Contract
Stone where life happens every day.
We design and make natural stone surfaces and furniture for hotels, restaurants, bars and private residences. Our own manufacture in Cantù, material chosen at the quarry face. Between the slab and your site there is nobody else.
No importer. No distributor. No mark-up you have not seen.
Dove lavoriamo
Two worlds, two ways of treating stone.
A table at home and a bar counter are made of the same material and lead completely different lives. The first sees a few dozen contacts a day, the second a few thousand, with alcohol, lemon, ice and aggressive cleaners. Pretending they are designed the same way is the first mistake.
Hospitality
Hotels, restaurants, bars, spas, public areas. Here stone must withstand intensive use without ceasing to be the reason a guest remembers the place. It is chosen according to the spot: a reception desk and a kitchen do not ask for the same material.
- Bar counters and reception desks
- Restaurant and breakfast tops
- Slab cladding and panelling
- Basins and vanity tops for guestrooms
- Backlit onyx lighting
- Bespoke furniture for public areas
Residenziale
Private residences, villas, representative apartments. Here freedom is greatest: the most difficult and rarest slab can be used, because use is measured and whoever owns it knows what they have. This is where the one-off work makes sense.
- Kitchen tops and islands
- Bespoke tables and low tables
- Bathrooms: basins, tubs, cladding
- Fireplaces and wall systems
- Stairs and thresholds
- Commissioned works and sculpture
Realizzazioni
Delivered work. The names stay out of it.
Some of the surfaces and furniture that left our workshop and were installed in high-end hospitality properties. No names, no façades, no signage: discretion is part of the service, and in any case the only thing that should speak here is the stone.
Project
Hotel Resort
Buffet islands and service counters for the restaurant of a seaside resort. Light stone tops on walnut-veneered fronts, with open compartments for plates, integrated induction wells and a continuous led line at the base. The signage above each station was made to match the same palette.
The stone and the cabinetry come from the same production run: tops, fronts and lighting are set out together at the drawing stage, which is what keeps the joint between stone and wood continuous along the whole development.
On site
The same counters photographed during installation, before the room was fitted out and opened: no styling, no set lighting, plates already in place.
Disegno e manifattura
When the drawing resembles nothing that exists.
An artist's drawing is not negotiable. Either the stone gets there, or the work is not the work: there is no reduced version of a form born whole. To forge marble into a figure that did not exist before means taking a material made to stay still — heavy, rigid, unforgiving of a single blow — exactly where the hand that drew it wants it.
The craft lies entirely in a very narrow margin: between what the stone will bear and what the artist imagined. Onyx, alabaster, rare marbles — precious and extremely fragile materials that grant no second chance under the blade — must be pushed to an instant before the point where they give way, and stopped exactly there.
The object stops looking cut. It starts looking alive.
Monti
Libreria · disegno di Egregio
A disc of dark stone with a carved surface, crossed by six through-shelves in burnished metal. Points of light are set into the rim along the whole circumference, drawing the circle out of the dark at night.
This is the kind of work an in-house production department exists for. A work like this is not ordered from a catalogue and not handed to an outside workshop: it is drawn, tested and corrected on the real stone. None of its dimensions is repeated anywhere else.
Parione
Mobile bar · disegno di Egregio
A sphere of grey veined marble, cut at the equator: the cap lifts away and beneath it the bottle well appears. A white ring runs through it and serves as a surface. A planet with its ring.
Continuous curves on a solid body, a ring that passes through the stone with no visible support, tolerances that show to the naked eye if they are a millimetre out. These are the operations that make an in-house manufacture worth having: you try, you get it wrong, you do it again the same day.
LuxOnyx
Sistema di illuminazione · disegno di Giuseppe Fallacara e Andrea Sgherza
We rethink light and its force. Each module is a curved onyx tube, hollowed and lit from within: the stone stops being mass and becomes a source. Copper joints hold the composition together, and it extends as far as the space requires.
On thin, curved, backlit stone every flaw shows through: a micro-fracture, an uneven thickness, a vein that absorbs more light than the rest. The block is chosen thinking of how it will behave lit, not of how it looks unlit. One more reason to go and see it at the quarry.
