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workspace color inspiration
Etoile – development & research
At Etolie, we know the importance of choosing the palettes to be used to achieve comfortable and functional workspaces.
We know how colours affect states of mind, mood and interpersonal interactions.
No colour option has a neutral effect, each combination is able to affect and canalise the perception of reality of those operating within a given location.
Some colours are known to be relaxing, and some to be exciting or energising. Others may alter the state of concentration, be distracting or even disturbing.
Therefore, whatever the effect being pursued, a good design cannot disregard an accurate study of this dimension as well, too often confined to the mere domain of aesthetics.
It is precisely in this direction that Etoile has prepared a series of highly customisable solutions to create ‘tailor-made’ settings that are perfectly functional for any customer’s needs.
In the ‘inspirational’ pinboard that follows, we offer some free suggestions for the readers’ convenience.
These projects have been delivered in recent years by a London-based partner company specialised in creating premium workplaces, real hubs for business people from all fields.
The common thread running through all these workspaces is a skilful and balanced use of colour combined with the use of our fora style® walls in synergy with our solid metrica®.
These pictures show an elegant old building in Greencoat Place, equipped with contemporary and sustainable design elements.
Straight away, the widespread application of green, the colour most found in nature, is evident, promoting feelings of balance and enhancing the creative performance of people at work.
In the 1930’s former textile warehouse in Wells Mews, warm and bright colours prevail in partitions and furnishings. Yellow is used to stimulate creativity and feelings of optimism. Blue, in its many shades, induces a perception of stability and security.
In this space created at Arnold House, a space naturally flooded with light is well combined with a generous use of white in the partitions, a vitalising and regenerating basic colour. At the same time, the very prominent brown grids counteract the feeling of monotony and convey feelings of solidity, durability and stability.
A minute’s walk from the charming district of Shoreditch, the new Montacute Yards venue finds its natural setting in seven floors of workspaces, located above restaurants, shops, cafés and a characteristic street food market. Large spaces of daylight, amplified by the use of natural blond wood, make furnishings and accessories stand out in vivid colours that stimulate creative thinking and perceptive intelligence.
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Colours in design
The chromatic influence on human behaviour has been a subject of study for hundreds of years
Our ongoing search for the best well-being solutions in workspaces certainly cannot ignore such an important factor as the choice of colours, especially the way they are able to affect the comfort of interiors and the mood of people.
Without resorting to chromotherapy or other alternative medicine practices, we know that the influence of colours in determining human moods and behaviour has long been known.
The first scientific approach to the study of colour was that of the Englishman Isaac Newton (1642-1727). It was one of his articles, which later became famous, that publicised the results of experiments conducted with the refraction of light through glass prisms, by which he managed to define the seven primary colours: red, orange, yellow, green, blue, violet and indigo. He theorised that luminous bodies emitted immaterial corpuscles, a sort of ‘light atoms’ that, travelling in a straight line and at hyperbolic speed, produced the rays. For Newton, the ‘white light’ was a mixture of as many species of corpuscles as there were different colours. The so-called corpuscular theory has dominated physics for almost a century.
It was Johann Wolfgang von Goethe, who in besides being a great man of letters was also a painter and a scientist, who in his essay ‘Zur Farbenlehre’ dated 1810, emphasised the complexity of the chromatic phenomenon and the non-negligible interference that the organ of sight has in light perception and its transliteration into colour. He was first to advance an aesthetic and artistic vision, contrasting it with Newton’s strictly scientific one: “It has been well proven that each colour produces a particular impression on the human being, manifesting its nature to both eyes and soul. This means that colour can be used for specific sensitive, moral and aesthetic purposes”. For Goethe, colours are indeed something living and human, and find their complete phenomenological justification in that physical machine that is the human eye and in the mechanism of vision, but also and foremost in the spectator’ spirituality and soul”.
In a similar spirit, while investigating intimate and profound dimensions, Vasily Kandinsky (1866-1944) established a very close connection between the work of art and the spiritual dimension, stating that they influence each other.
In his philosophical work ‘The Spiritual in Art’ (1909) he wrote: “In general, colour is a means to directly influence one’s soul. The colour is the key. The eye is the gavel. The soul is a piano with multiple strings. The artist is the hand that, by touching this or that key, makes the soul vibrate. It is clear that the harmony of colours is based on just one principle: the powerful contact with the soul. This foundation can be called the principle of inner necessity”.
