Vernici all'avanguardia per svariate applicazioni

Arsonsisi sviluppa e produce vernici indurenti con raggi UV denominate “UVcolor”, in
grado di soddisfare le più svariate esigenze nella verniciatura industriale di materiali
plastici, metallici e supporti speciali quali vetro e ceramica. Questi prodotti trovano largo
impiego soprattutto nella finitura di confezioni e packaging nel settore della cosmetica,
della profumeria e della cura del corpo. Le vernici a indurimento UV rispettano
maggiormente l’ambiente e rappresentano la miglior soluzione per ridurre i tempi di
produzione e ottenere un livello qualitativo molto elevato, vantaggioso anche dal punto di
vista economico. Arsonsisi offre vernici liquide UV al 100% di residuo secco, adatte a
diversi tipi di applicazione tra cui metallizzazione in alto vuoto, PVD/Sputtering e vernici
UV ibride “Dual Cure” a reticolazione mista calore – UV per oggetti tridimensionali
complessi. L’azienda ha messo a punto una vasta gamma di finiture lucide e opache
applicabili a rullo, spruzzo, velo e flow coating. Arsonsisi dispone inoltre della tecnologia e
del know-how per sviluppare vernici in polvere UV.

The Tyranny of the Time by Patricia Malavolti

Let us resume a critical topic for coatings in architecture (and also in industrial design): which materials, how to use them, the relationship between the real material and its mimicry.

Architecture and design – that means the project - must always deal with time: in fact time is the variable that requires control. The main purpose of the coatings consists of  protecting materials with a"waterproofing" layer in order to not let deteriorate them, not only in terms of appearance but, and above all, in terms of  mechanical and functional characteristics. So we do not coat the materials just to give sensations but also to find the right balance between the naturalness of the material and the requirements connected to maintenance, cleaning, durability.

Everything is linked to time (and money): to prevent  materials’ deterioration the designer has to find the right coating that enhances the idea and allows its appropriate use. A choice that makes the difference.

Anyway coating is the last step of a process that involves more products and more players: the choice of the treatment and of the surface finishing cycle is essential to achieve the desired appearance. So it is not right to talk only about coating, but you need to know the whole process. The right process will lead to the best finish for the enhancement of the surface. Some "risky" design choices about finish reduce manufactured pieces’ lasting and caused an increase of costs for the maintenance of an adequate appearance over time, for the cleaning and for the functionality.

What does  time have ti do with the relationship between the "real" material and its mimicry? The link is due to the necessity to find the right compromise between the appearance of the material - especially when it is required in its natural appearance, for example by using  wood, or natural aluminium or oxidized iron - and the problems that these materials have without any protective coat: they get dirty, change the appearance and lose structural features - for example wood; they release on other materials their own residuals and they can not be cleaned - like Corten; they do not keep an acceptable appearance, or may be it is inherent in the production technology the difficulty of keeping  the same appearance, or in the process steps performed  in different times- as the anodized aluminium.

For this reason coating products which “imitate” materials or some finishing, in terms of aesthetical appearance, have been developed.

How can you deal with the problem without incurring the copy? The debate is open 

Harps: artisanal historical masterpieces, waterborne coated by a cutting-edge plant

It is true that an instrument intended for high-level

professional performances, under the judgment of

an expert public, it must guarantee first of all that

the instrument has been built in order to avoid any

inappropriate sounds, but all the productive processes

we visited all even the less important, are so refined, to

understand what means a “Salvi harp”.

We ask Gabriele Dutto, manager of the company

together with we visited the company, if the coating

process of the instrument has only an aesthetic

function; he answered that: «the soundboard,

due to strings’tension- it can reach a carrying capacity

of 1200 kg-tends to deform, even if the parts needed to

built are stored in a well-ventilated and heated room

for about 4 months. For this reason coating in

addition to meet high aesthetic requirements, must be

elastic so that it absorbs the dimensional changes of

the instrument and will not “break” the film».

In brief: all the instrument components are prepared

in the joinery then they area pre-assembled creating

a “raw harp” (as we call it), whose validity is carefully

checked in order to guarantee the right functioning

(the assembly of the various components is so perfect,

that at the end it looks like a unique item).

All the components are then disassembled and coated,

to be next assembled again to built the “definite harp”, at

least in terms of structure, not yet tested in its primary

function, the sound production: the specialists of the

company (harp tuners and harpists), must do it later.

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Long lasting and high quality level powder coatings for a leader company in the “contract” furniture industry

«Each product must have a reason to exist.

This in the truth that emerges from the

selection of exemplary products which

represent best the success that Segis has realized».

This expression, quoted in Segis website, an Italian

company located in Poggibonsi in the province of Siena, a company leader in design and manufacturing

of innovative and high quality level seating for contract industry, describes exactly the company’s philosophy: to manufacture what can be useful to the market, paying attention to the

strictest International quality standard, looking for

the best materials, finishes and focusing the whole

productive process on a manufacturing in accordance

with the environmental sustainability principles.

Everything reflects Franco Dominici’s thoughts, creator

and founder of the company in 1983 and today in the

company together with his son Francesco.

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CROMATERIA

A series of installations conceived and developed by Luca Trazzi designer, characterised by the creative use of coatings, colours and materials

From 12 to 17 April 2016, during the Milanese design week, the cloister of Diocesan Museum in Milan will host Cromateria, a series of installations supported by Luca Trazzi designer, who will lead the visitor inside a sensory and creative path characterised by the alternative use of coatings, colours and materials.

Cromateria is an event promoted by Sirca, coatings company which, for a long time, pays attention to art and especially to architecture. Sirca vice-president, Maurizio Durante, explains the reasons of this choice: «Cromateria will finally match the designer with the producer. When you touch furniture or other items, you often have to deal with a coating product and it is here that our contribution becomes essential.

We are an integral part of furniture world, and the architecture one, and so we try to meet the requirements of different universes. For this reason we invited our customer-partner to attend Cromateria: none of us is directly involved in Salone del Mobile but we are all elements of a common design process concerning materials and surfaces».