Graphite Satin
mutina > Wall Paint
Developed by OEO Studio, Accents collection offers a wide range of paints: 20 colours are available in the variants Matt and Satin.Mutina paints have been specifically developed to be paired with the ceramic tiles of the company, both in terms of palette and finish.
Slate Satin
mutina > Wall Paint
Developed by OEO Studio, Accents collection offers a wide range of paints: 20 colours are available in the variants Matt and Satin.Mutina paints have been specifically developed to be paired with the ceramic tiles of the company, both in terms of palette and finish.
Coal Matt
mutina > Wall Paint
Developed by OEO Studio, Accents collection offers a wide range of paints: 20 colours are available in the variants Matt and Satin.Mutina paints have been specifically developed to be paired with the ceramic tiles of the company, both in terms of palette and finish.
Storie Casale
florim > Wall Paint
The faded wall fresco, damp stains in plaster. «Technological innovation enables us to reproduce on large-sized ceramic materials all the effects of wear and stratification that normally only time is able to create.» Giorgia Zanellato & Daniele Bortotto Children stare at the walls of a farmhouse, wondering what the cracks are, and whether every mark is a path and every path is a story. They think that miniature beings live in the air pockets that have formed, and the detaching plaster is like an avalanche cascading from a glacier. They don't ask why the colours are as they are, because they just had to be like that. And every square centimetre becomes the first page of an adventure that restarts at every break in the pattern. Could this be why we say that both textures and plots have twists, and stories are woven? As even children know, walls are tales. Not only do they contain adventures, emotions, moments, loves and hates and record them on their surfaces; their uneven, active surfaces generate new imaginary worlds, in which one can literally get lost. The "Storie" collection by Giorgia Zanellato and Daniele Bortotto brings this metaphor to three-dimensional life by expressing the moods, loves and hates and moments that the walls and floors of old Italian homes conserve, and capturing them in a frozen instant. The theme of time and the changes wrought in matter by the passing seasons, weather and human action have always been a strong source of inspiration for architects: some have tried to freeze it, while others have used sleight of hand to embrace it while resisting its effects, and yet others have accelerated, anticipated, directed and re-created it.<br /> Zanellato and Bortotto do all these things at once, engaging in a duel with History with a capital H, in which it is never clear who is winning: design or object, man or nature, culture or time. And it is probably this unresolved tension which makes the "Storie" designs so universal and meaningful, so intimate and yet familiar. The floor is the only thing we can be certain that everyone entering our home will touch, and at the same time it is the most intimate part, the most steeped in private happenings. They talk about having your "feet firmly on the ground". This image stands for common sense, but also a recognition of how things are, how things work. The wall is a synecdoche, too: it is the part of the home that expresses an idea of solidity, the layering of time, the passage of lives. "Storie" gives form to this metaphor by drawing a line that links the most classical of taste to a sophisticated modernity of taste and style. The two designers did a great deal of background work for this project: old Italian homes, country villas, noble palazzos, farmhouses and old factors, which become an unlimited source of motifs, colours, textures and materials. But, perhaps unconsciously, literature also re-emerges from this survey of locations, with its blend of aestheticism and decadence, with echoes of Wilde and D'Annunzio, Ruskin and Huysmans. "Storie" would be the ideal backdrop for Des Esseintes, the dandy in "A Rebours". And in fact the collection clearly has strong theatrical connections, arising partly from its storytelling connotations but also from its scene-setting potential.<br /> It represents life, which we are, have been and wish to continue to be. And it is thrilling to realise that this vision comes from the youngest designers in CEDIT's new era, who have successfully taken a confident, cultured, astute, sidelong approach to the most ancient of topics, with a persuasive effect which appears, at least, to be not at all intimidated by the many stories, the type of product they are dealing with, the catalogue in which they are included, the designers who have gone before them or, naturally, the adventures that lie concealed in the historic dwellings they reproduce. The reference to Italy, on the other hand, is in perfect harmony with the work of the brand and its past and present designers: it is intrinsic to the perfection of the production process that underlies the collection, the relationship with the brand's tradition and its local roots, and the intelligent, strategic use of its innovations in the treatment of this complex material.Child's play? Yes, but with the integrity and ability to enchant unique to specific designs, capable of an immediacy of vision and feeling that makes them little novels written in cement.
