others have accelerated, anticipated, directed and re-created it. Zanellato and Bortotto do all these things at once, engaging in a duel with History with a capital H, in which it is never clear who is winning: design or object, man or nature, culture or time. And it is probably this unresolved tension which makes the "Storie" designs so universal and meaningful, so intimate and yet familiar. The floor is the only thing we can be certain that everyone entering our home will touch, and at the same time it is the most intimate part, the most steeped in private happenings. They talk about having your "feet firmly on the ground". This image stands for common sense, but also a recognition of how things are, how things work. The wall is a synecdoche, too: it is the part of the home that expresses an idea of solidity, the layering of time, the passage of lives. "Storie" gives form to this metaphor by drawing a line that links the most classical of taste to a sophisticated modernity of taste and style. The two designers did a great deal of background work for this project: old Italian homes, country villas, noble palazzos, farmhouses and old factors, which become an unlimited source of motifs, colours, textures and materials. But, perhaps unconsciously, literature also re-emerges from this survey of locations, with its blend of aestheticism and decadence, with echoes of Wilde and D'Annunzio, Ruskin and Huysmans. "Storie" would be the ideal backdrop for Des Esseintes, the dandy in "A Rebours". And in fact the collection clearly has strong theatrical connections, arising partly from its storytelling connotations but also from its scene-setting potential. It represents life, which we are, have been and wish to continue to be. And it is thrilling to realise that this vision comes from the youngest designers in CEDIT's new era, who have successfully taken a confident, cultured, astute, sidelong approach to the most ancient of topics, with a persuasive effect which appears, at least, to be not at all intimidated by the many stories, the type of product they are dealing with, the catalogue in which they are included, the designers who have gone before them or, naturally, the adventures that lie concealed in the historic dwellings they reproduce. The reference to Italy, on the other hand, is in perfect harmony with the work of the brand and its past and present designers: it is intrinsic to the perfection of the production process that underlies the collection, the relationship with the brand's tradition and its local roots, and the intelligent, strategic use of its innovations in the treatment of this complex material.Child's play? Yes, but with the integrity and ability to enchant unique to specific designs, capable of an immediacy of vision and feeling that makes them little novels written in cement.

Connery

minotti > Sofa

Contemporary, with a strong architectural appeal and pure lines reminiscent of the Mid-Century American spirit, the Connery seating system sports an exquisite aesthetic and design that instantly catch the eye. The clever combination of fine materials and sophisticated details adds a hint of couture to its design. An extremely versatile seating system, in terms of both composition and combination of materials, Connery has a distinctive personality also expressed in the pairing of original square and round chaise-longues. With its geometric rigour, the base creates an original contrast with the softness of the seat, conceived as a single cushion punctuated by light stitching defining the width of the seat - 83 or 68 cm - and with the structure of the backrest and armrest, covered in channelled goose down padding. The backrest and armrest form a single volume, with a 45° split in the corner. As well as the fabric covering, the padded structural base can also feature a covering with strips of leather, crafted with the same technique used in fine leather luggage-crafting. References to the concept of high-end leather goods are also found in the headrests and the elegant “C”-shaped Flap surfaces, which seamlessly blend into the seating elements, animating the compositions with a vibrant rhythm. The structural base is raised from the ground on thin blades in extruded aluminium in a Brandy polished varnished finish, positioned at the front, giving the sofa an appealing and airy look, and recalling the metal parts of trunks and suitcases. The Flap shelves reiterate the strip design of the structural base and make the system functional, offering stylish, surfaces on which to place objects. Covered in leather or Moka ash veneer, they dialogue harmoniously with the textures of the covering. The leather bands of the structural base, sewn together with straps and marked out by stitching that add rhythm to the design, are made with the same technique used in fine leather luggage-crafting. The same concept of high-end leather goods also inspires the freely adjustable headrests. The well-structured, customisable range, offering many different compositional options, in addition to longer square chaise-longues, also includes circular elements, which can be positioned near the sofa as atolls.

Brace

mitab > Chair

CHAIRS BRACE EXTENSIVE COMFORT As Peter Opsvik, the father of ergonomic furniture design, said “the best posture is the next posture”. Brace’s generously sized, curved back rest provides comfort in a variety of seating positions, for users of all shapes and sizes, and remains comfortable as you change positions throughout the day. HONEST CRAFTMANSHIP Brace’s frame is made from the most recycled material in the world – mild steel – and contains over 30% recycled content. The seat and back rest is made of plywood allowing them to be gently curved and are veneered with real Ash timber, providing a high quality and durable finish even suitable for high traffic environments. RENEW AND REPAIR Why buy new when you can re-new? At Mitab we don’t just sell new furniture. Customers can also return to us to have their pieces refreshed, renewed and repaired. Mitab products are designed and made to last decades but furniture that lives that long also require a little TLC every now and then to keep it looking its best! Maybe after a couple of hard years in a café (or a few equally hard years in a house with ketchup loving children!) your chair is in need of recovering. Or perhaps a hue that looked on trend ten years ago now looks a little dated. Mitab offers to re-new your furniture as easily as it is to buy a new piece.By offering straightforward options with standard pricing for re-lacquering or reupholstering your Mitab products we make it easy for you to extend their life and help out the environment at the same time. FUNCTIONAL SIMPLICITY Brace’s armrests have been carefully designed with ergonomics and practicality in mind, supporting users as they work yet still comfortably sliding under most table tops. A gradual bend allows users to to sit a little closer while working or eating while still being able to perch their arms. COLOUR COORDINATED A wide range of contemporary colour options are available through MItab’s various colour systems – Standard, Selected and Anycolour. For a small additional fee all metal components and wooden parts can be colour-matched to your chosen specification. DESIGNER JONAS WAGELL Swedish architect and designer Jonas Wagell is widely revered for his modern product and furniture design comprising soft, minimalist shapes with a welcoming expression. His Stockholm-based studio, JWDA, was founded in 2008 and boasts collaborative relations that stretch from Scandinavia and Europe to China and North America. An alumnus of the prestigious schools Konstfack in Stockholm and Parsons in New York City, Jonas Wagell’s award-winning work combines graphic simplicity and playfulness to create pieces that typify modern-day life. Materials: Steel frame, compression moulded veneer.

