SKU: 48696655206

Formani | Deurstoppen Vloer/Wand | LB30 | 36mm | Gepolijst Roestvast Staal

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Formani | Deurstoppen Vloer/Wand | LB30 | 36mm | Gepolijst Roestvast StaalFormani Deurstoppen Vloer Wand LB30 36mm Gepolijst Roestvast Staal De totale ONE hardware collectie, welke bestaat uit deur , raam , en meubelbeslag en badkameraccessoires, verrijkt ruimtes en zorgt voor een harmonieus geheel. Product informatie Code: 1501Z027IPXX0 Finish: gepolijst roestvast staal UNIT: Stuks Collectie: BASICS Designer: Formani EAN code: 8718009150573 BASICS door Formani Het ontwerp van onze BASICS by Formani collectie combineert de

Formani | Deurstoppen Vloer/Wand | LB30 | 36mm | Gepolijst Roestvast Staal

De totale ONE hardware collectie, welke bestaat uit deur-, raam-, en meubelbeslag en badkameraccessoires, verrijkt ruimtes en zorgt voor een harmonieus geheel.

Product informatie

Code: 1501Z027IPXX0
Finish: gepolijst roestvast staal
UNIT: Stuks
Collectie: BASICS
Designer: Formani
EAN code: 8718009150573

BASICS door Formani

Het ontwerp van onze BASICS by Formani-collectie combineert de elegantie van ronde vormen met strakke lijnen. Een boeiende combinatie, waarbij de verschillende elementen op unieke wijze met elkaar verbonden zijn. Het rechthoekige deel van de deurkruk loopt subtiel maar krachtig over in een ronde greep. Deze greep is proportioneel aan de horizontale plaat waaraan hij bevestigd is. De massieve uitstraling van staal transformeert bij elke aanraking in elegantie en luxe. Het ontwerp kenmerkt zich door een divers vormenspel, maar straalt tegelijkertijd eenvoud uit. Gecombineerd met de juiste materialen is de BASICS deurkruk het perfecte detail voor elk interieur.

Over Formani S schuifdeurgrepen

Formani is een toonaangevend Nederlands designmerk dat is uitgegroeid van een familiebedrijf tot een wereldwijd erkende speler in architectonisch hang- en sluitwerk. Onder het motto "Obsessed by Details " ontwerpt Formani producten die uitblinken in zowel esthetiek als functionaliteit.

Deze filosofie is duidelijk terug te vinden in hun collectie rozetten. Elk detail is zorgvuldig ontworpen en vervaardigd, waarbij design, materiaalkeuze en afwerking worden gecombineerd tot een product van uitzonderlijke kwaliteit. De rozetten vormen niet alleen een visuele aanvulling op bijpassende deurklinken, knoppen en ander beslag, maar bieden ook technische verfijning die voldoet aan de hoge eisen van moderne architectuur.

In samenwerking met toonaangevende ontwerpers zoals Piet Boon, Gensler en Tord Boontje ontwikkelt Formani rozetten die naadloos integreren met complete collecties. Zo is de iconische TENSE-serie van Piet Boon voorzien van minimalistische sleutelplaatjes die de kracht van eenvoud benadrukken, terwijl innovaties zoals de FOLD-lijn getuigen van innovatief denken in ontwerp en installatie.

Formani-sleutelplaatjes maken deel uit van een uitgebreid concept dat wereldwijd wordt gebruikt in luxe woningen, toonaangevende hotels en exclusieve horecagelegenheden. Elk product voldoet aan de hoogste normen op het gebied van design, duurzaamheid en functionaliteit.

