The site-specific installation Augmented Surface, a celebration of the amazing creative and decorative potential of porcelain stoneware, designed by Antonio Citterio Patricia Viel for Marazzi to mark Milano Design Week 2017, (augmented-actuality) has given birth to Marazzi’s new Grand Carpet collection.
The starting point for the range was an antique Persian carpet, in which random wear over the years has transformed the compositional identity into different patterns. In the resulting tile small pixels, with varying colour density, are printed on 1,200 by 2,400mm porcelain stoneware slabs to create a single large pattern that can be infinitely repeated but are endlessly diverse.
Grand Carpet is produced in six different 1,200 by 2,400mm modules, 6mm thick, in two sophisticated colour shades, Smoke and Sand. This represents an original approach to large slabs and to porcelain stoneware itself, “easy to handle and creative in its surface finishes, a characteristic not found in any other engineered material,” in the words of the designers: architects Citterio and Veil.
Grand Carpet is intended for covering horizontal and vertical surfaces, indoors and outdoors, in both residential and contract locations.
“Ceramic stoneware, a material capable of amazing performances, is constantly adopting more and more sophisticated production technologies, extending its tile sizes and geometrical forms. It is a tough, neutral, healthy, recyclable material, with surfaces that can evoke and reproduce a limitless range of visual eects. We turned to the oriental decorative tradition for a design theme able to bring out all the beauty of the large slab size and the warm nature of the ceramic body material,” explains Citterio and Veil.
“Grand Carpet combines the style of oriental carpet patterns with inputs from the Kolam tradition of ephemeral rice “oor decorations, and Mehindi, the Indian temporary ritual tattoos. We see antique but transient decoration, which reinforces and evokes a sense of place and pays homage to a rite of belonging, as ideal for our aim of adding value to a material without letting the decoration as such predominate over its actual substance. The gigantic scale, the fragmentation of the pattern, and the versatility of the geometrical composition of the parts, not necessarily obliged to make up a formal !gure, all reinforce the impression of symbolic decoration. The pattern is applied using a contemporary method based on dots, a printing screen or pixels; the graphic language, with its strong kinship to modernity, introduces the theme of visual perception in the horizontal perspective of the “oor covering.”
“The pattern becomes an evanescent perception, changing depending on viewpoint and not static. Above all, it is closely integrated with the tactile values of the “ooring material itself. Gran Carpet overcome the paradox that often affects decoration in architecture, which must be neutral and yet still reinforce the project’s character and aims, and remain in the background yet be highly relevant in attributing identity and recognition to space.”
A new post by Joe Simpson, Diary of a Tile Addict, October 2017.