CerMagazine20_GB_35-66

CER_INTERN_230x300_cersaie07_tr 31-08-2007 11:20 Pagina 1
C
M
Y
CM
MY
CY CMY
K
progetto
36
THE DECISION TO USE ITALIAN
TILES REFLECTS A DESIRE TO
CREATE A PROJECT THAT
WOULD STAND THE TEST OF
TIME AS WELL AS STRENGTHEN
THE CONCEPT OF NATURE,
ONE OF THE DISTINCTIVE
FEATURES OF THE PROJECT
interior design
Cer Magazine 37
Evensong Spa, a tribute to
LLOYD WRIGHT
by Giorgio Tartaro
C
Keen observers of developments in contemporary interiors cannot but confirm certain design
trends that are also affecting residential and
small and large communal facilities. fjdajfdasòfjd
While kitchen and bathroom areas have seen the
most radical changes in terms of materials, system solutions,
layout and volumes, the transversal project of well-being follows two main trends: one that pertains to the amazing,
astounding, hi-tech and space-age and another that is more
traditional and reassuring - the return to nature.
From the domestic bathroom to large-scale spas, these two
trends run parallel, sometimes wholly independently and
sometimes with hints of common traits, albeit fleeting or
camouflaged.
If we were to ascribe one of these design trends to Evensong
Spa, Green Lake, Wisconsin, joint winner of the Ceramic Tiles
of Italy Design Competition 2007, it would have to be the
“naturalistic” category, but with some reservations. Most
obviously, the project constitutes a happy union between a
public and private place. While the furnishing solutions and
the tile laying patterns that fully exploit the available range
are typical of a public end use, the general character of the
place is that of a residential application.
The exterior of the
building is clearly inspired
by the guru of world
architecture
PHOTOS
Ken Hayden Photography
DESIGNER
Testani Design Troupe - CMD Architects
DISTRIBUTOR
Arizona Tile
TILES
Ceramica Sant’Agostino
THE LARGE WINDOWS
ALONG MANY OF THE WALLS
OF THE BUILDING MAKE IT
POSSIBLE TO INTEGRATE THE
INTERIOR WITH THE
SURROUNDING NATURE
OUTSIDE.
THE USE OF COLOUR FOR
FURNISHING AND FLOORING
ALIKE STRENGTHENS THIS
LINK BETWEEN “INDOORS”
AND “OUTDOORS”
progetto
38 Cer Magazine
Testani Design Troupe (Scottsdale) worked with CMD
Architects (Phoenix) to create this haven of well-being immersed in nature.
The exterior, clearly inspired by the architecture of Frank
Lloyd Wright, creates a dialogue with an interior designed
according to organic and naturalistic themes, in part due to
the striking design and finish of Sant’Agostino’s ceramic tile
collections.
The horizontal lines of the exterior in harmony with the geological characteristics of the location and the warm colours
selected for the interior wall tiles make this project instantly
identifiable but capable of changing with the passage of time
and the varying light and seasons. It is a place whose layout
and spatial design (particularly spaces like the spiral and the
labyrinth) are naturally suited to the function of psychophysical regeneration. The ceramic tiling testifies to a desire for
durability and coordinates perfectly with other natural materials in a way that is appreciated by users.
Ceramic tiles from Ceramica Sant’Agostino are used in the
entranceway, on the “labyrinth”, in the manicure and pedicure area, in the changing-room area and also for the swimming
AN INTERESTING COMBINATION
OF MODERN ELEMENTS WITH
ETHNIC FURNISHING STYLES
WHICH, USED IN A NUMBER OF
WAYS IN DIFFERENT SPACES, LINKS
THE NEW WORLD (THE USA, WHERE
THIS SPA IS LOCATED) TO THE
CRADLE OF MANKIND - AFRICA
progetto
Cer Magazine 39
A SKILFUL LAYOUT DESIGN AND
DIVISION OF THE AREAS - THE
LABYRINTH, FOR EXAMPLE CREATES NATURAL RHYTHMS FOR
REVIVING BOTH MIND AND BODY
pool and the Turkish bath.
Last but not least, the playful combination of ethnic furnishing
elements used in a variety of ways in different areas links the
New World (the USA) with the Cradle of Mankind (Africa).
This is echoed in the name of the collection (Africa Mosaic)
and in general in the bold yet elegant combination of “wild”
nature and “artificiality of design”.
Giorgio Tartaro, Casa & Stili - Alice TV, Sky
TILES:
Ceramica Sant’Agostino, Gemstone series
MAIN TYPE AND SIZES:
Through-bodied coloured porcelain tile
Size: 30x30 cm and skirting
Colour: Africa
SIGNIFICANT TECHNICAL SPECIFICATIONS:
Technical characteristics (UNI EN 14411 - Appendix G):
compliant
Slip resistance (ASTM C 1028-96): ≥0.60 (Dry and Wet)
interior design
40 Cer Magazine
The Cyber Knife
CLINIC
A contemporary image,
a strong hi-tech content
and comfortable spaces
were the objectives
of this design project
PHOTOS Luciano Busani
DESIGNER Ralph Gierlinger,
Drexler + Partner Architekten
TILES Impronta Italgraniti
Industrie Ceramiche
by Francesco Pagliari
T
he Cyber Knife clinic in Munich is a medical
institute specializing in the surgical removal of
tumours from delicate areas such as the brain,
the lungs, the spine and the liver, where
traditional surgical methods would be
considerably more problematic. The development of
precision techniques supervised by computer-controlled
procedures and the use of non-invasive laser technology
make Cyber Knife one of the top oncological research and
treatment centres in Germany and Europe.
The clinic complex, opened in 2005 and located in the
south-western outskirts of the Bavarian capital, was
designed by Ralph Gierlinger of Munich’s Drexler + Partner
studio, a firm which has already handled numerous projects
in the hospital and healthcare building sector.
The project aims to achieve a twofold objective: a
contemporary architectural image that reflects the high
technological content of the available treatments and a
space that is efficient and at the same time welcoming and
comfortable for patients.