For Kandinsky, red is, for example, a warm and pervasive colour that acts in the inside in a very vital, lively, restless way. It shows immense, almost conscious energy.
It generates turmoil and introverted fervour. Red is corporeal, reminiscent of the cello. Light Warm Red (Saturn) triggers feelings of strength, energy, determination, tension, joy, triumph. It echoes the sound of fanfares and tuba. Medium red (cinnabar) has the stability of a deep feeling, it is like a passion that burns without shaking, a confident force that can only be extinguished in blue. It sounds like a tuba or a loud drum roll. Gray has a totally different impact, that he describes as “desolate immobility”. It is neither coloured, nor light, nor dark. Grey is the nothingness of everything, its peculiarity is complete neutrality. Blue, Kandinsky suggests, is the element of stillness and the deeper it is the more strongly it will draw the individual towards the infinite. These are just some of the Russian artist suggestions associated with colours, whose path was ideally taken up in the early decades of the 20th century by Max Lüscher, a Swiss psychotherapist, sociologist and philosopher.
A path in which the distinction between science, art and spirit is very subtle and has given rise to ever-changing trends according to different historical periods. Aesthetic preferences and sensibilities are mutable factors over time and follow changing and contingent inspirations. What remains constant in every visual architecture is the search for a chromatic perception that can arouse well-defined feelings and emotions. Which in the case of interior design applied to workspaces, takes on a particularly articulated value. The latter has the task of communicating values, identity and authority, just as a corporate logo and payoff would do; at the same time, it must be reassuring and functional to the psychophysical well-being of those who work in the offices on a daily basis. It is now widely agreed that a smart and harmonious choice of colours can decrease work discomfort and reduce the risk of accidents. Furthermore, the rational use of certain shades or colour combinations has been proven to stimulate creativity and productivity. It is therefore clear how much the choice of colours contributes to the successful design of a comfortable and functional workspace, as well as other important factors such as sound absorption, air-to-light ratios and the materials to be used.
Uncategorized
Colours in design
The chromatic influence on human behaviour has been a subject of study for hundreds of years
Our ongoing search for the best well-being solutions in workspaces certainly cannot ignore such an important factor as the choice of colours, especially the way they are able to affect the comfort of interiors and the mood of people.
Without resorting to chromotherapy or other alternative medicine practices, we know that the influence of colours in determining human moods and behaviour has long been known.
The first scientific approach to the study of colour was that of the Englishman Isaac Newton (1642-1727). It was one of his articles, which later became famous, that publicised the results of experiments conducted with the refraction of light through glass prisms, by which he managed to define the seven primary colours: red, orange, yellow, green, blue, violet and indigo. He theorised that luminous bodies emitted immaterial corpuscles, a sort of ‘light atoms’ that, travelling in a straight line and at hyperbolic speed, produced the rays. For Newton, the ‘white light’ was a mixture of as many species of corpuscles as there were different colours. The so-called corpuscular theory has dominated physics for almost a century.
It was Johann Wolfgang von Goethe, who in besides being a great man of letters was also a painter and a scientist, who in his essay ‘Zur Farbenlehre’ dated 1810, emphasised the complexity of the chromatic phenomenon and the non-negligible interference that the organ of sight has in light perception and its transliteration into colour. He was first to advance an aesthetic and artistic vision, contrasting it with Newton’s strictly scientific one: “It has been well proven that each colour produces a particular impression on the human being, manifesting its nature to both eyes and soul. This means that colour can be used for specific sensitive, moral and aesthetic purposes”. For Goethe, colours are indeed something living and human, and find their complete phenomenological justification in that physical machine that is the human eye and in the mechanism of vision, but also and foremost in the spectator’ spirituality and soul”.
In a similar spirit, while investigating intimate and profound dimensions, Vasily Kandinsky (1866-1944) established a very close connection between the work of art and the spiritual dimension, stating that they influence each other.
