Continuos exploration, deepening of aesthetics and technological contents, synergies: this is the dynamic reality lying behind Horm which has taken the firm, established in '89, to so far havens. The constant activity of research for quality and for symmetry, that is the beauty coming from the harmonic connection of every part, consented to plan house furniture characterised by essential lines, able to occupy space without cluttering rooms up, ready to meet the end user's requirements. So the view widens while is possible create anew an order meeting the sacredness of hosting. From here comes also the strongly evocative name "Horm". "Sacred enclosure with right of asylum" is the meaning of this ancient Arabian word that today describes a firm which has made of that enclosure its starting point to conquest the world.

In the heart of Horm

During its years of activity, Horm has always paid attention to materials and products to be used for its furniture. In particular, the wood and its properties are exalted for their peculiar characteristics.
Starting from different types of wood - solid, slat-veneered or rotary-veneered -, passing through varnishing, rigorously manual, and to the finish (whitened, natural, mocha and cherry-wood stained), the wooden matter becomes the protagonist of the history of Horm's furniture.
This material is alive, faceted, never the same.
All this explains why the company is not willing to propose its interlocutors true wood-samples, which are too reductive compared to the peculiarity and value of this noble material.
How many examples do we need in order to describe you the uniqueness of every single slat that makes up a Horm's piece of furniture? How could we correctly show the 4 faces of a solid leg of Astor or Capriata, which, in a very personal way, also change their aspect according to how they absorb light in time?
Each Horm's piece has a unique and private story that may be perceived only through an attentive eye and a sensitive hand. It cannot be represented or simplified by means of inexact models or imperfect copies that are almost never respectful to the real essence of wood, consisting of its naturalness and precious uniqueness.
The recourse to printed paper in the section "Colours? No problem!" of the general catalogue is meant to be an aid, or simply a memo, to show how Horm proposes a wide range of wooden-finish that includes different possibilities that nature itself interprets and offers to us, to sell UNIQUE emotions, not serial products.

In Horm, design is expressed through clean shapes, from which any superfluous ornament has been wiped away thus reaching a smoothness not pursuing sensationalism but rather shrinking away from it. Along an onward path that relies on unswerving and on the harmony of the numerical elements, lines and thickness keep on relating to each other.

The range of products and their combinations go through connections as like the bookshelves "solaio" and the table "united", which can completely co-ordinate with each other as well as melting together.
The same can be said for the ensemble formed by Capriata and Sin. Although in the diversity of spaces and of planning solutions, minimalism proves itself to be the leitmotiv of the aesthetics where the inner and the external order have a precise correspondence.

The essentiality, passpartout of the Horm design, opens the doors to the infinite possibilities granting furniture the ductility which enables it to fit spaces changing as time goes by. Thus furniture becomes a living thing, because living means moving on.