Twelve materials in the catalogue, three families, and one surface that takes every knock in the room. What actually separates them.
2026-09-07
The worktop is the hardest-worked element of a kitchen: you cut on it, rest hot pans on it, spill water on it. It is also the most expensive surface per metre. The twelve references in the material library fall into three families.
Calacatta, white with grey and gold veins, the brightest in the range. Vecchia, pale with gold veins, warmer than a Calacatta. Emperador, dark with copper veins, for high-contrast layouts. Sahara noir, a deep black ground crossed by pale veins, with a solid, massive look.
Marble is a natural stone: no two tops are ever identical, and that is exactly what you come to it for. It is also porous — it marks more easily than a ceramic.
The white quartz in the catalogue is plain, with no veining: the most neutral surface in the range. It is the choice for a kitchen where the fronts, not the worktop, should hold the eye.
Beige ceramic with soft veining, indifferent to the heat of the hob. Travertine ceramic, which gives the grain of travertine without its porosity. Black ceramic with fine white veins, very graphic. Titanium, deep black flecked with copper.
Ceramic is full-bodied: the material runs through the thickness. It is the family that stands up best to heat and water, and the one that asks least of you.
It is chosen from the same families. The vertical panel between the worktop and the wall cabinets takes the water and grease thrown behind the hob and the sink: carrying the worktop material up avoids a visible joint and wipes clean in one pass, where paint would be ruined within months.
The samples in the material library are the original images from the workshop's catalogue, cropped square: nothing is simulated or colourised.
