Bits & Pieces






cm inches
30x60 12"x24"
60x60 24"x24"
120x120 48"x48"


9,0 mm



Technical specifications

ISO 10545 – 2



ANSI 137.1: DCOF > 0,42

DIN 51130: R10 | R11 (ANTISLIP)

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The art of decoration of ancient Rome, of the opus incertum and lapis porphyrites, are reinterpreted according to contemporary technologies, maintaining intact the charm of reuse exalted in industrial mass production. Besides this however, Gordon Guillaumier shifts attention from really fake to fake reality: in a declaration of intents that authenticates the entire intellectual journey of the project. Replacing a marble tozzetto tile with a slit of wood is a clever graphic operation: besides going against the grain, with respect to the norm, it is also a successful attempt to reproduce the wood effect with ceramics. In this case, wood becomes texture, which by assonance, replaces the marble of a terrazzo flooring, becoming an intrusive pattern on a base of concrete, grit and stone: and it is precisely this intrusion which reveals the richness of the Bits project, which in the Quad and Facet versions, presents different but historically impossible graphic theories. Until today at least.

The possible texture effects become a hyperbole which amplifies the theory originally set by Gordon Guillaumier: backgrounds and inlays are the x and y variables which alternate, according to design and graphic choices that appear as the development of a trigonometric function. In this chapter, the “Quad e Facet” inlays which were wood in the “Bits” version, become marble in the “Pieces” version: and in the renewed stability between fiction and reality, the “tozzetti” chase one another in an orderly but deliberately irregular fashion; again to provide artisan quality and help perceive an installation without any interruption whatsoever. This time, background options include gloss granulate in two-tone grey colour nuances inside which the marble “tozzetti” are grafted: the short veins produce an almost hypnotic effect, an authentic instant of kinematic optical art. The decoration is therefore an artistic moment: with origins in the craftsmanship bag but transported far away, by the excesses and progress of industry. In this sense, we could well say that everything is therefore possible. True, but the art of beauty is knowing what to look for in the bag and how to control certain excesses: something not everyone is capable of, but which has been successfully achieved in the BITS & PIECES project.