Nuo­ve tes­se­re / New Tes­se­rae

Nuo­ve tes­se­re New Tes­se­rae

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A par­ti­re da ma­te­ria­li e tec­ni­che del­la tra­di­zio­ne op­pu­re de­ri­va­ti da tec­no­lo­gie so­fi­sti­ca­te, i de­si­gner com­pon­go­no un di­ver­so pa­no­ra­ma del mo­sai­co, ri­de­fi­nen­do­ne i li­mi­ti e le pos­si­bi­li­tà Whe­ther ba­sing their ideas on tra­di­tio­nal ma­te­rials and tech­ni­ques or th­rou­gh the use of so­phi­sti­ca­ted tech­no­lo­gies, de­si­gners are ex­plo­ring new pos­si­bi­li­ties that ta­ke mo­saic pro­duc­tion to a new le­vel

Il mo­sai­co si rin­no­va. Le tec­ni­che e i ma­te­ria­li uti­liz­za­ti non so­no più so­lo quel­li tra­di­zio­na­li. Nuo­ve so­lu­zio­ni sca­tu­ri­sco­no dall’in­con­tro tra tec­no­lo­gia, ri­cer­ca e pro­get­to. I de­si­gner ap­pli­ca­no in que­sto am­bi­to ri­fles­sio­ni pro­prie, le azien­de spe­ri­men­ta­no la­vo­ra­zio­ni ine­di­te o le mu­tua­no da al­tri set­to­ri. In ge­ne­ra­le si per­ce­pi­sce un dif­fu­so de­si­de­rio di ri­ge­ne­ra­zio­ne di un’ar­te che si tra­man­da da mil­len­ni. Co­sì Mu­ta­for­ma, nuo­vo mar­chio e nuo­vo pro­dot­to, la­vo­ra nell’am­bi­to dei ma­te­ria­li au­men­ta­ti, cioè in­te­gra­bi­li ad al­tri ma­te­ria­li. Ve­tro ex­tra­chia­ro ta­glia­to a dia­man­te dal­lo spes­so­re di 1 mm (de­co­ra­ti­vo) o 2 mm ( al­to cal­pe­stio), at­tra­ver­so un pro­ces­so bre­vet­ta­to, è im­ple­men­ta­to da par­ti­cel­le or­ga­ni­che e me­tal­li­che con una tec­ni­ca di su­bli­ma­zio­ne per po­ten­ziar­ne la lu­mi­no­si­tà. Que­sti pic­co­li fram­men­ti di ve­tro si chia­ma­no Til­la, han­no di­men­sio­ni da mm 1,5x1,5 a mm 7x7, fi­no a tas­sel­li con di­men­sio­ni 26,2x10x2 mm in­di­ca­ti per ri­co­pri­re su­per­fi­ci più am­pie. La ri­cer­ca di Gu­m­de­si­gn – Lau­ra Fia­schi e Ga­brie­le Par­di – ri­guar­da in­ve­ce un ma­te­ria­le di tra­di­zio­ne co­me il mar­mo, la­vo­ra­to ar­ti­gia­nal­men­te da Friul Mo­saic, e par­te da­gli ele­men­ti di ba­se. Le tes­se­re, re­se re­go­la­ri dal pro­ces­so in­du­stria­le, di­ven­ta­no in­fat­ti una sor­ta di al­fa­be­to ca­pa­ce di ge­ne­ra­re in­fi­ni­te com­po­si­zio­ni: set­te va­ria­bi­li, su re­te, pro­dot­te in tre to­na­li­tà di mar­mo e in quat­tro tex­tu­re (a ca­ta­lo­go), pro­pon­go­no di­ver­se geo­me­trie che pos­so­no vi­ve­re se­pa­ra­ta­men­te o as­sem­bla­te, per­met­ten­do com­po­si­zio­ni com­ples­se. Il pro­dot­to si chia­ma Pae­sag­gio. Nel ca­so di Pao­la Na­vo­ne per De­co­ra­to­ri Bas­sa­ne­si so­no le geo­me­trie ca­sua­li a con­no­ta­re il pro­get­to. Gli ele­men­ti cur­vi­li­nei che com­pon­go­no il mo­sai­co di grès por­cel­la­na­to Bon­bon so­no rea­liz­za­ti per stam­po in tre for­me dif­fe­ren­ti – ma tut­te in­scri­vi­bi­li in uno stes­so cer­chio – e nell’as­sem­blag­gio su re­te si orien­ta­no sem­pre in mo­do di­ver­so. Un’im­po­sta­zio­ne ana­lo­ga a quel­la di Greg Na­ta­le per il mo­sai­co di ve­tro Bisazza che uti­liz­za la po­ten­zia­li­tà espres­si­va del­la col­lau­da­ta tec­ni­ca di­gi­ta­le di­se­gnan­do con le tes­se­re «una tra­ma de­co­ra­ti­va in­fi­ni­ta, che si ri­pe­te sen­za li­mi­ti». In­fi­ne Ap­pia­ni – uni­co ad av­va­ler­si del pro­ces­so di mo­no­pres­so­cot­tu­ra nel­la la­vo­ra­zio­ne del mo­sai­co – nel nuo­vo pro­get­to an­co­ra in via di de­fi­ni­zio­ne, ma pre­sen­ta­to all’ul­ti­mo Cer­sa­ie, pro­po­ne l’in­se­ri­men­to del mo­sai­co (cm 1,2x1,2) in la­stre di gran­de for­ma­to, per ot­te­ne­re, con la com­bi­na­zio­ne dei di­ver­si ma­te­ria­li, ina­spet­ta­te sce­no­gra­fie.