Hence the linear and relatively simple architecture, the
compact parallelepiped-shaped building with its
perspectives based on strong horizontal lines, the
alternating strips of fenestration and coloured bands of wall
tiling that project slightly from the long façade.
The interiors obey the logic of functionality and the study of
THIS HIGHLY SPECIALIZED
MEDICAL-SURGICAL CLINIC
ON THE SOUTH-WESTERN
OUTSKIRTS OF THE BAVARIAN
CAPITAL OPENED IN 2005.
THE INTERIORS STAND OUT
FOR THEIR METICULOUSLY
DESIGNED FINISHES
interior design
THE CONTEMPORARY
ARCHITECTURAL STYLE
ENHANCES THE PERCEPTION
OF HI-TECH CONTENT
Cer Magazine 41
42 Cer Magazine
THE CHOICE OF A LIGHT
COLOUR FOR THE
FLOORING WAS
AN IMPORTANT FACTOR
IN UNDERSCORING
THIS ESSENTIAL STRUCTURE
THE USE OF LARGE-FORMAT TILES
IS NOT AT ALL PROBLEMATIC, EVEN
IN SPACES CHARACTERISED BY
NUMEROUS CURVED LINES
interior design
Cer Magazine 43
CERAMIC TILE FLOORING,
CONGENIAL LIGHTING AND
WOOD FURNISHINGS: THIS IS
THE DESIGN FORMULA ADOPTED
BY THE DREXLER + PARTNER STUDIO
materials and colours in warm, familiar-looking shades. For
this reason, when developing hospital complexes and
healthcare centres, the Drexler + Partner studio prefers to
use wooden furnishings and congenial lighting and to create
interior spaces that follow the gentle contours of
connecting corridors. The lightweight metallic staircase
follows a curve, the metal elements of the banisters creating
a transparency effect.
The flooring was chosen according to criteria of hygiene,
mechanical strength and resistance to chemical agents,
durability and ease of maintenance, as well as an elegant, hitech appearance. Unifying the floors of the various spaces
through the use of a single material in warm shades with
deep veining was a fundamental design principle, so
specialized areas like operating theatres were harmonised
with public areas, corridors, meeting rooms and waiting
rooms, and thus humanised. The large-format ceramic tiles
produced by Impronta Italgraniti using Almatec technology,
chosen for the Cyber Knife clinic from the Evoluzione Marmi
line in an Ivory colour with a Marfil Classico finish, are ideally
suited for this kind of design approach thanks to their
versatility of use and their physical, chemical and mechanical
properties.
Francesco Pagliari, The Plan
TILES:
Impronta Italgraniti Industrie Ceramiche
Almatec/Evoluzione Marmi Collection
MAIN TYPE AND SIZES:
Through-bodied porcelain tiles
Size: 60x120 cm, rectified, thickness 11 mm
Colour: Marfil Classico
SIGNIFICANT TECHNICAL SPECIFICATIONS:
Chemical resistance (ISO 10545-13): guaranteed
Stain resistance (ISO 10545-14): guaranteed
Resistance to wear and abrasion (ISO 10545-6):
average 130 mm3
Thermal shock resistance (ISO 10545-9): guaranteed
Slip resistance (DIN 51130): R9/A
CERAMIC TILES
at the Milan Triennale
by Silva Giani
DOPPIACOPPIA (RICCARDO BLUMER)
ZEROBENCH (GIULIO IACCHETTI)
Italian tiles took centre stage in the exhibits “Mario
Botta: guscio” and “Sit_down_please”, hosted in the
prestigious venue of the Milan Triennale during the
I Saloni shows
I
nnovation, creativity, flexi- Mario Botta, the acclaimed
bility, thinness, lightness, Swiss architect who has cardecoration and modularity ried out projects all over the
are just a few of the qualities world, created “Guscio”, a
of Italian ceramic tiles that kind of tunnel leading to the
were highlighted at an exhib- upper floor where nine
it organised last April during ceramic seats, each created
the International Furniture by a different designer, were
Fair at the Milan Triennale. Its on display. “My architecture is
presence at this prestigious a shell that rests on the stairvenue, recognised as one of way designed by Giovanni
the foremost places to meet, Muzio,” Botta explained. “It
discuss and explore
the latest cultural
trends,
was
an
important accomplishment
for
Ceramic Tiles of
Italy, the mark that
represents the Italian
ceramic tile industry.
For the first time this
extraordinarily versatile and constantly
evolving
material
attracted the attention of the key players in the worlds of
architecture
and
MARIO BOTTA
design.
SIDESHADOW (PAOLO ULIAN)
is a shell that invites us to go
in and slowly climb the steps,
surrounded by ceramic like an
enveloping skin.” The exhibit
also rediscovers the expressive and functional capacity
of the material. Once the tile
joint has been eliminated, the
stairs appear to be clad with a
carpet. Rendered plastic and
vibrant by the light filtering
down from above through a
slit, the walls are made from
swimming pool border tiles
juxtaposed in a non-conventional fashion. “Ceramic is a
splendid material with distant
origins,” the architect continued. “It is earth and fire: all
we have to do is invent uses
for it.”
On exiting from “Guscio”,
clad with Floor Gres ceramic
tiles, the visitor encounters
“Sit_down_please”:
nine
innovative seats produced by
ceramic companies to projects by well-known designers
that illustrate the infinite
structural and technological
potential of today’s Italian
ceramic.
