 is the bold new platform from Tongue & Groove, designed to push the boundaries of timber flooring through creative collaboration with industry visionaries. We talk with Australian design icon 

 about his collaboration with Tongue & Groove and the 

 – an exploration of pattern, materiality, and the future of timber flooring.

What makes the Bosco collection such an exciting project for you?

I’ve worked with Tongue & Groove for years – I love the quality of their products and have always admired their technical expertise. When Richard Karsay (CEO of Tongue & Groove) and I started discussing Co.Lab, it felt like the perfect opportunity to create something truly unique. I’ve wanted to design timber flooring for years, but I didn’t just want to release another collection of floorboards. My goal was to challenge expectations of parquetry – exploring new forms, introducing movement, and pushing the material in a fresh direction. Bosco is the result of that process. It’s about taking something classic and giving it a bold, modern twist.

Much of my work is influenced by Mid-Century European interiors, especially Milanese and Parisian entryways from the ’50s, ’60s, and ’70s. These spaces often feature extraordinary tilework – geometric, architectural, and bold, yet deeply refined. I wanted to bring that same sense of rhythm and movement to timber flooring.

At the same time, Bosco is deeply personal. My parents are Italian, and I grew up surrounded by intricate ceramic tiles, which shaped my aesthetic from the very beginning. Traveling to Italy as a child, I was drawn to marble-filled palazzi and geometric mosaics. With Bosco, I wanted to channel those influences into timber, creating something unexpected yet timeless.

Parquetry has been around for centuries, and it’s always been about repetition and structure. I wanted to disrupt that by introducing curves, undulations, and sculptural elements. Rather than rigid geometry, the designs in Bosco embrace fluidity and playfulness.

I also thought a lot about how parquetry relates to tile design, which I’ve worked with for years. Tiles allow for intricate tessellations, and I wanted to bring that same versatility to timber flooring.

You’re known for bold patterns – how did that influence your approach to the collection?

Pattern is part of my DNA. Whether it’s wallpaper, tiles, or fabric, I’m always thinking about how pattern defines a space. With Bosco, I saw an opportunity to make timber flooring just as expressive as other materials like carpet, stone, or tile.

Can you tell us about the design process?

We started with 20 patterns and worked closely with the Tongue & Groove team to refine them. The goal was to strike a balance between classic and contemporary aesthetics, so we tested different iterations, thinking about how each pattern could adapt to different interiors. After testing different iterations, we landed on three core designs, each offering a distinct perspective on parquetry.

Can you walk us through the three final patterns in the Bosco collection? What inspired each design?

The first design can be set out in three distinctive configurations – Ada, Asti, and Albini. It’s a wave-like reinvention of Chevron and Herringbone, with curves that introduce movement and softness, giving the pattern a more organic, fluid quality. Piero is a geometric signature Greg Natale pattern that originally started as a custom tile in my own studio. It has strong architectural lines and a bold graphic quality. Andreani is where we really pushed the boundaries of parquetry, with a design that takes a woven, textural approach, creating a sense of layering and depth.

How does the Bosco collection bring something new to timber flooring?

We’re redefining what timber flooring can be. Traditionally, timber is either simple floorboards or classic parquetry, but Bosco introduces something entirely new – unexpected shapes, sculptural forms, and dynamic movement. We also designed the collection to be highly adaptable. Depending on the colour and finish, it can be a subtle, textural backdrop or a bold statement. It’s about giving designers and architects greater creative freedom with flooring.

What made Tongue & Groove the perfect partner for this project?

For me, the best collaborations blend the DNA of both partners—it’s not just about a designer lending their name to a product. This was a true partnership where Tongue & Groove’s technical expertise and my design vision came together to create something neither of us could have achieved alone. It’s not often you get to work with a brand that’s as invested in the creative vision as you are. And I think that’s what makes Bosco special.

This wasn’t just a case of me designing something and handing it over – there was a constant back-and-forth with Tongue & Groove to ensure the designs weren’t just beautiful but also functional.

One of the biggest challenges was translating these intricate patterns into timber. Unlike tile or wallpaper, where a design is applied to a surface, timber is a living material—it moves, it reacts to temperature, and it has to be cut and laid with absolute precision. That’s where Tongue & Groove’s engineering expertise was invaluable. There was extensive testing to ensure seamless transitions, precise alignment, and structural integrity. We refined details like the depth of the grooves and how the boards lock together, making sure the geometry remained crisp and the fluidity of the design wasn’t lost in execution.

