I have read, listened, written, drawn, painted, photographed, visited… Everything can be more interesting if you remain curious, if you do not lose the desire to learn and experiment. I pause to observe the contrasts of colors, the different points of view of a shot, the sound of synonyms with which the same thing can be described, the harmony of a painting. A note can also be color, poetry is also melody, an image can scream more than one word. The expression: that's all... it's all here. (Editorial Director - Art Director)
To talk about myself I would use the English concept of Language Enthusiast, with its bad translation into Italian. Years of study, travel and authentic and pulsating passion for what lies beyond the border converge in this expression. I have an indiscriminate interest in any culture and any person with a story to tell. I remain with difficulty compressed in my dimension, I feel the continuous need to push myself further. I can't stand the innuendo, the half sentences and the boredom of waiting rooms. Certainly communicative, analytical, I split reality into a thousand pieces and then reassemble it. I think and write in 4 languages, which I love all of them, because inside they sing me a beautiful song. (Editor - Translator).
What unites Piacentini's Architecture with Greenaway's Cinema, Munari's Design with Tiepolo's painting and Kandiskij's studies? What unites the election posters with the paper tickets we used for the tram? For visual culture, the challenge of the third millennium lies in seeing the red thread that binds each of its branches to tell the image and aesthetics. I would like to do it through a passion that comes from the tradition of classic cinema. After all, what is the history of Design if not the cerebral attempt to give a soul to matter, to plagiarize the form according to its most hidden meaning and all to be revealed? (Editor - Reporter)
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We often hear the saying “less is more,” and much of design has followed this motto that has become famous over the years. However, being minimalist beyond intentions and purposes, just like seeking elegance without complications, is not as simple as one might think.
Furnishing with metal means spreading a sense of minimalism, of design reduced to the essential and, as far as possible, giving a perception of rigor to the whole. Planium has been involving for years in architectural and interior projects involving the covering of floors and walls in metal: brass, calamine, oxidized steels have been the flagship materials of the brand that, from time to time, has been able to try its hand at an activity that is as much linked to aesthetics as to technique, with its rapid, ecological and effective installation systems.
Combining the right colors and materials is a minimalist choice: you can also opt for floor and wall coverings in a single metal, but it is not mandatory to make a single-material choice to remain within the scope of essentiality. This is demonstrated by the possibility that you have, when covering an interior, to alternate two types of steel with generally neutral colors that do not clearly attract attention, such as Calamine or stainless steel in its most classic form: the essentiality of triangular or square tiles in these colors alternating with each other gives the whole a minimalist connotation. Choosing both of them as a single metal, however, would make a more marked and even more “minimal” choice.
Calamine because, with its dark tones, it is chromatically “isolating”: in many of the Planium projects with Calamine as the protagonist, such as for the Museo del Novecento in Florence or the Moscova 33 Offices, we can notice that this blue envelops the whole, giving a sense of inner calm and offering the furniture a quiet with a nocturnal and relaxing, but not cold effect. A scenography that can remind us of museums or some painting exhibitions where one wishes to enhance the attention towards the paintings. Calamine also has something artistic, but it does not affect what is around it, being instead often complementary.
In this direction, the use of stainless steel is also a good choice but, remaining on the silver chromatism, we can also choose the elaborate embossed one: although its “texture” and workmanship may appear elaborate if seen up close, this type of steel is actually functional to a scenography that accompanies interiors in which a “sparse” scenario is desired: as in the Booth planned in the project by Poste Italiane, where laid on the floor it wonderfully marries the sea blue of the walls of the stand, so much so that the two colors together give a harmonious “aquarium effect”.