The project by Michela and
Paolo Baldessari for Aquileia,
a kind of porcelain mosaic
events
Cer Magazine 45
>
LEIA (PAOLO & MICHELA BALDESSARI)
STEPBYSTEP (MARCO ACERBIS)
strip that intertwines to create
the seat, highlights the material’s characteristic of thinness. Flexibility is the characteristic most in evidence in
the seat by Massimo Iosa
Ghini for Del Conca, a unique
and sinuous line of curved
porcelain tiles. The material’s
versatility is explored in the
project for a wooden bench
by Diego Grandi for Lea
Ceramiche. The tactile effect
is expressed to the full in the
armchair with table by
Japanese designers Setsu
and
Shinobu
Ito
for
Settecento
Ceramica
d’Arte, based on porcelain
tile reminiscent of crocodile
skin. The three-dimensionali-
A floor and wall
covering material
used to make
innovative seats,
the latest example
of the versatility
of ceramic tiles
IN-ATTESA (MASSIMO IOSA GHINI)
ARROW (SETSU & SHINOBU ITO)
THE GOLDEN RATIO BENCH (M.JOHNSON)
DOUBLE C (DIEGO GRANDI)
ty of the material is the distinctive feature of the seat by
Marco Acerbis for Marazzi,
which stacks tiles as if they
were bricks, creating a play of
dark and light and displaying
simultaneously their fair and
rustic faces. The tile as an
absolute element, without
glue or supports, was the
concept behind the project
by Riccardo Blumer for
Casalgrande Padana, which
involved cutting them and
creating interlocking joints to
allow them to be fitted
together in perpendicular
rows, like an infinite game of
assembly. “Almost Nothing”,
a quotation from Mies Van
der Rohe, pervades the proj-
ect by Michael P. Johnson for
Etruria Design: two bent
sheets that enclose the seat
clad with small size modular
tiles arranged in such a way
as to create a geometry reminiscent of the Golden
Rectangle of Pythagoras. In
the project by Paolo Ulian for
Ragno, the positive/negative
play of the delicate floral decoration gives the chair a
sense of lightness that
appears to cast its shadow
onto the base, almost as if it
were transparent. A clear
graphic design is evidenced
in the bench by Giulio
Iacchetti for Cedir, made up
of simple solids clad with
whole tiles without cuts in an
alternation of black and
white.
These two exhibits testify to
the strong links between
industry and designers and at
the same time are a “springboard for further strengthening these links forged by an
Italian product that is
renowned worldwide”, in the
words of Alfonso Panzani,
chairman of Confindustria
Ceramica, the association
that promoted the initiative.
BELOW AND LEFT: THE “GUSCIO”
interior design
46 Cer Magazine
THIS MAJESTIC HOTEL IN
MONTECARLO REPRESENTS A
GRANDIOSE ANTHOLOGY
OF VERY DIFFERENT STYLES NEOCLASSICAL, LIBERTY,
DÉCORATION FRANÇAISE,
CLASSIC-MODERN INTERIORS
AND MINIMALISM - ALL
SKILFULLY INTEGRATED
The Architecture of
LANGUAGES
The world’s dominant styles
have been brought together to
create a new jewel in the
European hotel sector - the
Monte Carlo Bay Hotel & Resort whose key features include the
use of porcelain tiles
PHOTOS
Matteo Serri
DESIGNER
Pierre-Yves Rochon
DISTRIBUTOR
Charles Flaujac
TILES
Lea Ceramiche
by Virginio Briatore
T
he world is a strange place: the more of us there
are, the fewer languages we speak. For 5000 years
there were not many people around. Scattered
across the globe, they lived an isolated existence
and spoke different languages, languages that were
so different that when they did chance to meet it was the
‘tower of Babel’ all over again. In the early twentieth century
there were about 5000 languages that were spoken and
recognized by merchants and scholars. Sociolinguists claim that
in about twenty years’ time no more than thirty languages will
have retained this status or international recognition. English
will be the language of trade and technology; many people will
speak Spanish, Chinese and Arabic; the minor languages will
carve a niche for themselves in cultural spheres. Hence Italian
will be found in connection with opera and lifestyles, just as
dealings in the industry of consumer luxuries and hôtellerie will
continue to be conducted in French.
The Monte Carlo Bay Hotel & Resort is an example of a
mixture of these dominant languages: its ostentatious neoclassical architecture is typical of Anglo-American countries,
yet it was inspired by La Belle Epoque, international charme
and French décor. However, its interiors of classical-modern
design, with a few minimalist traits here and there, reflect a
THE STRONG ITALIAN
INFLUENCE IS MANIFEST IN
THE FINISHING ELEMENTS:
CERAMIC TILES AND SOFAS
48 Cer Magazine
INTERNAL COMMUNAL AREAS,
ROOMS, SUITES AND
BALCONIES ARE ALL CLAD WITH
ITALIAN TILE.
THANKS TO ITS OUTSTANDING
TECHNICAL AND AESTHETIC
CHARACTERISTICS, THIS SINGLE
PRODUCT HAS BEEN USED TO
GREAT EFFECT IN ALL THESE
FIELDS OF APPLICATION
interior design
strong Italian influence, as seen in the porcelain tiles
produced by Lea Ceramiche and the Tatlin sofa by Edra that
dominates the perspective from the end of the corridor.
The eclecticism of Breton-born architect Pierre-Yves Rochon
is responsible for this fusion. He grew up in an international
milieu, having spent his childhood in many countries,
absorbing their respective cultures and lifestyles. Before
setting up on his own he worked at other influential
contemporary interior design studios where he learned the
entire gamut of styles, from the classic to the futuristic. But
the field in which he truly excelled was that of grande
hôtellerie, (which, as it happens, originated on Alpine lakes
and along the French-Ligurian Riviera towards the end of the
19th century) and his studio is perhaps the most influential in
the world, with dozens of large-scale projects already
implemented or under construction.
Originally reserved for the elite, Grand Hotels have over the
years become accessible to many, offering guests the chance
to experience a luxury environment for a few days in a
temporary haven with a variety of furnishings, lighting
fixtures and finishings.
The Monte Carlo Bay Hotel & Resort stands on a green
peninsula. It has a 4-hectare garden, an outdoor pool-lagoon,
an indoor heated pool, a fitness centre and spa, four
restaurants, a “pub with a view” and an in-house casino.
