En Materia de Diseño : Día Internacional del Interiorismo

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Bajo el lema “Materia de Diseño”, la Federación Internacional de Arquitectos/Diseñadores de Interiores (IFI, por sus siglas en inglés) celebrará el Día Mundial del Interiorismo 2014 el próximo 31 de mayo.

El Día Mundial del Interiorismo es un evento anual encabezado por IFI con la intensión de exponer la Arquitectura/Diseño Interior. Envuelve profesionales, organizaciones, amantes del diseño y público general para explorar la creatividad, imaginación, visión y pasión por el rol del interiorismo en la sociedad, cultura y los futuros ambientes construidos.

El Colegio de Decoradores de Interiores de CODDI de Puerto Rico se unió a esta celebración internacional, apoyando un singular evento este próximo 31 de mayo en el Centro Criollo de Ciencia y Tecnología del Caribe. 

El lema de este año, promueve el rol del diseño como medio para el cambio positivo, brindando calidad de vida y sirviendo para el bien humano por medio de la creatividad e innovación.

Como parte de la conmemoración, se organizan actividades durante el mes de mayo para resaltar la profesión del interiorismo y el impacto en la vida y el entorno construido. En años anteriores se han celebrado desde mesas redondas de discusión, hasta grandes eventos nacionales.

Información adicional está disponible accediendo a https://www.facebook.com/CODDIPR

El patrón de mosaico perfecto para su característica de la pared: El caso Milla de Oro

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La Milla de Oro fue uno de los primeros proyectos que tomé a cargo, durante mis primeras semanas en Lithos Design. Fue una gran satisfacción, porque este proyecto en realidad me había dado algunos dolores de cabeza al principio de las cosas que ahora ni siquiera me toques; fue entonces cuando realmente aprendí sobre el potencial de nuestros productos en términos de flexibilidad de uso y adaptabilidad, gracias a algo que al mismo tiempo extremadamente simple y extremadamente difícil: un estudio del thourough del patrón de mosaico perfecto.

De hecho, algún tiempo después de la venta estaba en contacto con el arquitecto para prestar asistencia en la fase de instalación, y pronto la necesidad de adaptar algunos de nuestros azulejos de las paredes que estaban destinados a vino a nuestra atención. Entre otras cuestiones, el diseñador me preguntó cómo las capas podrían encajar mejor nuestro material, como era su deseo precisa para centrar exactamente el patrón en la pared, y para cubrir por completo con la textura. Por supuesto, no se proporcionó el material de tamaño estándar (en este caso, 60 × 60 azulejos cm), y la pared para ser cubierto en el área del jacuzzi era 310 cm grandes; el arquitecto estaba un poco preocupado por los 10 centímetros a la izquierda, y cómo que en última instancia mirar.

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Baldosas estándar de hecho pueden hacer que parezca difícil de hacer un buen trabajo en una pared de la característica verdadera sin recurrir a al menos algún grado de personalización. Además, la piedra es un material precioso que debe ser respetado, por lo que producen nuestros azulejos en la demanda, sólo ofrecemos demasiados modelos en muchos tipos diferentes de piedra natural para crear una acción. Una vez más, esto puede invitar a pedir ajustes y los echos a medida. Así que empecé a cabo por nuestro departamento técnico, decidido a examinar todas las soluciones posibles para cumplir con la petición del diseñador, sólo para descubrir que nada podría haber sido más fácil. La utilidad de la prestación por defecto, en grandes proyectos, una pequeña cantidad de piezas de azulejos, produjo fuera del mismo bloque de piedra como la cantidad requerida para otorgar su similitud, se convirtió inmediatamente en claro para mí. Todas las texturas de Lithos Design se estudian específicamente para que el diseño puede seguir perfectamente y sin cesar de una ficha a otra, tanto en altura como en anchura, con un efecto verdaderamente sin juntas; cualquier capa profesional puede cortar piezas de repuesto en el lugar con el fin de llenar cualquier vacío dejado por las baldosas estándar en cualquier dirección, y para cubrir completamente cualquier pared en una forma apenas visible. Allí, tan simple como eso. De hecho, es muy recomendable hacerlo en el lugar, por lo que la medición y los recortes resultantes pueden ser menos que perfecto.

