SKU: 40853001008
large square planting pots

large square planting pots 85cm Extra Large Square Concrete Planter Cubrosa

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Description

large square planting pots 85cm Extra Large Square Concrete Planter CubrosaExtra Large Square Planter Ideal for Trees, Structural Shrubs & Feature Displays Bring bold architectural form to patios, entrances, and landscaped spaces with the Cubrosa's refined silhouette and robust construction. The Cubrosa is a sculptural extra large square planter that combines minimalist design with heavyweight performance, perfect for statement greenery in both indoor and outdoor settings. This 85cm extra large planter offers a commanding

Extra Large Square Planter – Ideal for Trees, Structural Shrubs & Feature Displays

Bring bold architectural form to patios, entrances, and landscaped spaces with the Cubrosa's refined silhouette and robust construction.

The Cubrosa is a sculptural extra large square planter that combines minimalist design with heavyweight performance, perfect for statement greenery in both indoor and outdoor settings. This 85cm extra large planter offers a commanding presence, ideal for creating focal points in gardens, commercial spaces, or expansive interiors.


  • 459L capacity – ideal for specimen shrubs, small trees, and deep-rooting plants, providing ample space for robust root systems and long-term growth
  • 85cm W × 85cm D × 85cm H – with a wide 77cm planting opening for effortless styling and access, allowing for easy planting and maintenance of large specimens
  • Crafted from premium pigmented concrete – no paint, no peeling, no fading; colour runs throughout, ensuring long-lasting aesthetics and durability
  • Indoor & outdoor use – sealed internally and resistant to frost and UV exposure, making it versatile for various environments
  • Pre-drilled drainage holes – support healthy roots and water flow management, preventing waterlogging and promoting plant health
  • Steel-reinforced and stable – 111kg unfilled weight for security and resilience in public or exposed areas, offering peace of mind in high-traffic locations
  • Low-maintenance – wipe-clean surface; no ongoing treatments required, saving time and effort in upkeep
  • Flat base – sits firmly on any level surface, including tiles, decking, or paving, ensuring stability and versatility in placement

Tip: Position the Cubrosa before planting to avoid lifting post-fill. Its substantial weight makes it ideal for permanent or semi-permanent installation, offering long-term design solutions.


Why Choose the Cubrosa Square Planter?

  • Bold, structured geometry – sharp, clean lines and cube shape for a modern, architectural look that complements contemporary landscapes and interiors
  • Generous 459L volume – accommodates large root systems for thriving greenery, allowing for impressive plant displays and long-term growth
  • Natural, hand-finished surface – each piece has artisanal variation, including raw texture and organic pitting, adding unique character to every planter
  • Durable and theft-resistant – reinforced with steel and crafted for high-traffic, high-impact areas, ensuring longevity and security in public spaces
  • All-season performance – frost-resistant, UV-stable and internally sealed for year-round use, maintaining its appearance and structural integrity in various climates
  • Colour integrity – Truffle is a soft blend of taupe, beige and light brown tones, infused through the material for lasting finish that complements a wide range of architectural styles
  • Sustainably produced – handmade in small batches by skilled artisans using low-waste methods, aligning with eco-conscious design principles
  • Versatile for commercial and residential – use in gardens, courtyards, terraces or interior atriums, adapting to diverse design needs and environments

Full Description

Introducing the Cubrosa – a statement-making extra large square planter built for scale, structure, and enduring elegance. This 85cm extra large concrete planter is designed to anchor bold plantings, holding an impressive 459 litres of soil. Its substantial capacity makes it ideal for trees, structural topiary, or dense floral groupings, allowing for impressive horticultural displays in both residential and commercial settings.

Each Cubrosa planter is meticulously hand-poured from a premium concrete mix and finished in Truffle – a sophisticated neutral earthy tone that harmoniously blends taupe, beige and soft brown hues. The colour is integral to the material, ensuring it won't chip, fade, or flake with use, maintaining its aesthetic appeal for years to come. The surface features gentle pitting and natural variation, creating a textured, artisanal finish that adds depth and character to the large concrete planter.

