Gioco
arte-international > Wallcovering
A flawless reproduction of the structure of fine linen, including the irregularities woven into it. From a distance it appears plain, but as you get closer you can see every detail in the linen.
Tulle
arte-international > Wallcovering
A timeless wallpaper that creates the illusion of real textile.
Serene
arte-international > Wallcovering
The plain design Serene speaks for itself. The wallcovering looks simple at first sight, until you come closer and notice the relief ink technique here too. A gentle pattern that exudes peace and quiet in any room. The design comes in eleven soft pastel shades.
Lin
arte-international > Wallcovering
This wallpaper is as warm and tactile as linen, with the same natural appearance.
TASSINARI & CHATEL - MAINTENON - Damask fabric with floral pattern _ LELIEVRE
LELIEVRE > Wallcovering
Granville
arte-international > Wallcovering
A subtle imitation linen that comes into its own anytime, anywhere. Granville is a timeless plain, as charming and durable as the most luxurious linen.
Oblong
arte-international > Wallcovering
Oblong features a playful patchwork of irregular rectangles. As with plaster, strips are placed on top of each other and flow together. The result is a peaceful, plain effect that responds to the trend for uneven plasterwork.
Noble
arte-international > Wallcovering
Noble is a plain decoration with the look & feel of suede, and is available in different colour combinations that suit the designs beautifully.
Musa
arte-international > Wallcovering
The leaves of the banana plant depict the tropics. This print stands out figuratively in its naturalness and literally in the luxurious finish in metallic lustre.
Massif
arte-international > Wallcovering
Massif is the name for the mountain range in Manovo National Park. The weathered look of rock walls symbolises strength and the vertical lines create a lifting effect on the wall.
L'Aventure
arte-international > Wallcovering
We remain in the tropical rainforest with L'Aventure. The large leaves on the pattern overlap each other, creating an interplay of lines with a surprising, dynamic effect. The veins of the leaves that cross one another, combine to create a print that is almost graphic.
Mix
arte-international > Wallcovering
The eccentric Mix design is a little eclectic. Ideal for design enthusiasts with pronounced taste. The print comprises random patchworking, offering a unique effect time and again.
Artifact Vintage_Taupe
florim > Wallcovering
Artifact of Cerim refers to the simplicity of spatulated cement crafted by skilled hands, whose uniqueness becomes a distinctive feature, an identifying factor that reveals the taste of those who select it for their daily lives. <p> The collection is available in a thickness of 9 mm and offers two sizes (60x120 cm and 80x80 cm) with the relative modular sub-sizes (the 30x60 cm is also available in the <em>grip</em> outdoor finish). The graphic shade variations of the cement are declined in 6 different neutral shades ranging from white to coal through gray and beige.</p>
Industrial Ivory
florim > Wallcovering
A cementitious material in its purest and most rigorous form The proposed decorative system defines balanced compositions of eye-catching organic shapes where the fragmentation of the material becomes an element of creative expression.
Matrice Traccia
florim > Wallcovering
An atlas of modular signs to be combined in a wide variety of layouts. «We love concrete as a material, its versatility and its plain, austere look. We have completed our carefully designed surfaces with graphic patterning inspired by the human actions of weaving and embroidering.» Barbara Brondi & Marco Rainò To appreciate the profundity of the design project undertaken by Barbara Brondi and Marco Rainò for Cedit, it is both necessary and explanatory to start from the title the collection bears. In modern usage the term Matrice, in Italian, refers to a die or mould used to reproduce an object, but its origins are much more remote, with a meaning closer to the English “matrix”, meaning the underlying basis of something. The root of the word is related to Mater or mother: the name Matrice thus relates to the origin or cause of something. This dichotomy is expressed in several levels within the work of these architects, who study the world from a sophisticated conceptual approach and then transform it into a design. Starting from the idea of ceramic coverings, which have always been a tool not so much of architecture as of interior design, the artists work back to the origin of the surface and its decoration within their own discipline: they look at what we used to call the modern age, where modernity has also brought an uncompromising brutality, and where the use of bare concrete became the statement of an attitude to life with no time to spare for manners. Concrete is originally a liquid material, intended for shaping, which can therefore absorb and retain any type of mark created by the material and mould used to form it. Architects midway between rationalism and brutalism have used the rough-and-ready language of concrete combined with a last, elegant, anthropic decorative motif impressed on the material, that makes the concept of covering superfluous, because its place, in its older meaning of decoration rather than functional cladding, is taken by the regular patterning created in the material itself. There are therefore various grounds for believing that, in this collection, the artists are once again working in architectural terms. Firstly, with a simplicity typical of BRH+, they reduce the initial concepts to their minimal terms. So although this is a collection of coverings for