How do you envision the Bosco collection being used?

It’s already being used in some incredible spaces, including a townhouse in New York and a boutique in Sydney’s QVB. What excites me most is seeing how architects and interior designers take these patterns and make them their own. Some of the designs are bold and high-contrast, perfect for a dramatic statement, while others are more tonal and textural, allowing for a more subtle effect. It’s all about how you use the colour, finish, and scale of the pattern. Bosco can be as minimalist or as maximalist as you want it to be.

What excites you most about this collection?

I’ve always believed that flooring should be just as expressive as tile, marble, or carpet – and Bosco proves that timber can be just as bold and transformative. It gives designers a new way to think about timber flooring.

Looking back on this collaboration, what does the Bosco collection mean to you, and what do you hope people take away from it?

It’s been a dream of mine for years to create a timber flooring collection, and seeing it come to life is incredibly rewarding. Bosco represents everything I love about design – heritage, craftsmanship, and pushing boundaries. I can’t wait to see it in the world.

Featuring curved herringbone designs, a bold cubist pattern, and a striking geometric tessellation, the collection is a seamless dialogue between the organic and the architectural. 

Click here for an exclusive experience of the collection.

Co.Lab’s bold debut | Greg Natale on redefining timber flooring with the Bosco Collection

A visionary initiative years in the making, we were thrilled to officially launch 

 at an intimate gathering in our Sydney showroom. The celebration brought together our most valued  industry peers, friends, and members of the  media, marking a bold new era in Australian timber flooring design.


Born from a vision to revolutionise the flooring industry and celebrate creativity and craftsmanship, Co.Lab brings together the world’s most esteemed designers to create extraordinary flooring collections that challenge conventions and set new standards in design.

The launch introduced our first Co.Lab collection: the 

a collaboration with award-winning Australian designer Greg Natale. Inspired by European modernism and mid-century tiles, Bosco merges Natale’s signature tessellating patterns with the warmth and natural beauty of solid European oak.

The event opened with a welcome address from 

 (General Manager Marketing), and featured the screening of a short film about the Bosco Collection. 

 then took part in an engaging conversation, sharing their journey in bringing the collection to life.

Having discussed the possibility of collaborating on a range of timber flooring for almost a decade, they shared their vision and inspiration behind the collection and explained the challenges they overcame to bring these complex designs to life in three-layers of solid European oak.

A son of Italian immigrant parents, Greg explained his deep connection to Italy, his admiration of its art and architectural heritage – 

 are named after famous architects and artists from the region – and his long-standing dream to bring these incredible designs, traditionally used exclusively in stone and tile, to timber.

Richard shared the role that years of rigorous R&D and investments into cutting-edge manufacturing technology played in taking these designs from concept to reality, and in bringing them to market while retaining Tongue & Groove’s three-layer solid European oak structure and best-in-class precision engineering.

We would like to extend our deepest gratitude to everyone who joined us and helped make the event a tremendous success. Your support and enthusiasm mean the world to us, and it was a pleasure to share this milestone with friends, old and new.

 and the Indesign team; and our dearest friends—

 is a pioneering initiative from Tongue & Groove that combines the brand’s precision engineering with the groundbreaking creativity of the world’s most celebrated and visionary designers to create extraordinary flooring collections. 

Click here to secure an exclusive first look.

Industry launch | Introducing our first Co.Lab series, the Bosco Collection by Greg Natale

 – a bold collaboration with award-winning Australian designer 

A celebration of pattern and timeless sophistication, Bosco merges Natale’s signature tessellating designs with the warmth and natural beauty of solid European oak. Inspired by European modernism and mid-century tiles, the Bosco collection reinterprets the traditional craft of parquetry with captivating patterns and intricate geometry.


The collection comprises five distinctive patterns—

—each meticulously crafted to reflect Greg’s signature aesthetic. 

“I’ve always dreamed of reinventing parquetry,” says Natale. “The Bosco collection reflects my passion for design and my admiration for the elegance of European interiors. 

Tongue & Groove’s expertise allowed us to push the boundaries of what is possible, creating designs that are as innovative as they are timeless.

The beauty of these designs lies in their versatility. You can create a subtle, textural effect or go for a bold, dynamic statement.”

These designs promise to captivate both residential and commercial spaces, offering unparalleled flexibility in colorways and applications.

