Rectangular tray cm 60x12 h.3. The molten pewter unfolds and sinks into our attention, becoming a continuous line that defines the final shape. The molten surface is never perfectly smooth, just as the ground gently carved by nature is not. The two metal recesses, which become pedestals, lift this long silver band off the support surface, allowing us to admire the beauty of the material and the skillful play of dimensional relationships. “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; thus, brilliant objects similar to silver are created, which do not lose their immobility and presence.” Ettore Sottsass METALLIA is contemporary pewter. Rediscovering an 'ancient' material like pewter and giving it new forms, 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 was worked in Europe as early as the beginning of the sixteenth century, 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 abilities 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 the home, objects of great evocative power, which 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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