aluminium roof tent 23Zero Armadillo AX2 – Aluminum Roof Tent for All Season Adventure
SKU: 68859153215
aluminium roof tent

aluminium roof tent 23Zero Armadillo AX2 – Aluminum Roof Tent for All Season Adventure

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Description

aluminium roof tent 23Zero Armadillo AX2 – Aluminum Roof Tent for All Season AdventureDescription 23Zero Armadillo AX2 Rooftop Tent The 23Zero Armadillo AX2 roof tent redefines the outdoor camping experience, offering a blend of rugged durability and luxurious comfort for all season use. This aluminum roof tent is designed to withstand the harshest environments while providing a cozy and spacious retreat wherever your adventures take you. The side opening design is deployable in the right or left side configuration, making it adaptable

Description

23Zero Armadillo AX2 Rooftop Tent

The 23Zero Armadillo AX2 roof tent redefines the outdoor camping experience, offering a blend of rugged durability and luxurious comfort for all-season use. This aluminum roof tent is designed to withstand the harshest environments while providing a cozy and spacious retreat wherever your adventures take you.

The side-opening design is deployable in the right or left-side configuration, making it adaptable to various vehicle setups without compromising aerodynamics. Its gas-strut-assisted X-frame allows for rapid deployment and pack-down, saving you time and effort after a long day on the trails. The raised X-frame design not only provides 18” of headroom but also enhances 360-degree views through large 49” x 21” side windows, optimizing ventilation and visibility.

Inside, the Armadillo AX2 roof tent offers a full-size sleeping platform (55” W x 81” L) with a 2” open-cell foam mattress and anti-condensation mat for comfort. ECO13B fabric with Light Suppression Technology (LST) ensures a cooler, darker interior, so you can sleep in even after sunrise. Additional features include a clear rainfly window for stargazing, built-in dimmable LED lighting, and internal organizer pockets to keep your essentials within easy reach.

The Armadillo AX2 is engineered with durability in mind, featuring a robust aluminum shell and heavy-duty latches to protect against rain, snow, and dust. A preinstalled roof rack allows you to mount solar panels or recovery gear. With ample internal storage, including a boot bag and ladder cover with additional compartments, this roof tent offers convenience for overlanding and camping.

Key Features

Innovative X-Frame Design

The raised X-frame design enhances comfort with 18” of headroom while offering 360-degree views and optimized airflow. It also provides a convenient 54” W x 12” D x 8” H internal storage area, easily accessible through the rear window, for stowing bedding and gear.

Quick Setup and Pack-Up

Gas-strut-assisted X-frame with internal and external bungies for effortless deployment and takedown.

Light Suppression Technology (LST)

ECO13B fabric and LST blocks sunlight for a cooler, darker interior.

All-Weather Performance

Aluminum shell with heavy-duty latches for secure closure and weather resistance.

Integrated Features

Built-in dimmable 40” LED light bar, internal storage pockets (8” x 8”), and 3” diesel heater port.

Power Solution

Located internally at the head of the bed, the power module features a 12V socket, USB-A port, USB-C port, and an amp meter, with a pre-installed external SB50 Anderson plug (power source and power cord not included).

Panoramic Views and Ventilation

Enjoy 360-degree views with large windows, including two D-shaped side windows (49” x 21”), a rear window (47” x 7”), and a front window/door (34” x 28”), all equipped with weather closures and screens for protection. A roof window adds to the experience, providing stargazing opportunities and enhanced ventilation.

Specifications

  • Mounting Footprint: 52.5” W x 62.5” L x 12.5” H (includes mounting rails). Mounting rails, center to center, are approximately 22.25” apart and 52” long.*
  • Sleeping Footprint: 55” W x 81” L x 46” H
  • Open Dimensions: 62.5” W x 90.5” L x 51.5” H
  • Weight: Tent – 204 lbs; Ladder – 13 lbs
  • Sleeps: 2 Adults
  • Seasons: 4 Seasons
  • Bedding / Storage Area: 56” W x 12” D x 8” H
  • Roof Rack Rails: 2.875” W x 45.75” L x 0.75” H (2 T-Slots)

*Note: If mounting where the front or back of the tent will be flush against a truck cab or something similar, you will need at least two additional inches to open and close the latches. Extending the required mounting length by at least two inches.

