The interplay of black and white is the leitmotif of this flat‘s décor.
Fascinating, but also intriguing, because it is this dichromatism of disarming and metaphysical simplicity that the seductive play of contrasts, of positive and negative, of affirmation and negation and, even before that, of light and darkness, with all the related ethical-moral implications over the course of time in different civilisations, is translated into the collective imagination. From the philosophical and speculative levels, however, the interplay of black and white certainly also by virtue of its immediate visual readability soon crossed over into the artistic one and into everyday life through the art of living, often becoming the leitmotif of designer furniture. The Zenucchi team, which has always been sensitive to this concept, offers us a qualified and personalised interpretation of it, almost a very curious and peculiar exercise in style, which reveals the dual soul of the “best loved room of the Italians”: the kitchen. Having identified the hi-tech Case System 5.0 model by Boffi, Zenucchi decided to use it in the black & white version… The two spotted calf hair armchairs designed by Tom Dixon for Cappellini dominate with a playful air around the table surmounted by an original sculpture-chandelier, while in the space opposite there is the very interesting multipurpose cube, based on an original design by Zenucchi Design Code, which houses the dressing cabinet and a series of capacious drawers.
The proposed solution is of sure effect and impact.
The particular lighting halo in the upper and lower strip of the lacquered laminate structure contributes to a very special dreamlike image, almost as if it were a suspended element floating in the air. The two versions of the Siemens appliances are the same; in this solution, the plasma screen, housed in the structure designed by the interior decorator to conceal the supporting pillar system, draws attention. A more rigorous but similarly effective choice is represented by the dark version, where the neutral element of satin-finished steel, which dominates all the components with pure and almost aseptic lines, is enhanced by the black polyester lacquer of the extractor hood and columns, in which the Siemens appliances have been recessed, to lighten the space that is limited by its small size. The proposed solution is of sure effect and impact and hints at a sense of rarefied balance, to which the light contrast of the walls and shutters, accompanied by the honey oak of the floor, offers softness. Once again, Zenucchi’s suggested choice of theme has succeeded in providing two fascinating settings, guaranteeing a convincing and, above all, versatile contextualisation, without giving in to rhetoric and respecting formal rigour, which the monochrome transforms into sophistication.
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