Cross Design Magazine 2016/2017, the magazine edited by Ceramiche Caesar’s R&D team, gives many examples of how design projects tend to include furnishings that stand on the boundary between craftsmanship and industrial, repeatable production.

Since consumers are becoming more and more aware of the production process that lies behind the objects they own, this trend takes shape by means of small marks and imperfections that reveal the choice of material and the processing method.

DESIGN CRAFTSMANSHIP IN FURNITURE

This is the comeback of the peculiar characteristics of material with respect to perfectionism, represented by objects that boast knots, twines and well distinguished structures. Elapse porcelain stoneware is a perfect example of this type of product: weather-beaten surfaces offer all their unique peculiarities, along with all the touchable marks of the craftsmanship that has turned them into a design object. And this highlights the actual work of the people who created the slab.

HOW HUMAN WORK BECOMES TANGIBLE IN THE WORKS OF BESHTY

One of the sources that inspired the Rise trend illustrated in the Cross Design Magazine was the exhibition organised by the artist Walead Beshty at the Barbican Centre of London and held across 2014 and 2015. The multifaceted London artist, based in Los Angeles, covered a 90-metre long wall with over 12 thousand works printed by means of the cyanotype process, one of the most ancient and fascinating printing techniques.

Walead Beshty in The Curve from Barbican Centre on Vimeo.

Beshty’s idea was to transfer the waste materials of his studio to his works: personal belongings he was thinking of throwing away, old newspapers, waste materials in general, etc.

The results are fascinating silhouettes on a blue background that enhance all the features of the objects reused and that make the artist’s work perfectly visible.

A fascinating representation of our search for concreteness and tactility.