Permítanme añadir algunos sentimientos personales sobre todo el asunto. Yo sabía la importancia y la reputación del contratista nos ocupa, pero por razones obvias de privacidad, en ese momento yo tenía no todos los detalles sobre el proyecto en general, por no hablar sobre el cliente final. Como resultado, cuando lo vi publicado en el área de la cartera de nuestra página web hace unas semanas yo estaba asombrado: cuando estaba trabajando en él, que ni siquiera podía imaginar cómo sería este prestigioso centro de bienestar, y no era tan conscientes como lo estoy ahora de los resultados hermosos que podemos alcanzar con nuestros productos … bueno, ya que muchos novatos habrían sido supongo!Estoy muy satisfecho de haber estado trabajando en él.

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Y si usted desea saber más acerca de las texturas de la pared Lembo y Seta destacados en este proyecto, descargar las fichas técnicas aquí !

Should a durable material be inalterable in time? How boring…

One of the things my father taught me, and which he repeated to me constantly, was: “Stone has always existed,
man has always used it and shall never cease to use it.”
I believe this is true, despite the fact that the latest-generation materials leads us to believe that a durable material should have an unvarying long life.
Why do I believe this? History proves this.

Through stone, civilisations have expressed their identity,
their political strength, their ability and their genius.
Through stone, we have been handed down the whole story of great people,
of great enterprises, but also of everyday routine life,
and this through the legacy of large constructions such as amphitheatres, fountains, bridges,
but also more humble or everyday objects such as oil presses, wells,
crosses or bas-reliefs depicting a holy scene,
sculpted with devotion even if by a modest hand.
Italy is filled with such messages, both small and grand, which have been left behind by those before us.
From one generation to the next, from one millennium to the other, stone has always been used
as testimony, which our ancestors handed down to their children and grand-children,
right down to us, along the long journey that is life.

This is a well-known fact, but people these days reflect too little on such an elemental fact,
in other words that the history of stone would not have been possible
without two of the most important characteristics which are intrinsic to this material:

Texture and Durability.

If stone were not textured, it would not posses that “full paste”,
as some marble workers commonly call it, which makes it suitable for the products typically manufactured with this type of material.
If it had no texture, a concept that is often neglected,
many works would never have stood the test of time, would never have resisted atmospheric agents such as rain, snow, fog, sunlight, hail,
and more recently the detrimental effects of smog.
Indeed, it is this texture that makes stone durable, which allows any stone manufactured product… to lose its initial shine fresh from conception,
to acquire a new appearance over time, new manifestations in its surface finish.

This is the appeal of the durability that distinguishes stone:
time wears, ages, but often stone gains in beauty, in pathos,
being transformed and revealing a new look.

 

When I walk into an old church,
I often appreciate the floor that has been “worn down” by a countless number of people walking over it,
who slowly marked an evident track in the material,
perhaps more so down the centre aisle and less in the wings.
This patient wearing down has not spoiled the floor in any way,
but it has allowed the stone to take on a new expression.
An expression that gives off a positive feeling of “warmth”, of “worn”,
which is pleasant especially to touch.

It is no coincidence that many modern products attempt to reproduce this spontaneous finish,
this feeling.
The marble industry (along with other industries) has recently developed a series of products under the name of Distressed Marble,
in order to reproduce on new products
these very forms of finish that only time can achieve by wearing down the material.
The other family business which my brother and I are running
deals among other things in processing stone kitchen countertops in Arte Povera,
attempting to recreate an ancient stone featuring traces of wear
by removing material, by milling it and smoothing it unevenly.
But the result, while producing the right visual and tactile effect, is still quite far
off from the natural processing only achieved by time.

 

So marble ages well. Both on walls and on floors, it gets more appealing with age.
That’s the intriguing durability afforded by natural stone, which should never be considered to be a material that deteriorates over time, but instead as the material which lasts best and longest, because it is constantly renewed, taking on new expressive forms as time passes.

 

And that’s not all…
The marbles which then reach us over millennia of wear
can also be given a new lease of life through restoration:
through cleaning, through inserts and other specific techniques,
antique works can be restored to their ancient splendour.
This is another important theme linked to the special texture of marble,
which perhaps we can discuss in future in another post.

 

Original text from www.lithosdesign.com

Technology and stone design. A new approach to an old business

The technological innovation which has influenced and radically affected habits, customs and views – especially over the last 20 years – has also changed to a certain extent the approach to stone from many perspectives: extraction, production, logistics, design, applications, technique and styling. Although to a probably lesser extent, this evolution has had an impact on the very perception of the material itself.

