LuxDeco

A single chrome column, offset toward one end.
The Minotti Pilotis console top overhangs further on one side than the other, and that asymmetry is the whole point.

The underside edge of the black ash top is wrapped in a polished chrome lip.
From the side, the column reads as a single sculptural gesture. From the front, it disappears almost entirely behind the overhang.

Walnut grain radiating outward from the centre of the tabletop, a natural pattern that makes the Blaine table look composed even before anything is placed on it.

The legs are polished cast aluminium, looped into an organic form with a hollow centre. Against the warmth of the walnut above, the chrome reads cold in the best possible way, the contrast is the point.

The Poliform Kaori armchair is built from an outer frame and an inner seat that wrap around each other rather than merging into a single upholstered form.

The outer leather shell holds its curve independently, giving the chair a defined edge that most armchairs lose when you sit in them.

Splayed dark wood legs carry the whole thing at a slight outward angle.

A small structural decision that stops a deeply curved chair from feeling heavy.

A ceramic tabletop sitting on an oak apron with a marble inset at the join, three materials meeting at one edge, each one visible and intentional.

The Poliform Symphony sideboard takes the same approach to its interior: dark-lined drawers, open compartments, rounded oak ends with no visible hardware.
A piece that doesn't stop being considered even when the doors are closed.

Grid quilting on the headboard, the base, and the bench.

The Minotti Twiggy Bed applies the same tailoring logic to every surface it touches.

The low platform profile keeps the bed close to the floor, which is a proportional decision as much as an aesthetic one.

It makes the room feel wider than it is.