Vibrant apricot Duvet Cover

auping > Accessories

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

Tesori Monile bianco

florim > Wallcovering

East and West, a synthesis archieved through Italian taste. «My work often takes me to far-off lands, also remote in terms of their culture and traditions. Even without my being aware of it, I then metabolise these traditions and include them in the designs I subsequently produce.» Matteo Nunziati "It is the architect's task to create a warm, livable space. Carpets are warm and livable. He decides for this reason to spread one carpet on the floor and to hang up four to form the four walls. But you cannot build a house out of carpets. Both the carpet and the floor and the tapestry on the wall required structural frame to hold them in the correct place. To invent this frame is the architect's second task."When Adolf Loos wrote his revolutionary essay on the "principle of cladding" in 1898, architecture was just entering the modern age. Building meant imagining structures capable of putting together different materials, but, Loos affirmed, it must also respect their individual characteristics. "Every material possesses a formal language which belongs to it alone and no material can take on the forms proper to another", the Austrian master therefore maintained. And there is no doubt that the spirit of these words extended throughout most Twentieth Century architecture, regardless of its location or style. When we look at Matteo Nunziati's designs for the CEDIT Tesori collection, we seem to be seeing geometrical purity and attention to detail at the service of a new "truth" of material. Because Matteo Nunziati views ceramics as a form of fabric. The woven patterns he imagines for the various styles in his collection "“ from Arabian to damask to more geometrical motifs "“ constantly seek to provide the soft, iridescent look of time-worn linen. In them, ceramics are raised from the status of poor relation of marble to become a luxury wall covering in their own right: almost a wallpaper, suitable however for both floors and walls, and an absolutely versatile material. No longer only for beautifying bathrooms, they can create new moods in every room of the house (and elsewhere) starting from the living-room. Naturally, the revolution has been mainly technological. The large slabs produced by CEDIT are more than 3 metres tall, and since they eliminate the serial repetition typical of conventional tiles, they generate a new relationship between the surface and its decoration. However, Nunziati does not use this to create, artist-like, a more eye-catching decorative composition that emphasises the slab's dimensions. Quite the opposite; the patterns he offers us attempt to break down what is left of the boundaries between substrates. In particular, the Arabian and damask styles, in the version with "timeworn" patterning, convey the idea of the ceramic slab as an abstract, almost non-existent material which melts into the decorative motif applied to it, in a kind of pure wall covering. Through the patient selection of geometrical motifs and tests to verify their suitability for application to ceramic slabs, Nunziati aims to achieve a new material rather than a mere decoration, making this clear by also exploring its tactile dimension, with gouged and relief motifs. His "principle of coverings" therefore relates to ceramics' essence rather than their image: highlighting the versatility which, as we all know, has made ceramics an absolute material, a kind of cement that incorporates structure and finish in a virtually infinite range of applications. This is clearly indicated by the reference to the mashrabiya, a term meaning place where people drink in Arabic, which in Arabian architecture originally referred to the kind of veranda where people used to meet and rest, and over time has come to mean the wooden gratings that screened these places from the sun. Inspired by his trips to the Middle East, for Nunziati the geometric patterns of the mashrabiya become both an outline of his method of work and the form of what in fact becomes the key element in a new idea of space: a real location conceived around a strong, livable surface in which physical substance and decoration overlap to the point where they merge.

Miniatures RAR

vitra > Styling

The Fiberglass Chairs are rare examples of a satisfying synthesis of formal and technical innovation. For the first time in the history of design, Charles and Ray Eames utilized the unlimited malleability of plastic for the development of a comfortable seating shell that corresponds to the shape of the human body. The idea of making a three-dimensional molded shell goes back to a design from 1940. The original attempt to make the shell out of plywood was unsuccessful, however, due to the extreme conditions necessary to mold the material. Only with the advent of fiberglass technology was it possible to achieve satisfying results. The first Fiberglass Chair went into production in 1950. After years of experimentation, Charles and Ray Eames were able to realize their goal: an industrially produced chair that is inexpensive, sturdy, and comfortable. The Fiberglass Chairs come in several versions: with an A-shaped shell (armchair) or S-shaped shell (side chair) and on different bases, one of which is the famous »Eiffel Tower« base. Until 1968, Herman Miller also produced a rocking chair base. Every Herman Miller employee who expected a baby received it as a gift until 1984.

Night shade Duvet Cover

auping > Accessories

Dark blue duvet cover adorned with cream white origami shapes with a nod to the classic patchwork style. Fine dark lines elegantly frame the individual patterns. The piping on the pillowcases is a deep, dark blue that matches the colour on the reverse side of the pillowcase. These night colours create... Extra long tuck-in strip All Auping duvet covers have an extra long tuck-in strip across the entire width and on both sides. This makes it easy to tuck the duvet cover under your mattress. Cold feet are a thing of the past. You can recognize the extra long tuck-in strip by the length: 200/220. Pillowcase with double hotel closure The Auping pillowcases from the seasonal collection have a so-called double hotel closure. A hotel closure is a folded opening on the shortest side of the pillowcase. With a double hotel closure, it doesn't matter which side of your pillow you use, it always looks neat. Button down Auping duvet covers and duvets feature the button down system. These are convenient buttons and loops that you use to fasten the duvet and cover together so it won't shift. The term button down comes from fashion. It literally means "buttoned down" and often refers to the buttons on the collar of a shirt that you use to neatly fasten the collar to the shirt. Auping duvet covers have loops on the inside of the cover. Our duvets have buttons in the same places. The loops from the duvet cover can be put around these buttons so the duvet can't move around in the cover. And with these buttons and loops it is also easier to make your bed neatly. Sustainable sleeping At Auping, we dream of a rested world. Of sleeping under wonderful bedding that is made in an environmentally friendly way and under good working conditions. The covers in our spring 2023 collection carry the OEKO-TEX label as well as the BCI label, which also guarantees bedding produced in a sustainable and socially responsible manner.