The 334 rooms, which include luxury rooms and suites with a
interior design
Cer Magazine 49
CERAMIC TILES INSPIRED
BY STONE: HERE THEY
EVOKE SMOOTH, DARK
STONE WITH GREENISH
GLEAMS
private hammam, and the corridors leading to them are tiled
with a nature-inspired ceramic material called Stonehenge
(colour Savanna). The use of this stone-inspired ceramic tile
(in this case a smooth, dark variety with greenish gleams) in
an artificial environment that looks out onto the sea and the
Mediterranean vegetation represents yet another of the
languages of contemporary architecture. Its use was agreed
by the partners of the project and also met with open public
approval when used in a pilot suite. Thanks, therefore, to a
strong but not overbearing presence described by the
designers as ‘techno-natural’, the ceramic tiles succeed in
creating a dialogue with the furnishings, decorations and
internal lighting fixtures, combining memorable aesthetic
qualities with the advantages of a high-performance material.
Virginio Briatore, Aedo-to.com
TILES:
Lea Ceramiche, Stonehenge series, Art. Savanna
MAIN TYPE AND SIZES:
Through-bodied fine porcelain tile
Size: 60x60 cm, rectified honed surface
SIGNIFICANT TECHNICAL SPECIFICATIONS:
Surface hardness: Mohs 6
Bending strength (ISO 10545-4): ≥50 N/mm2
Chemical resistance (ISO 10545-13): guaranteed
Stain resistance (ISO 10545-14): class 5 - guaranteed
Resistance to wear and abrasion (ISO 10545-6): ≤145 mm3
CATANIA
AIRPORT,
The new VIP lounge
at Catania Airport
designed by the Iosa
Ghini Associati
studio is the result
of a skilful use of
materials which
together create a
reception area
reflecting Alitalia’s
new-look brand
identity
where ceramic
tiling replaces
red-carpet treatment
interior design
Cer Magazine 51
by Donatella Bollani
A
THE RECEPTION DESK
INSIDE THE ALITALIA CFA
BELLINI LOUNGE AT THE
NEW AIRPORT IN CATANIA
litalia’s new corporate image
provided the inspiration for
the overhaul operations that
have involved the company’s
boarding gates, ticket desks,
check-in desks, self check-in areas and fast
tracks. The recurring theme behind the new
concept of the reception areas is green,
which has always been the corporate colour,
but in this new-look brand identity the
shades are richer, warmer and more elegant, with a view to
underscoring Italian style and lending strength to the company’s new image. Fluorescent lighting, stripes and contours
along the counters, soft colours and ad hoc lighting fixtures
are the details that identify the logistics areas. Frosted glass,
strip wood flooring, padded seats designed and manufactured as only the Italians know how, brushed steel and
coloured plastic are the furnishing materials which have been
selected to turn the concept into reality. The project focuses
on the reception desk as the pivotal element in greeting passengers. Its wood panelling was designed by Massimo Iosa
Ghini. For the baggage check-in counters, the self check-in
counters and the ticket counters the studio came up with a
single shaped surface consisting of a brushed steel plinth with
a back-lit acid-treated glass panelled front. The reception
desk’s white plastic shelf and counter top are what lend this
design piece its volume. The lounge also features an office
area with multimedia workstations on a shaped oak tabletop
and a meeting-room area with tables and chairs featuring the
Alitalia logo.
The Alitalia CFA Bellini lounge, located inside the entrance to
THE RELAXATION AREA IS
CHARACTERIZED BY OAK TRIMS,
SOFT LIGHTING AND WARM
COLOURS. THE CERAMIC
FLOORING - A LIGHT BEIGE
THROUGH-BODIED PORCELAIN
TILE - PLAYS A PIVOTAL ROLE IN
THIS AREA
ONE OF THE
STUDY DRAWINGS
OUTLINING THE CONCEPT
OF THE NEW ALITALIA
VIP LOUNGES, DESIGNED
BY THE IOSA GHINI
ASSOCIATI STUDIO
IN BOLOGNA
PHOTOS
Luca Capuano
DESIGNERS
Massimo Iosa Ghini and
Francisco Monroy Ròman,
Iosa Ghini Associati
DISTRIBUTOR
Ediltomarchio
TILES
Ceramica del Conca
progetto
52 Cer Magazine
the main hall of Catania Airport, is also a result of the new
concept.
The main aim of the project is to create a comfortable, elegant setting and at the same time offer passengers a range of
services such as the possibility of purchasing airline tickets,
express check-in facilities, Internet connections, refreshment
and restaurant services and relaxation areas.
The lounge is accessed by means of an automatic two-panel
sliding glass door.
Inside passengers are greeted by the first “reception” area,
heavily characterized by the company’s corporate colours and
equipped with all the necessary boarding services, and also
featuring a sales area with specially designed showcases displaying the company’s brand products.
Near this multifunctional space is a large relaxation area with
a self-service bar and armchairs and tables equipped with
reading lights, power sockets and Internet connections.
In this area the main finishing elements are oak, soft lighting, warm colours and echoes of green. The flooring plays a
vital role in this area: parquet is used in the relaxation area,
where passenger traffic is less frequent and the mood must
be comfortable and cocoon-like; through-bodied porcelain
tiles in beige and dark grey are used for areas of intense
traffic and places where higher levels of hygiene are
LEFT: ANOTHER STUDY SKETCH
OF THE RECEPTION DESK
RIGHT: THE RECEPTION AREA FOR
CHECK-IN, SELF CHECK-IN AND
FAST TRACK OPERATIONS
TOP: ARMCHAIRS NEXT TO SMALL
TABLES EQUIPPED WITH READING
LIGHTS, POWER SOCKETS AND WEB
CONNECTIONS. THE WOOD
PANELLING WAS MADE TO A DESIGN
BY MASSIMO IOSA GHINI
progetto
Cer Magazine 53
LEFT, THROUGH-BODIED
PORCELAIN TILE FLOORING
NEXT TO THE OAK PARQUET.
THE TILES ARE INSPIRED BY
SARDINIAN TRACHYTE.