Mo­saic is get­ting a ma­keo­ver, wi­th new tech­ni­ques and ma­te­rials now ap­pea­ring along­si­de mo­re tra­di­tio­nal ones. Tech­no­lo­gy, re­sear­ch and de­si­gn are co­ming to­ge­ther to dri­ve this pro­cess of chan­ge. De­si­gners are al­so brin­ging their own ideas to the field, and firms are try­ing out in­no­va­ti­ve ma­nu­fac­tu­ring me­thods or ones bor­ro­wed from other sec­tors. All of this con­firms a ge­ne­ral de­si­re to re­vamp this art form, whi­ch has been around for thou­sands of years. Mu­ta­for­ma, a new brand and a new pro­duct, works in the field of aug­men­ted ma­te­rials, i.e. ones that can be in­te­gra­ted wi­th other ma­te­rials. In a new pa­ten­ted pro­cess, ex­tra-clear, dia­mond-cut glass wi­th a thic­k­ness of 1 mm (de­co­ra­ti­ve) or 2 mm (for hea­vy use) is sup­ple­men­ted wi­th or­ga­nic and me­tal­lic par­ti­cles in­vol­ving a su­bli­ma­tion tech­ni­que that adds to its bril­lian­ce. The­se ti­ny glass frag­men­ts, cal­led Til­la, mea­su­re bet­ween 1.5x1.5 mm and 7x7 mm, or can be sup­plied in 26.2x10x2 mm si­zes to co­ver lar­ger sur­fa­ces. Mea­n­whi­le, re­sear­ch by Gu­m­de­si­gn (Lau­ra Fia­schi and Ga­brie­le Par­di) con­cerns a tra­di­tio­nal ma­te­rial (mar­ble) whi­ch is hand-wor­ked by Friul Mo­saic, and starts wi­th a se­ries of ba­sic ele­men­ts. The in­di­vi­dual tes­se­rae, re­gu­lar­ly sha­ped by an in­du­strial pro­cess, be­co­me a kind of al­pha­bet for­ming coun­tless com­po­si­tions. The­se in­clu­de se­ven me­sh-moun­ted va­ria­bles, pro­du­ced in th­ree sha­des of mar­ble and four stan­dard tex­tu­res, that of­fer a choi­ce of geo­me­tric ef­fec­ts and can stand se­pa­ra­te­ly or be used in com­bi­na­tion wi­th others to crea­te com­plex com­po­si­tions. This pro­duct is cal­led Pae­sag­gio ( Land­sca­pe). In the ca­se of Pao­la Na­vo­ne’s crea­tion for De­co­ra­to­ri Bas­sa­ne­si, the de­si­gn is cha­rac­te­ri­sed by ran­dom geo­me­tries. The cur­vi­li­near ele­men­ts that ma­ke up the Bon­bon por­ce­lain sto­neware mo­saic are moul­ded in­to th­ree dif­fe­rent sha­pes – all of them fit wi­thin the sa­me cir­cle – and when moun­ted on­to me­sh al­ways fa­ce in dif­fe­rent di­rec­tions. This is a si­mi­lar ap­proa­ch to the one used by Greg Na­ta­le for the Bisazza glass mo­saic, whi­ch goes beyond a well-esta­bli­shed di­gi­tal tech­ni­que so that the­se tes­se­rae can form “coun­tless de­co­ra­ti­ve pat­terns that can be re­pea­ted in­de­fi­ni­te­ly”. Fi­nal­ly, Ap­pia­ni uses sin­gle pres­su­re fi­ring for mo­saic pro­duc­tion (the on­ly one to do so) for its new de­si­gn pro­ject, whi­ch is still being de­ve­lo­ped but was pre­sen­ted at the la­te­st edi­tion of Cer­sa­ie. The mo­saic ti­le (1.2x1.2 cm) is in­cor­po­ra­ted in­to lar­ge slabs. This, along wi­th com­bi­na­tions of dif­fe­rent ma­te­rials, pro­du­ces unex­pec­ted vi­sual ef­fec­ts