In his philosophical work ‘The Spiritual in Art’ (1909) he wrote: “In general, colour is a means to directly influence one’s soul. The colour is the key. The eye is the gavel. The soul is a piano with multiple strings. The artist is the hand that, by touching this or that key, makes the soul vibrate. It is clear that the harmony of colours is based on just one principle: the powerful contact with the soul. This foundation can be called the principle of inner necessity”.
For Kandinsky, red is, for example, a warm and pervasive colour that acts in the inside in a very vital, lively, restless way. It shows immense, almost conscious energy.
It generates turmoil and introverted fervour. Red is corporeal, reminiscent of the cello. Light Warm Red (Saturn) triggers feelings of strength, energy, determination, tension, joy, triumph. It echoes the sound of fanfares and tuba. Medium red (cinnabar) has the stability of a deep feeling, it is like a passion that burns without shaking, a confident force that can only be extinguished in blue. It sounds like a tuba or a loud drum roll. Gray has a totally different impact, that he describes as “desolate immobility”. It is neither coloured, nor light, nor dark. Grey is the nothingness of everything, its peculiarity is complete neutrality. Blue, Kandinsky suggests, is the element of stillness and the deeper it is the more strongly it will draw the individual towards the infinite. These are just some of the Russian artist suggestions associated with colours, whose path was ideally taken up in the early decades of the 20th century by Max Lüscher, a Swiss psychotherapist, sociologist and philosopher.
A path in which the distinction between science, art and spirit is very subtle and has given rise to ever-changing trends according to different historical periods. Aesthetic preferences and sensibilities are mutable factors over time and follow changing and contingent inspirations. What remains constant in every visual architecture is the search for a chromatic perception that can arouse well-defined feelings and emotions. Which in the case of interior design applied to workspaces, takes on a particularly articulated value. The latter has the task of communicating values, identity and authority, just as a corporate logo and payoff would do; at the same time, it must be reassuring and functional to the psychophysical well-being of those who work in the offices on a daily basis. It is now widely agreed that a smart and harmonious choice of colours can decrease work discomfort and reduce the risk of accidents. Furthermore, the rational use of certain shades or colour combinations has been proven to stimulate creativity and productivity. It is therefore clear how much the choice of colours contributes to the successful design of a comfortable and functional workspace, as well as other important factors such as sound absorption, air-to-light ratios and the materials to be used.
Uncategorized
The image beyond experience. the story of an evolution
Open day dedicated to Etoile’s new communication with company stakeholders
Etoile’s open day ‘The image beyond the experience’ was held on November the 25th, retracing in a passionate and lively narrative, the history of the company at the presence of all the stakeholders of this important and successful reality. Thanks to the protagonists’ reports, the event marked the stages of an evolution full of events for this company, today representing a reference point, both nationally and internationally, for office partitions and fittings. It was also an opportunity to bring together for the first time in many years, agents, dealers and the professionals who gravitate around this reality, from all over Italy and abroad. The aim of the meeting, in which the interventions of numerous speakers were offered, was to analyse Etoile’s positioning in the market, its reputation, and the quality and competitiveness that it can counter against its direct competitors. A thorough investigation, conducted with the experiential contribution of the professionals attending the meeting, allowed for an effective synthesis of the current situation. In the light of all this, the new corporate image was presented to the audience, synthesizing and updating the style that has always distinguished the company. Not a merely formal operation, but a communicative action that is embodied in the new Portrait as a summary document of style, experience, competence and reliability. Through this tool, image becomes an important added value allowing to share with stakeholders the great experience gained, which can finally be communicated to the outside world thanks to a renewed awareness of its skills and potential.
The meeting was introduced by Art director, Architect Paolo Pampanoni, who defined the day’s rules of engagement, and then gave the floor to Fabio Santoni, CEO & Founder of the company. The latter, after greeting the attendees, expressed his gratitude to the internal staff, agents and business partners, and all those who have believed Etoile’s value so far and contributed to bringing it to the excellent production and commercial level it can boast today.
Santoni then extended a warm welcome to Armenio Estima, the owner of the Portuguese company Divilux, which is a reliable partner since more than 25 years, and thanks to the transfer of know-how has enabled Etoile’s products to be more widely distributed abroad.
In his next speech, Director Alessio Santoni outlined the economic, productive and business development results achieved to date, and set out the future goals to be achieved in line with the company mission, which can be summarized in the three key words: Flexibility, Efficiency and Quality.