Rilievi Salvia
florim > Wall Paint
The alternation and symbiosis between concave and convex, recessed and raised. <p>Rilievi is a work of design balanced between different historic periods: while the volumetric relief tile modules are inspired by artistic experiments conducted in Italy during the Sixties and Seventies, the large slabs are the outcome of research into materials and technology that has only come to fruition in very recent times. The shadow effects generated on the surfaces of the slabs by the light striking the projecting parts of the modules create an unusual impression of architectural depth found virtually nowhere else in ceramic coverings, laying the bases for a new decoration interior design language.</p> This project simply embodies perfection - a term which certainly sets the bar high in a description of a new product for launch on the market. But when an enlightened manufacturer is capable of encapsulating a designer's personal research in a product to be added to its range, the outcome is a perfect synthesis. A perfect synthesis between untrammelled creativity and market trends. CEDIT had the insight needed to perceive, identify and rework the immense potential of Practice Practice Practice "“ a self-produced project by Zaven (Enrica Cavarzan and Marco Zavagno "“ and realised that its sophisticated design, originated by pure, pristine input (unadulterated by external factors except the noblest of them all, research) could provide the basis for an innovative, successful collection. I might add, a collection unique of its kind. Zaven is also a name that comes with guarantees; the two partners are good at what they do. Their work always starts from personal curiosity and investigations, the study of other stories (as in this case inspiration was drawn from the output of artist and activist Nino Caruso) and individual interests, which are broken down, developed, optimised and prepared for transformation into something fresh.Enrica Cavarzan and Marco Zavagno have a masterly ability to transform their own wishes and passions into design work of the greatest breadth and, as we see here, the widest, richest application. Their use of ceramics as a material is clearly outstanding and reflects a method precisely founded on the desire to look at things from an unusual viewpoint, under a different light. And to be daring. Zaven have an unconventional approach to convention. In the specific case of the Rilievi collection, the "modules" created for CEDIT seem to explode off the walls; in fact, they are constructed by combining the two-dimensional slab with its three-dimensional decor.Rilievi seems to be seeking space. More space. Even though these modules have actually established a dialogue with the wall from which they are born. At the same time, they hypnotise us with their tight sequence of lines, the pattern that is always different although its root is the same, and the intriguing, unusual colours that add another vital factor to the finished product. Their firm grounding in graphic design (and here we have come back to two-dimensional effects, of the kind most often associated with a wall covering) easily evolves into a facade which seems to have been carved with a chisel - although this is not the case. These modules are conceived to convey an impression of movement, and the three models, in seven colour combinations, create a powerful effect on a surface, which is never passive but rather an organic contributor to the forms and colours involved in the fascinating combinations. The slab is very much present and has the same worth and status as the relief pattern associated to it. In the light of this dichotomy between the linear and the sculpted, expressed through the skilfully balanced visual expedients, the use of repetition adds vigour to the module's intrinsic meaning. As we have seen, a rejection of facile, superficial creative dynamics in favour of an investigation reaching above and beyond has always been a central, clearly recognisable feature of this Venice-based duo, who already have impressive international partnerships to their credit, including the London Design Festival, the Kalmar Konstmuseum, the Paris Designer Days, Ca' Foscari University, the Venice Biennale, the Sandretto Re Rebaudengo Foundation, the Sindika Dokolo Foundation and the V-A-C Foundation, and also won the 2018 Wallpaper Design Award. Graphics, advertising and product design: the pair have always opted for a type of design closely linked to the observation of everyday items, followed by their reinterpretation in a version applied to experimentation with materials. This duality, combined with their energetic yet elegant visual language, forms Enrica and Marco's primary code, experienced in this specific context through serial carvings. On walls.
