Aesthetic modernity in natural forms
Constant sources of inspiration and analysis, forms based on nature continue to appear in modern debate among designers, architects and visual artists: their simplicity and compositional variety continues to provide inspiration for reflection and new suggestions.

In the east, natural forms have always converged upon aspects of meditation and observation, as nature plays a central role in society and the arts: the organic nature, vitality, even the imperfection and asymmetry of plant forms represent elements of added value.

In the west, on the other hand, reflection has developed out of the nineteenth-century opposition between handcrafts and industrial production (with the Arts and Crafts movement, Ruskin’s theories and Morris’s work). The concepts of uniqueness and originality are contrasted with those of identical mass production, quickly channelling debate in the direction of the aesthetics of the object produced.

“True beauty results from that repose which the mind feels when the eye, the intellect and the affects are satisfied from the absence of any want”, said Owen Jones in his Grammar of Ornament (1856).

Propositions such as these are more relevant than ever today if we consider the variants of Stonepeak porcelain stoneware, which, in the modern context in which the eastern vision meets western design, identify natural stones as the starting point and the model for arrival.

In the Limestone collection, offering 6 variations on limestone in different hues, no tile is exactly like any other, just as in nature: such individuality and beauty may also be found in the new Land collection, in which the 4 colours pick up on variations in the earth over time.

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