The financial advisor Gianluca Canuti, on the other hand, was tasked with a careful reading and analysis of the company’s parameters to be set against the current market situation and Etoile’s competitors.
Sales Director Corrado Caimmi then outlined the identikit of a dynamic and reliable company, also in the light of the numerous certifications it can boast, such as ISO 9001 on quality process effectiveness, Leed Mapping on building sustainability (highly regarded in the US) and FSC Certification for responsible forest management. After describing the company’s DNA, which is strongly oriented towards product quality, staff expertise, technological innovation and ‘tailor-made’ customization, he outlined the company’s business strategy and planned the targets for the nearby future.
Matteo Massi, Head of Purchasing at Etoile, reviewed the market trends of recent years with regard to raw material costs which, from the excellent situation in 2019 turned to fear and uncertainty caused by the pandemic in 2020, to supply shortages in 2021, all the way to 2022 with the cost of energy out of control.
After the Coffee Break, Angelica Giannoni explained the creative and communicative aspects of the new corporate image, which focuses on the rigorous features as an identifying element in continuity with the company’s style. The restyled logo itself is the contemporary evolution of the company’s first historical trademark.
At this point, Art director Paolo Pampanoni presented the new Portrait, which
will henceforth be the main tool for spreading Etoile’s image, conveying its style, experience, expertise and above all giving great prominence to its people and staff.
Traditional, costly and obsolete paper catalogues will be replaced by agile product monographs rich in photographic and technical content, exclusively in digital format, accompanied by a continuously updated Company Profile. After the Portrait presentation, Architect Pampanoni conducted a benchmarking analysis, comparing and contrasting Etoile’s prices with those of its main competitors’ products to highlight the company’s positioning in specific market segments such as partition walls and doors of different sizes.
And lastly, through graphic renderings he anticipated some future projects to be developed, along with Divilux, of silent rooms and office phone boots.
Etoile’s open day was closed by consultant Cristina Miseo who, after analyzing the main social tools currently available, in view of the potential target market, outlined the communication actions planned for the coming months, hoping for maximum engagement and action by the entire sales network
She also explained how communication has shifted over the years from one dedicated specifically to the product to one that is no longer unidirectional, strongly linked to the relationship with the public, its needs and demands for solutions. What needs to be conveyed outside in order to intercept the intended target group, is passion, professionalism, know-how and problem-solving skills. In a nutshell, the people and the team. Hence the official launch of the hashtag #etoilepeople, which from now on will sign all the company’s posts.
Uncategorized
The image beyond experience. the story of an evolution
Open day dedicated to Etoile’s new communication with company stakeholders
Etoile’s open day ‘The image beyond the experience’ was held on November the 25th, retracing in a passionate and lively narrative, the history of the company at the presence of all the stakeholders of this important and successful reality. Thanks to the protagonists’ reports, the event marked the stages of an evolution full of events for this company, today representing a reference point, both nationally and internationally, for office partitions and fittings. It was also an opportunity to bring together for the first time in many years, agents, dealers and the professionals who gravitate around this reality, from all over Italy and abroad. The aim of the meeting, in which the interventions of numerous speakers were offered, was to analyse Etoile’s positioning in the market, its reputation, and the quality and competitiveness that it can counter against its direct competitors. A thorough investigation, conducted with the experiential contribution of the professionals attending the meeting, allowed for an effective synthesis of the current situation. In the light of all this, the new corporate image was presented to the audience, synthesizing and updating the style that has always distinguished the company. Not a merely formal operation, but a communicative action that is embodied in the new Portrait as a summary document of style, experience, competence and reliability. Through this tool, image becomes an important added value allowing to share with stakeholders the great experience gained, which can finally be communicated to the outside world thanks to a renewed awareness of its skills and potential.
The meeting was introduced by Art director, Architect Paolo Pampanoni, who defined the day’s rules of engagement, and then gave the floor to Fabio Santoni, CEO & Founder of the company. The latter, after greeting the attendees, expressed his gratitude to the internal staff, agents and business partners, and all those who have believed Etoile’s value so far and contributed to bringing it to the excellent production and commercial level it can boast today.