It is easy to understand why an entrepreneur in general, and specifically a stone entrepreneur, would always look to the innovative techniques with interest and attention where the optimisation or the implementation of an existing process – and therefore useful to the creation of an already commercially effective product – have proven successful in an increased margin, in greater production speed, in lower energy consumption levels, in a different usage of labour. Progress in this sense has been an excellent seductress: an entrepreneurial decision is so much simpler when the cost/benefit ratio of an investment is quite evident.

On the other hand, a different, more in-depth and complex analysis of what could make up a strategic potential for the company continuity involves and enables a vision of technology as a means of production differentiation.
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Indeed, for processing companies, maximising performance – which is a constant, unwavering and fundamental objective for the company – must cohabit every day with the necessary process and product innovation, which can be achieved at the highest levels when technology and design are connected and directed together towards achieving a shared and specific goal. How does this come about?

Stone entrepreneurs must never stop being ‘marble workers’, witnesses to the values that stone possesses and can express, but similarly they cannot at the same time avoid being innovative, to retain its image and its very raison d’être: hence the need to embrace design as a development factor.

They also have to justify their activity economically, and the new technologies also make it possible to achieve the production capacity and cost-effectiveness goals which give a design object a commercial validity, qualifying it as a genuine “product”.

Stone design ensuing from research and technological application is therefore to all intents and purposes a powerful element of competitive edge, so much for those who see stone as a simple construction material.

Product differentiation understood as styling, functional and applicative innovation that cannot be reproduced in the absence of technology, extreme implementation precision and constant quality standards (which would be difficult to achieve with manual processing), as well as the high production capacity, reduced downtime and the control of costs and prices: these are all features that ensue from this approach, and which combined allow the company to emerge and take a leap forward from the past and from its competitors, guaranteeing those who decide to purchase that excellent value which allows them, in turn, to benefit from the utmost functional, styling and emotional return.

The easiest backlit panels ever. And they are made of stone.

Fiat lux.
It’s sometimes hard to have people grasp all the possibilities a new product can provide, especially when its innovative potential is huge and you need to train customers to think in a new way, considering a solution that didn’t exist before. But the potential of our Le Pietre Luminose backlit panels was well and very quickly understood by Frank Theuerkauf design studio when, last year, they were designing a new bar in Hamburg and wished to insert in a precise area a dramatic backlit rear wall.

We knew the client was a very important one, and from our part we wanted to do our best because it was one of the very first projects we were approaching with a collection we had launched only a few months before, bringing on stage at Euroluce 2013 in Milan our very first range of backlit tiles. Yes, in fact they are more than backlit panels. They are backlit tiles, with a true jointless effect.

The concept is intriguing: every tile has its own, indipendent light box. This and their easy format allow for a much simpler and cheaper transport on site and, as regards the final result, for a much more regular and effective illumination than the one you can achieve with the usual, big onyx slabs, which are truly beautiful but require much more work in order to study a good and visually appealing support structure, and a perfect backlighting system. My support than consisted precisely in informing the designers on the many ways in which the ‘Le Pietre Luminose‘ tiles are a true turnkey product: their standard 60×60 cm dimensions, their more than manageable thickness…. According to this, the surface destined to be covered was determined to be exactly a multiple of 60 cm, and the luminous structure was built into the wall, in order to lodge the modules concealing the broadsides.

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Above all, I found my personal way to explain the super-easy installation system conceived for the product. Indeed, these tiles are composed of those two parts, the metal box containing the illumination system and the stone tile; you just need to screw the boxes to the supporting wall and wire them to the electrical system, and then to install the marble modules. This permits to spare time and you don’t need to glue the marble using specific adhesives. More important, inspecting the backboxes is possible by simply removing the marble pieces. I also enjoy sketching, and I produced this drawing for the designers to understand how easily it is done.

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In the end, I have to say that the installers were very prepared, too, and completed the installation with no problem at all.
This bar takes the name of ‘The Room‘ and turned out to be the ground floor club of the Radisson Blue Hotel in Hamburg. When we received the pictures I’m showing here, I got a a clear understanding of what designers mean when they talk about the “wow” effect. You know, I love to imagine a three-dimensional marble covering as a live pattern. You never see the same surface, the same veins, the same tile twice – varying the slant of light you may appreciate different effects, shadows come longer and shorter, and you always enjoy a different perspective on the wall. All this is magnificent but, if you think you can have a backlit 3d marble wall as well, it becomes gorgeous! And so, I seize this chance to thank again those who worked at finalizing this project, and contributed to show the ‘Le Pietre Luminose’ tiles to a wider public.