What’s Included

  • Boot bag with multiple storage compartments. Main compartment is 15” x 17”, two (2) 7” x 8” pockets, two (2) 7” x 7” mesh pockets 7” x 7” and a zippered pocket 13” x 5.75”
  • Ladder cover with storage pockets
  • 7.5-foot telescopic ladder with storage bag
  • Built-in LED light bar (white and orange dimmable)
  • 2” foam mattress
  • Anti-condensation mat
  • Mounting Kit
  • Six Window Poles (35.25” slotted style) with storage bag
  • Preinstalled: Four (4) latches, six (6) window pole brackets, and two (2) roof rack rails

Mounting Kit Includes

  • Four (4) mounting plates
  • Eight (8) sliding mounting plate sets (plate, bolt, washer, nylock nut)
  • 13mm ratcheting box wrench
  • Six (6) keys
  • Also includes a telescoping ladder, two (2) sail track gear bags, and four (4) window poles with their own bag

Rack Requirements

  • Verify your vehicle’s maximum roof load capacity as specified by the manufacturer.
  • Consult with the rack manufacturer or retailer to check the load limit of your roof rack or truck bed rack, especially for off-road use.
  • Understand that the maximum allowable weight you can safely add to your vehicle’s roof or cargo area may vary depending on the make and model of the vehicle, as well as any aftermarket additions such as roof racks or bars.

The 23Zero Armadillo AX2 is more than just a roof tent—it’s your gateway to exploring the wild with ease, comfort, and style. Designed for quick setup, superior durability, and all-weather performance, this aluminum roof tent ensures you’re ready for any adventure while enjoying the comforts of home.

Shipping Notes
  • Free Standard Shipping on $100+ Orders to the USA.
  • Except Preorder products are shipped in 48 hours.
  • Delivery to the USA:
  1. Standard Shipping : 3-10 business days
  • If time is of the essence, please consider selecting expedited delivery for faster service.
Exchange/Return Notes
  • We offer a 30-day return/exchange service after receiving.
  • Final sale items are not eligible for returns or exchanges.
  • To process your return/exchange, please contact us at [email protected]
  • Please click here for more details>>> Return & Exchange Policy
SKU: 68859153215