Santoni then extended a warm welcome to Armenio Estima, the owner of the Portuguese company Divilux, which is a reliable partner since more than 25 years, and thanks to the transfer of know-how has enabled Etoile’s products to be more widely distributed abroad.
In his next speech, Director Alessio Santoni outlined the economic, productive and business development results achieved to date, and set out the future goals to be achieved in line with the company mission, which can be summarized in the three key words: Flexibility, Efficiency and Quality.
The financial advisor Gianluca Canuti, on the other hand, was tasked with a careful reading and analysis of the company’s parameters to be set against the current market situation and Etoile’s competitors.
Sales Director Corrado Caimmi then outlined the identikit of a dynamic and reliable company, also in the light of the numerous certifications it can boast, such as ISO 9001 on quality process effectiveness, Leed Mapping on building sustainability (highly regarded in the US) and FSC Certification for responsible forest management. After describing the company’s DNA, which is strongly oriented towards product quality, staff expertise, technological innovation and ‘tailor-made’ customization, he outlined the company’s business strategy and planned the targets for the nearby future.
Matteo Massi, Head of Purchasing at Etoile, reviewed the market trends of recent years with regard to raw material costs which, from the excellent situation in 2019 turned to fear and uncertainty caused by the pandemic in 2020, to supply shortages in 2021, all the way to 2022 with the cost of energy out of control.
After the Coffee Break, Angelica Giannoni explained the creative and communicative aspects of the new corporate image, which focuses on the rigorous features as an identifying element in continuity with the company’s style. The restyled logo itself is the contemporary evolution of the company’s first historical trademark.
At this point, Art director Paolo Pampanoni presented the new Portrait, which will henceforth be the main tool for spreading Etoile’s image, conveying its style, experience, expertise and above all giving great prominence to its people and staff.
Traditional, costly and obsolete paper catalogues will be replaced by agile product monographs rich in photographic and technical content, exclusively in digital format, accompanied by a continuously updated Company Profile. After the Portrait presentation, Architect Pampanoni conducted a benchmarking analysis, comparing and contrasting Etoile’s prices with those of its main competitors’ products to highlight the company’s positioning in specific market segments such as partition walls and doors of different sizes.
And lastly, through graphic renderings he anticipated some future projects to be developed, along with Divilux, of silent rooms and office phone boots.
Etoile’s open day was closed by consultant Cristina Miseo who, after analyzing the main social tools currently available, in view of the potential target market, outlined the communication actions planned for the coming months, hoping for maximum engagement and action by the entire sales network
She also explained how communication has shifted over the years from one dedicated specifically to the product to one that is no longer unidirectional, strongly linked to the relationship with the public, its needs and demands for solutions. What needs to be conveyed outside in order to intercept the intended target group, is passion, professionalism, know-how and problem-solving skills. In a nutshell, the people and the team. Hence the official launch of the hashtag #etoilepeople, which from now on will sign all the company’s posts.
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The roots of a sustainable future
Etoile – research & development
Etoile’s signature business cycle involves the utmost care and total respect for the environment
Etoile is a 30-year history of passion, drawing sap from deep roots and cherishing its original soul in the vision of a future of opportunity and development, firmly tied to its founding values
Even prior to being a primary industrial reality at the national level, it is a project open to a globalized world but traced on imperative principles of respect for people, cultures and territories.
At Etoile, the concept of sustainability is combined in every action with the conception of the environment as an asset and as a wealth to be preserved and enhanced.
It is belonging to a community of reference, to a humus from which drawing nourishment to grow and expand in markets.
This is the key to our philosophy, going through the preservation of the local dimension, intended not only as the environment, but above all as development that can create value in the area.
Our spotlight has always been on creating wealth to protect our community with a growing focus on enhancing endogenous resources as matrices of well-being and development for the local economy.
From this perspective, our made in Italy takes on a value that far exceeds mere production or the choice of raw materials.
This is why we have selected our suppliers ally on a “Km0” basis, as they are all located within a 50-kilometer radius away from our company.
The eco-sustainable solutions we have introduced into our business cycles are aimed at saving the planet’s resources: from saving energy, reducing production waste through recycling, rationalizing packaging to reduce its unnecessary components, and optimizing logistics in a sustainable way.
