The architecture and the colour white form a paradigmatic tandem of both Ibiza and GANDIABLASCO. Ibizan white is a determining part of the firm’s original identity and has been ever since the company suddenly broke into the field of outdoor furniture with a mini collection back in 1996. This was a revolutionary, almost experimental, limited series of furniture created for the terrace of Ca Na Xemena, —José A. Gandía-Blasco Canales’ house on the island, and today an architectural heritage site in Ibiza. Made from aluminium window profiles, it is an ode to the white and the lifestyle of the Ibiza of the fishermen, devoted to life outdoors.
What began as a scale representation of the building’s construction system, a magical place with cubic volume located on a cliff, came to become an icon that even today faithfully represents GANDIABLASCO’s aesthetic and conceptual proposal.
Not only that, but it also evokes the purity and singularity of Ibiza’s vernacular buildings, with their facades bleached with lime to reflect the heat and solar radiation, their respect for nature, their capacity to create landscapes of great flexibility and with their effectiveness to, despite the precariousness, solve problems on the basis of simplicity, naturalness and resistance.
COLOURS THAT CAPTURE ALL SHADES OF LIGHT
Protagonist of the Mediterranean decoration for its simplicity and luminosity, white is a timeless basic with infinite possibilities in furniture, complements and outdoor spaces. When combined with the perfection of the construction systems that inspire our designs, white expresses its intentions in a direct way: to reverberate and build with light (whatever the time of year), to provide continuity between interior and exterior and, in short, to establish a dialogue with architecture.
On the other hand, los GANDIABLASCO’s greys —stony, stable, smooth or rounded depending on the degree of saturation— voke the lightness and modernity of natural aluminium and, sometimes, hide a slight turn towards blue, green or sand. From silver to anthracite and from cement to agate, the grey scale can convey as much warmth as cold.
Thus, white has formed a distinctive binomial of the brand’s personality together with the grey of anodized or thermo-lacquered aluminium. Sometimes it is light that bursts out, sometimes it is discretion and silence.
THE UNMISTAKABLE CHROMATIC IMAGINATION OF GANDIABLASCO
As the emblematic NA XEMENA, did and continues to do, more recent collections such as SOLANAS and DNA TEAK decline white and grey, often considered ‘non-colour’ in different variants of fabrics and structures. Easily combined with brighter colours or similar shades, they are expressed in all their strength by opting for monochrome and rich textures.A magnetic monotony that can serve both to blend in with the environment and to highlight the uniqueness of the design.
SOLANAS, by Daniel Germani, is the collection of outdoor furniture with its own personality that combines extruded aluminium profiles, the charming material of GANDIABLASCO, and Dekton® by Cosentino, a super-resistant material applied to the table tops. SOLANAS is based on the simplicity of forms, resistance and comfort, as well as on modularity, to adapt to the needs of each situation.
The structures and technical fabrics, available in different colours including white and various shades of grey, combine with the Dekton® surfaces, which are presented in the Dekton® Solid Collection ranges –solid and invariable colours with a very fine grain– Dekton® Natural Collection –textures that emulate the best of nature–, Dekton® Industrial Collection —evoking materials such as iron and concrete— and Dekton® Chromica Collection —in which the innovative blue Baltic shade is found, in matt and dark base—.
DNA, one of GANDIABLASCO’s flagship collections, integrates the warmth and durability of wood in its DNA TEAK, version, which can be easily integrated into any environment: from private gardens to large contract installations.
Designed by José A. Gandía-Blasco Canales, it evokes the subtle play of light and shadow in Mediterranean shutters and pays tribute to the Japanese aesthetic of shade.
With the natural counterpoint of teak, it exudes elegance and essence both dressed in white and in original aluminium and, by stripping away all superfluous adornments, it reaffirms the duality between positive and negative.
Although today the brand’s colour chart is enriched with twenty different shades and textures for these collections, white and grey reign in a sober palette rich in nuances with which GANDIABLASCO takes the play between light and shadow very seriously.