THE CHIPS AND PARTICLES
ADDED TO THE BODY ARE
VISIBLE ON THE SURFACE AND
LEND A TOUCH OF ELEGANCE
TO THE PRODUCT, AS WELL AS
HYGIENE AND EXCEPTIONAL
RESISTANCE TO WEAR
BOTTOM LEFT, THE
INTERIOR OF ONE OF
THE TOILET FACILITIES
IN WHICH THE GREY
PORCELAIN WALL TILES
CREATE AN ATTRACTIVE
PATTERN
required (cafeteria and toilet areas).
In spite of their resistance characteristics, the products used
in these spaces do not sacrifice aesthetic qualities. The porcelain tiles used for the finishings are inspired by Sardinian trachyte; the chips and particles added to the body are visible
on the surface, thus lending a touch of elegance.
Italian products have been used in all Alitalia areas with a view
to making these lounges a dedicated showcase of the design
and quality of Italian brands.
Donatella Bollani, Il Sole 24 ORE Arketipo
TILES:
Ceramica del Conca, ‘O Porcellana d’Arredo series
MAIN TYPE AND SIZES:
Through-bodied porcelain tiles
Size: 30x60 cm
Colours: Beige and Grigio
SIGNIFICANT TECHNICAL SPECIFICATIONS:
Modulus of rupture (ISO 10545-4): 50 N/mm2
Surface hardness (UNI EN 101): 5-7 Mohs
Chemical resistance (ISO 10545-13): guaranteed
Wear resistance (ISO 10545-7): PEI 3 - PEI 5
54 Cer Magazine
54
THIS PAGE:
EXTERIOR VIEW
OF THE COMPANY’S
PRESTIGIOUS HEADQUARTERS
IN JONKOPING (S)
FACING PAGE:
INTERIOR OF THE FINISHED
PRODUCT WAREHOUSE
AND TRAINING ROOM
‘WE AIM TO BECOME THE LEAD
Founded in 1968, Konradsson Kakel now
has a turnover of 18 million euro,
3 showrooms and 42 employees
by Simona Storchi
K
onradsson
Kakel,
the
Swedish distributor that
won the 2007 edition of the
Confindustria
Ceramica
Distributor Award, has three
showrooms with a total display area of
2,300 square metres, more than 200
retailers, 42 employees and an annual
turnover of around 18 million euro.
Founded in 1968 in Jonkoping, a city of
122,000
inhabitants
some
300
kilometres south of Stockholm, the
company’s declared mission is “to
become the largest ceramic tile
distributor for the retail market in
Northern Europe”. General manager
Hans Persson, 39, began working at the
company in 1987, two years after it was
acquired by his family. “The three points
of sale serve not only as showrooms but
are also used as warehouses and
customer service centres, for providing
professional training and for developing
new projects in cooperation with interior
designers and architects,” he explains.
Jonkoping is home not only to a 500
square metre showroom but also to the
main warehouse, which extends over an
area of 7,000 square metres. The other
two showrooms are in Stockholm (700
square metres), the Swedish capital with
HANS PERSSON, 39, IS THE GENERAL
MANAGER OF THE SWEDISH COMPANY
a population of more than 1.3 million,
and Gothenburg (1,100 square metres),
Sweden’s third-largest city with 480,000
inhabitants. “We mainly sell ceramic tiles
and
installation
materials
and
accessories: 78% of our turnover derives
55
55
ING SWEDISH TILE DISTRIBUTOR’
from sales of ceramic tiles. This figure
has increased in step with the use of
ceramic tiles, which have become
increasingly common in Sweden. The
market is more accessible, tiles are
increasingly popular and a growing
number of companies are working with
this material.”
While this change in taste amongst
Swedes is certainly the main factor
behind Konradsson Kakel’s success,
another important aspect is the growing
interest in design and quality of home
furnishings in a country that last year
invested USD 37.7 billion in building
(1.9% more than in 2005). “For many
years Swedes preferred wood and PVC
materials, which are certainly cheaper
than ceramic. But now, largely due to the
opportunity and desire to make greater
home investments, interest in tiles has
really taken off.”
Konradsson Kakel’s showrooms feature
solutions for all areas in and outside the
house and offer a consulting service for
private customers and for interior
designers and architects.
“Our clientele consists principally of
PHOTOS AT
BOTTOM OF
BOTH PAGES:
THE DISPLAY
BOXES THAT
CHARACTERISE
THE
KONRADSSON
SHOWROOM IN
STOCKHOLM
distributors who resell to end consumers
and interior designers (65% of total
sales), to architects (20%) and to tile
installers (15%). End use is mainly for
interior furnishing in residential and
commercial applications.”
A high demand for ceramic tiles requires
a large and varied supply. “Customers
certainly prefer increasingly large
showrooms with ever more complete
display areas. It is up to us to meet this
requirement.” For this reason, Hans
Persson is convinced that selling Italian
products
brings
considerable
advantages and benefits. “Italian tiles
stand out for their style, design and
quality and are also backed up by a fast
logistic system. In Sweden, having Italian
tiles in one’s home is now considered a
status symbol.”
What advice can he offer Italian
manufacturers seeking to maintain their
market positions and at the same time
increase their shares?
“I believe it is important to offer
premium added services, to focus on
high quality and to remain the leaders in
terms of design while further reducing
delivery times.”
56 Cer Magazine
architecture
The world’s largest
car showroom chooses
Italian ceramic tiles
A FLOOR FIT
for BMW and Rolls
architecture
Cer Magazine 57
by Carlo Paganelli
K
uwait, a small country with big economic clout in
the form of its oil industry yet little influence on
the Middle Eastern chequerboard, became an
unsettled area in 1990 when it was occupied by
Iraq under Saddam Hussein. The wealth earned
from its black gold spawned a host of construction enterprises similar to those of the other Persian Gulf states. Now a very
built-up country, its most famous landmarks include the Burj
al-Arab (Arabian Tower) designed by WS Atkins & Partners, a
seven-star hotel, no less. The heavy investments in the tertiary
sector and the tourist industry have led to luxurious office and
hotel complexes for an elite target, in particular people with
high disposable income. This in turn has fuelled an increase in
consumer goods such as luxury cars, hence the need for car
showrooms for brands like BMW, Land Rover and Rolls Royce.
