The project is the visible result of a desire to profoundly change the product system relating to commemoration and commemorative ornaments.

The innovation pursued here is aesthetical, of accurate sign and essential shape. The collections of objects tend to express the contemporary design culture through evolved materials and forms designed with digital technologies.

The project represents an energetic effort to place commemorative ornaments within the heart and the sensitivity of our time.

CAGGIATI DESIGN is a trademark of Matthews International S.p.A.


Matthews International S.p.A.
Headquarters and Executive Offices:
via Martiri della Libertà, 71 - 43052 Colorno - Parma - Italy

Cap. i. v. € 2.500.000,00 - Partita Iva 02104230343 - Codice fiscale 12475620154
Tel. +39 0521 5208 - Fax +39 0521 521148 / 0521 816777
www.matw.it - servizio.clienti@matw.it

Commercial Offices and Customer Service:
via Martiri della Libertà, 71 - 43052 Colorno - Parma - Italy
Tel. +39 0521 815801 - Fax Verde 840 022444

www.caggiatidesign.it

COLLECTION

The forms are modelled by the forces of nature and refer to the image of rocks shaped over time by the flowing of the waves of a river. The natural image of the outer forms reveals a heart of ancestral power, almost as if it were made of metal melted by the gravitational forces concentrated within the core of the rocks themselves.

The items, lamp and vase, are made in extra-thick bronzed fusion, subsequently hand-worked to create the contrasting surfaces - opaque and rough for the outer parts and smooth and sparkling for the sections.

The forms are mechanically locked in the final position of balance. The solid construction renders the objects sturdy and durable.

DESIGN

Vegetation, with its constant and silent growth, accompanies the flow of time. The ornament suggests this natural condition in which commemorative monuments are historically situated. In this project nature regains possession, in an aesthetic and controlled manner, of the human artefact.

COLLECTION

The composition of the objects is based on a principle that is unrelated to the traditional way of arranging flowers and lighting. In this case, the two objects that make up the composition, the thin branches in the background and those in the foreground, merge into one single, expressive band of elements that redesign in a minimalist key a phytomorphic vine-like figure.

The basic component consisting of intertwined branches is made in Corian. There are two colour variations: cold blue, suitable for white or grey marble, and brown, for marble in warmer tones.

Features two specular figures for left and right mounting.

URN

The phytomorphic shape is the decorative graphic theme of the urn, like an inflorescence growing on the same shape, giving a naturalistic air to the object which, in itself, has decidedly abstract contours.

The metal design is applied to the urn with an engraving technique. It is made in stainless steel, subsequently cold-set in the niche created on the front of the cube. The body of the urn is made in PMMA of a warm grey colour.

DESIGN

Lightness and suspension are the themes of the project Anima. The transparent glass body with its sober, linear form encloses a supple white object, which recalls the shape of traditional urns. The atmosphere that is released is ethereal and impalpable.

COLLECTION

The objects of the collection emphasis the extreme transparency of the PMMA material, amplifying to the full the suspended effect of the central body, which is made through a process of multi-axis milling.

The transparent element is supported by a component in polished stainless steel (super mirror) that fixes it against the wall.

URN

In line with the collection of lamps and vases, the urn narrates an ancient, Etruscan-like form suspended in a transparent cube of a futuristic style, as if it were the digital reproduction of the effect that in nature captures elements inside amber.

The perfectly transparent material in PMMA encloses an elegant form created through a sophisticated process of milling on different planes. The resulting block is unique, solid and ethereal.

DESIGN

Time (tempo) works on man�s objects and their surfaces, altering them profoundly and making them inconstant. In this project the marks left by time in turn become graphic signs of discontinuity and the rhythm of the horizontal element.

COLLECTION

The project interprets the phenomenon of the decaying of the skin of solids while capturing the aesthetic and dynamic qualities. Three overlapping plates move like stage wings and create a rhythm of lights, shadows and varying depths.

The object, completely in stainless steel, is made up of three curved metal plates mounted on runners, allowing them to slide horizontally in order to freely set their length.

Behind the plates is an area for lighting and flowers. The entire object may be mounted on the left or on the right by simply inverting the back part.

URN

Exfoliation is the decorative theme of this almost armoured-like metal cube. Beneath the steel screen is a pure, shiny white form.

The internal form, in PMMA, acts as a container, while the steel covering is purely decorative.

DESIGN

The bird delicately quenches its thirst at the vital source, giving continuity to the natural cycle of existence. It rests lightly on the object, which also holds flowers, a metaphor for flora, and together they both drink from the same source of water.

COLLECTION

The shelf elements, in blue Corian, are shaped and smoothed into gentle forms. The figure of the bird is in AISI316L stainless steel.

The luminous bulb is characterised by a harmony of reflections and light created, in nature, by drops of water. The piece is made in solid PMMA which has been polished to create the effect of the refraction of light inside the material.

URN

The black element delicately welcomes renewed life. The bird drinks from the fountain of life and conveys the sense of the perpetuation of life and the renewal of the earthly experience.

The cube is in polished PMMA. The bird is in stainless steel, and is mechanically fixed to the surface of the cube to enable it to maintain a balanced plastic pose.

The identification plaque is made with a wavy design that follows the profile of the urn.

DESIGN

The breath (soffio) is a metaphor for the flowing of life, ephemeral but of great plastic beauty. The form expresses an endless sequentiality between past and present, front and back, extremely fine fabric and dense metal.

COLLECTION

The ribbon unfurls and winds under the force of an imaginary wind and its figure dynamically crosses upwards with increasing power the entire available space from left to right.

The shininess of the metal creates different reflections according to the curve that the piece physically assumes. The wavy surface accommodates the lamp and the single-stem vase.

The piece is adjustable in length by sliding its various parts into each other.

URN

The ancient symbol of infinity dates back to the romantic period. This project interprets infinity as a mark of spatial and visual continuity that, in turn, encloses two distinct spaces created by distorting the curved lines of the material.

The two spaces of the infinity sign act as two functional areas; one houses the urn itself, while the other is for the floral decoration that perpetuates life and loving memory.

DESIGN

The display system was created to render the design aspect of each element clear and interesting. The image that accompanies the installation evokes the intrinsic meanings of each object and helps to recall the sensations that the project conveys.

DISPLAY

The system is modulated on a single vertical element of one size which, when appropriately arranged, assumes a different appearance. It also carries the images and the texts displaying the names and meanings of the projects.

The square supporting columns act as a mobile display pedestal for the urns.