The main problem we came across while setting-up the “Meta Design” exhibition, was that of doing justice to the sheer beauty brought to the real world by DesignTaleSudio’s ceramics. The Pareti d’Autore where meant to be main cladding surface and works of art all at the same time, therefore, they had to, without compromise, “stand out” the best way possible.

The majority of the interior floors and wall-tiles we see on Second Life fall into two categories: the “ordinary” ones (flat surfaces, characterised by a feel of “comfortable” minimalism and with no basic aesthetic research) and the “grotesque” (textures which struggle to emulate real materials such as parquet, marble and stone with the use of photographic images). At the moment, perhaps the most interesting creations are those which use semi-transparent, opaque material, such as large, slightly reflective windows or plastic panels.

Ceramic has proven still difficult to use on Second Life, but with a bit of extra effort we believe we managed a better result than expected. In our opinion, the concept of the traditional ceramic tile as we know it, that is to say, a small glazed tile, is verging to grotesque, especially when the surface is reflective and the installation pattern conveys a very “grid-like” effect. The result is a kind of mural of identical repeated images where the real-life luminous qualities of the tile are reduced to whitish geometric shapes, mechanically repeated in an un-natural way. With larger sizes the same problem is slightly reduced though still visible: it is therefore better to use opaque products where graphics outshine the tactile and visual effects of the material.

Various slabs designed by famous personalities, such as those of Rashid, Fiorucci and Bermudez, actually did have these very characteristics and it was therefore relatively easy to display them effectively. But it was a different story for the totem designed by De Lucchi and, especially, the DesignTaleStudio’s Pareti d’Autore, whose light and material effects of the three-dimensional surface had to be reproduced. The solution we came up with was to use photographs of the products whose reflections had been partially reduced. In the case of De Lucchi’s work, the surface of the slabs was a single image, previously created with Photoshop by delaying the overall light of the original “amateurish” photo taken during the Design On Stage exhibition. But the Pareti d’Autore, especially the overly iridescent “unphotographable” ones like the Gold and Platinum, worked better if used as decoration rather than repeated backdrop. After being slightly retouched via computer and loaded on Second Life with the maximum resolution possible, the images from afar recaptured all the energy of the original designs while the close-up showed the fascination of their softness to the touch and light.

Technorati Tags: ceramics, design, floor, metaverse, pareti d'autore, porcelain stoneware, second life, virtual architecture, wall tiles

Pubblicato il 6 September 2007 da Alberto in Second Life | |