These brands have now been incorporated within a single
large complex, the world’s biggest car showroom designed by
engineer Ashraf Jamal. Along with its impressive size it also
stands out for its architectural modernity, an aspect that
reflects the advanced technology of the vehicles on display
and is particularly evident in the showroom itself. The 22,000square metre complex is located in the Shuwaikh industrial
area not far from Kuwait’s international airport. A 120-metre
long, 38-metre wide structure characterized by columns set at
six-metre intervals supporting two undulating roofs is the main
building in a complex located on the airport road. This choice
of roofing is certainly striking, the glass façade creating the
optical illusion of a suspended structure reminiscent of a flying
carpet, one of the most popular icons in Arab culture.
TO REINFORCE BRAND
IDENTITY, DIFFERENT
COLOURS WERE USED FOR
THE SURFACES: ENDURO
MATT FOR THE BMW AREA,
ONYX FOR THE BRITISH CAR
MANUFACTURERS
DESIGNER
Ashraf Jamal
CONSTRUCTOR
S.A.I. Trading & Contracting
TILES
Marazzi
architecture
58 Cer Magazine
THE USE OF GREY TILES
FOR THE INTERIOR
WALLS LENDS GREAT
ELEGANCE TO THE
WHOLE SHOWROOM
THE ALTERNATION
OF NATURAL AND
POLISHED SURFACES
INTENSIFIES
PERCEPTION
OF THE SPACES
THE LARGE WINDOWS
FLOOD THE FLOORS
WITH LIGHT, ENHANCING
THE PRODUCT’S
CHARACTERISTICS YET
ATTENUATING THE
OVERALL EFFECT TO
CREATE A PARTICULARLY
ELEGANT ENVIRONMENT
architecture
Cer Magazine 59
For maximum functionality the showroom area is divided into
two symmetrical parts, not to create hierarchical divisions but
to allow potential buyers the greatest freedom of choice. The
Rolls Royce cars are located in a different area inside a giant
glass showcase that enhances the construction excellence of
this queen of automobiles. The BMW area was supplied with
Enduro Matt tiles from Marazzi. The exceptional qualities of
this product in terms of size and durability afford maximum
long-term performance. The Rover, MG and Rolls Royce sectors are paved with tiles from the Onyx series, alternating two
colours and three different finishes (natural, polished and
semi-polished). Some of the areas in the showroom feature
floor tiles treated with Safe Walking technology, which
exploits a suction effect to enhance slip resistance performance. Lastly, the floors and walls in the reception area vaunt
striking colour effects through the use of small square tiles
with a satin finish.
Carlo Paganelli, l’Arca
THE CERAMIC-TILED
FLOORS ALSO ASSUME
FUNCTIONAL ROLES.
RIGHT: THE SUCTION EFFECT
OF THE SAFE WALKING TILE
INCREASES SLIP RESISTANCE;
BELOW: THE AIR
CONDITIONING GRILLES
SET IN THE STEP
NEAR THE WINDOWS
TILES:
Marazzi Group, Enduro Matt (Rodio), Onyx (Tinos and
African Blue) and Colori (Città: Toronto New)
MAIN TYPE AND SIZES:
Glazed single-fired tile (Enduro Matt) 60x60 cm
Porcelain tile (Onyx) 60x60 and 40x40 cm
Glazed porcelain tile (Colori) 20x20, 15x15 and 10x10 cm
SIGNIFICANT TECHNICAL SPECIFICATIONS:
Slip resistance:
Enduro (UNI EN 14411 - H BIb GL): R 9 and R 11 Grip
Onyx (UNI EN 14411 - G BIa GL): R9 A and R 11
Colori (UNI EN 14411 - G BIa GL): R 10 B
Stain resistance:
Enduro, Onyx, Colori (ISO 10545-14): compliant
architecture
60 Cer Magazine
LEFT: THE AUSTERE GEOMETRY
OF THE FURNISHINGS MAKES
FOR VERSATILE COMPOSITIONS
IN THE CONVERSATION
AREAS/WORK ISLANDS
RIGHT: AN AERIAL VIEW OF
ONE OF THE ENTRANCES
ILLUSTRATES THE
INTERSECTION BETWEEN
THE BUILDING’S HORIZONTAL
AND DIAGONAL LINES
The Headquarters of
GENERAL MILLS
Quality of life for the
users and fostering
a sense of belonging
to the company
form the basis of the
new “building D” project
PHOTOS George Heinrich
DESIGNER Ellerbe Becket
DISTRIBUTOR RBC Tiles & Stone
TILES Ceramiche Caesar
by Santino Limonta
I
n November 2005 the American organized retail giant
Target Corporation discussed with Brooklyn Park City
Council and Brooklyn Park Economic Development
Authority an ambitious project to expand its Northern
Campus located in Brooklyn Park, near Minneapolis,
Minnesota. The project stemmed from the need to build new
offices to accompany the growth of Target Corporation and
the considerable difficulty in expanding its Headquarters
(with approximately 10,000 employees) in central Minneapolis
beyond a certain point. The envisaged building of a tower
here would have taken at least three years and in any case
would not have met future space requirements. But the
expansion of the Target Northern Campus will not only cost
less but will also allow Target Corporation to build in a new
urban development area with services and infrastructures
that will increase the quality of life of its employees. The
Target Corporation project will see the construction of
743,200 square metres of office facilities for 26,000
employees, 185,800 square metres of shop facilities and
3,000 homes within the space of 10-15 years (faster or slower
according to actual requirements). The project also includes
the creation of a public park, an aqueduct, a public library, a
police station and two hotels. The construction of the new
“Building D” of the Target Northern Campus, completed last
autumn, marks the first step in the general project described
LARGE GLASS PARTITION WALLS
AFFORD PLENTY OF NATURAL LIGHT,
EVEN IN THE INNERMOST AREAS
62 Cer Magazine
BELOW: THE PORCELAIN TILE
FLOORING SETS OFF ALL THE
COLOUR COMBINATIONS. THE
OVERALL IMPACT IS ONE OF
SERENITY AND WARMTH
RIGHT: DETAIL OF THE
ENTRANCE WHERE THE
PRESENCE OF THE RECEPTION
DESK IS SET OFF BY A CHANGE
OF COLOUR SHADE
architecture
Cer Magazine 63
BELOW: THE ENORMOUS CENTRAL
ATRIUM WITH ITS CLOCKING-IN AREAS
LOCATED LEFT AND RIGHT
OF THE MAIN ENTRANCE, WHICH
LEADS TO PRIVATE OFFICE AREAS
above. The new 23,230-square-metre office complex consists
of two separate buildings of 9,300 and 13,940 square metres,
connected by a large central atrium which houses
approximately 1,000 new employees. To boost staff wellbeing, natural light is used, harnessed by means of giant glass
curtain walls at the north and south ends of the atrium and
also a skylight that runs along the entire length of the roof.