Grand Opening of the new Antolini Stone Gallery

We have the pleasure to send you the video realized during the
Grand Opening of the new Antolini Stone Gallery.


The sensuous pleasure of textured stone walls

Italian architect and researcher Veronica Dal Buono, while writing about textured stone walls, stated that: “The effect they have on the senses imbues them with expressivity and the power of attraction“. Then another woman, another experienced professional in the design field, with her delicate sensitivity explained to us what these words mean to her. And we definitely felt like sharing her words with our readers. By Marzia Busa.

I didn’t think, I didn’t know, I hadn’t touched it with my hand.
I thought stone was cold. I was wrong.
I thought it could only form slabs, with beautiful history and colours, but just slabs. I was wrong.
I thought that there were other natural materials with greater potential for warmth and empathy. I was forced to change my mind.
I drew towards natural stone for work.
I met men, their passion, machines.
I saw stones from all over the world, with incredible colours and incomparable nuances, and I saw, touched and experienced stone finishings which, when produced in 3D, take on incredible delicacy and lightness.

Waves, decorations, graphic signs and bands of light softly enter the material. On first glance, this gives a powerful yet soft aesthetic profile at the same time.
Perceptual geometric shapes capture the senses in a surge of ideas, pushing the boundaries of what is possible and feasible.

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Ottoman textured surface in beige canapa limestone. Above: Tulle texture in carrara ghiaccio marble.

Stone is seductive. It is a living, pulsating material that is able to become light.
Lithos Design’s collection of coverings called ‘Drappi di Pietra‘, for example, have made stone soft and ethereal. Each model appears to be moved by the wind; just like a curtain. Chiffon, Organza, Tulle… each name evokes a weave, a sort of drapery that has been translated into stone and marble with enchanting results.

Your hand instinctively wants to reach out and touch the wall with sensuous pleasure: the finishings feel like silk, or have the consistency of precious velvets, giving the wall an aura of soft sensuality.
In addition to functionality and simple beauty, these coverings strike the senses, open up to lively design expressions, light and shade, multi-shape dimensions and aerodynamics.
I also thought that stone had no smell.

On the contrary – the mind gives unexpected perfumes to processed stone. I could give a perfume to some models of covering; a hint of fragrance that my mind creates when associating the grain and origin of the material, the wake of colours and the graphism. Chiffon has a fragrance of vanilla, Foulard is Eau de Cologne, Organza’s fragrance is jasmine…
Of course, it’s passion, fantasy and imagination that make us sense these perfumes but…

Raffello Galiotto y sus diseños en piedra

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El exitoso diseñador de interiores Raffaello Galiotto, en estrecha colaboración con LITHOS DESIGN, se ha acercado al sector del diseño en piedra con un espíritu innovador y de experimentación, contribuyendo de manera determinante al desarrollo de las colecciones “Muros de Piedra”, “Luxury”, “Piedras Grabadas” y “Piedras Grabadas Palladium”. Raffaello ha obtenido reconocimientos nacionales e internacionales por sus diseños inéditos de productos con superficies elaboradas en 3D.

En colaboración con IL CASONE, compañía líder en el sector de la extracción y procesado de la Pietra Serena, Raffaello creó el más reciente concepto: NUANCE. Las 6 texturas líticas en tamaño 32’’x16’’ han sido ideadas con la capacidad de exaltar el contraste de luz y sombra, animando la superficie y creando infinitas tonalidades de gris. Vello, Vena, Scorcio, Tartan, Risma y Crine interpretan las nuevas tendencias del diseño, que al sabor del minimalismo acerca un redescubrimiento de la textura, exaltada por veteados, ondulaciones, juegos de luz y de sombra.

Estas y otras piedras naturales son parte de la extensa selección que The Marble Shop exhibe en sus Showrooms, ubicados en el 122 de la Ave. De Diego, La Riviera, San Juan, P.R. con el 787-793-3739 y en la Carr. #1 Km. 23.0, Bo. Río Guaynabo, P.R. con el 787-708-2030.
Natural y único…www.themarbleshop.com

Diseños en Piedra

LITHOS DESIGN nace como Centro de Investigación y Desarrollo de Bevilacqua Marmi, una empresa con treinta años de experiencia. LITHOS ha hecho de la innovación y el diseño su propia misión, reflejo de una joven realidad italiana, con una aguda predisposición al diseño lítico.