For years, our maximum commitment has been focused on the maximum use of energy production from certified renewable sources and the economy of reuse, through qualified collaborations with partners capable of reintroducing into the production process elements resulting from the transformation of material recovered from in-house processing such as metal and wood.
It is also a reflection of the great attention our company is devoting to obtaining FSC, an international, independent, third-party certification of forestry and products, both wood and non-wood, derived from properly managed and properly used forests and plantations.
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The future in ecodesign
Product quality, reduction of environmental impact and saving of resources, at the basis of a new “eco-sustainable” way of designing
According to the US think tank Global Footprint Network, which every year calculates the consumption by the population and estimates the biocapacity of the planet, we are all living as if we had little more than one and a half Earths available.
This overexploitation is primarily due to the increased ecological footprint and deforestation.
In 2022, compared to last year, a 6.6% increase in the carbon footprint and a 0.5% decrease in global forest biocapacity was calculated.
It is in this perspective of collective responsibility that the concept of eco-design or sustainable design was born and has been popular for some years now.
Ecodesign is a virtuous model inspired by the circular economy, which is based on the efficient use of resources and materials, reducing the environmental impact associated with production and helping to reduce the amount of waste and garbage generated.
In fact, this practice is not limited to creating products with sustainable materials, but applies to the entire life cycle of a product, from its design, to manufacture, to its use and disposal.
It is a modus operandi that not only reverberates on the environmental and climatic sphere, but also directly affects the social and economic one, proposing a new cultural paradigm.
Eco-design is conventionally based on six fundamental principles:
- use of sustainable materials, made using renewable energy;
- production processes that promote energy savings;
- product quality and durability;
- reduction of waste generated during the production and use of the product;
- simplification of disassembly, recycling and reuse of the materials that make up the product;
- Use of renewable resources, possibly local and sustainably managed resources that are compostable once use is over.
Sustainable design was strongly inspired by the Bill of Rights for the Planet, the nine Hannover principles relating to eco-design, developed during the 2000 Expo. This bill of rights is based on concepts such as the elimination of waste, constantly pursing improvement, recognizing the interdependence between humans and nature, and understanding the limits of design.
In Europe Ecodesign is regulated by directive 2009/125 / EC, by directive 2018/851 on the subject of circular economy and by ISO 14006, 14040 and 14044 standards. The latter, in particular, thanks to the LCA (Life Cycle Assessment) process, allows to evaluate the whole life cycle of products and their interaction with the environment, regulating the management of the supply chain, upstream and downstream of the production process, with a view to saving and recovering energy and materials.
In this light, it is also important to evaluate the additives that are incorporated into materials, since the presence of some chemicals can limit or prevent the recycling and reuse of products that reach end-of-life.
In conclusion, we can rightly affirm that sustainable design represents the new frontier of design that finds application in all productive fields, on a path towards the ecological transition that will lead to a new generation of products and materials designed to be more durable, upgradeable, repairable and replaceable, acting only on the part subject to technical-aesthetic-functional wear.
All this involves the spread of new “collaborative” business models, which shift from the product concept to that of “service to the product”, for which life-cycle extension and use-phase optimization strategies will be central.
This will be a highly rewarding element for companies with strong ethical and qualitative connotations, as opposed to others that still work from the consumerist and quantitative perspective of planned obsolescence.
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Etoile moodboard: finshes, textures and palettes
Etoile – research & development
Etoile provides all the tools to create workspaces that are functional, comfortable and with the highest degree of customization thanks to a large array of selections from materials, finishes, textures and palettes.
A kind of evocative Moodboard, available to developers and designers, from which they can draw the best inspiration to ‘design’ the environment they want to create in the most effective way.
Tradition joins sustainability in the combination of natural materials such as wood and fine stone, with contemporary solutions where glass and metals prevail in a variety of finishes.
It is Etoile’s ongoing challenge to provide endless customization possibilities for exclusive, functional and comfortable workspaces.
The search for harmony and well-being is achieved through the skillful use of materials, light and colors in a continuous exchange between energy and relaxation, which are summarized and complemented in the choice of natural textures and organic design.