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SKU: 48696655206

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4.0 ★★★★★
Based on 30 reviews
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Product Reviews
D
Verified Purchase
Doug S.
Charlottesville, US
★★★★★ 5
One Of My Top Ten Movies
It's a Terry Gilliam masterpiece that blends a touch of Monty Python, Twilight Zone, and Broadway! Worth the watch!
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on May 3, 2026
T
Verified Purchase
Tripp Moore
Grantham, US
★★★★★ 5
Visually Brilliant, Darkly Funny, and Still Uncomfortably Relevant
I rented Brazil through Amazon primarily because I’d heard it described as a dystopian sci-fi classic, but I wasn’t fully prepared for just how strange, creative, and visually dense this movie actually is. It feels like George Orwell had a stress dream after getting trapped inside a malfunctioning government office building designed by someone obsessed with ducts and paperwork. The film does an incredible job blending dark comedy, bureaucracy, paranoia, retro-futurism, and outright absurdity into something that somehow still feels coherent. The world-building is fantastic in a very grimy, claustrophobic way where technology exists everywhere but almost none of it works properly. Everything feels intentionally inefficient and overcomplicated, which makes the setting weirdly believable. Jonathan Pryce does a great job playing a character slowly unraveling under the weight of an increasingly surreal system, and Robert De Niro’s appearance is memorable despite limited screen time. The production design is honestly one of the standout elements of the entire film. Nearly every scene has some strange visual detail happening in the background that adds to the oppressive but oddly humorous atmosphere. This definitely is not a fast-paced mainstream sci-fi movie, though. The pacing can feel slow at times, and the tone swings between satire, anxiety, fantasy, and bleakness in ways that probably won’t work for everyone. It’s the kind of movie where you occasionally stop and think, “What exactly am I watching?” while still wanting to keep watching. The Amazon streaming quality itself was good with no playback issues during my rental, and the film benefits from a decent screen because there’s so much visual detail packed into the sets and cinematography. Overall, Brazil is one of those movies that feels increasingly relevant the older it gets. Strange, unsettling, funny, visually inventive, and much more layered than I expected.
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Reviewed in the United States on May 23, 2026
J
Verified Purchase
Joel Bradford
Boise, US
★★★★★ 4
Beautiful, glorious, and depressing but not without levity
Probably Gilliams most serious film, a story of a dreamer in a dystopian bureaucratic future, plagued by monotony and endless paperwork, our protagonist (played by Jonathan Pryce) isn't sure what he wants in his life, but he knows he wants something different. When the Department of Information Retrieval disappears the wrong person (played by Robert De Niro), our hero goes to reimburse the widow and discovers a woman living in the same building who looks like the woman out of his dreams (played by Kim Greist). Really stellar performances by Pryce, and a gaggle of supporting actors such as Ian Holm, Michael Palin, Kathrine Helmond, and Bob Hoskins. Greists performance is probably the weakest, but she does enough for the role that the critique of it amounts to a nit pick really. While this film is considered a cult classic, I would qualify it even less and say its just a classic, full of symbolism with a increasingly repressive tone throughout balanced by Gilliams puncturing, dark humor.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on September 29, 2024
M
Verified Purchase
Mr. Watkins
Waukegan, US
★★★★★ 5
Classic Terry Gilliam- Watch It!
One of the best Terry Gilliam movies out there. Made in the 1980's, the cast is superb, and it holds up well 40 years on. WAtch it- it's a trip!
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Reviewed in the United States on April 27, 2026
M
Verified Purchase
***moviemaker***
Boise, US
★★★★★ 5
BLU RAY is the 132 minute Original U.S. Theatrical Cut FINALLY!!!!
] On this Blu-ray for the first time ever we get the ORIGINAL 132 minute version of the film as was shown in U.S. theaters. (Note: This is NOT the "Love Conquers All" Sheinberg/TV Edit.) All the DVD releases before this have been the European Version/Director's Cut of the film. Even the original Universal DVD release that said Theatrical Cut on the box actually had the European Version/Director's Cut. Unfortunately, Universal didn't really spend any time cleaning up the negative for Hi-Definition (there is very noticeable instances of dirt and debris on the negative) but it still beats the image quality found on the Universal SD DVD, and they do include an amazing DTS-HD Master 5.1. We'll just have to wait for the Criterion Blu-ray of Brazil for image perfection but serious fans of Brazil will want to get this Blu-ray edition just to have this version of the film as it was originally seen in theaters in 1985. I actually find this 132-minute version is in many ways a superior cut of the film. Here are the differences in detail: *In the 132-minute version you cut from Sam in bed with Jill, police sack goes over head, then CUT TO Pull off police sack to reveal Sam in Torture Chamber/Interrogation chair. This one cut is simply brilliant and very powerful. In the Criterion Version you have the added scene of Mr. Helpman as Father Christmas (completely out of charcater from the rest of the film) and the whole interrogation scene of Sam hanging from the rack inside the police/mail pouch which becomes narratively redundant and dilutes the impact of the final scene. *To end it with cooling tower/interrogation room fade to clouds was a great Gilliam wink of subversion and irreverence to the cliche Hollywood Ending. As opposed to the European cut of just credits over cooling tower/interrogation room. *The Samurai Scene is divided into 3 separate scenes in the 132-minute version versus 1 LONG scene in the European cut. And you know what? Like most things, it works better in 3's. *The 132-minute version cuts straight to the Dinner Scene with Ida (his mother) ordering numero deux, trois, etc. while the European version has the entrance to the restaurant of going through the metal detector which really doesn't add anything and is again a bit redundant when the bomb does eventually go off in the restaurant. With the scene, you're signaling to the audience we are looking for a bomb, so we expect a bomb. Without the added scene, the bombing is unexpected and it actually shocks you so you're both horrified and laughing. The unexpectedness also works as it builds upon the bomb motif from the first explosion at the beginning of Brazil during the Ducts advert. *And finally I just love that the 132-minute version opens on those clouds (outtakes from The Never-Ending Story) then goes to the Central Services advert about Ducts: "Are your ducts old-fashioned, out-of-date... " Now the Criterion version also has the clouds opening (The Original European Cut didn't) but it's funny because the Studio asked Gilliam to start off with the clouds for the US Cut and he actually prefers it as quoted in his Director's commentary. Hilarious. Little changes that add up to a tighter and overall, better film.
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Reviewed in the United States on July 12, 2011

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