Archeologie Archeologie Bianco
florim > Wall Paint
The poetics of the wall. The forgotten wall. «A wall is like a book to be opened, a journey into the interior, revealing the experiences, memories, signs and symbols which this fragment of masonry has absorbed over the centuries.» Franco Guerzoni <p>It is difficult to resist the beauty of Franco Guerzoni's art, created by a rare harmony of feeling and intellect, poetry and mind. The artist expresses this through paintings which, although complex in structure, are joyous and sensual, with bright colours made, like those of the great masters of the past, from choice powdered ingredients. A painter with a technique rich in traditional skills, Guerzoni offers a version of modernity involving an intense fundamental relationship with his images and with space. In fact, the dialectic between painting and space, form and architecture, time and memory seems to be essential to his art. As his works specifically created for CEDIT clearly express, his creations achieve a perfect balance between the spatial dimension and intensely lyrical use of colour, which here becomes a soft, liquid form of matter, wandering across the surface of a dazzling lime-plaster white. White, metaphor for the clear light of day, as it was in the large, complex canvases exhibited in his personal exhibition at the 1990 Venice Biennale, is the background for forms of colour which renew the pleasure to be had from painting and the memory of an image glimpsed on the vast expanse of the surface. In the more recent works, these voluptuous shades are transformed into subtle shadows of colour that delicately caress the surface.</p> <p> </p> <p> All it takes is one wall, the only surviving wall of what was once a house, on which time has recorded its own, unavoidable passing, leaving traces of colour that is still vibrant, although faded in places, to allow the memory of the image to transpire, fragile and uncertain, in the physicality of the surface, to bear tangible witness to the existence of history, a mysterious visual memory, the extension into the present of the life of things. A memory of the past on a contemporary wall. The idea of memory is central to Franco Guerzoni's poetics: private, secret memory and the collective memory of the past. Fragmentary and indecipherable, perceived by the artist with the aid of what is left of the images, the fragment. A relic of a totality which can no longer be reconstructed but only imagined in poetic terms, the fragment, a fraction of an image conserved by time, guides the artist's fantastic archaeological journey in search of the world's memory. However, this journey takes him in the opposite direction to the archaeologist, for whom the fragment - fundamental because it reveals a trace of the past is the starting-point for an attempt to reconstruct history. For Guerzoni, the fragment is the endpoint of his work, the goal for which he strives in his investigation of the surface, as he digs deep down, leafing through the deposits of time and memory.</p> <p> </p> <p>Like the large pages of a book traced with fragile sketches, embryonic forms whose meaning has been lost in time, leaving only fleeting traces, uncertain, ambiguous, mysterious morphologies. It marks the start of a journey into the mind of the artist-archaeologist, an adventurous journey into the inextricable labyrinth of the mind, to unearth what is hidden, shuffling the cards in a perennial contamination of images, memory, signs and traces, in search of a meaning, which no sooner appears than it is lost, merging into time and once again becoming a dream, an imaginary journey into fantasy and wonder. And this is the case in the tryptic created for CEDIT, which placed a new challenge before the artist: to transfer "his" image, the remains and fragments of a forgotten wall onto a new material for him “stunning, large-sized ceramic slabs“ and a real wall, without this tautology betraying the painting's deep meaning, its fertile magic of lines and colours, from which the image is born. And the artist is fully aware of this. Guerzoni describes his art as a "gamble": a gamble that is a critical test, an act of daring, dangerous and risky. This is the challenge he sets himself. It is a challenge he easily overcomes, expressing himself on these large walls with a rediscovered pleasure in painting, no longer restrained and apparently absorbed by the dense, uneven coloured surface but set free and almost luxuriously accentuated. In his large, demanding works for CEDIT, Guerzoni achieves a new, consummate mode of painting, in which the architecture of the surfaces provides a poetic meeting-point between the two founding components of his style, the complex, well thought-out composition and the lyricism of colour.</p>
Cromatica Gradiente grigio-verde
florim > Wall Paint