The team of architects and designers at Ellerbe Becket (one
of the largest architectural, interior design and construction
management companies in the USA), who were instructed by
Target Corporation to recreate in the Northern Campus an
environment whose quality would foster a sense of belonging
on the part of the employees (as with “Target’s
Headquarters” in Minneapolis) focused particular attention
on the atrium’s interior finishings to underscore its pivotal
role and aesthetic and psychological importance. For the
flooring they looked for a material that would guarantee the
density, endurance and appeal of natural stone when viewed
up close, as well as offer the elements necessary to create a
subtle overall pattern that would nonetheless have a strong
impact when viewed from the upper levels of the atrium.
Ceramiche Caesar’s fine porcelain tiles were chosen for their
ability to evoke the monolithic surface effect sought by the
Ellerbe Becket team, which they could then adapt by adding
some interesting detail using the colour red (characteristic of
Target Corporation’s brand) by cutting a 3 mm line into the
tile and filling it with red grout. The originality of the overall
design stems from the laying pattern of the tiles, which is
based on shape, colour combinations and finishes, as well as
on the offset geometry between the two components of
“Building D”. The tiles were laid in line with one of the wings
of the complex, whereas the red line runs in the direction of
the other, emphasizing the design concept of leading the side
buildings back towards the centre. This project was joint
winner in the Commercial category of the Ceramic Tiles of
Italy Design Competition 2007.
Santino Limonta, Ottagono
TILES: Ceramiche Caesar, Feel series
THE FOUR INSET PHOTOS (ABOVE
AND OPPOSITE) ILLUSTRATE THE
IMPORTANCE ATTACHED TO THE
CHOICE OF MATERIALS AND
INSTALLATION PATTERN.
THE VARIATIONS IN SIZE AND
COLOUR AND THE TOUCH
OF RED GIVEN TO JUST
A FEW GROUT LINES FURTHER
UNDERSCORE THE MONOLITHIC
QUALITY OF THE FLOORING
MAIN TYPE AND SIZES:
Porcelain tiles
Sizes: 60x60 cm, 30x60 cm, 11.7x60 cm and 2.1x60 cm
Colours Colonial (beige), Mida (yellow), Moonlight (black),
Zanzibar (dark brown)
Colonial Steel accent 60x60 cm
SIGNIFICANT TECHNICAL SPECIFICATIONS:
Water absorption (ISO 10545-3): 0.05%
Wear and abrasion resistance (ISO 10545-6): ≤140 mm3
Stain resistance (ISO 10545-14): guaranteed
Slip resistance (ASTM C1028-96): dry ≥0.60 wet ≥0.60
trends
64 Cer Magazine
1
2
CERAMIC
TRENDS
by Katrin Cosseta
E
3
4
1. ROCCA DEL BOIARDO SERIES FROM MAJORCA, THROUGH-BODIED
COLOURED PORCELAIN TILE, AVAILABLE IN FOUR NATURAL COLOURS
2. IMAGO SERIES FROM LA FABBRICA, CEREUS, 44.2X44.2 CM 3. MIKADO
FROM ERGON, MOGANO, 60X60 CM 4. IN_LAND FROM CERAMICHE
EDILGRES-SIRIO, 48.4X48.4 CM
5
6
mancipated from the rigid confines of their
use as a finishing material, ceramic tiles are
today increasingly being seen as design
objects for furnishing and are consequently
subject to the periodic variations in aesthetic
orientations that go by the name of “trends”. In today’s
industry we see a rapid alternation of fashions which in
reality intersect, hybridise and often coexist in a
harmony of opposites. The keyword here is freedom of
expression, achieved through a level of excellence in
technology and manufacturing that makes ceramic
floor and wall tiles a flagship Italian product.
STONE EFFECT
Natural stone replication continues to be one of the
most successful trends. Originally conceived as a hitech imitation of nature, ceramic tiles have now
transcended nature to achieve an almost perfect
reproduction of veins, colours and irregularities while
at the same time offering unprecedented physical and
mechanical characteristics. It is a trend that enhances
technology (finding its highest expression in the
through-body colouring technique that creates stone
veins throughout the entire thickness of the tile), while
at the same time achieving a durability that brings
ecological, economic and cultural benefits.
