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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When we talk about coverings, we immediately think of the design of the last decades, the creativity of interior designers and architects who, by choosing this or that material, this or that color, this or that shape, are committed to giving a certain style to a room, to a wall, to several walls of a house, a bar, a theater, a cinema. But coverings are an ancient art that comes from afar, with origins that are lost in Egyptian ceramics, in the Arab Spain of "metallic lustres", and in a medieval Italy completely dedicated to specializing in crafts that would soon characterize it for its unique style and its strong decorative flair, just think of a large ceramic production center in Faenza or the international leadership that Vietri sul Mare still has in this sector today.
Let's see how in the specific case of Planium the coverings take on a relevant aspect of the decoration of an interior: a brand of Terenzi Srl specialized for years in flooring and coverings with metal that, differentiating itself for the choice of textures by the client, is oriented towards different chromatic solutions with brass or the many and diversified steels, both stainless and oxidized.
A Planium aesthetically relevant covering is that of Calamine laid not only on the floor but also on the walls at the Museo del 900 in Florence: here the combination of Calamine and the abstract works of art exhibited in the room is very successful, both because the paintings have bright colors of yellows, blues and sometimes greens that offer a majestic contrast with the middle blue of Calamine, which gives a sense of calm and static security, and because Calamine itself, with its blue and magenta streaks and with a tone of anthracite gray that can be glimpsed in the blue, is itself an abstract work, an oxidation that recalls certain squares knowingly created by painters. Art recalls art, and it could not be otherwise in a city like Florence!
Also in Italy, for the Fuorisalone exhibition in the center of Milan, an iconic Planium covering of recent years was the Lunar Gallery, one of the most viewed locations in the 2022 Design Week. This design structure was made with an oxidized steel that, through a specific design study, retraced the selenic cartography. Another oxidized steel, the “Stainless Cement”, was used to cover and floor the trophy room of Giacomo Agostini, the most successful motorcycle racer. A steel that with its chromatic characteristics echoed the materials used in the workshops of the sixties. The walls of the exhibition room are embellished with the equipped boiseries that cover the entire perimeter of the museum, also designed by Studio Giavarini, in collaboration with Falegnameria F.lli Gotti. The Planium design area took care of creating the aesthetic finish and the reinforcement brackets, while the Carpentry created the internal core of the panels. The galvanized steel boiseries were shaped, cut and folded in such a way as to compose a sort of sandwich with the core and the brackets and then liquid painted with red.