“Greg’s artistic ethos perfectly aligns with the essence of Co.Lab,” says Richard Karsay, CEO of Tongue & Groove. 

“Together, we’ve created a collection that elevates flooring from a functional element to an art form. It’s about crafting an experience that resonates with sophistication and innovation.”

The launch of the Bosco Collection in March 2025 marks the first of many exciting collaborations under the Co.Lab banner, showcasing globally recognised designers who share Tongue & Groove’s artistry and excellence. 

Future collections will continue to explore new creative horizons, featuring collaborations with 

Yael Mer and Shay Alkalay (Raw Edges for Established & Sons)

“What sets Co.Lab apart is our pioneering spirit and unwavering commitment to 

“Together with our collaborators, we’re not just following trends; we’re setting them, creating timeless pieces that will inspire and captivate for generations to come.”

The Bosco Collection | Greg Natale reimagines parquetry with Tongue & Groove's inaugural Co.Lab series

, an initiative that combines Tongue & Groove’s precision engineering with the groundbreaking creativity of the world’s most celebrated and visionary designers. Our first collection – a collaboration with award-winning Australian designer 

 – will launch on 13 March 2025, and collaborations with 

Born from a vision to revolutionise the flooring industry and celebrate creativity and craftsmanship, Co.Lab brings together the world’s most esteemed designers to create extraordinary flooring collections that challenge conventions and set new standards in design.

“The Co.Lab initiative emerged from our relentless pursuit of innovation and delivering excellence within the flooring industry,” says CEO Richard Karsay.

“It’s about pushing the boundaries of what flooring can be and giving visionary talents a platform to bring their unique artistry to life. 

By aligning Co.Lab with globally acclaimed creative icons, we aim to not only set new standards of luxury but also to redefine the essence of what flooring can represent.”

Tongue & Groove is Australia’s first luxury flooring brand to introduce a collection that combines exquisite craftsmanship with avant-garde design. Through creative partnerships with leading designers, Co.Lab transcends traditional flooring concepts, transforming them into bespoke, artistic masterpieces.

Each Co.Lab collection is a curated experience, reflecting the distinctive creativity of its designer.

Bringing these collections to the market has relied on the meticulous craftsmanship we are known for and significant investment in advanced manufacturing technologies and bespoke processes. 

The intricate patterns are crafted with precision using our unique three-layer solid European oak boards, ensuring the same exceptional quality and durability as the brand’s existing portfolio.

 launch in March will mark the first of many exciting collaborations under the Co.Lab banner. 

Future collections will continue to explore new creative horizons, featuring internationally acclaimed talents known for their bold approaches to design.

“What sets Co.Lab apart is our pioneering spirit and unwavering commitment to luxury and artistry,” says Karsay. 

With Co.Lab, we invite the world to reimagine flooring as a canvas for creativity.

Announcing Co.Lab | Redefining luxury flooring through iconic collaborations

It’s a common misconception that timber used in interiors, like our engineered European oak boards, utilises grading systems based on structural or compositional characteristics such as strength, longevity or resistance to wear.

) feature the same industry-leading three-layered solid oak construction, robust 25-year warranty, and are hand-crafted from 

In the interiors space, timber grades relate purely to aesthetics and scarcity, not quality.

The clear definition between grades gives designers the creative freedom to enrich each fit-out with a specific aesthetic – whether they are looking for a clean finish that celebrates the refined grain of natural European oak, or a richly textured surface replete with knots and individual character.

This makes certain grades more scarce than others because there is simply less timber with fewer characteristics in an average oak tree making it a less abundant resource.

To learn more about the natural characteristics of oak, read our blog 

Oak is a living material | Characteristics of oak

Grading systems and standards vary across producers and regions and are not subject to official classification by a regulated body, such as in steel or glass. Unfortunately, this can sometimes lead to confusion and misconceptions in the market for consumers.

At Tongue & Groove, we organise our boards into three grades – 

 is derived from the majority of the tree, and celebrates the unique essence of European oak, with a richly textured grain and an abundance of knots. These boards add a characterful expression and organic beauty to an interior.

Despite being our most accessible grade, Natural aligns aesthetically with more premium grades in the industry.

, our most popular grade, celebrates the naturally dynamic textured grain of European oak, bringing an organic elegance and tactile quality to interior fit-outs.