METROPOLITAN SPIRIT
7
8
5. GRANITO GRÈS COLLECTION, TITANO SERIES FROM CASALGRANDE
PADANA, COLOUR CARDOSO 45X45 CM 6. MUST FROM ALFA CERAMICHE,
GOLD, 50X50 CM 7. MAXIMA SERIES FROM IMOLA CERAMICA, TEAKWOOD,
50X100 CM 8. SHELLSTONE FROM CERAMICA DEL CONCA, INSPIRED BY
TUFACEOUS STONE, 45X45 CM
While stone effect porcelain tile is often associated
with a classic style, a sober elegance capable of
coordinating with modern tastes, the metropolitan
spirit is conveyed through cement effect ceramic tiles
that come in a full range of greys and - as with stone
imitation tiles - with a preference for large sizes that
create a sensation of spatial continuity. This trend
caters for the needs of contemporary architecture and
underscores this material’s role as a compositional
medium capable of communicating and shaping large
residential spaces.
trends
Cer Magazine 65
In their search for ultimate compositional freedom,
the aesthetic and design trends explored by
Italian ceramic tiles intersect, hybridise and often
coexist in a harmony of opposites
MATERIAL TACTILITY
In addition to the wide range of terracotta tiles
available, ceramic exalts stone, cement and even earth
in its most immediate, primordial state: the material
tactility of the soil, the disaggregated earth with its
natural grey-brown monochromatic colours and its
rough textures. Other fashions inspired by nature
include the now fully mature wood trend, in which
porcelain tile reproduces the grains of various timber
species in realistic or stylised fashion, and the utterly
novel concept of leather textures. A number of
companies exploit the softness, subtle textures,
colours, inserts and processing techniques of leather to
create products characterised by warm elegance and
perhaps a hint of masculinity. Animal themes such as
crocodile and python are also enjoying success but with
a different nuance of meaning and a non-mimetic colour
range that are more reminiscent of fashion trends. But
after all, it is perfectly natural that any discussion of
trends should look to the world of fashion.
FASHION
The parallels with the world of fashion are perfectly
natural given that for several years now the tile sector
has been following the rhythms and decorative styles of
fashion trends. Surfaces are clothed with strong floral
effects that create the impression of silk prints or
delicate neo-romantic foliage; precious gold and silver
are illuminated and combined with black to create
13
14
9
10
11
12
9. INTINTA FROM SERENISSIMA-CIR INDUSTRIE CERAMICHE, A UNIQUE
DESIGN IN DIFFERENT COLOURS AND SIZES 10. PENNELLATI A MANO
SERIES FROM FRANCESCO DE MAIO, COLOUR ORANGE 11. FOR LOVE
COLLECTION FROM FAP CERAMICHE, WINDY INSERT, COLOUR GREEN
30.5X91.5 CM 12. SUNSET SERIES FROM NAXOS, AUKENA KOS STRIP
32.5X65 CM 13. LUMINOR SERIES FROM CERAMICHE GARDENIA
ORCHIDEA, ALSO AVAILABLE IN THE BIG SIZE 32.5X97.7 CM 14. KERLITE
PROJECT, BUXY SERIES FROM COTTO D’ESTE, AMANDE AND NOISETTE,
50X50 CM, THICKNESS 3 MM 15. IDENTITY FROM CERAMICHE EDILCUOGHI,
DOUBLE FIRED TILES AVAILABLE IN 7 DIFFERENT COLOURS, IN THE SIZE
32X49 CM 16. METALLIKA FROM CERAMICHE RHS, BRONZE 60X60 CM
15
16
trends
66 Cer Magazine
ADDRESSES
The addresses of the Italian
ceramic tile manufacturers
can be found at:
www.italiatiles.com
/ Tiles & Us
/ The Companies
/ Ceramic tiles
17
20
21
17. ARREDO FROM CERAMICHE CAESAR, ETNO 60X60 CM 18. DENIM
FROM CERAMICA FIORANESE 19. ARCOBALENO FROM POLIS
MANIFATTURE CERAMICHE 45X45 CM 20. LUCI DI VENEZIA COLLECTION
FROM KER-AV, CARNEVAL SERIES COMPOSITION 21. SI SERIES FROM
MONINA BY TAGINA IN A MULTI-SIZE COMPOSITION
18
19
architectures. It is hardly surprising then that a number
of famous architects should have tackled the design of
this product, including recent contributions (in some
cases debuts) by figures of the calibre of Fuksas,
Silvestrin and Putman. This trend is more a question of
concept than design, the attribution of a novel spatial
dimension to what is the ultimate two-dimensional
object and opening the frontiers to structural
decoration with a strong plastic quality that is at once
material, visual and tactile. Touch is therefore gradually
becoming the dominant sense, and not just in the case
of pronounced relief textures. Even the most uniform
surfaces offer extraordinary tactile surprises, velvety
softness, the discreet repetitiveness of textile weaves
or meshes, imperceptible relief to be explored like
Braille characters.
CERAMIC PAINTINGS
vintage atmospheres; iridescence effects and metallic
inclusions create sophisticated plays of light; ethnic and
exotic designs are explored (inspired in particular by
the East with its lacquers and miniatures). The baroque
opulence of damask and brocade offsets black and
white optical designs, soft Seventies geometries and
colours (green, orange, brown), and the rigour of
stripes played down by bright colours.
Nowadays it is certainly anachronistic, if not entirely
mistaken, to think of decoration merely in terms of a
surface design. Indeed, one of the greatest innovations
in the field of ceramic tiles is the increasingly hi-tech
exploration of the third dimension.
TEXTURED SURFACES
Today’s tiles are hollowed out, scratched, engraved,
polished, etched. Light is captured by peaks and
troughs of material and the tiles are treated like micro-
We have already mentioned the modern trend of large
sizes, rectangular formats in particular, and indeed no
detailed analysis of trends can fail to discuss
dimensions. Due to advances in technology, ceramic
tiles can now be produced in sizes that until just a few
years ago would have been unimaginable. This has led
to a startling degree of polarisation between extralarge and extra-small, from sheets of minimal thickness
that reach lengths of up to several metres to mosaics
just a few millimetres in size and available in a range of
shapes, not necessarily square.
The concept of module in terms of shape and
composition is likewise being reappraised. Tiles are
conceived less and less as a single decorative element
to be installed in a sequence of identical repetitions.
The final composition is often revealed through
rhythmic juxtapositions of different elements or by
completion of the decoration with a design that
extends over a number of different tiles. This has led to
the creation of authentic “ceramic paintings”, a new
way of decorating even small portions of walls
borrowed from the art of mosaic.
Katrin Cosseta, Interni