Jar cm ø 10 h.18. The research on surface yield makes this “jar” very special. The patient artisanal processing engraves a thin woven design on the circular surface. The shape of the object is very simple so as not to disturb the play of light and shadows that form on the surface. “Pewter is an ancient metal alloy: tin, copper, lead... what is produced with this alloy results in immobile, solid, heavy objects. Contemporary pewter no longer contains lead, which gave objects a dark, medieval, Germanic surface: this alloy instead contains antimony, resulting in bright objects, similar to silver, that do not lose their immobility and presence.” Ettore Sottsass METALLIA is contemporary pewter. Rediscovering an ‘ancient’ material like pewter, giving it new shapes, characterizing it with new surfaces, filling it with new meanings: this is the Metallia project, whose aim is to reinterpret pewter objects through the interpretation of various designers, their modern language, with the fundamental contribution of Alfredo Marinoni's know-how. Metallia represents the meeting between the craftsman, who knows the material and how to work it, and the poetic project that gives new expressiveness to the material. Pewter is an ancient material that has been worked in Europe since the early 1500s, pouring a tin alloy into engraved iron or brass molds, and subsequently working it with the techniques of corrosion and hammering to obtain shapes of traditional craftsmanship. Contemporary pewter, the protagonist of the Metallia collection, is a noble alloy in every respect, with extraordinary characteristics of ductility and great plastic yield. Contemporary Pewter is made up of a composite of metals, with the absolute exclusion of lead; it therefore maintains the distinctive peculiar characteristics and great plastic yield; it is absolutely hygienic and can be used to produce serving objects for the table and kitchen, as well as, of course, for all decorative items. The intuition behind METALLIA gives new strength to this ancient material, and the shapes, objects, and proposals created are the truly remarkable result of the great artistic capabilities of the designers that permeate Numa's work. This is also evidenced by the fact that Tamar Ben David, Liliana Bonomi, Giovanni Levanti, Marco Susani, and Mario Trimarchi, designers with a pronounced artistic sensitivity, particularly attentive to the use of materials in the artisanal and industrial fields, have enthusiastically joined the realization of the METALLIA project. The involvement of Ettore Sottsass, the anarchic poet of architecture of this century and one of the fathers of design, was of fundamental comfort to the project. The result of this work is expressed in a program of 28 objects, to decorate the table and home, objects of great evocative power, that find a natural placement in an environment. The Metallia project is also the precise expression of the philosophy of the Numa brand, aimed at deepening the research and production of objects using materials traditionally used by artisans, but reinterpreted in light of design. Metallia thus represents, in the path undertaken by NUMA, the first opportunity for a meeting between the knowledge of the craftsman, who knows the material and the techniques to work it, and the poetic project that gives the material a new expressiveness, a feeling of a new ethical and symbolic dimension of making.
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