Margutta
Opera · disegno R&D Stoneform
Volumes of layered onyx, cut along a line that did not exist in nature and yet seems always to have been there. The horizontal bands crossing their sides are deposits of millennia, left visible by the cut: they are not a decorative motif, they are the history of the block.
Here the drawing is ours. A research department exists for this: when a project does not come from outside, it is born inside — and born in the very room where it will be cut, the only case in which the imagined form and the limit of the material are argued out over the same slab.
Il prezzo
We are competitive because there is nobody in between.
In the usual route, between the mountain and the site you find an importer, a distributor, often a dealer and finally an outside workshop. Each takes their share, and each adds time. The client pays four margins and sees none of them.
We choose the material at the quarry face and work it in our own department. Two steps remain instead of six. This is not a promotion: it is how the company is built, and it does not change from one quotation to the next.
La cava
The block is chosen on site, not from a price list.
Importatore
Not there.
Distributore e rivenditore
Not there.
Laboratorio terzo
Not there: the manufacture is ours.
Il cantiere
Delivery and installation agreed, by appointment.
Come si progetta per l'uso intensivo
The questions we ask before choosing the slab.
There is no absolutely right stone: there is the right stone for that spot, with that finish and that treatment. These are the criteria we work by, and the same ones we discuss with the designer before quoting.
Il materiale segue il punto
Marbles and onyxes are calcareous: they react to acids, and on a cocktail counter lemon leaves its mark. Where contact is constant and aggressive we use quartzites and granites, siliceous and far harder. Marble stays where it is looked at more than it is worn.
La finitura nasconde o rivela
Polishing gives depth and reflection but reveals every micro-scratch: fine on a reception desk, less so on a working top. Honed and leathered finishes do the opposite, softening marks and haloes. Choosing a finish is a maintenance decision, not only an aesthetic one.
Trattamenti che entrano, non che coprono
Impregnating sealers penetrate the pore structure and reduce absorption of liquids and oils without forming a film: they do not change the colour and do not peel. Surface films do the opposite, and in a public venue they last a season. Treatment must be renewed: it is a programme, not a one-off.
Spessori e spigoli
On points of constant contact we avoid knife-thin profiles and leave material at the outer edge; rounded arrises resist impact far better than sharp ones. On thin slabs and backlit onyx a fibreglass reinforcing mesh is applied to the back.
A terra, la scivolosità è legge
For pedestrian routes, Italian D.M. 236/89 requires a friction coefficient above 0.40 by the B.C.R.A. method, and Legislative Decree 81/2008 places non-slip flooring among the employer's obligations. Floor finish is chosen from there, and the value is verified on the actual material.
La manutenzione si consegna scritta
With the work we hand over instructions: what to use, what not to use, how often to renew the sealer. Most damage to stone in public venues does not come from use, it comes from the wrong cleaner used for two years.
Values and treatments are defined on the project's actual material: the same variety can behave differently from slab to slab, and tests are run on the one chosen for you.
Con gli studi di progettazione
We give you the sample, not the promise.
With architects and interior designers the method has always been the same: samples of the real material, photographs of the whole slab before cutting, detail drawings of the junctions, and the right to change the slab if it does not convince. On request we study book-matched veining for continuous fronts.
On timing we are explicit: production takes six to eight weeks, plus transport and installation. A contract project is planned on that number, and we do not discover that number halfway through the site.
Documentazione tecnica
The dimensions, before the conversation.
Each sheet gives the dimensions of the standard design, the materials, the thicknesses and the installation notes. These are the numbers that tell you whether a work fits a project, and we make them available without asking anything in return.
Dimensions refer to the standard design. Every work is made to measure: size, stone and finish are defined with the project. For CAD drawings of the junctions and for samples, write to us.
Parliamone
Send us the drawings. We answer with a real quotation.
A few things are enough for an assessment: plans or detail drawings, approximate quantities, the material if you already have one in mind, and the site dates. If the material has not been chosen yet, we start there together.
The Cantù showroom is visited by appointment, and for contract projects it is where the conversation moves fastest: slabs are looked at and touched.