Surfaces that speak

Contaminations, patterns and material accents: ceramics return to the design in a strongly decorative key.

Used widely in recent years, especial­ly in literary criticism, the term ‘max­imalism’ has also recently been adopt­ed to identify the search for “aesthet­ic implementation” contained in the new decorative languages of design and interior design. This distinction from the tradition­al minimalism of monochrome sur­faces and neutral colours character­ised, for example, the atmosphere of Cersaie 2018. 

Taking inspiration from a range of glazes designed by Ettore Sottsass for Cedit, the Cromatica collection by Formafantasma Studio combines various technologies to achieve new tonalities and nuances. In a similar way, Lines by Ceramica Bardelli high­lights the use of special no reflex glazes, that generate a sharp contrast between the rough surface of cement and the more refined one of metal. Relate by Caesar also plays on varia­tions of brushed effects (Brush) and colours (Flame), while Tube, by Imo­la Ceramic, provides metallic vibra­tions that conjure up metropolitan landscapes. 
The heightened use of material decoration also characterises three proposals that work around the aes­thetics of cement: Moon by Leonardo and Even by Panaria propose surfac­es with a soft appearance that has a pleasant feel, while Hyper, by Flavik­er, is inspired by blocks of industrial concrete, digitally reproducing a particular 3D graphic characteriza­tion.

Alongside the “material deco­ration’ there is an area of research that works instead on design and rhythm. Sospiri by Vallelunga, for example, uses delicate colours of Ne­ro and Avio, that bring a strong con­trast to the embroidered patterns of the surfaces. Other proposals accen­tuate the decorative potential of dig­ital printing: My Decor by Ceramica Sant’Agostino exploits a technolog­ical development that makes it pos­sible to go beyond the repetition of traditional production techniques; while the ‘cold” technology adopted for Liquida by Ceramica Fioranese achieves original results in terms of the resolution and colours of the pat­terns. Ceramica Fondovalle plays on the theme with oneiric gradations and the large format tiles of Dream weave together the pattern of linen and suggestions of natural land­scapes, interpreting a fine-looking linen with a fine texture in three pas­tel colors. Finally, taking inspiration from watercolours, Acquerello Made+39 brings to porcelain stone­ware the delicacy and richness of colour typical of paintings.

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