A lexicon of colour shades for mixing. A large size and its submultiples. «This work represents a reflection on colour, and above all a proposal on how to transfer the multiplicity of shades typical of a hand-crafted piece into a project produced on a large scale.» Andrea Trimarchi & Simone Farresin Studio Formafantasma base their work in the design world on a strong vocation for research. Simone Farresin and Andrea Trimarchi view every project as an opportunity for study and the acquisition of new knowledge, and their love of speculation establishes a dialectic rapport with the situations offered by each new client. Whether it involves a material, a type or a production method, the first phase of their design process is the mapping of what the specific case places at their disposal. With Cedit, an analysis of the company's past and present was central to the inputs. Inevitably, since "Looking back to look forward" has been the design duo's mission statement for years. In this case, in particular, the company's history was a real treasure trove, a fine blend of memory and technology: on the one hand, the excellence of production technologies now extended with the added potential arising from the engineering of large-sized ceramic tiles, and on the other a wealth of experience build up with great designers of the past, from Zanuso to Noorda, through to <strong>Ettore Sottsass</strong>. Andrea and Simone decided to focus on Sottsass - who started designing for Cedit back in the late Seventies - and made an in-depth study of one of the colour charts he developed towards the end of the Nineties. A spread of colours which gave its name to the "41 Colors" collection, included in the catalogue of the period as a real alphabet for what has proved to be a lasting design language. Colour was much more than just a compulsory step in the dialogue between designer and producer, since Sottsass had already discovered the power of the mystery intrinsic to this universe of invention.<br /><br />With Cedit the master-designer, a long-established lover of ceramics and their crafted unpredictability, found a way of transferring his personal feeling for colour to a wide audience, through industrial mass production. And this assumption is another factor Formafantasma have inherited, interpreting it today with new, even more efficient technical resources just as capable of expressing the secrets of colour. «The concept of colour "in isolation" - Sottsass explained in a 1992 text - classified colour, Pantone, as they call it now, "scientific" colour, is something I still refuse to accept. (...) Colours, the idea of colour, are always intangible, they slip slowly away like words, that run through your fingers, like poetry, which you can never keep hold of, like a good story.» And Formafantasma seem to have chosen that distinction between colour "in isolation" and "intangible" yet ever-present colour as the basis of their work. However, their approach draws on their unique vocation for research and the technical resources of the third millennium. «This work - they explain to us - is a reflection on colour, and above all on <strong>how to bring the multiplicity of shades typical of a hand-crafted piece into a large-scale project</strong>.» The designers look at large, monochrome slabs and turn to the engineers for details of their secrets, their processing stages, the phases in their production. They appreciate that the colour of ceramic material, its ineffable secret, can still be present in the series and large tile sizes in which Cedit leads the way. They understand that this is, in itself, an expressive power which does not need channelling into forms, motifs and signs. But above all, they treat the surface as a large canvas on which they spread pure colour, which tends to be uniform but in fact is never really a "scientific", totally monochrome hue: it is not a Pantone. And this is the source of the fundamental insight, which only children of the transition from the analogue to the digital era could achieve, the reward for those who draw on the past to look to the future.<br /><br />The designers cut the slab into lots of regular pieces, not necessarily of the same size. They restore its identity as a "tile", a familiar name with something ancient about it, but which stands for a module, a unit of measurement, a building block. There is nothing nostalgic about this - on the contrary, the vision is completely new, and the portions of slab created can be reassembled with no restrictions, breaking down the unity of the whole and reviving its essence starting from its structure. As the cards in the pack are shuffled, what emerges is not a figure or motif but the representation of colour itself and its physical nature. It is live matter, born from the meeting of vibrating forces, the mixing of ever-varying percentages of the basic ingredients. And Formafantasma present us with the corpuscular, fragmented essence of these small frames of space and crystallised time, which reveal the code and formula of their composition. So Cromatica is a collection made up of six colours which actually have an infinite number of declinations and compositional possibilities. It is a "discrete" combination in the mathematical sense of the term, capable of generating multiple, variable subsets. At the same time, each slab can be used in its entirety, leaving the impression of analogue continuity unchanged. But what really amazes is the comparison and dialogue between the two approaches: a stroke of genius, laying clear the mysterious appeal the artificial reproduction of colour has always held for mankind. Because, as Sottsass said, «colours are language, a powerful, magical, intangible, flexible, continuous material, in which existence is made manifest, the existence that lives in time and space».
