Three Different Treatments
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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Three different colors, three different treatments, three different results of the same metal.
PLANIUM wants to go beyond the mere processing of Copper, a noble metal, to treat it according to different styles which, however, do not deny the classical nature of the material. Through brushing, Copper maintains the classic character that distinguishes it in its minimal nature. The surface is smooth, icy, pleasant to the touch, but the material hides something more complex: the streaks that form on the smooth surface infuse it with a circular, almost swirling quid. The satin finish allows the metal to render more opacity, with a motif that develops on a peremptory vertical or horizontal plane, depending on how the texture is used. If, on the other hand, the satin finish is double, ie orthogonal, the product is more elaborate and we will therefore speak of Copper “Canvas”. Here the author's geometries that arise from the game of "warp and weft" dominate.
Coins, Jewels and Historical Tools
Unique to keep company with gold due to its color, Copper is one of the pivotal metals in human history. It is the one that has been used for the longest time: the Copper Age in fact prevents both the Bronze Age and the Iron Age. The Italian peninsula was also at the center of a network of diffusion and exchange of this metal between the 4th and 3rd centuries. Weapons such as daggers, halberds and axes had been found in central Italy in such remote times. While with regard to utensils, Copper has been the protagonist in the history of the "kitchen" as an extremely suitable material for accessories, from ancient times to now. Copper is still used today in handcrafted jewelry, sometimes accompanied by gems, stones, quartz and with motifs echoing ancient art, especially of the classical age. And Copper jewels were used in Rome, for bracelets and rings especially since we are talking about a soft and ductile metal, therefore "thin" on occasion. In fact, its historical character is also linked to the Latin language. Cu, the symbol that distinguishes it in chemistry, is inserted in this linguistic vein: Pliny had named cuprum this metal that caroused itself in shades of red - and which was previously called aeramen - due to the huge amount of material found in Cyprus. If the use of Copper in ancient or modern coinage is marginal (among the best-known coins, Louis XV), today we find the famous metal also in the euros we hold in our hands even if, contrary to what the coating color suggests, the coins of 10, 20 and 50 cents are made up of Copper for 89%, and those of 1, 2 and 5 cents are made up of only a scant 6%.
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