El exitoso diseñador de interiores Raffaello Galiotto, en estrecha colaboración con LITHOS, se ha acercado al sector del diseño en piedra con un espíritu innovador y de experimentación, contribuyendo de manera determinante al desarrollo de las colecciones “Muros de Piedra”, “Luxury”, “Piedras Grabadas” y “Piedras Grabadas Palladium”. Raffaello ha obtenido reconocimientos nacionales e internacionales por sus diseños inéditos de productos con superficies elaboradas en 3D.

En colaboración con IL CASONE, compañía líder en el sector de la extracción y procesado de la Pietra Serena, Raffaello creó el más reciente concepto: NUANCE. Las 6 texturas líticas en tamaño 32’’x16’’ han sido ideados con la capacidad de exaltar el contraste de luz y sombra, animando la superficie y creando infinitas tonalidades de gris. Vello, Vena, Scorcio, Tartan, Risma y Crine interpretan las nuevas tendencias del diseño, que al sabor del minimalismo acerca un redescubrimiento de la textura, exaltada por veteados, ondulaciones, juegos de luz y de sombra.

Estas y otras piedras naturales son parte de la extensa selección que The Marble Shop exhibe en sus Showrooms, ubicados en el 122 de la Ave. De Diego, La Riviera, San Juan, P.R. con el 787-793-3739 y en la Carr. #1 Km. 23.0, Bo. Río Guaynabo, P.R. con el 787-708-2030. Natural y único…

Materia Lítica

El más reciente trabajo del diseñador Raffaello Galiotto fue el galardonado exhibidor de Lithos Design en la feria Marmomacc de Verona, donde la marca tuvo oportunidad de mostrar su más reciente colección Nuance. El “Stand” que lleva por nombre MATERIA LITICA, ha sido premiado “por la esencialidad y la coherencia de un proyecto de exposición que juega con un único componente modular repetido”. MATERIA LITICA es un proyecto a la vanguardia que pone las bases para una nueva forma de concebir la utilización arquitectónica de la piedra. A pesar de que el ‘’core business’’ de la empresa es y sigue siendo el diseño pétreo aplicado a soluciones de revestimiento, éste es el desafío que Lithos Design y Raffaello Galiotto han querido sugerir a los protagonistas de la arquitectura con MATERIA LITICA, de forma casi pionera pero sin considerarla una utopía. Lithos Design, con su sólido conocimiento del material pétreo y el respeto de su utilización, ha querido enviar con MATERIA LITICA mensajes inéditos y desafíos tecnológicos que, en línea con el espíritu y la filosofía empresarial, desplaza hacia adelante la barra del “know how” y de las posibilidades de empleo de la piedra.

Designer
Raffaello Galiotto estudia pintura en la Academia de Bellas Artes de Venecia y durante el recorrido formativo, entra en contacto con el mundo industrial donde inicia colaboraciones de diseño que desembocarán luego en relaciones de trabajo, permitiéndole abrir su actividad y poniendo en marcha su propio estudio de diseño industrial en el año 1993.

En el sector lapídeo, especialmente, da vida a productos innovadores con intervenciones inéditas de superficie. Ha recibido reconocimientos y premios nacionales e internacionales. Colabora con prestigiosas universidades italianas con disertaciones y conferencias para delegaciones de arquitectos del ámbito internacional. En los últimos años ha proyectado importantes eventos de diseño lítico y en colaboración con el CMC (Consorzio Marmisti Chiampo) ha proyectado y se ha ocupado de dos importantes eventos: “Palladio e il Design Litico” y “I Marmi del Doge” expuestos en Marmomacc Verona y en diversas ciudades europeas.

Embellece las paredes de tu entorno con éstas y otras piedras naturales que son parte de la extensa seleccion que The Marble Shop exhibe en sus Showrooms, ubicados en el 122 de la Ave. De Diego, La Riviera, San Juan, P.R. con el 787-793-3739 y en la Carr. #1 Km. 23.0 del Bo. Río Guaynabo, P.R. con el 787-708-2030. Natural y único…