Cromatica Rosa
florim > Wall Paint
A lexicon of colour shades for mixing. A large size and its submultiples. «This work represents a reflection on colour, and above all a proposal on how to transfer the multiplicity of shades typical of a hand-crafted piece into a project produced on a large scale.» Andrea Trimarchi & Simone Farresin Studio Formafantasma base their work in the design world on a strong vocation for research. Simone Farresin and Andrea Trimarchi view every project as an opportunity for study and the acquisition of new knowledge, and their love of speculation establishes a dialectic rapport with the situations offered by each new client. Whether it involves a material, a type or a production method, the first phase of their design process is the mapping of what the specific case places at their disposal. With Cedit, an analysis of the company's past and present was central to the inputs. Inevitably, since "Looking back to look forward" has been the design duo's mission statement for years. In this case, in particular, the company's history was a real treasure trove, a fine blend of memory and technology: on the one hand, the excellence of production technologies now extended with the added potential arising from the engineering of large-sized ceramic tiles, and on the other a wealth of experience build up with great designers of the past, from Zanuso to Noorda, through to <strong>Ettore Sottsass</strong>. Andrea and Simone decided to focus on Sottsass - who started designing for Cedit back in the late Seventies - and made an in-depth study of one of the colour charts he developed towards the end of the Nineties. A spread of colours which gave its name to the "41 Colors" collection, included in the catalogue of the period as a real alphabet for what has proved to be a lasting design language. Colour was much more than just a compulsory step in the dialogue between designer and producer, since Sottsass had already discovered the power of the mystery intrinsic to this universe of invention.<br /><br />With Cedit the master-designer, a long-established lover of ceramics and their crafted unpredictability, found a way of transferring his personal feeling for colour to a wide audience, through industrial mass production. And this assumption is another factor Formafantasma have inherited, interpreting it today with new, even more efficient technical resources just as capable of expressing the secrets of colour. «The concept of colour "in isolation" - Sottsass explained in a 1992 text - classified colour, Pantone, as they call it now, "scientific" colour, is something I still refuse to accept. (...) Colours, the idea of colour, are always intangible, they slip slowly away like words, that run through your fingers, like poetry, which you can never keep hold of, like a good story.» And Formafantasma seem to have chosen that distinction between colour "in isolation" and "intangible" yet ever-present colour as the basis of their work. However, their approach draws on their unique vocation for research and the technical resources of the third millennium. «This work - they explain to us - is a reflection on colour, and above all on <strong>how to bring the multiplicity of shades typical of a hand-crafted piece into a large-scale project</strong>.» The designers look at large, monochrome slabs and turn to the engineers for details of their secrets, their processing stages, the phases in their production. They appreciate that the colour of ceramic material, its ineffable secret, can still be present in the series and large tile sizes in which Cedit leads the way. They understand that this is, in itself, an expressive power which does not need channelling into forms, motifs and signs. But above all, they treat the surface as a large canvas on which they spread pure colour, which tends to be uniform but in fact is never really a "scientific", totally monochrome hue: it is not a Pantone. And this is the source of the fundamental insight, which only children of the transition from the analogue to the digital era could achieve, the reward for those who draw on the past to look to the future.<br /><br />The designers cut the slab into lots of regular pieces, not necessarily of the same size. They restore its identity as a "tile", a familiar name with something ancient about it, but which stands for a module, a unit of measurement, a building block. There is nothing nostalgic about this - on the contrary, the vision is completely new, and the portions of slab created can be reassembled with no restrictions, breaking down the unity of the whole and reviving its essence starting from its structure. As the cards in the pack are shuffled, what emerges is not a figure or motif but the representation of colour itself and its physical nature. It is live matter, born from the meeting of vibrating forces, the mixing of ever-varying percentages of the basic ingredients. And Formafantasma present us with the corpuscular, fragmented essence of these small frames of space and crystallised time, which reveal the code and formula of their composition. So Cromatica is a collection made up of six colours which actually have an infinite number of declinations and compositional possibilities. It is a "discrete" combination in the mathematical sense of the term, capable of generating multiple, variable subsets. At the same time, each slab can be used in its entirety, leaving the impression of analogue continuity unchanged. But what really amazes is the comparison and dialogue between the two approaches: a stroke of genius, laying clear the mysterious appeal the artificial reproduction of colour has always held for mankind. Because, as Sottsass said, «colours are language, a powerful, magical, intangible, flexible, continuous material, in which existence is made manifest, the existence that lives in time and space».
Neutra 6.0 08 avio
florim > Wall Paint
After a decade of success, the Neutra collection becomes a container of colors and increasingly advanced materials and transforms into Neutra 6.0. The surfaces thereby create scenery for pure sensory pleasure, where nothing is left to chance, but everything is always skillfully calibrated to the search for a new bon ton where the body and mind can be rejuvenated. The perfect integration between man and the space in which he lives is expressed through a simple architecture where you can spread your artistic sign on the surfaces, in the colors and in the furnishing for an unrepeatable result from which your own creative identity emerges.
