en
Architectural spaces, like sculptures, are three-dimensional. In both cases, in order to observe the work in its entirety, the observer has to change position a number of times.
As it is impossible to see the whole of a building simultaneously, including all of the interior and exterior, we rely on our memory to “reconstruct” a complete image using the different perspectives we have recorded.
Consequently, the interaction between inside and outside and between two- and three-dimensional surfaces becomes the key to understanding the entire structure.
This is where the possibilities of using ceramic material both for interiors and exteriors of the building, for claddings and flat surfaces and on volumes, makes it particularly suitable for a wide range of design purposes.
The Cotto d'Este range meets these types of design requirements with an incomparable choice of finishes, styles, thicknesses and sizes: from the ultra-thin Kerlite up to 14mm and 20mm, from maxi-formats to special pieces. The same finish, for example, can be used in different thicknesses and sizes for both indoor and outdoor floors. It can also be used for wall and ceiling cladding and, regarding architectural shapes, to cover the external facades of the building.
The maxi-size, ultra-thin ceramic slabs can also be used to create furnishing elements such as tables, kitchen worktops and other worktops, both for interiors and exteriors. This opens the way to projects with great chromatic and material consistency, which conceive spaces as a unicum, seamless, without any transition elements.
On the other hand, the different finishes and colours also permit designs with strong contrasts or with tone-in-tone shades. The marble effect, for example, can be boldly combined with oxidized metal finishes, or - in a more classic style - with neutral surfaces and black and white backgrounds.
In the discussion concerning architectural design, therefore, the role of surfaces is a crucial element, playing a decisive role in how the observer perceives the whole and the component parts.
The result is a special bond between Cotto d'Este and the world of design, positive interaction where the innovation of one corresponds to the evolution in the modus operandi of the other.
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