Cromatica

The expressive code of colour. The past that inspires the present. Author: Formafantasma | Andrea Trimarchi & Simone Farresin

A lexicon of colour shades for mixing. A large size and its submultiples.

A lexicon of colour shades for mixing. A large size and its submultiples.

Available in six encoded colours and two complementary surface finishes – matt and glossy – the “Cromatica” collection brings out a sensitive and original reflection in the domination of pure colour. The large porcelain stoneware glazed sheets are fields where the chromatic quotient in pastel shades, softly mixed together and rich in variations of intensity, comes through in a multiplication of apparently infinite shades. In addition to being kept in its large size, the sheet can also be cut down to smaller sizes, making it an open and versatile collection.

Cromatica by Formafantasma | CEDIT - Ceramiche d'Italia
Cromatica by Formafantasma | CEDIT - Ceramiche d'Italia
Cromatica by Formafantasma | CEDIT - Ceramiche d'Italia

«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

Cromatica by Formafantasma | CEDIT - Ceramiche d'Italia
Cromatica by Formafantasma | CEDIT - Ceramiche d'Italia
Cromatica by Formafantasma | CEDIT - Ceramiche d'Italia

CRITICAL TEXT BY DOMITILLA DARDI: “ANALOGIC, DIGITAL, CHROMATIC”.

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 Ettore Sottsass. 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.

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 how to bring the multiplicity of shades typical of a hand-crafted piece into a large-scale project.» 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.

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».

Authors

Colors

Bianco

Grigio

Cenere

Verde

Rosa

Cobalto

Opale

Gradiente bianco-rosa

Gradiente grigio-verde

Sizes

120x240 cm 48"x95"

120x120 cm 48"x48"

12x24 cm 43/4"x91/2"

6x24 cm 23/8"x91/2"

360x240 cm 1413/4""x95"

Thickness

6,00 mm

Surfaces*

SHINY

MATTE

Accessories

Sigillante cementizio

STUCCO MARE

STUCCO TE' VERDE

STUCCO CINERINO

Pittura acrilica

CROMATICA PAINT BLU NOTTE SAT. 4 LTR

CROMATICA PAINT FELCE SAT. 4 LTR

CROMATICA PAINT ROSA SAT. 4 LTR

CROMATICA PAINT ORCHIDEA SAT. 4 LTR

* To find out more about the meaning of each surface, read the glossary at the following link www.florim.com/en/surfaces/

Gradiente

GRAD.BIANCO ROSA 6MM A+B+C GLO.360X240

Gradiente bianco-rosa

360x240 cm

GRAD.BIANCO ROSA 6MM A+B+C OPA.360X240

Gradiente bianco-rosa

360x240 cm

GRAD.GRIGIO VERDE 6MM A+B+C GLO.360X240

Gradiente grigio-verde

360x240 cm

GRAD.GRIGIO VERDE 6MM A+B+C OPA.360X240

Gradiente grigio-verde

360x240 cm

Reference standard E.N. 14411 . Appendix G. Group BⅠa. UGL
Test method
Reference value
Declared value
Download
Length and width: admitted deviation, in %, of the average size of each tile from the production dimensions
ISO-10545-2
±0,6% (±2 mm)
± 0,15%
Admitted deviation, in %, of the average thickness of each tile from the production dimensions
ISO-10545-2
±5% (±0,5 mm)
± 5%
Maximum straightness deviation, in %, in relation to the corresponding production dimensions
ISO-10545-2
±0,5% (±1,5 mm)
± 0,1%
Maximum right-angle deviation, in %, in relation to the corresponding production dimensions
ISO-10545-2
±0,5% (±2 mm)
± 0,2%
Flatness (centre curvature / edge curvature / warpage)
ISO-10545-2
±0,5% (±2mm)
± 0,2%
Surface quality
ISO-10545-2
Il 95% min delle piastrelle deve essere esente da difetti visibili / At least 95% of the tiles must be free from visible flaws / 95% min des carreaux ne doivent présenter aucun défaut visible / Mindestens 95% der Fliesen müssen frei von sichtbaren / mín. el 95% de las baldosas tiene que estar exento de defectos visibles
CONFORME / CONFORMING / CONFORME / KONFORM / CONFORME / СООТВЕТСТВУЕТ
Amount of water absorbed, in percentage
ISO-10545-3
E<0,5%
average value 0,08%
Bending strength in N/mm2
ISO-10545-4
>35 N/mm2
average value 52 N/mm2
Resistance to deep abrasion of unglazed tiles
ISO-10545-6
<175 mm3
average value 140 mm3
Thermal shock resistance
ISO-10545-9
-
RESISTE / RESISTANT / RÉSISTE / ERFÜLLT / RESISTE / УСТОЙЧИВ
Frost resistance
ISO-10545-12
Richiesta / Required / Requise / Gefordert / Requerida
RESISTE / RESISTANT / RÉSISTE / ERFÜLLT / RESISTE / УСТОЙЧИВ
Resistance to low concentrations of acids and alkali
ISO-10545-13
Come dichiarato dal produttore / See manufacturer’s declaration / Selon déclaration du producteur / Entsprechend der Herstellerangaben / Tal como declara el fabricante
ULA/ULB
Resistance to high concentrations of acids and alkali
ISO-10545-13
Come dichiarato dal produttore / See manufacturer’s declaration / Selon déclaration du producteur / Entsprechend der Herstellerangaben / Tal como declara el fabricante
UHA/UHB
Resistance to domestic chemicals and additives for swimming pools
ISO-10545-13
UB minimo / UB minimum / UB minimum / UB mindestens / UB minimo
UA
Dynamic coefficient of friction (section 9.6 ANSI A 137.1 2012)
DCOF
>0,42 wet
> 0,42 wet

Contact us for more information

Contact us for more information about products, dealers or to receive technical support.

Similar products

If you want, we'll keep you updated on the latest news about products and events

Cambia Lingua RU

Se preferisci puoi impostare la lingua del sito per navigarlo in russo

Vai al russo Chiudi / Close

Cambiar idioma

Si prefieres, puedes configurar el idioma del sitio para navegar en español

Ir a la versión en español Chiudi / Close

Sprachwechsel

Sie können die folgenden Sprachen auswählen deutsch

Wechsel zu deutsch Chiudi / Close

Changer langue

Si vous préférez, vous pouvez configurer la langue du site pour naviguer en français

Aller sur la version française Chiudi / Close

Switch language

If you prefer, you can set the website language to browse it in English

Go to the English version Chiudi / Close

Scegli la lingua

Se preferisci puoi impostare la lingua del sito per navigarlo in italiano. Invece, per continuare sul sito inglese clicca sul pulsante chiudi.

Italiano Chiudi / Close