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L.m
Omaha, US
★★★★★ 5
Get it!! You won't regret it
I don't know what to say but if you are considering buying this,do so... I've been using it a little bit over a week and to be honest I have used all kinds of makeup and lotions and I was never impressed even with experience brands, This stuff I'm already noticing a difference in wrinkles and it's so soothing. Just buy it and try it for yourself, I'll definitely be buying more
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Reviewed in the United States on August 27, 2025
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MB
Louisville, US
★★★★★ 5
Hydrating
New fav. My teenager loves it
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Reviewed in the United States on January 10, 2026
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Ruth
Waukegan, US
★★★★★ 3
It’s okay
I use it for a month. I saw no difference. It does give you a glow for a few minutes and it does hydrate. No scent and it didn’t break me out.
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Reviewed in the United States on March 19, 2026
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Lana
Natrona Heights, US
★★★★★ 5
Good
Good
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Reviewed in the United States on January 22, 2026
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dra
Houston, US
★★★★★ 5
Fractured pop art masterpiece
Walker (Lee Marvin) and Mal Reese (John Vernon) stage a robbery, stealing a bag of cash from some crooks conducting a delivery by helicopter in deserted Alcatraz. Reese double crosses Walker and leaves him for dead, taking off with the cash and Walker's wife. Walker survives, escapes from the island, and comes after Reese, and all the rest of his criminal organisation, with the mantra, "I want my $93,000." On this third or fourth viewing, I was struck less by what an exemplary action film this is (Marvin, the hardest man in the history of the movies, was at least as mean and relentless in The Killers), and more by how deeply artiness is infused into its structure and design. The recurrent flashing back and forward in time, especially at the start between the planning - not in the traditional meticulous heist film set up, just a series of fractured, barely linked brief meetings and conversations - and the robbery, but also Walker's thoughts returning to his betrayal, feed the predominant critical interpretation that Walker was fatally wounded on Alcatraz, and the whole film is his trying to process this and his fantasy of revenge. Boorman addresses this directly in the commentary, to the extent that he refuses to commit and says it's intended to be ambiguous. I'm now firmly in the dying-flashback camp, because of Walker's almost magical powers. (On reflection, it's like the question of whether Deckard is a replicant - you can enjoy debating it and looking for clues, but in the end the answer is yes.) He appears in new scenes and locations with no evidence of having travelled, and generally in a spiffy new outfit (more of this later) despite carrying nothing but his revolver, and, particularly in the central sequence, he evades being apprehended either by coincidence (the lift he's in opens and closes while the baddies waiting for the same lift are distracted by a commotion) or by the sheer application of cool (waiting immobile but scarcely invisible in an underground car park while his pursuer is gunned down by police). He also has an advisor/mentor, played by Keenan Wynn, who pops up in scenes like a cartoon character (he looks like a sort of dome shaped, bristle headed man in a suit who might appear in Ren and Stimpy) and gives Walker his next mission, while the two of them assiduously avoid eye contact as if one or both aren't really there. From Walker's re-emergence in the first of a series of natty suits, Point Blank is constructed as a series of set pieces. The first is the oddest, continuing the flashbacks and playing with chronology. Walker is seen striding intently down a corridor, and we hear the sound of his footsteps over a series of scenes of his meeting his wife, and the two of them sharing innocent good times with Reese. He confronts his wife, fires six shots into her bed before realising Reese isn't there. A scene later, she's dead after an apparent overdose. A scene after that, the body is gone, the apartment is bare, and Walker has boarded himself inside. Did Walker even see his wife? Had she died already? A messenger arrives from whom Walker extracts a name, and he's off chasing the next link. Walker meets care dealer Big John, whose yard has enormous signs in a jazzy '50s font. He asks for a test drive, buckles his seatbelt, and smashes the car between pillars (c.f. The Driver) until John spills the next name. The most self-consciously art-directed scene follows, in which Walker visits a nightclub which features both a bikini-clad go-go dancer and a trio playing something between jazz and James Brown. Tipped off by a flirtatious waitress that he's being followed, he ducks behind the stage, and fights two baddies while giant faces are projected on a huge screen behind him. In a moment that suggests Tarantino watched this while writing Inglourious Basterds, Walker pulls down a rack of celluloid canisters to trap one pursuer, and then returns things to some kind of action movie orthodoxy by subduing the other one with a haymaker to the groin. In the centrepiece, Walker meets his sister-in-law Chris (Angie Dickinson). Grief and his mission of revenge don't mean he misses the chance to share her bed, and emerge, manhood serenely unthreatened, in her borrowed yellow shortie robe. The colour scheme gets turned up to 11 at this stage, with Walker in a mustard shirt-sports jacket combo (his outfits get truly creative whenever he's bedded Angie - later, he sports a shirt somewhere between salmon and ruby grapefruit - which I guess is the wardrobe equivalent of Joseph Gordon Levitt's post-coital dance routine in (500) Days of Summer), Angie in a rockin' yellow shift dress and matching '60s mid-length coat (let down soon after by wearing something striped like a bee), and Reese in a light tan, crushed velour t-shirt that might be the least flattering male garment in cinema until Borat's mankini. Walker even finds a sightseeing telescope painted lemon yellow, which he casually dislocates from its moorings to scope out Reese's penthouse lair. Once Reese is dealt with, the movie shifts into an early example of crime-as-big-business. Reese's boss is Carter, whose sleek Mad Men-style office and threads are matched by his resemblance to that series' Ted. According to IMDb, Lloyd Bochner, who plays Carter, was doing voice-over work from age eleven, and between him, Vernon's baritone (you know how it sounds - like Dean Wormer: "Fat, drunk and stupid is no way to go through life, son."), and Marvin's basso profundo, there's a meeting of male voices unmatched until, say, Brideshead Revisited. Around this point the architecture of LA attracts more and more focus, both modernist glass towers and the concrete culvert of the LA River, where a sniper lurks who might have inspired the climactic shooter in Get Carter. The commentary is conducted as a dialogue between Boorman and Soderbergh, who, if you've seen this, early Nic Roeg (Performance and Don't Look Now), and were already acquainted with the colour yellow, seems less original than he otherwise might. He has the decency to open by talking about how many times he's stolen from Point Blank. He's not the only one though. Point Blank deconstructs and toys with the action film as knowingly as anything in the 45+ years since, up to and including Archer and the entire oeuvre of Shane Black. Just when it's in danger of becoming too clever to be satisfying as a genre piece, it gets your attention with a pistol whipping, a punch to the groin, or the rarely-shown actual end result of the villain-takes-a-long-fall thing. And of course there's Marvin, who, whether dressed like a dandy, wearing a robe, or looking baffled when the next corporate criminal explains that they just don't have $93,000 to hand over, can't be beat. Seriously, you're not obliged to love it, but you have to see it at least once.
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Reviewed in the United States on May 3, 2014

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