Geometria is the collection in which the pattern is set into the leaf. The drawing is engraved into the surface and filled with a contrasting line — white, gold, or a tone chosen for the interior. The line has a palpable depth that catches light and shadow differently from either end of a hallway.
The pattern does not lie on the door; it is set into it.
The composition ends higher than the leaf. We carry it onto the panel above the door and close it in the lower part of the face, so the eye reads the whole wall as one drawing — not as a door with decoration.
The two patterns differ in temperament, not in technique. G1 is a single, folded line. G2 is a rhythm of strokes that gathers and thins like a raster.
One technique, two ways of leading the eye. The first settles; the second gives direction.
One continuous stroke, descending in an arc from the head of the leaf and reaching the floor on the vertical. Least means, greatest calm — it works well in white and on concealed doors.
Vertical lines gather, break into a rhombus and descend as a single edge. A pattern legible from the far end of a hallway, and at close quarters a clean detail of filling.
The drawing is made by our own engraving technology. The line is cut into the face of the leaf and filled with a material of another colour — the pattern stays recessed, its depth both visible and felt beneath the finger. It endures, because it is an integral part of the leaf.
The line is cut into the surface of the leaf, not printed on it. It has a depth of its own and does not wear away with use.
White, gold, graphite — the colour of the filling is chosen for the interior. It decides whether the pattern whispers or speaks aloud.
The drawing continues onto the panel above the door, in the same veneer or lacquer, so the composition does not break off at the frame.
The collection is made for rebateless doors and for doors in a concealed frame alike, in any finish.
White, gold, graphite, or the tone of the leaf half a shade lighter — the colour of the filling changes how the whole pattern reads. It is rarely settled at once, and you need not settle it alone.
We prepare samples on the intended finish and look at them in your light. If you have an idea of your own — a colour from the interior design, a swatch of fabric, a photograph — the starting point is there. The rest we choose together.
The pattern behaves differently in every material — from oak and walnut to graphite lacquer and the white of a concealed door.
Tell us about your interior — we will gladly suggest which way to take the pattern and the colour.
