A visit to the latest edition of Cersaie has become a journey of discovery of the technical and inventive possibilities inscribed on surfaces. These are not simply finishes on the material but an aesthetic search and a rich and complex creative and expressive language, suitable for any type of space, ambience and function, on horizontal and vertical planes. In various material supports, metal, raw earth, wood, porcelain stoneware, glazed stoneware, wallpaper, artistic glass, a rich language of signs – made up of cuts, veining, inlays, colour spots, join, reliefs, macro signs, rhythmic textures, traces of time to the total absence of signs – enhances the fundamental and perfect combination between technical and aesthetic research, between design culture and knowledge of the materials.
De Castelli, Yoko, design Lorenzo Sonnoli
The sign is the magisterially graphic one, in this case simple but playful, of Lorenzo Sonnoli. Inspired by the work of the nineteen sixties of Gruppo Fluxus, Yoko is a collection of 30×30 cm tiles in black délabré sheet, on which points and lines are inlaid in brass or brushed copper, according to a method that favours randomness in creating infinite compositions.
Cotto D’Este, Vanity
The signs drawn from one of the most valuable natural materials are sophisticated and light. The subtle, silver or sand coloured veining of the marble snakes unmistakeably across a crystalline black or white background in three possible versions: Bianco Luce, compact and very pure, recalling the marble of Carrara, Bianco Statuario, which reflects the characteristics of the limestone of the Apuan Alps, and Dark Brown, which reproduces the cloudy structure in brown and beige hues of a marble from Spain. With velvety or glossy finish, the slabs in the Kerlite version are 6.5 thick with dimensions from 120×120 and 120×260 cm.
Just a small cut on the surface creates a complex expressive language and overcomes the repetitiveness of the mosaic. In the new collection of Mosaico+, the 5×5 cm tessera is engraved with a graphic sign, a line that divides every individual element in 5 different ways to create 5 types of decor in a random composition or according to a predefined layout. The thin, bright and luminous artistic cathedral glass can be coloured with full or flat hues or the surface can be irregular and veined.
Ceramica Vogue, Dekorami, design Marcante-Testa
The graphic sign is K but also little geometric forms, lines, squares, triangles, points, circles, semi-circles, repeated in relief on the surface in glazed stoneware. Arranged in an orderly way on 25×25 cm tiles, they evoke decorative elements of the past, as the names suggest: Kolonne, Koriandoli, Kodici. There are five colours for the glossy surface, white, pastel pink and blue, bottle green and dark blue, three satin ones, white and the pastels.
Matteo Brioni, Fuga, design Studio Irvine/Marialaura Rossiello
In the surface in Terraplus, a raw earth mixture with mineral binders and resinous polymers as additives, the Fuga becomes the sign in the foreground that attracts the gaze. In the Terra Frame design, on display on the Wall&decò stand, a cross in natural copper, created by De Castelli, is grafted onto the continuous floor to disrupt the relationship between spacer and brick, “the spacer becomes a rigid element and the ‘brick’ a fluid element. Every now and again the Fuga disappears to show that, in reality, there is no ‘brick’ but a continuous floor.”
Wall&decò, Wet System
In the imaginary complex that makes up the sixth, rich collection of cladding systems for showers and damp environments, amidst the graphics in the greyscale, drawn lines and full textures, flashes of colour emerge here and there in tones of yellow, blue and orange, chromatic signs that break up the visual field without disrupting the uniformity.
Giopagani Surfaces, Giacobazzi, Grafiche, design Giovanni Pagani
Wood, as a wall covering, in the capsule collection becomes a decorative element of wood-panelling and floor-panelling, lending itself to the printing of textures that recall a retro atmosphere, from the abstractionism of the twenties to the city living of the sixties. Here, the geometric or abstract signs come together in an incessant rhythm to create a pervasive visual effect and broaden the perception of the space. The 60×60 cm bricks are prefinished in oak wood with digital print.
Ceramica Sant’Agostino, Oxidart
Time, atmospheric conditions and use leave visible and often very beautiful signs. The collection in porcelain stoneware reproduces, after long processing with the +ART method, the oxidation and acidifying effects of sheet metal. With colour-shading, chromatic aberration, alternating between glossy and opaque areas, and a silky finish, soft to the touch, the range includes formats from 120×120 cm to 20×20 cm with a decorated Patchwork version.
Glamora, GlamFusion™, Collection IX
From exotic species of the tropical forest to the Mediterranean scrub, to meadows in bloom, in the collection of prefinished and waterproof wallpaper, the sign acquires a dreamlike, oversize dimension. The plant and floral theme is interpreted with macro graphics, impalpable shadows and abstract signs.
Laminam – Invisible White
The company that first introduced in the sector the ceramic slab, revolutionized the use of porcelain stoneware, is presented with a setting that reproduces the appearance and sound of a white marble quarry, where the new slabs are the protagonists Invisible White from the natural collection in 1620x3240mm format. As works of contemporary art. Masterpieces of nature, meticulously reproduced on the ceramic surface.