COSMO 1515 Side Table: A Modern Laptop Table

Et al. > Coffee table

COSMO 1515 Side Table: A Modern Accent for Contemporary Spaces The COSMO 1515 side table, designed by Philippe Tabet for Et al., embodies minimalist elegance and functionality, making it a versatile addition to various interior settings, including residential living rooms, hotel lounges, office waiting areas, and educational environments. Design and Dimensions The COSMO 1515 features a sleek steel frame paired with a durable HPL (High-Pressure Laminate) tabletop, offering a modern aesthetic that complements a wide range of interior styles. Its compact dimensions are: Width: 50 cm Depth: 50 cm Height: 50 cm These proportions make it an ideal choice for both spacious and limited areas, providing a functional surface without overwhelming the space. Materials and Finishes Crafted with precision, the COSMO 1515 comprises: Frame: Constructed from durable steel tubing, ensuring stability and longevity. Tabletop: Made from high-pressure laminate (HPL), known for its durability and resistance to scratches and stains, making it ideal for high-traffic areas. The steel frame is available in a variety of finishes, allowing for customization to match specific design aesthetics. Options include: White Aluminium (NCS S4000-N VR) Jet Black (NCS S9000-N VR) Coral Red (NCS S3060-Y80R) Matt Jet Black (NCS S9000-N VR) Rough Metallic Bronze (VR) Curry (NCS S3060-Y) Olive Green (NCS S7020-G50Y) Water Blue (NCS S4050-B40G) Capri Blue (NCS S6030-B) Brown (NCS S8005-Y20R) Traffic White (NCS S0502-B VR) Marsala (NCS S4040-R) Pewter (VR) Pure White (NCS S0500-N VR) Anthracite Grey (NCS S7502-B VR) These finish options enable the COSMO 1515 to seamlessly integrate into diverse interior color schemes and styles. Applications and Versatility The COSMO 1515's adaptable design makes it suitable for a variety of settings: Residential Spaces: Serves as a stylish accent table in living rooms, bedrooms, or reading nooks, complementing sofas and seating arrangements. Hospitality Environments: Ideal for hotel lobbies, lounges, and guest rooms, providing a functional surface for guests. Office and Waiting Areas: Enhances reception spaces and meeting rooms with its sleek design and practical surface area. Educational Settings: Suitable for libraries, study areas, or common rooms, offering a durable and functional surface for various activities. Complementary Products The COSMO collection includes various seating solutions that can be paired with the 1515 side table to create cohesive interior designs. Options include the COSMO 1505 armchair, the COSMO 1502 three-seater sofa, and modular systems like the COSMO 1520, allowing for flexible configurations to suit different spaces and requirements. Key Features Modern Aesthetic: Clean lines and minimalist design contribute to a contemporary look. Customizable Finishes: Wide range of frame finishes to match specific design requirements. Durable Materials: High-quality steel frame and HPL tabletop ensure longevity and resistance to wear. Compact Dimensions: Suitable for both large and small spaces without compromising on functionality. High-Quality Construction: Durable materials ensure longevity and sustained aesthetic appeal.

Melt Burst Chandelier Copper LED

tomdixon > Ceiling lamp

Melt is a beautifully distorted pendant in a modern Copper finish and matching ceiling rose. Featuring our intergrated LED module, this ceiling light creates a mesmirizing melting hot-blown glass effect when on and a mirror-finish effect when off. Made in Germany using a high tech manufacturing technique to achieve the perfect melted orb. More Information The range is blow moulded and vacuum metallised - techniques that have been developed over several years, working with German engineering and manufacturing experts. The LED module offers three key benefits - longer life expectancy, energy efficiency and improved performance including dimmability and light control. Our integrated LED module is fully serviceable and replacement components and individual drivers are available if needed. Melt also comes as a chandelier, table, floor and surface light. Available in a contemporary Chrome Dimensions & Specifications Information SKU MEC03CO-CEUM4 Family Melt Cable Finish Black Braided Product Label New Depth 136.5 cm Width 153 cm Height 164 cm Box Depth 0 Box Width 0 Box Height 0 Delivery & Returns If you are unhappy with your purchase, under Distant Selling Regulations you can return the items to us within 14 days of receipt of your goods for a full refund (excluding postal charges). Items should be unused, returned in their original packaging and in a fully resalable condition. If the item is damaged please send an email to [email protected] stating your order reference number and including photographs as evidence of the damage.

Compatta Pisé Ghiaia

florim > Wall tile-stone-brick

A passion for earth as a natural material and for rammed earth, an ancient construction technique. The combination of these patterns evolves into the concept of Pisé Inserti, more slabs of immense decorative impact, generated by the two-dimensional criss-crossing of exquisite, rounded geometrical forms: the designer combines the natural earthen shades with apparently random curved lines that evoke the uneven trapezia with rounded corners used by Gio Ponti. These are also available in the large 120x280 cm size and 6 mm thickness in three variants: Pisé Inserti A, Pisé Inserti B and Pisé Inserti C. COMPATTA’s potential is further enhanced by three-dimensional subjects of varying shapes, which can be built up into mesh-backed mosaics to create sculptural forms on walls. These extensions to the collection are called Inserti Melange, Inserti Sabbia-Argilla and Inserti Limo-Ghiaia and are produced in 9 mm thickness and 30x30 cm size. The collection is born from a sustainable and virtuous approach and is part of <a href="https://www.florim.com/en/company/sustainability/carbonzero-florim/">CarbonZero</a>, Florim's range of Carbon Neutral surfaces. The COMPATTA collection, designed by Federico Peri, combines a passion for earth as a natural material and an interest in a very ancient construction technique. The primary inspiration derives from close observation of the many strata within the ground and the mixtures of elementary particles of which it consists. The design concept is completed by reference to the age-old rammed earth construction technique, used in northern Jordan since the eighth millennium BCE and widely applied in Yemen in many other desert or rural settings until the mid 19thC. In this method, the raw earth is compacted inside wooden formwork to construct continuous structural walls, bearing walls or partitions inside homes, with a natural decorative effect due to the layering of the different shades of clay used. When creating his project for CEDIT, Peri was also influenced by several design inputs: from rural African homes to the clear, simple geometric forms and curved lines typical of the work of Gio Ponti, the curves central to the modernist gardens of Brazilian landscape artist Roberto Burle Marx, and the three-dimensional mosaics of English sculptor William Mitchell. In his murals in concrete, glass and recycled materials, Mitchell seems to combine some of the typical features of a variety of artistic movements, from Modernism to Brutalism, and also shows awareness of the issues concerning the structure of the landscape and the relationship with nature at the heart of Land Art. COMPATTA thus embodies strong links to the world of art and architecture, while bringing natural impressions with a remote, primitive flavour into modern living-spaces.