walls, indoor floors, outdoor pavings and curtain walls, a great deal of time was spent on destructuring the idea of the ceramic covering itself. Unfortunately, nowadays there is no space in the contemporary construction sector for the radical approach of the past, so the cladding designed for the building actually lays bare the interior, using the choice of material – accurately interpreted (with shade variation) on the basis of an assortment of various types – to restore visual elegance and a fundamental severity. Attention to scale is another architectural feature: Matrice offers modules with architectural dimensions and different sizes through the development of “large slabs”, eliminating the visual regular grid effect. Thanks to this visual reset, geographic forms are perceived to emerge from dense, grey concrete surfaces decorated as in bygone days by special processes and by weathering during drying. The various types of slab, each an atlas of subtle, vibrant signs on the surfaces, comprise finishes that reproduce the visual effect of reinforced concrete – with the aggregates in the cement more clearly visible, of formwork – with the signs impressed on the concrete by the timber used, of a structured surface resembling bare cement plaster, of ridged and streaked surfaces – with patterning resembling some kinds of linear surface finishing processes – and finally a smooth, or basic version, over which Matrice exercises the dichotomy referred to earlier. It is on these surfaces that Brondi and Rainò have imagined additional design reverberations, a figurative code that rejects the concept of the grid, previously inseparable from that of the module: by means of a vocabulary of graphic marks cut into the slabs with a depth of 3 mm (the width of the gap left between modules during installation), they provide a framework for infinite combinations of possible dialogues. Just as in embroidery, which is based on grids of stitches and geometric repetitions, and where every stitch is at right-angles to another one to construct forms and decorations. Also taken from embroidery is the idea of introducing a degree of “softness” to reduce the stiffness of intentionally deaf surfaces. There is the impression of patterns that can continue for infinity, as in textile weaving, and a scale that, unlike the surface being worked on, is imagined as suspended and lightweight. They may not admit it, but BRH+ know a lot about music, including electronic music, and it appears to me that this organised tangle of infinite signs – unidentifiable without an overview – is rather like the representations of synthesized sounds. Sounds that are produced by machines, and thus “woven” by sampling and overlapping sounds of the most unlikely origins, combined to form jingles which, once heard, are imprinted indelibly on the brain. This may be why I am so interested in the space between this “melodic film” and its deaf, damp substrate. The eyes can navigate this suspended reality without fear of disturbance. So we are faced with different surfaces, different sizes and different graphic signs. But only one colour (surprise!) to prevent a cacophony not just of signs but also of possible interpretations: the artists retain their radical principles (and their generosity), and as curators, a role in which they are skilled, they leave the players (architects and installers) to add their own interpretations. In their hands this colour, expressed in Matrice, will produce motifs on surfaces in living spaces for someone else. This stylish covering and its workmanship will be left to the hands of someone who will probably never read this, but will be on a building site, with the radio playing on a stereo system, concentrating on installing the very pieces we describe. So a radical, apparently silent, design project like this has repercussions for the real world we live in. Matrice has no form of its own but merely acquires the ornamentation drawn on its surfaces by a second group of artists. And here this routine action, standardised by the form approved for production and workmanlike efficiency, is the origin and cause of change, generating a variability of choices and interpretations, on that dusty building site where music plays and mortar flows.
Puna
arte-international > Wallcovering
This refreshing semi-plain is an interpretation of hand-woven banana leaves. It was named after the more remote Hawaiian district of Puna, which is dotted with banana trees.
Kudzu
arte-international > Wallcovering
The fibres of the climbing plant kudzu, which is very common in tropical regions, are coarsely woven into a unique wallcovering. The irregular thicknesses and different shades of the various threads reveal its natural origins.
Piante
arte-international > Wallcovering
This botanical drawing will transport you into untamed nature. Due to the tone-on-tone effect, the overall look remains peaceful and lends character to the wall. The uneven nature of the wallcovering and incidence of light create extra depth and relief.
Japonais
arte-international > Wallcovering
With Japonais, you can surround yourself in the opulence of flowers in a Japanese landscape, giving you a feeling of instant happiness.
Intarsio
arte-international > Wallcovering
This design took its inspiration from somewhat rougher, open-weave grasses, cut and inlaid by hand. The pattern itself, with its combination of rectangles and squares, appears as though it has been expertly woven together.
Nongo
arte-international > Wallcovering
The inspiration comes from a traditional woven basket from Zimbabwe, called nongo. The natural look of this plain pattern in combination with the fine wickerwork provide structure to the wall.