A versatile finish that features fewer knots than our Natural grade yet retains the naturally dynamic grain and character of European oak. 

 grade features minimal knots and showcases the natural grain of European oak.

This industry leading grade brings a clean and minimalist look that is well suited to contemporary interiors.

The clear definition between each grade allows Australia’s A&D community to make informed decisions and achieve a consistent finish that redefines notions of luxury regardless of the grade.

The ability to specify across grade, finish, colour, and format of our engineered European Oak boards gives designers unprecedented choice and brings new possibilities to the design community.

Grades, a visual guide  |  Redefining industry standards

European oak trees have long been venerated as symbols of strength and resilience.


From its close associations with Zeus, Jupiter and Thor

—the gods of rain, thunder and lightning—to its adoption as the national emblem for several European countries including England, Germany and Denmark

, the mighty oak has been used for centuries in construction, flooring, furniture-making, ship-building and in the barrels that age wine, sherry and whiskey.

Our European oak boards reflect the lives of the trees and forests from which they are sourced. 

A tree’s life story—its age, height, number of branches, how much water and sunlight it receives and numerous other factors—echoes through the material, emerging as visual characteristics such as knots, sapwood, heartwood, medullary rays, and tannins.

These fundamental features give oak timber its rich character and beautiful versatility while also contributing to its inherent strength and durability.

Just as no two oak trees are identical, no two oak floors are either. As with all natural materials, timber adds variance and character to the overall aesthetic.

, one of the most distinctive characteristics of all timber, are remnants of branches and a reflection of its vitality. Oval in shape and sometimes darker than the rest of the board, they are often accompanied by waves of circular grain lines that flow outwards from the knot.

. The living, outermost layer of a tree’s trunk, stem or branch, sapwood is used to transport water and minerals from the ground to its branches and leaves. It can be identified by its lighter colour and often appears along the borders of a board.

is the oldest and strongest part of the tree. 

Usually darker in colour than sapwood, heartwood provides the tree with its main structural support and forms the majority of a timber board. 

Its low starch content makes it highly resistant to fungi and insects and is one of the main reasons why oak is such a reliable and resilient material that lasts decades.

 serve as the tree's natural protection against fungi, bacteria, and rot – a key component of what makes our European oak boards durable and long-lasting. They are also vital in the creation of colour in timber, produced as a result of the reaction between natural tannins and stains. 

Oak is unique as its tannins are receptive to a much wider range of stains than other timber species, resulting in beautiful natural tones emerging from deep within our boards.

Our three-layered engineered oak boards are made entirely from 

, we give you complete freedom to realise your project.

At Tongue & Groove, we believe that choosing European oak means deciding to bring a part of nature into your space, with all its beauty and variance. A living material with a rich and unique story, we’re proud to celebrate it in its truest form.

Oak is a living material  |  Characteristics of oak

At the culmination of another year as gold partners of 

Australian Design Review’s 30UNDER30 program

, we reflect on the wealth of experiences, conversations and connections that this year’s edition brought forth.

Across a series of events, workshops, and discussions, the 2024 cohort of young architects and designers left us inspired and hopeful that tomorrow’s built environment will be more inclusive, equitable and sustainable.

The program provides mentorship and career development in the architecture and design industry, bringing together game-changers, industry leaders, practice founders, product manufacturers, suppliers and sponsors to highlight and empower young architects and innovators of the future.

“We’ve proudly sponsored this program because we’re committed to supporting the industry’s emerging talent. Our aim is to foster a community that’s not just supportive but also genuinely encouraging,” says Tegan Schwarz, General Manager Marketing at Tongue & Groove.

“These remarkable 30UNDER30 individuals represent the next generation of designers, and they hold a significant place in our industry’s future. It’s crucial to provide them with the encouragement and support they need as they embark on their exciting journey in these formative years.”

The pinnacle of the 2024 program was an incredible 3-day creative retreat to Bali where participants embarked on a transformative journey of inspiration, collaboration, and growth. The retreat offered a unique opportunity for the selected cohort to immerse themselves in an environment designed to spark creativity, expand perspectives, and foster deep connections.

“Australian Design Review‘s 30UNDER30 Architects and Innovators of the Built World retreat in Bali was an experience I will never forget,” says Rebekah Spark, Tongue & Groove’s Victorian State Manager.

“Being surrounded by these incredible young creatives was so rewarding and empowering. The gorgeous Potato Head Beach Club and Eryka Badhu concert were also unforgettable highlights of the experience.”