Compatta Pisé Sabbia

florim > Wall tile-stone-brick

A passion for earth as a natural material and for rammed earth, an ancient construction technique. The combination of these patterns evolves into the concept of Pisé Inserti, more slabs of immense decorative impact, generated by the two-dimensional criss-crossing of exquisite, rounded geometrical forms: the designer combines the natural earthen shades with apparently random curved lines that evoke the uneven trapezia with rounded corners used by Gio Ponti. These are also available in the large 120x280 cm size and 6 mm thickness in three variants: Pisé Inserti A, Pisé Inserti B and Pisé Inserti C. COMPATTA’s potential is further enhanced by three-dimensional subjects of varying shapes, which can be built up into mesh-backed mosaics to create sculptural forms on walls. These extensions to the collection are called Inserti Melange, Inserti Sabbia-Argilla and Inserti Limo-Ghiaia and are produced in 9 mm thickness and 30x30 cm size. The collection is born from a sustainable and virtuous approach and is part of <a href="https://www.florim.com/en/company/sustainability/carbonzero-florim/">CarbonZero</a>, Florim's range of Carbon Neutral surfaces. The COMPATTA collection, designed by Federico Peri, combines a passion for earth as a natural material and an interest in a very ancient construction technique. The primary inspiration derives from close observation of the many strata within the ground and the mixtures of elementary particles of which it consists. The design concept is completed by reference to the age-old rammed earth construction technique, used in northern Jordan since the eighth millennium BCE and widely applied in Yemen in many other desert or rural settings until the mid 19thC. In this method, the raw earth is compacted inside wooden formwork to construct continuous structural walls, bearing walls or partitions inside homes, with a natural decorative effect due to the layering of the different shades of clay used. When creating his project for CEDIT, Peri was also influenced by several design inputs: from rural African homes to the clear, simple geometric forms and curved lines typical of the work of Gio Ponti, the curves central to the modernist gardens of Brazilian landscape artist Roberto Burle Marx, and the three-dimensional mosaics of English sculptor William Mitchell. In his murals in concrete, glass and recycled materials, Mitchell seems to combine some of the typical features of a variety of artistic movements, from Modernism to Brutalism, and also shows awareness of the issues concerning the structure of the landscape and the relationship with nature at the heart of Land Art. COMPATTA thus embodies strong links to the world of art and architecture, while bringing natural impressions with a remote, primitive flavour into modern living-spaces.

Compatta Sabbia

florim > Wall tile-stone-brick

A passion for earth as a natural material and for rammed earth, an ancient construction technique. The combination of these patterns evolves into the concept of Pisé Inserti, more slabs of immense decorative impact, generated by the two-dimensional criss-crossing of exquisite, rounded geometrical forms: the designer combines the natural earthen shades with apparently random curved lines that evoke the uneven trapezia with rounded corners used by Gio Ponti. These are also available in the large 120x280 cm size and 6 mm thickness in three variants: Pisé Inserti A, Pisé Inserti B and Pisé Inserti C. COMPATTA’s potential is further enhanced by three-dimensional subjects of varying shapes, which can be built up into mesh-backed mosaics to create sculptural forms on walls. These extensions to the collection are called Inserti Melange, Inserti Sabbia-Argilla and Inserti Limo-Ghiaia and are produced in 9 mm thickness and 30x30 cm size. The collection is born from a sustainable and virtuous approach and is part of <a href="https://www.florim.com/en/company/sustainability/carbonzero-florim/">CarbonZero</a>, Florim's range of Carbon Neutral surfaces. The COMPATTA collection, designed by Federico Peri, combines a passion for earth as a natural material and an interest in a very ancient construction technique. The primary inspiration derives from close observation of the many strata within the ground and the mixtures of elementary particles of which it consists. The design concept is completed by reference to the age-old rammed earth construction technique, used in northern Jordan since the eighth millennium BCE and widely applied in Yemen in many other desert or rural settings until the mid 19thC. In this method, the raw earth is compacted inside wooden formwork to construct continuous structural walls, bearing walls or partitions inside homes, with a natural decorative effect due to the layering of the different shades of clay used. When creating his project for CEDIT, Peri was also influenced by several design inputs: from rural African homes to the clear, simple geometric forms and curved lines typical of the work of Gio Ponti, the curves central to the modernist gardens of Brazilian landscape artist Roberto Burle Marx, and the three-dimensional mosaics of English sculptor William Mitchell. In his murals in concrete, glass and recycled materials, Mitchell seems to combine some of the typical features of a variety of artistic movements, from Modernism to Brutalism, and also shows awareness of the issues concerning the structure of the landscape and the relationship with nature at the heart of Land Art. COMPATTA thus embodies strong links to the world of art and architecture, while bringing natural impressions with a remote, primitive flavour into modern living-spaces.

