Nat(f)use

Synergy and fusion involving different materials: the properties of glass (low weight and transparency) are transferred to marble - that in turn mutates its essence. Translucent walls on which three-dimensional and irregular objects - offcuts and residues of pre-cut slabs of colourful marbles inlaid in modular frames - create the perimeter of the stand.
The marble acquires an unusual relationship with the surrounding setting by integrating with amorphous materials such as glass or organic materials such as wood and resins.
An evident Japanese connotation can be seen in the use of modular panels and partitions screens, tables and low-level objects.

MARBLELACE / OSSIMORI

"The plastically-moulded geometric forms transform the White Carrara marble wall into a grid, the setting unveiled through the space exuded by the wall.
Designed in a focused manner, the wall negatives remain intact and can therefore be assembled and used to create partitions: a 3-layer paravent that sinuously separates the interior space. As such, the issue of reemploying the remaining material after the cut is key.
Used for the grid wall, the base matrix generates three types of graphics from which the negatives are obtained.
Created from recovered elements, the Budri logo, in Noisette Fleuri marble, appears on the opposite wall, protruding from the surface. Around it, the wall is covered with graphics that, rising up from the floor by way of the overlapping layers, surface to create a path from the inlay to the relief.
The all-white interior space between the two walls is interrupted by the presence of a rectangular table with beautifully rounded edges, inlays and contrasting colours."
- Patricia Urquiola -

After the success of Macrosterias, Patricia Urquiola leads us into a world where the weightiness of marble and stone disappears to make room for light fabrics such as lace. And so Marblelace was born; a project we can define as both "irregular-exceptional" and eco-friendly.
Indeed, it is the irregularity that becomes the attractive focus of Marblelace, while new strategies for the creative re-employment of process waste become the focus of a revamped artisan lithogenesis, bursting with imaginative and hyperchromatic inlays.

The project consists of Lace: a large, technically-complex fretwork wall in White Carrara (8.50 x2.40m), made from concave and convex elements that create a "jalousie" texture.
At the opposite end we have Marblelace: a large, three-level inlaid wall (9 x 2.70m), built in White Lasa and polychrome marbles. This "fabric" is made up of dozens of small and large-scale embroidery and lace; seemingly random, the superimposition and arrangement of the inlay has actually been meticulously chosen in such a way that the shapes and colours give the wall a clear three-dimensional perspective. The vast, cascading embroidery slides onto the floor where it rests, forgetting some lace here and there.

The large Biscuit table (2.70 x 0.90 x 0.74m) - in polished White Lasa and inlaid with coloured marble - sits at the centre. The inlays overlap to form lace weaves; a coloured cloth smoothly descending along the spine of the table top. The white marble's openwork lace flows into the coloured inlays.
Quirky and rounded, just like a biscuit, the solid marble feet match the table top.

The Paravent screens - modular and mobile walls made of White Carrara (1.40 x 1m) - visually overlap to create a stunning open-work weave, highlighting the beautiful contrast between the lightweight lace material and the heaviness of the marble. Equipped with wheels, the rough wooden cage that encloses this white fabric is visually stimulating.

The two Fachiro benches (2.20x0.50m/1.80x0.40m) are made from polished White Carrara with solid marble, biscuit feet. Particularly ironic is the "pixel" texture that gives the benches a decidedly funny appearance.

MACROSTERIAS

After the success of Marbleous Garden, the garden of stone, presented by Interni Design Energies and Marmomacc Verona Fiere, Patricia Urquiola leads us through a digital-biological microcosm, a fascinating environment inhabited by natural forms that are usually invisible, those of vegetable micro organisms (the micrasterias). Finely inlaid graphic forms emerge through the stunning colours of natural stones. This installation was created with the aid of more than 30 types of marble and onyx, chosen and shaped with the greatest compositional care. The installation consists of a variety of patterns, forming a long inlaid, openwork carpet, a tropical mat. Thanks to the genius of Patricia Urquiola, Budri has been given a wonderful opportunity to apply new production techniques, mixing materials of different kinds and overlapping marble and wood in warm shades. It is an amazing scene; in the wide spectrum of colours, the shades of marble prevail, including Bamboo Green, Green Bowenite, Green Onyx, Pakistan Green, Ming Green, and many others. The shades of blue vary from Azul Macaubas to Sodalite, Azul Cielo through to Rosewood, which contrast with the range of reds such as Tiger Onyx, Cloud Onyx, Breccia de Vendome and Jasper. One moves lightly through this environment, protected by a pure, silent space created in Sivec White Marble.

The eye is led on to admire the elegant complexity of this inlaid carpet more than 12 metres long, which as well as stone also includes attractive interactions with other natural materials, including Iroku wood and grass. The installation seems to be endless, running from the floor onto the walls, and it is when vertical that the three-dimensional nature of Macrosterias surprises and delights the most: stone becomes a completely malleable material, transformed into a fabric, sometimes given a quilted effect, sometimes a pixel look, constantly changing its appearance. Winged insects mix with floral decorations; one seems to be walking through a Caribbean Eden.
The Open Space is dominated by the gigantic bench of 40 m2, its honeycomb compartments inlaid with Green Bowenite, superimposed in several levels
The two sections of the stand are separated by openwork inlaid panels in Carrara White marble, an osmotic membrane with a jalousie screen effect, maintaining contact between the two exhibition areas . The metamorphosis of stone is constantly evolving, as it becomes a more and more hybrid, lightweight, flexible form of matter. Once again, Marble Design reminds the world of architecture that natural stone has a history as old as that of man himself, that it is an intense material, rich in colours, and the source of infinite inspirations, today as never before.

MARBLEOUS GARDEN

An oversize enchanted garden, interpreted by pieces from the Landscape collection for Rosenthal, where natural materials like marble, stone and onyx disport themselves in a splendour of pale and dark, light and shadow, bas-relief and shadow, gap and solid. Surrounded by a “grilliage”, the composition is served to the public on an embroidered tray, where the guest feels like “Alice In Wonderland”, surrounded by huge vases with different forms of ornamentation, overturned cups used as seats, and bowls that aspire to become tanks. The super-sophisticated textures are not just surface decorations; they become a kind of bas-relief inspired by the idea of an elegant virus invading form, expressed in different heights and concave and convex shapes, or only visible through transparencies. A contemporary interpretation, a coming-together of the traditional “engraving” technique and numerically controlled machine drilling. Natural colours and vegetation bring the scenario to life.