Paolo Ulian's works
Paolo Ulian works
The shape within the form was the idea that accompanied from the very beginning the project by Paolo Ulian for antoniolupi.A project born by observing the first rough draft by machine of marble sculptures, in which the three-dimensional shape is outlined by a regular series of cuts managed by a numerical controlled machine.
Thin strips of marble are formed, whose outer edges once broken, reveal the raw sculpture concealed inside.
A white Carrara marble block, machined and lightened by a series of cuts that reveal its internal core, the shape inside the shape. The marble block loses its monolithic appearance and is transformed into something ethereal, transparent, enclosing a core secret.
A soul that can remain hidden, leaving a glimpse of the subtle play of light, or it may be slowly unveiled by breaking the edges of the blades.
Technology meets nature, evolution keeps memory alive, the project allows you to tell a story. The form is generated by subtraction as in a sculpture, ancient and contemporary at the same time. Controverso springs from a thought, from action and transforms the product into an experience. A marble block is crossed by the milling machine and then interpreted by man to create different shapes. A proposal that comes from respect for nature shared by Paolo Ulian and antoniolupi, a path with marble in different collections that fit into a path traced by masters that have always interpreted this noble material.
Controverso is a marble monolith of geometrical shape, squared, which is processed to detonate all its inherent strength. A strong and delicate gesture at the same time, an interpretation of the creative act that meets production, a sink that fits into contemporary environments but also in different contexts.
From the oldest material to the illusion of shaping the immaterial, from the sculptural tradition of the "well-rounded" shapes to the division in small parts of the surface to create a volume that is an expression of the "subtraction" of many small pieces. The name says it all: a pixel is a point-like element that makes up a digital image, in fact, it is the smallest element that constitutes it. The breakdown in individual pixels of the surface, a kind of three-dimensional mosaic, gives an unprecedented look at the marble sink Pixel. Shape is created by subtraction, man's idea that comes to life through the use of the machine that is then defined in the end again through man's choices.
Tradition meets technology in a decomposed standardized form, sectioned, intersected by an orthogonal lattice, a cylindrical volume on which the machine has mapped out a clear and definite sign according to a project that leaves open endless possibilities of composition. A freestanding ever-changing sink due to the elimination of pieces imagination can take shape, the image is revealed, the essence comes to light. Lights and shadows, depth and reliefs, combinations and distances, connections and insulation. The pixel game that forms the basin is completely oriented on consequentiality, on proximity, on decorum that comes from the material itself. A gesture, that of subtraction, revealing the shape, which allows you to customize the volume, and which amplifies the three-dimensional design of the project. Pixel is subtraction to compose.
The work of man meets nature to give life to Intreccio, the freestanding washbasin entirely made of marble, which plays on the relationship between lightness and solidity of the material used, on the balance between a sophisticated piece and an apparently natural form. Intreccio represents the natural evolution of the path undertaken more than a year ago by antoniolupi and Paolo Ulian, to investigate the relationship between an ancient material and new processing techniques.
Iconic like the previous washbasins of the collection, dynamic, for the particular geometry of the concentric layers that are staggered when they are overlapped proceeding upwards, so as to determine a play of light and dark and full and empty obtained only by the variation of light on concave or convex shapes . In fact, Intreccio is born from a block of marble on which the cuts have been optimized to obtain all the parts necessary to create a three-dimensional volume. The numerical control machining technologies have allowed to obtain curvilinear and thin shapes, light, almost as if they were of another material and not of marble.
He studied at the Carrara Accademy of Fine Art and later graduated at Florence Isia design School. At the end of 1990 he was assistant to Enzo Mari's studio in Milan where he collaborated until 1992. He later devoted himself to experimentation and participated in many collective exhibitions in Italy and abroad. During the design week in Milan in 2000 he exhibited at the Salone Satellite where he won the first prize of the Design Report Award. In 2009 Beppe Finessi curated his first personal exhibition at the Fabbrica del Vapore in Milan. In January 2010, he was hosted at the Triennale of Milano whit his second solo exhibition curated by Enzo Mari. In 2011 he won the first Social Design Award promoted by ADI and in 2013 he take part at the sixth edition of the Triennale Design Museum with an installation dedicated to Vico Magistretti.
Since 2014, he has been organizing annual exhibitions at the Magistretti Foundation in Milan. At the same time as her designer's work, he has been teaching in many universities and design schools. He has collaborated with Droog Design and some Italian companies such as Driade, Fontana Arte, Danese, Zani & Zani, Azzurra Ceramiche, Up Group, Skitsch, Officinanove, Zava Lighting and from the last year he start the collaboration with Antonio Lupi. Some of his projects has been acquired by the permanent collection of the Triennale Design Museum, the London Design Museum and the Montreal Museum of Fine Art.
News — ISH 2019
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