Euridice Tela

florim > Wallcovering

The mystery and poetry of painting. Art that inhabits space. «In the past, art was expected to transfer the object, or work of art, from the inanimate to the animate world. Now, since we know that the whole world is animate, the task of the artist is to interact with the intelligence of matter.» Giorgio Griffa Born in Turin in 1936, Giorgio Griffa is now ranked as one of Italy's most important abstract painters of the Twentieth Century. He began to paint when he was very young, just 10 years old, and for two decades his work was figurative, fairly traditional in subjects and style. His mature work developed later, in the mid Sixties, in the context of the abstract-expressionist and tachiste movements, which based their language on a concept of painting as a sequence of actions, like a repeated sign or form of writing. Rather than a representation, painting became the direct expression of a mental state, a precise psychic temperature, an internal beat.Historically, his work has been classified as part of this "analytical painting" movement, which concentrated on analysing itself and its internal mechanisms: surface, substrate, colour and sign. However, Giorgio Griffa's work seems to stand apart from that of his fellow artists, and nowadays it is difficult to place it firmly within the historic analytical and conceptual painting movements. His abstract works, consisting of simple signs repeated on the canvas, seem to be not so much an analysis of the act of painting as a homage to painting itself and its history. And this is one of the delightful, central paradox's of Griffa's work: in spite of their conceptual approach, his paintings have a fascinating lyrical component, a radiant musicality, very different from the cold, unemotional mood of the neo-avantgardes. In this sense his works are something of a mystery for the art world, as lovely as they are indefinable, because in them everything seems to be at once both simple and complex. The types of canvas the artist uses (jute, hemp, cotton or linen) are simple. His painted signs are also simple, or even anonymous: a series of vertical or horizontal lines and - only from the Eighties onwards - stylised floral motifs, friezes and spirals. Yet Griffa entrusts this apparent simplicity with the task of saying what is unsayable by its very nature; of plumbing the depths of the mystery of creation and the unknown. Seemingly banal and obvious at first glance, Griffa's work is actually layered with references to the history of art, Stone Age painting, Zen philosophy, music and "“ as we have seen "“ the artistic avantgarde of his own age.All these characteristics are very much to the fore in the artist's works for CEDIT Ceramiche. For this historic brand, Griffa has created five works involving a series of lyrical, minimalist signs, which recall the motifs current in the late Sixties and Seventies. The range of colours in which these signs are presented, with complementary colours and half-tones, seem to be drawn from the Renaissance and the art of Venice and its region in the Sixteenth and Seventeenth Centuries. The other fundamental point of reference is Matisse, the painter who rejoiced in colour and in whose images signs and colours are nicely balanced. Griffa's collection for CEDIT sets out to use modular repetition of signs to build up genuine spatial environments for everyday living. The partnership with a ceramics manufacturer is a particularly fertile one for the Turin-born artist. In fact, his pictorial language "“ based on the concept of an anonymous sign open to potentially infinite repetition "“ seems to be ideally suited to large-scale reproduction and the decoration of entire interiors. The concepts of fragmentation and incompletion can be easily applied to the decoration of living-spaces of varying sizes, as if they were "portions" of a larger whole, an expanding universe. All Griffa's works use a repertoire of timeless signs, actions repeated over the millennia, on a complex trajectory that combines art, craftsmanship and decoration. In the project for CEDIT, this ancient story of experimentation with the potentialities of sign, colour and matter comes to a kind of natural, fascinating fruition.

Tesori Monile grigio

florim > Wallcovering

East and West, a synthesis archieved through Italian taste. «My work often takes me to far-off lands, also remote in terms of their culture and traditions. Even without my being aware of it, I then metabolise these traditions and include them in the designs I subsequently produce.» Matteo Nunziati "It is the architect's task to create a warm, livable space. Carpets are warm and livable. He decides for this reason to spread one carpet on the floor and to hang up four to form the four walls. But you cannot build a house out of carpets. Both the carpet and the floor and the tapestry on the wall required structural frame to hold them in the correct place. To invent this frame is the architect's second task."When Adolf Loos wrote his revolutionary essay on the "principle of cladding" in 1898, architecture was just entering the modern age. Building meant imagining structures capable of putting together different materials, but, Loos affirmed, it must also respect their individual characteristics. "Every material possesses a formal language which belongs to it alone and no material can take on the forms proper to another", the Austrian master therefore maintained. And there is no doubt that the spirit of these words extended throughout most Twentieth Century architecture, regardless of its location or style. When we look at Matteo Nunziati's designs for the CEDIT Tesori collection, we seem to be seeing geometrical purity and attention to detail at the service of a new "truth" of material. Because Matteo Nunziati views ceramics as a form of fabric. The woven patterns he imagines for the various styles in his collection "“ from Arabian to damask to more geometrical motifs "“ constantly seek to provide the soft, iridescent look of time-worn linen. In them, ceramics are raised from the status of poor relation of marble to become a luxury wall covering in their own right: almost a wallpaper, suitable however for both floors and walls, and an absolutely versatile material. No longer only for beautifying bathrooms, they can create new moods in every room of the house (and elsewhere) starting from the living-room. Naturally, the revolution has been mainly technological. The large slabs produced by CEDIT are more than 3 metres tall, and since they eliminate the serial repetition typical of conventional tiles, they generate a new relationship between the surface and its decoration. However, Nunziati does not use this to create, artist-like, a more eye-catching decorative composition that emphasises the slab's dimensions. Quite the opposite; the patterns he offers us attempt to break down what is left of the boundaries between substrates. In particular, the Arabian and damask styles, in the version with "timeworn" patterning, convey the idea of the ceramic slab as an abstract, almost non-existent material which melts into the decorative motif applied to it, in a kind of pure wall covering. Through the patient selection of geometrical motifs and tests to verify their suitability for application to ceramic slabs, Nunziati aims to achieve a new material rather than a mere decoration, making this clear by also exploring its tactile dimension, with gouged and relief motifs. His "principle of coverings" therefore relates to ceramics' essence rather than their image: highlighting the versatility which, as we all know, has made ceramics an absolute material, a kind of cement that incorporates structure and finish in a virtually infinite range of applications. This is clearly indicated by the reference to the mashrabiya, a term meaning place where people drink in Arabic, which in Arabian architecture originally referred to the kind of veranda where people used to meet and rest, and over time has come to mean the wooden gratings that screened these places from the sun. Inspired by his trips to the Middle East, for Nunziati the geometric patterns of the mashrabiya become both an outline of his method of work and the form of what in fact becomes the key element in a new idea of space: a real location conceived around a strong, livable surface in which physical substance and decoration overlap to the point where they merge.