Engineered for longevity, the Cubrosa boasts a steel-reinforced core and an impressive 111kg empty weight. Its weatherproof construction ensures it can withstand the elements, making it suitable for year-round outdoor use. The planter is internally sealed to protect against moisture ingress and features built-in drainage to promote healthy root systems. The low-maintenance design and flat base make it an ideal choice for both private gardens and professional landscapes, offering versatility and practicality.

From modern garden beds to expansive commercial courtyards, the Cubrosa delivers clean geometry, superior strength, and timeless appeal. Its extra large size and durable construction make it an excellent investment for those seeking to create impactful plant displays or define spaces with architectural greenery. Whether used as a focal point in a minimalist garden or as part of a larger landscaping scheme, this 85cm extra large planter offers the perfect balance of form and function.

Shipping Notes
  • Free Standard Shipping on $100+ Orders to the USA.
  • Except Preorder products are shipped in 48 hours.
  • Delivery to the USA:
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Exchange/Return Notes
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  • Final sale items are not eligible for returns or exchanges.
  • To process your return/exchange, please contact us at [email protected]
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SKU: 40853001008

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Marcella
Natrona Heights, US
★★★★★ 4
Good product.
Color: Caviar PDRN
Good Product.
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Reviewed in the United States on June 7, 2026
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Sarah Pettingill
Louisville, US
★★★★★ 5
🫶🏻
Color: Caviar PDRN
I love these. I put these on every morning when I’m getting ready. Sometimes I’ll even leave them on under sunglasses if I’m just doing school drop off 😆 They don’t slide off, they really help brighten and de-puff my under eyes, they have a cooling effect, unscented, and there’s no irritation. They also help concealer go on super smooth. I recommend!
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Reviewed in the United States on May 18, 2026
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Jessica Martin
Waukegan, US
★★★★★ 5
super hydrating
Color: Caviar PDRN
I love the full face mask but this is nice for a more frequent refresh. They are super convenient and work really well.
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Reviewed in the United States on June 4, 2026
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Zachary Bednar
Birmingham, US
★★★★★ 5
The Perpetual Joke
One of the best films I have ever seen is The Killing. It can boast a great many things. It can proudly say that it is the best heist film ever made and that it is the creme dela creme of film noir. Out of all the films in my top ten favorites, The Killing is easily the most watchable and purely entertaining. It doesn't try to be much more than a crime picture. A crime picture written by the legendary Jim Thompson of course. Thompson is one of the best American crime writers, well ever. And his work in The Killing is simply exemplary and total-classic Thompson. The film can also boast having a brilliant cast. Sterling Hayden, Elisha Cook Jr., and Marie Windsor soar, it can boast having possibly the strongest ensemble in all of the crime genre. It can boast having a pitch perfect tone and a distinctly unique and absorbing atmosphere. It can brag about the extraordinary tracking shots throughout or the lighting that startles and dazzles and vibes, melts. It can brag about being fun and devious and sly. It can brag about being unpredictable and clever. Smart. It can brag about being one the greatest films ever made. It's honestly that perfect. And did I mention that some guy named Stanley Kubrick directed the thing? The Killing is a film about a group of men who plan to knock off a racetrack, those who seek to thwart them, and how it all plays out. The characters are unforgettable. The Killing has in it's repertoire more than just a few of my favorite noir characters. What makes the players so special is that all of them are so sympathetic. Really. My heart goes out to each and every one of them, understanding and empathy seldom hits this hard within the parameters of the heist and noir genre. But here, the damn thing works every time. I've seen the film several times and I still physically act as if every time is my first. I cover my hands over my mouth in astonishment, I bite my nails in anticipation, I drum on my knees with rhythmic excitement, I laugh out loud, and I cheer relentlessly for everyone involved. I imagine myself as a member of the outfit. I have so much fun with this twisted picture that it's ridiculous. Okay. Lucien Ballard. Dick Tower. Earl Snyder. The men who walk the walk. One of the most dazzling things about The Killing is it's technical brilliance. The thing looks absolutely gorgeous and twisted and just right. Smokey and sexy and rough. There are shots