Policroma

Linear and curvilinear: the architecture of archetypal forms. Author: Cristina Celestino

Recurring geometries, combinations of figures. Marble and marmorino plaster: comparison and dialogue.

Recurring geometries, combinations of figures. Marble and marmorino plaster: comparison and dialogue.

The collection’s repertoire of large slabs features motifs inspired by two separate sources: on the one hand the exquisite, always surprising vein texture of some specific metamorphic rocks, and on the other the sophisticated colours of Marmorino plaster. In spite of their different natures, these two materials are embedded in the culture of Italian architecture.

A rounded arch is then used to offer suggestions for combining the two decors in the same ceramic covering, which becomes a marvellous inlaid area for use alongside other, similar slabs to generate a rich web of figurative weaves and possible two-dimensional patterns, each with its own specific visual impact.

Policroma by Cristina Celestino | Florim Ceramiche S.p.A.
Policroma by Cristina Celestino | Florim Ceramiche S.p.A.
Policroma by Cristina Celestino | Florim Ceramiche S.p.A.

The collection is completed by a linear listello tile with the motif of a sequence of vertical rectangular blocks, which can be combined with the slabs to further enrich compositions involving continuous ceramic surfaces cladding.

"Another reference is the use of Italian marbles on the verge of extinction, rare marbles such as Rosa Valtoce, the marble used in Milan Cathedral."
Cristina Celestino

Policroma by Cristina Celestino | Florim Ceramiche S.p.A.
Policroma by Cristina Celestino | Florim Ceramiche S.p.A.
Policroma by Cristina Celestino | Florim Ceramiche S.p.A.

Annalisa Ross: "Milan interiors"

Cristina Celestino’s smartphone contains a folder of images entitled “Milan”. Photographs that are more like notes. Photographs of architectural features, materials or details of shapes encountered by chance during a walk, but they cannot be described as merely a vague “source of inspiration”. This filing system, created in response to a fleeting instinct, is an integral part of the method of work adopted by the architect and designer, who starts off without preconceptions – or “free”, as she puts it – before drawing inputs from a vast world of references, from Hermès scarves to the works of the great Masters (in the specific case of Policroma). This accumulation, partly spontaneous and party the outcome of in-depth historical knowledge and study, naturally activates a process of synthesis and personal interpretation common to all Cristina Celestino’s output.


The wall covering collection designed for Cedit was no exception, although in this case the designer was dealing with a project with variable dimensions, reaching up even to the architectural scale. In her own distinctive way, she combined a variety of references. Adolf Loos’s passion for coloured types of marble, and Cipollino in particular. Carlo Scarpa’s angular metal frames and Marmorino plaster in Venice. The French fashion house’s square silk scarves. The entrance halls of Milan palazzos, Gio Ponti, the city’s Cathedral. All expressed in the designer’s own language: well balanced geometrical forms, subtle colours (shades similar to those of Scarpa himself), an effortless, almost restrained, playful elegance. The mood is that of the homes of the enlightened bourgeoisie who shaped the history of Milan, Celestino’s adoptive city and an endless source of inputs. She has worked its interiors, including some of the least expected – a 1928 tram, the historic Cucchi confectionery store – hybridising her own style with the existing context. An imitative effect which is also the key to the meaning of the new Policroma collection: the marble varieties replicated using the Cedit technology are all from Italian quarries that are virtually “worked out”. This revives an increasingly rare material as a “living” presence, in a different form which makes no claim to replace the natural original. Quite the contrary, Celestino immediately states her intention to imitate, by combining marble and Marmorino plaster in some variants with a contrasting frame (a typical feature for her, just as it was for Scarpa), and evoking the centuries-old marble-imitating scagliola plasterwork with a contemporary formula.


The types of marble chosen are central to the project’s character. Verde Alpi, a favourite with Gio Ponti and often found in Milan entrance halls, features tightly packed patterning. Breccia Capraia, still found in a very few places in Tuscany, has a white background with just a few veins. Cipollino, in the special Ondulato variety in green and red, is patterned with spirals. Rosa Valtoce, on the other hand, was used by the “Veneranda Fabbrica” guild to build Milan Cathedral. It is an iconic stone with dramatic stripes, popular in the past; it is now sourced from one very small quarry in Piedmont which has been virtually abandoned.

The many different elements that make up the Policroma collection all reflect the importance of craftsmanship to Cristina Celestino’s design style: the modules can be freely mixed and combined, for example to create a concave or convex semicircle, or for the large-scale replication of small features initially conceived as trims, functional details transformed into a dominant motif.There is a return to the theme of the interior, a large or small protected space, conceived as suspended in space and time yet also reassuring and protective. It is designed through its coverings in a stark yet not minimalist way, with intelligence and with no overreaching artistic ambitions. An understated space and an extremely stylish declaration. In Milan style, of course.

Authors

Colors

Base

Breccia

Alpi

Cipollino

Valtoce

Cipria

Lichene

Cornice

Cornice Breccia

Cornice Alpi

Cornice Cipollino

Cornice Valtoce

Cornice Cipria

Cornice Lichene

Cornice Mattone

Cornice Conifera

Arco

Arco Breccia-Cipollino

Arco Alpi-Breccia

Arco Valtoce-Cipria

Arco Cipollino-Conifera

Arco Alpi-Lichene

Arco Breccia-Mattone

Arco Lichene-Conifera

Arco Mattone-Cipria

Volta

Volta Breccia-Cipollino

Volta Alpi-Breccia

Volta Valtoce-Cipria

Volta Cipollino-Conifera

Volta Alpi-Lichene

Volta Breccia-Mattone

Volta Lichene-Conifera

Volta Mattone-Cipria

Sizes

triangolo 120x120 cm 48"x48"

120x240 cm 48"x95"

120x120 cm 48"x48"

60x240 cm 24"x95"

60x120 cm 24"x48"

Thickness

6,00 mm

Surfaces*

MATTE

SHINY

Accessories

Sigillante cementizio

STUCCO PERLA

STUCCO NOCE

STUCCO ANTRACITE

Pittura acrilica

PAINT FANGO SAT. 4 LTR

PAINT MARRONE SAT. 4 LTR

PAINT MUSCHIO SAT. 4 LTR

PAINT MANDORLA SAT. 4 LTR

Colors:

Size:

Thickness:

Surface:

Listello

POLICROMA LISTEL LICHENE MAT 6MM 12X120R

Lichene opaca

12x120 cm

POLICROMA LISTEL CIPRIA MAT 6MM 12X120 R

Cipria opaca

12x120 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%
Breaking strength in N (thickness < 7,5 mm)
ISO-10545-4
≥700 Newton
average value 1350 N*
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 staining
ISO-10545-14
-
Cl. 3-4
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
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
Resistance to domestic chemicals and additives for swimming pools
ISO-10545-13
UB minimo / UB minimum / UB minimum / UB mindestens / UB minimo
UA
Slip resistance with shoes
DIN-51130:2010
-
R9
Dynamic coefficient of friction (section 9.6 ANSI A 137.1 2012)
DCOF
>0,42 wet
>0,42 wet

Notes

For optimal installation results, Florim recommends maintaining a joint of 2 mm 1/12” for single format installations and 3 mm 1/8” to combine mixed formats.

* Test performed on 80x80cm size

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