We wrapped up this year’s 30UNDER30 with a vibrant panel discussion at our Melbourne showroom, where we teamed up with Australian Design Review to engage with leading creatives and unravel their material explorations, inspirations and challenges.

Moderated by Spark, ‘Master of Materials’ brought together the local architecture and design community on Thursday 11 July for a lively discussion with panellists 

Speaking to the importance of repurposing materials in innovative and non-traditional ways, Beka displayed samples of materials from recent Studio Edwards fit-outs, including fibre-reinforced plastic (FRP) used in a rooftop, recycled Airstep carpet underlay fixed to steel partitions with magnets to help with the acoustics, and even cloth from a damaged sail mast.

“A lot of the time in our studio, we’re looking at materials that might already exist, if we’re not going to innovate something completely from scratch,” she explained.

Ferguson-Smith spoke to the challenge of pushing the boundaries of materiality within a healthcare space, highlighting the importance of striking a balance between innovation and responsible design in a space dedicated to vulnerable populations.

“But there are new products out on the market. They’re constantly improving materials to be more durable or have better long-term effects in terms of sustainability. We have to have that foresight to go: ‘Can I push this client in a way that’s actually going to better them? Is this really going to bring great value to the project?’”

Millan highlighted a circuitous case study at Cera Stribley involving mycelium, where after much trial and error, she and her team created a panel with acoustic properties by baking blocks of organic mushrooms sourced from a nearby farm.

The stimulating hour-long discussion spanned a variety of topics and viewpoints around materiality, innovation and sustainability, ending in a Q&A session with the audience.

“I was thrilled to be on the panel for the Master of Material discussion. Thought-provoking and informative, it was great to learn from other designers in the industry and hear their processes with how to innovate in the fields they are working in,” said Beka.

At the close of another rewarding 30UNDER30 program, we are incredibly excited to see this year’s cohort achieve great things in the built environment and look forward to next year’s entries!

Program highlights + Panel discussion 'Masters of Materials' | 30UNDER30

At Tongue & Groove, we’re passionate about all things design and this year’s Melbourne Design Week provided us with the perfect opportunity to show our support for the industry.

From 23 May to 1 June, alongside our collaborative partners, 

 our Melbourne showroom hosted ‘The Hands That Touch the Timber’, a multi-faceted experience exploring the process, materiality and sustainability of timber in our built environment.

Located on the Wurundjeri Land of the Kulin nation, our Richmond showroom was transformed into a gallery playing host to ‘Touchwood’, an immersive exhibition exploring the essence of wood. 

The exhibition showcased art, photography, poetry, and design objects created by some of Australia’s top emerging and established creatives, including 

The diverse collection featured works crafted from various timber species highlighting the memories embedded in timber and its intersection with beauty, tactility, and sustainability.

The 10-day exhibition was also bookended by two interactive ‘Meet the Makers’ sessions,  offering visitors an intimate opportunity to engage with the creatives and delve deeper into their works and practices.

The Hands That Touch The Timber was a fantastic display of various sculptural timber works and the craftsmanship of each piece, enhanced further by the dynamic Tongue & Groove showroom," said artist Bolaji Teniola. 

"I particularly enjoyed the Meet The Makers session, where I got a chance to share the process and thoughts behind my pieces and learn more about the works of the other participants, too." 

A key feature of the program was our sustainability-focused discussion, ‘Designing with Timber: Honouring Nature's Legacy’, which brought together the A&D community and thought leaders from architecture, interior design, and the timber industry. Moderated by Green Magazine publisher, Tom Bodycomb, the panel comprised Dylan Kane (Elton Group), Michael Welgus (Studio Welgus) and Melissa Leung (Fraser & Partners). 

The engaging discussion centred on the role of timber in design and architecture, its journey from source to finished product, and the vital importance and challenges of maximising circularity in its production and consumption.

“What a great experience to discuss all things timber,” said speaker Michael Wegus.  “As an interior designer, it was exciting to see the extent of mediums used by each artist to celebrate the material in different ways. Timber will remain an integral part of my design practice and in the pursuit of timelessness and authenticity in my work.”

We’re honoured to have been a part of this year’s Melbourne Design Week and extend our deepest gratitude to all our partners, collaborators, speakers and team members who worked tirelessly to make ‘The Hands That Touch the Timber’ a huge success. 