in this film that your eyes can more than feast on, they can devour them. There are sequences of sight and sound and light that will make you fall in love with noir all over again. If that's not enough, Jim Thompson's dialogue will make your head spin it's so good. You'll find yourself quoting it to yourself without warrant or cause. The beats and the meter and time and scale of Thompson's writing will send you for a ride. Great dialogue and a truly complex and understated plot, the inner workings of which are not only of the heart-pounding variety but the very fabric that it is woven into is absolutely compelling. There is a subtext here as well. I don't think Kubrick ever really made a film just for the sake of doing so, he always had something deeper to communicate on top of it. The Killing communicates within the subtext the idea of the perpetual joke. Borderline Absurdism. Characters die literally howling about not being able to understand their own private punchline. Robberies take place by men in the guise of clowns. Think Hayden Sterling as Pagliacci The Clown. The Killing feels like a crime film written by Jim Thompson, directed by Stanley Kubrick, and dreamt up by Albert Camus. The idea that everything is absurd, that life is a frenzied haywire with a morbid sense of humor. I think Sterling's Johnny finally understood the great joke of life at the end of it all. And its pointless brand of mischief. It is fascinating seeing the great Stanley Kubrick, before he really was the GREAT Stanley Kubrick, working within the framework of the crime genre. Kubrick excels here, even if he was limited by boundaries of style and time. He is a filmmaker that mastered every genre he dabbled in. He is not only one of the greatest directors that ever lived but he is my personal favorite one. His films have a crazy power, an uncanny transcendental quality to them. The Killing possesses every bit as much magic that his post 2001 films do. The Killing has a little bit more than that as well. It has an incredible watchability factor. I could watch The Killing once a week for the rest of my life and still not get tired of it. I think I'll do just that. Why not? You only live once, right?
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Reviewed in the United States on July 17, 2014
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Terry Seale
Dallas, US
★★★★★ 5
Worth viewing and studying.
First major Kubrick feature film noir. Nothing about Sterling Hayden's Communism here. Cool caper with a classic cast. The flick provides an impactful reminder to never skimp on low quality luggage, to use a double lock, and to take time whenever possible to bundle your cash with rubber bands. "While playing chess in Washington Square, Kubrick met producer James B. Harris, who considered Kubrick to be "the most intelligent, most creative person I have ever come in contact with", and the two formed the Harris-Kubrick Pictures Corporation in 1955.[52] Harris purchased the rights to Lionel White's novel Clean Break for $10,000,[g] and upon Kubrick's suggestion, they hired film noir novelist Jim Thompson to write the script for the film—which later became The Killing (1956)—about a meticulously planned racetrack robbery gone wrong. The film starred Sterling Hayden, with whom Kubrick had been impressed in The Asphalt Jungle (1950).[54] Kubrick and Harris moved to Los Angeles from New York and signed with the Jaffe Agency to shoot the picture, which became Kubrick's first full-length feature film shot with a professional cast and crew. The Union in Hollywood stated that Kubrick would not be permitted to be both the director and the cinematographer of the movie, so veteran cinematographer Lucien Ballard was hired for the shooting. Kubrick agreed to waive his fee for the production, which was shot in just 24 days on a budget of $330,000.[55] He clashed with Ballard during the shooting, and on one occasion Kubrick threatened to fire Ballard following a camera dispute, despite being only 27 years old at the time and 20 years Ballard's junior.[54] Hayden recalled that Kubrick was "cold and detached. Very mechanical, always confident. I've worked with few directors who are that good".[56] The Killing failed to secure a proper release across the United States; the film made little money, and was promoted only at the last minute, as a second feature to the Western movie Bandido! (1956). Several contemporary critics lauded the film, however, with a reviewer for TIME comparing its camerawork to that of Orson Welles.[57] Today, critics generally consider The Killing to be among the best films of Kubrick's early career; its nonlinear narrative and clinical execution also had a major influence on later directors of crime films, including Quentin Tarantino. Dore Schary of Metro-Goldwyn-Mayer was highly impressed as well, and offered Kubrick and Harris $75,000 to write, direct, and produce a film, which ultimately became Paths of Glory (1957)." [Wikipedia]
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Reviewed in the United States on February 21, 2016

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