Storie Casale

florim > Wall Paint

The faded wall fresco, damp stains in plaster. «Technological innovation enables us to reproduce on large-sized ceramic materials all the effects of wear and stratification that normally only time is able to create.» Giorgia Zanellato & Daniele Bortotto Children stare at the walls of a farmhouse, wondering what the cracks are, and whether every mark is a path and every path is a story. They think that miniature beings live in the air pockets that have formed, and the detaching plaster is like an avalanche cascading from a glacier. They don't ask why the colours are as they are, because they just had to be like that. And every square centimetre becomes the first page of an adventure that restarts at every break in the pattern. Could this be why we say that both textures and plots have twists, and stories are woven? As even children know, walls are tales. Not only do they contain adventures, emotions, moments, loves and hates and record them on their surfaces; their uneven, active surfaces generate new imaginary worlds, in which one can literally get lost. The "Storie" collection by Giorgia Zanellato and Daniele Bortotto brings this metaphor to three-dimensional life by expressing the moods, loves and hates and moments that the walls and floors of old Italian homes conserve, and capturing them in a frozen instant. The theme of time and the changes wrought in matter by the passing seasons, weather and human action have always been a strong source of inspiration for architects: some have tried to freeze it, while others have used sleight of hand to embrace it while resisting its effects, and yet others have accelerated, anticipated, directed and re-created it. Zanellato and Bortotto do all these things at once, engaging in a duel with History with a capital H, in which it is never clear who is winning: design or object, man or nature, culture or time. And it is probably this unresolved tension which makes the "Storie" designs so universal and meaningful, so intimate and yet familiar. The floor is the only thing we can be certain that everyone entering our home will touch, and at the same time it is the most intimate part, the most steeped in private happenings. They talk about having your "feet firmly on the ground". This image stands for common sense, but also a recognition of how things are, how things work. The wall is a synecdoche, too: it is the part of the home that expresses an idea of solidity, the layering of time, the passage of lives. "Storie" gives form to this metaphor by drawing a line that links the most classical of taste to a sophisticated modernity of taste and style. The two designers did a great deal of background work for this project: old Italian homes, country villas, noble palazzos, farmhouses and old factors, which become an unlimited source of motifs, colours, textures and materials. But, perhaps unconsciously, literature also re-emerges from this survey of locations, with its blend of aestheticism and decadence, with echoes of Wilde and D'Annunzio, Ruskin and Huysmans. "Storie" would be the ideal backdrop for Des Esseintes, the dandy in "A Rebours". And in fact the collection clearly has strong theatrical connections, arising partly from its storytelling connotations but also from its scene-setting potential. It represents life, which we are, have been and wish to continue to be. And it is thrilling to realise that this vision comes from the youngest designers in CEDIT's new era, who have successfully taken a confident, cultured, astute, sidelong approach to the most ancient of topics, with a persuasive effect which appears, at least, to be not at all intimidated by the many stories, the type of product they are dealing with, the catalogue in which they are included, the designers who have gone before them or, naturally, the adventures that lie concealed in the historic dwellings they reproduce. The reference to Italy, on the other hand, is in perfect harmony with the work of the brand and its past and present designers: it is intrinsic to the perfection of the production process that underlies the collection, the relationship with the brand's tradition and its local roots, and the intelligent, strategic use of its innovations in the treatment of this complex material.Child's play? Yes, but with the integrity and ability to enchant unique to specific designs, capable of an immediacy of vision and feeling that makes them little novels written in cement.

Archeologie Archeologie Bianco

florim > Wall Paint

The poetics of the wall. The forgotten wall. «A wall is like a book to be opened, a journey into the interior, revealing the experiences, memories, signs and symbols which this fragment of masonry has absorbed over the centuries.» Franco Guerzoni It is difficult to resist the beauty of Franco Guerzoni's art, created by a rare harmony of feeling and intellect, poetry and mind. The artist expresses this through paintings which, although complex in structure, are joyous and sensual, with bright colours made, like those of the great masters of the past, from choice powdered ingredients. A painter with a technique rich in traditional skills, Guerzoni offers a version of modernity involving an intense fundamental relationship with his images and with space. In fact, the dialectic between painting and space, form and architecture, time and memory seems to be essential to his art. As his works specifically created for CEDIT clearly express, his creations achieve a perfect balance between the spatial dimension and intensely lyrical use of colour, which here becomes a soft, liquid form of matter, wandering across the surface of a dazzling lime-plaster white. White, metaphor for the clear light of day, as it was in the large, complex canvases exhibited in his personal exhibition at the 1990 Venice Biennale, is the background for forms of colour which renew the pleasure to be had from painting and the memory of an image glimpsed on the vast expanse of the surface. In the more recent works, these voluptuous shades are transformed into subtle shadows of colour that delicately caress the surface. All it takes is one wall, the only surviving wall of what was once a house, on which time has recorded its own, unavoidable passing, leaving traces of colour that is still vibrant, although faded in places, to allow the memory of the image to transpire, fragile and uncertain, in the physicality of the surface, to bear tangible witness to the existence of history, a mysterious visual memory, the extension into the present of the life of things. A memory of the past on a contemporary wall. The idea of memory is central to Franco Guerzoni's poetics: private, secret memory and the collective memory of the past. Fragmentary and indecipherable, perceived by the artist with the aid of what is left of the images, the fragment. A relic of a totality which can no longer be reconstructed but only imagined in poetic terms, the fragment, a fraction of an image conserved by time, guides the artist's fantastic archaeological journey in search of the world's memory. However, this journey takes him in the opposite direction to the archaeologist, for whom the fragment - fundamental because it reveals a trace of the past is the starting-point for an attempt to reconstruct history. For Guerzoni, the fragment is the endpoint of his work, the goal for which he strives in his investigation of the surface, as he digs deep down, leafing through the deposits of time and memory. Like the large pages of a book traced with fragile sketches, embryonic forms whose meaning has been lost in time, leaving only fleeting traces, uncertain, ambiguous, mysterious morphologies. It marks the start of a journey into the mind of the artist-archaeologist, an adventurous journey into the inextricable labyrinth of the mind, to unearth what is hidden, shuffling the cards in a perennial contamination of images, memory, signs and traces, in search of a meaning, which no sooner appears than it is lost, merging into time and once again becoming a dream, an imaginary journey into fantasy and wonder. And this is the case in the tryptic created for CEDIT, which placed a new challenge before the artist: to transfer "his" image, the remains and fragments of a forgotten wall onto a new material for him “stunning, large-sized ceramic slabs“ and a real wall, without this tautology betraying the painting's deep meaning, its fertile magic of lines and colours, from which the image is born. And the artist is fully aware of this. Guerzoni describes his art as a "gamble": a gamble that is a critical test, an act of daring, dangerous and risky. This is the challenge he sets himself. It is a challenge he easily overcomes, expressing himself on these large walls with a rediscovered pleasure in painting, no longer restrained and apparently absorbed by the dense, uneven coloured surface but set free and almost luxuriously accentuated. In his large, demanding works for CEDIT, Guerzoni achieves a new, consummate mode of painting, in which the architecture of the surfaces provides a poetic meeting-point between the two founding components of his style, the complex, well thought-out composition and the lyricism of colour.