BISAZZA, Groo­ve, de­si­gn Greg Na­ta­le Tes­se­re di ve­tro (10x10 mm) per un di­se­gno ispi­ra­to al co­ral­lo del­la Bar­rie­ra au­stra­lia­na. Glass ti­les (10x10 mm) for a de­si­gn in­spi­red by the pat­tern found on co­ral in Au­stra­lia’s Great Bar­rier Reef. www.bisazza.com

FRIUL MO­SAIC, Pae­sag­gio, de­si­gn Gu­m­de­si­gn Ele­men­ti di mar­mo di for­ma e tex­tu­re di­ver­se com­po­ni­bi­li co­me un al­fa­be­to / Mar­ble ele­men­ts of dif­fe­rent sha­pes and tex­tu­res, de­si­gned to be as­sem­bled li­ke let­ters in an al­pha­bet. www.friul­mo­saic.com

AP­PIA­NI Pro­get­to an­co­ra al­lo stu­dio che si pro­po­ne di in­se­ri­re il mo­sai­co in la­stre di gran­di di­men­sio­ni / A work in pro­gress in­vol­ving the pos­si­bi­li­ty of in­cor­po­ra­ting mo­saic ti­le in­to lar­ge slabs. www.ap­pia­ni.it

DE­CO­RA­TO­RI BAS­SA­NE­SI, Bon­bon, de­si­gn Pao­la Na­vo­ne Tes­se­re di grès por­cel­la­na­to di­spo­ni­bi­li in quat­tro co­lo­ri uni­ti e quat­tro va­rian­ti mix / Por­ce­lain sto­neware ti­les avai­la­ble in four co­lours and four me­lan­ge va­rian­ts. www.de­co­ra­to­ri­bas­sa­ne­si.it

MU­TA­FOR­MA, Rain, de­si­gn Ele­na Fan­chi­ni Pan­nel­lo di pi­co­tes­se­re Til­la con ef­fet­to piog­gia, de­co­ra­te in fo­glia olo­gra­fi­ca e per­la­cea / Pa­nel ma­de using the Til­la pi­co­tes­se­ra, wi­th rain ef­fect, de­co­ra­ted in ho­lo­gra­phic and pear­le­scent foil....

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