New trends in biodesign are rewriting the concept of workspaces into a ‘narrative’ of intimate, comfortable, both human and eco-friendly interiors.
Etoile suggests the creation of spaces designed to stimulate productivity and creativity within a “safe” context, secured under a thermal, acoustic and aesthetic point of view.
Highlights of each project are our soft and natural palettes, combined with the grain of wood and the materiality of stone and other natural materials.
A tactile, nature-inspired design that engaging the five senses in a mix of tones and textures seeking elegant sustainable and contemporary atmospheres.
—> Discover all our finishes
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the essence of design
An aesthetic and ethical journey through materials, from the most traditional to the most innovative and sustainable ones
The choice of materials is one of the key elements in making a good interior design project, whether it is a workspace, a commercial showroom or a home environment.
From the very first briefs with the client, a tone of voice is identified that can be representative of the values and narrative intended to be portrayed externally.
It is what we might call the style, personality, or the way of dealing with stakeholders.
In terms of communication, each ‘substance’ has its own ‘touch’ which strongly affects the intended imprint of the environment design.
For instance, using a moodboard composed of more traditional materials will convey a perception of solidity, authority, and strong attachment to roots, while the use of innovative solutions will tell attitude for change, constant research and creative openness to the future.
Some materials, such as wood and stone, can then be deployed both in projects where elegance and finery prevail and in projects more oriented to the perception of naturalness and indoor comfort.
In this direction, a number of recent international researches have analyzed the health and wellness benefits of wood interiors in homes, businesses, places of learning, and places of care, identifying physiological and psychological benefits, such as improving a person’s emotional state and level of self-expression, reducing blood pressure, heart rate and stress levels.
Even the use of different types of stone shows this trend to consider them as indispensable elements in interior design, thanks to their versatile characteristics of wholesomeness, sound absorption and thermal insulation.
Moreover, the combination of these natural elements with glass and steel allows to enhance their materiality and charm, creating contemporary, functional and exclusive settings.
Floorings, claddings, partition walls and desktops represent an increasingly broad field of application for natural materials, also thanks to evolving processing technologies that expand their transformational possibilities.
At the same time a trend is emerging, particularly among young designers in the international design community, showing an ever-increasing attention and sensitivity to the environment, experimenting with new methods based also on the reuse and recirculation of raw materials.
This is the case with completely biodegradable cellulosic materials; or other made from fragments of ruins, upcycling industrial waste, dried fruit shells or more extreme solutions such as recovering cigarette butts.
Biologically grown materials using yeast and bacteria in a fermentation and biotic process are also being studied.
New biodesign strategies are continually being deployed to offer innovative alternatives that redefine the use of energy, water, air and waste with a view to circular economy and to saving the planet’s resources.
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Project – Original Birth
Etoile – research & development
Crafting work and representative spaces with sartorial care, shaping the ideas and philosophy of the client. Making a company’s founding values tangible, in an interplay of shapes and lines that represent its most authentic and instantly recognizable narrative to the public. This is the essence of Etoile’s tailor-made contract, a coordinated and complex system of integrated turnkey solution management, capable of providing a tailor-made service for any need and any project.
Project – Original Birth
Combining the elegance of precious rooms with a classic touch and natural materials such as wood and fine marble, with the maximum functional space optimization of a modern industry.
This was the challenge of this interior contract tender that was submitted to us by Original Birth, a leading automotive company, which was to set up a working area of more than 40000 square meters, 15000 of which were covered, with an industrial warehouse handling more than 6 million parts and components per year, distributing them to 58 countries and 5 continents.
Metrica s ® partition was the star of the project, which combined with Metrica® Cieca and precious travertine cladding, enabled us to create refined and pleasant workspaces, simple in their organizational complexity yet extremely functional
Elegance and classicism, communicating authority and solidity, intermingle with the transparencies of glazed partitions to convey a yearning for brightness.
PROPOSAL:
Style, elegance and rationalization of workspaces were the starting points of Original Birth’s contract project moved from in perfect balance.
A careful selection of luxury complements was made, either found on the market or created expressly for the client.
Everything has been carefully contextualized in rooms surrounded by bright glass partitions, enhanced by the use of travertine wood, seeking for a unique combination of formal research, technical innovation, environmental quality and functionality.