Cosmo 1501 Sofa by Et al. – Modern Comfort with Timeless Design

Et al. > Sofa

Cosmo Sofa by Et al. – Modern Comfort with Timeless Design The Cosmo Sofa (Model 1501) by Et al., available through FM Design Elements, is a sophisticated addition to the Cosmo collection. Designed to merge style, comfort, and versatility, this sofa is perfect for both indoor and outdoor environments, making it a fantastic choice for hospitality, residential, and commercial spaces. Material and Finishes The Cosmo Sofa is constructed with a powder-coated tubular metal frame, offering superior durability and sleek aesthetics. The frame supports removable padded cushions, which are crafted for both style and comfort. The cushions are available in a wide range of fabrics, including water-resistant and stain-resistant options, making them ideal for diverse applications. The fabric options include: Classic indoor textiles for a cosy and warm look. Outdoor fabrics with weather-resistant properties, perfect for patios, lounges, or terraces. The clean and modern finish options on the frame make it adaptable to minimalist, Scandinavian, and contemporary interiors. Design and Style This sofa features a minimalist silhouette with bold lines, blending modern aesthetics with functional comfort. Its plush cushions and ergonomic proportions ensure relaxation, while the sturdy frame guarantees durability. The design is inspired by Scandinavian simplicity, combined with Italian craftsmanship, to create a piece that is elegant yet approachable. Key design highlights: Ergonomic support: Comfortable seating for extended lounging. Compact yet spacious: Seats up to two comfortably without overwhelming the space. Modern versatility: Suitable for hospitality lounges, hotel lobbies, residential living areas, or outdoor terraces. Dimensions The Cosmo Sofa offers generous proportions to enhance comfort while fitting effortlessly into most spaces: Width: 174 cm Depth: 88 cm Height: 80 cm Seat Height: 44 cm These dimensions make it an ideal choice for small and medium-sized rooms, outdoor areas, or commercial spaces like waiting areas. Applications The Cosmo Sofa is ideal for: Hospitality projects: Perfect for hotel lounges, poolside areas, or boutique spaces. Commercial settings: Adds sophistication to office reception areas or coworking spaces. Residential use: Comfortable enough for living rooms and outdoor patios. Public areas: Stands out in lobbies or event spaces. Accessories and Alternatives The Cosmo Sofa pairs beautifully with other pieces in the Cosmo collection, such as the Cosmo Easy Chair or matching coffee tables. Its modular design allows it to integrate seamlessly into a variety of setups. For a cohesive outdoor seating arrangement, pair it with complementary loungers or benches. Looking for alternatives? Et al. also offers a range of modern lounge furniture in similar styles, including modular seating systems and stackable chairs for additional flexibility. 2D and 3D Files Available Design professionals can take advantage of downloadable 2D and 3D files to streamline the planning process. These files are available to ensure easy integration of the Cosmo Sofa into architectural and interior design projects. Why Choose the Cosmo Sofa? Durability and practicality: Powder-coated frame and high-quality materials ensure long-lasting performance. Customisable comfort: A wide selection of cushion fabrics to suit specific needs and environments. Indoor-outdoor versatility: Perfect for both contemporary interiors and stylish outdoor spaces. Aesthetic flexibility: The modern design and clean lines make it suitable for Scandinavian, minimalist, and contemporary styles. Eco-friendly construction: Designed with sustainability in mind, incorporating recyclable

COSMO 1506 Sofa: A Modern Two-Seater Masterpiece

Et al. > Sofa

COSMO 1506 Sofa: A Modern Two-Seater Masterpiece The COSMO 1506 sofa, designed by Philippe Tabet for Et al., epitomizes contemporary elegance and versatility. This two-seater sofa, devoid of armrests, seamlessly integrates into various interior settings, including residential living rooms, hotel lounges, office waiting areas, and upscale retail spaces. Design and Dimensions The COSMO 1506 boasts a sleek and minimalist design, characterized by its armless structure and plush upholstery. Its dimensions are thoughtfully crafted to provide comfort while maintaining a compact footprint: Width: 150 cm Depth: 88 cm Height: 80 cm Seat Height: 44 cm These proportions make it an ideal choice for both spacious and limited areas, offering ample seating without overwhelming the space. Materials and Finishes Crafted with precision, the COSMO 1506 features: Frame: Constructed from durable steel tubing, ensuring stability and longevity. Upholstery: Available in a diverse range of high-quality fabrics, including options like Melva, Fortis, Inca, Medley Gabriel, Chili Gabriel, Mirage, Convert, Fenice, Mood Gabriel, Valencia, Fabthirthy Rubelli, Ocean Mastrotto, and Remix 3 Kvadrat, each offering multiple color choices to suit various design aesthetics. Frame Finishes: The steel frame can be customized in various finishes, such as White Aluminium (NCS S4000-N VR), Jet Black (NCS S9000-N VR), Coral Red (NCS S3060-Y80R), Matt Jet Black (NCS S9000-N VR), Rough Metallic Bronze (VR), Curry (NCS S3060-Y), Olive Green (NCS S7020-G50Y), Water Blue (NCS S4050-B40G), Capri Blue (NCS S6030-B), Brown (NCS S8005-Y20R), Traffic White (NCS S0502-B VR), Marsala (NCS S4040-R), Pewter (VR), Pure White (NCS S0500-N VR), and Anthracite Grey (NCS S7502-B VR), allowing for seamless integration into any interior color scheme. Functional Accessories To enhance its functionality, the COSMO 1506 can be equipped with optional accessories: Kidney Cushion: Provides additional lumbar support for increased comfort. Reading Lamp: An integrated light source suitable for reading or creating ambient lighting. USB Socket: Convenient for charging electronic devices, making it suitable for modern living and working environments. Schuko Socket: Offers an additional power outlet for various needs. These accessories make the sofa a practical choice for both relaxation and productivity. Applications and Versatility The COSMO 1506's adaptable design makes it suitable for a variety of settings: Residential Spaces: Ideal for living rooms or bedrooms, adding a touch of modern elegance. Hospitality Environments: Perfect for hotel lobbies, guest rooms, or lounge areas, offering comfort and style to guests. Office and Waiting Areas: Enhances reception spaces or private offices with its sleek design and optional functional accessories. Retail Spaces: Complements boutique stores or showrooms, providing a comfortable seating option for customers. Complementary Products The COSMO collection includes various seating solutions that can be paired with the 1506 sofa to create cohesive interior designs. Options include the COSMO 1505 armchair, the COSMO 1502 three-seater sofa, and modular systems like the COSMO 1520, allowing for flexible configurations to suit different spaces and requirements. Key Features Modern Aesthetic: Clean lines and armless design contribute to a minimalist and contemporary look. Customizable Finishes: Wide range of upholstery fabrics and frame finishes to match specific design requirements. Optional Accessories: Functional add-ons like reading lamps and USB sockets enhance usability. Compact Dimensions: Suitable for both large and small spaces without compromising on comfort. High-Quality Construction: Durable materials ensure longevity and sustained aesthetic appeal.

