Here’s a name from the rarefied world of refined A&D bath products that I haven’t heard for awhile: Toscoquattro. Way back in April of 2008, we profiled the manufacturer’s exquisite Chorus Bathroom Series by Claudio Nardi. This collection featured spacious monolithic tubs whose roomy environs were sculpted from beautiful Antalya gray stone. The company continues the tradition of deep, sublimely curved contours with a complementary duo of vanity and basin: Le Acque features a gorgeous inverted semi-circle of bright white Cristalplant perched on the very edge of a complementary wooden vanity.

Le Acque Basin and Vanity. Designed by Claudio Silvestrin for Toscoquattro.

Choose Le Acque in Cristalplant and Walnut

Le Acque’s sinks are as spacious as they seem. The basin measures in at 29 cm deep X 60 cm in diameter, while the vanities come in at 70, 110, and 140cm widths. But enough about bare utility; ultimately, the most compelling aspect of designer Claudio Silvestrin’s intriguing composition is its daring formal innovation. The seemingly precarious placing of an entirely visible sink at the far corner of the vanity defies our expectations about basin placement, while drawing us inexorably in. Indeed, the visual appeal—which, to my mind, is akin to that elicited by the expert placement of a work of modern art—soon secedes to Le Acque’s immense textural appeal, as one is invited to explore the tactile contrast between square and round, between laminated wood and super-smooth Cristalplant, between the vanity’s hard lines and the basin’s deep lovely curves.

Via KbbOnline.

About the Manufacturer: For more than 30 years, Toscoquattro has been very much in the game of highly functional and superlatively stylish products for outfitting showers and baths. The line includes vanities, washbasins, taps, showers, tubs, mirrors, and lighting. Toscoquattro’s driving ethos is “the continuous and meticulous exploration of the universe of shapes and materials… enabling the achievement of technical-projectural solutions of high quality standards and elegant design.” A quick sampling of Toscoquattro’s wondrous world of formal exploration might involve the linear synchrony of the Elements Collection, the intriguing efficiency and surprising pragmatism of Sixty, and the sinuous sculpturality of Forma.