ARI 1314 - Square steel coffee table _ Et al.

Et al. > Side table

Ari 1314 Coffee Table Module: Seamless Integration for Modern Spaces The Ari 1314 coffee table module, designed by Philippe Nigro for Et al., is a versatile addition to the Ari modular seating system. Its minimalist design and functional dimensions make it suitable for various environments, including residential living rooms, hotel lounges, office waiting areas, and outdoor settings. Design and Dimensions The Ari 1314 features a sleek steel frame supporting a 70x70 cm high-pressure laminate (HPL) top, offering both durability and elegance. Its height of 19 cm ensures a low-profile presence that complements the seating modules within the Ari collection. ET AL. Materials and Finishes Crafted with precision, the Ari 1314 offers a range of customization options to suit various design aesthetics: Frame: Constructed from durable steel tubing, ensuring stability and longevity. Top: Made from high-quality HPL laminate, known for its resistance to wear and ease of maintenance. Frame Finishes: The steel frame can be customized in various finishes, such as White Aluminium (NCS S4000-N VR), Jet Black (NCS S9000-N VR), Coral Red (NCS S3060-Y80R), Matt Jet Black (NCS S9000-N VR), Rough Metallic Bronze (VR), Curry (NCS S3060-Y), Olive Green (NCS S7020-G50Y), Water Blue (NCS S4050-B40G), Capri Blue (NCS S6030-B), Brown (NCS S8005-Y20R), Traffic White (NCS S0502-B VR), Marsala (NCS S4040-R), Pewter (VR), Pure White (NCS S0500-N VR), and Anthracite Grey (NCS S7502-B VR), allowing for seamless integration into any interior or exterior color scheme. ET AL. Applications and Versatility The Ari 1314's design makes it suitable for a variety of settings: Residential Spaces: Ideal for living rooms or patios, adding a touch of modern elegance. Hospitality Environments: Perfect for hotel lobbies, guest rooms, or lounge areas, offering functionality and style to guests. Office and Waiting Areas: Enhances reception spaces or private offices with its sleek design and compatibility with other Ari modules. Outdoor Settings: Designed to withstand outdoor conditions, making it suitable for terraces and garden areas. Complementary Products The Ari collection includes various modules that can be paired with the 1314 coffee table to create cohesive seating arrangements. Options include the Ari 1300 linear module, the Ari 1311 corner module, and the Ari 1313 pouf, allowing for flexible configurations to suit different spaces and requirements. Key Features Modular Design: Allows for customizable arrangements to fit various spaces. Modern Aesthetic: Clean lines and minimalist design contribute to a contemporary look. Customizable Finishes: Wide range of frame finishes to match specific design requirements. High-Quality Construction: Durable materials ensure longevity and sustained aesthetic appeal.

SPACE+ 1405A - Corner fabric armchair high-back _ Et al.

Et al. > Armchair

Space Plus 1405 Corner Seating Module: A Modular Solution for Flexible Layouts The Space Plus 1405 Corner Seating Module from Et al.'s Space Plus collection is designed to enhance modular seating arrangements with a functional and stylish corner piece. Its compact dimensions and clean lines make it ideal for creating versatile configurations in public, corporate, and hospitality spaces. Design and Dimensions The Space Plus 1405 Corner Module is crafted to fit seamlessly into modular layouts, connecting other seating units in a cohesive arrangement. Its dimensions are: Height: 100 cm Width: 70 cm Depth: 70 cm Seat Height: 47 cm Seat Depth: 61.5 cm Its square profile and ergonomic design ensure comfort and practicality while maintaining a sleek aesthetic. Materials and Finishes The module is built with high-quality materials and offers a range of customisation options to fit various design needs: Frame: Made from robust metal for durability and stability. Upholstery: Choose from a wide selection of high-performance fabrics, including stain-resistant and easy-to-maintain options. Colours range from neutral tones to bold, vibrant shades to suit any space. Base Finish: Available in finishes such as matte black, metallic tones, or white to complement your design scheme. Features Corner Functionality: Designed to connect and integrate seamlessly with other Space Plus modules for flexible layouts. Compact Design: Optimises space while providing ample comfort. Modular Compatibility: Can be paired with linear and high-back modules for diverse configurations. Comfortable Seating: Padded seat and backrest offer ergonomic support for long periods of use. Applications The Space Plus 1405 Corner Module is ideal for various settings: Hospitality: Create sophisticated lounge areas, hotel lobbies, or VIP seating zones. Corporate Offices: Use in reception areas, breakout spaces, or collaborative work environments. Public Spaces: Perfect for shopping malls, airports, or healthcare waiting areas. Dining Settings: Adds versatility to booth or communal seating arrangements in restaurants and cafés. Customisation Options To suit specific project requirements, Et al. offers several enhancements for the Space Plus 1405: Privacy Panels: Add-ons to create secluded seating zones. Integrated USB Ports: Functional upgrades for tech-friendly spaces. Attachable Tables: Practical for workspace or dining purposes. Sustainability and Durability The Space Plus 1405 module is manufactured using environmentally friendly materials and processes. Upholstery options include recycled fabrics, making it a sustainable choice for modern interiors. Complementary Products This corner module pairs seamlessly with other items in the Space Plus collection: Linear Seating Modules: For straight or multi-directional layouts. Ottomans and Poufs: Add flexibility and functionality to the arrangement. Matching Coffee Tables: Provide additional utility and cohesion in design. Key Features Corner module design for modular seating flexibility. Durable construction for high-traffic environments. Customisable finishes and fabrics to suit diverse interiors. Compact and ergonomic for efficient space utilisation.

Chimera Empatia Bianco

florim > Wall tile-stone-brick

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

Chimera Ritmo Beige

florim > Wallcovering

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

Chimera Radici Grigio

florim > Wallcovering

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

Chimera Radici Beige

florim > Wallcovering

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

Chimera Ritmo Azzurro

florim > Wallcovering

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

Chimera Empatia Nero

florim > Wall tile-stone-brick

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

Chimera Colore Bianco

florim > Wall Paint

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

Chimera Colore Grigio

florim > Wall Paint

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

AWA - Blown glass pendant lamp _ BROKIS

BROKIS > Ceiling lamp